Since Russian leader Vladimir Putin assumed power in August 1999, speculation about his character, motives, and plans for Russia’s future has been rampant in the West. Even after he stepped down as president in May 2008, retaining a significant measure of power as prime minister under his hand-picked successor, President Dmitri Medvedev, Putin remains poorly understood. In this interpretive biography of Putin, ALLEN C. LYNCH, director of the Center for Russian and East European Studies and associate professor of government and foreign affairs seeks to reconcile the two conflicting images and find out just where the truth lies about the man and the statesman.

 

Hosted February 24, 2012. Miller Center, Charlottesville VA.

  

For more information, visit millercenter.org/.

he selection of bureaucrats for key positions seldom generates interest beyond the contenders and their family and friends. Not so when the foreign secretary is being chosen. For some years now, this South Block appointment has been watched with enthusiasm by those in the foreign policy establishment as well as others. Ranjan Mathai, the current incumbent, ends his tenure on July 31. Already, speculation, analysis—and some lobbying—has begun, with the aim of ensuring that a favourite gets the top post in the ministry of external affairs.

 

It is bruited in South Block circles that the three frontrunners are Sujata Singh, the ambassador to Germany; S. Jai­shankar, the ambassador to China; and Jai­mini Bhagwati, the Indian high com­missioner in London. One other diplomat in the reckoning is Sudhir Vyas, secretary (west) at the MEA headquarters. Of course, the selection process will sieve a much bigger pool, comprising diplomats of the 1976 and 1977 bat­ches of the Indian Foreign Service (IFS).

 

Sujata, the topper of the 1976 IFS batch, has garnered a wide range of experience and expertise, especially of western Europe. Bhagwati, of the same batch as Sujata’s, is said to have an edge because of his understanding of economics. Jaishankar, of the 1977 IFS batch, not only has experience of serving in neighbouring countries, he is considered strong on the West, particularly in dealing with the United States. Vyas topped the 1977 IFS batch. He has served in the neighbourhood—Pakistan and Bhutan—and is said to have the advantage of being posted at headquarters.

 

Most MEA-watchers believe that the next foreign secretary will be from the first three. For, besides their capabilities—something that is widely acknow­ledged—they also have the right political connections. Sujata’s father, T.V. Rajeshwar, is a former IB chief and has also served as governor of Uttar Pradesh. Her connection to the Congress leadership is well-known. Jaishankar is the son of the late K. Subrahmanyam, one of India’s foremost strategic thinkers, and is well cued in to key members of the ruling party. Bhagwati, who has served with the World Bank, is said to be close to Prime Minister Manmohan Singh.

 

Much of the confusion and speculation surrounding the choice of the next foreign secretary stems from the government’s own policy, which many see as arbitrary and lacking in transparency. For choosing a foreign secretary, two key elements are said to be considered by the political leadership in general and the prime minister in particular: seniority and merit. Seniority is easily determined. Merit, however, is very difficult to even define, leave alone determine, especially in the context of diplomacy and its complexities. So the choice involves a lot of subjectivity.

 

As defined by procedure, the foreign secretary is chosen by a committee comprising the prime minister, the home minister and the foreign minister. But, MEA officials point out, a lot depends on the stature and heft of the foreign minister. An “assertive” foreign minister, they say, may have greater leverage that an “aspirational” minister, who would leave everything to the prime minister. Ultimately, of course, the prime minister’s choice prevails.

 

In the recent past, candidates like Shyam Saran, of the 1970 IFS batch, and Shiv Shankar Menon, of the 1972 IFS batch, were chosen on the basis of merit rather than strict seniority. These selections had caused a lot of heartburn among those who lost out despite their seniority. Some resigned. One of them, Veena Sikri, then posted as India’s high commissioner to Bangladesh, went on long leave and later challenged the government’s decision before the Central Administrative Tribunal. She says, “The government has every right to choose the person it wants as foreign secretary. But the selection must be a transparent process and others should know why they are being overlooked. Only a transparent sel­ection process will motivate people working in the government.”

 

The government then reverted to choosing mainly on the basis of seniority. Mathai, and his predecessor Nirupama Rao, were both chiefly chosen on where they stood on the IFS seniority roster. Some former diplomats point out that, ideally, a foreign secretary should be a person who can get on with a wide variety of people—politici­ans, parliamentarians, foreign diplomats and envoys as well as colleagues in the diplomatic corps. The incumbent must have the ability to be accommodative on certain issues but also show fir­mness and resolve on others. “Irrespective of who is chosen as the foreign secretary, he can never be a rubber stamp,” says former Indian diplomat Talmiz Ahmad. For, he says, the foreign secretary provides crucial inputs to the PM.

 

But what makes the foreign secretary’s selection so special and why does it generate so much interest among so many? Unlike his counterparts in other departments or ministries, the foreign secretary is also the chief administrative officer and heads the Indian Foreign Service (IFS). Therefore, he enjoys a certain gravitas among his counterparts in other ministries. The other reason for the growing interest in the choice of the foreign secretary is because the perception of Indian diplomacy and foreign policy has changed. In the past, people associated the diplomatic service mainly with glamour—foreign postings, well-groomed people moving in elite international circuits. But much of that has changed, especially after the Pokhran II nuclear tests of May 1998, the aftermath of which naturally saw wide media coverage of India’s engagement with foreign powers and regional balances. Even regional media networks covered these engagements, and rights groups, anti-nuclear lobbies and others began to follow and debate diplomatic decisions. Regional parties, which have found inc­reasing play in an era of coalition politics, have also started paying attention to the country’s diplomatic moves. Also, with the states playing a more assertive role on issues which often overlap with foreign policy, such as economic diplomacy, climate change, global terrorism and human rights, interest in the subject seems to have widened.

 

So will the next foreign secretary be a lady or a gentleman? No clue yet. And while most are trying to hedge their bets on the next incumbent, it will come as a huge surprise if the political leadership breaks the current trend of going by seniority plus merit

   

Sujata Singh: Topper of the 1976 IFS batch; non-controversial, has strong political connections

Jaimini Bhagwati: Of the 1976 IFS batch; strong on economic issues; has served with the World Bank

S. Jaishankar: Of the 1977 IFS batch; impressed many with his effective handling of China affairs

Sudhir Vyas: Topped the 1977 IFS batch; has experience of S. Asia

 

www.outlookindia.com/article.aspx?285952

 

Ischia under fire the first photo that I take during the beginning of the blaze

 

The emergency of blazes and bushfires are damaging South Italy. This is only a cause of hot weather and high temperatures? Autorithies don’t think so, and the trail of criminal intents is followed.

 

In Peschici on south east in Apulia, a deep crisis of blazes is explosed in the end of July where a lots of tourist of hotels and camping are escaped losing everything helped only by some fishermen during the laterness of benefit associations’ arrive . This news was the great exploit of this year for reintroduce this problem in italian journalism reports...But what does it means that criminal intents are interested in this situation?

   

Last week I was in Ischia, an Italian island near by Naples, here, where the racket organisation of Camorra is deeply present. Fire has start to shine in the night of Sunday on a rocky hill with few houses. Here fire was extinguished only at 12 p.m of Saturday because the difficult clime situation ( a strong wind and a sunny day) and the presence of other 137 important fires all around Campania has delay the action of benefit associations.

 

In Italy laws establish that on a burned ground is prohibited to do anything, but, in this duty time, Camorra and racket organizations promote their illegal building speculation. After, when a “eco moster” a great unauthorized built is done, is possibile to legalize it with a money remission.For eliminating this hard situation, the State invite regions and town damaged by this problem to create some land registries where to signal zones hit by this emergency.Today this acts of pyromaniacs are punished with 7 years of prison but is hard to find guilties.

Since Russian leader Vladimir Putin assumed power in August 1999, speculation about his character, motives, and plans for Russia’s future has been rampant in the West. Even after he stepped down as president in May 2008, retaining a significant measure of power as prime minister under his hand-picked successor, President Dmitri Medvedev, Putin remains poorly understood. In this interpretive biography of Putin, ALLEN C. LYNCH, director of the Center for Russian and East European Studies and associate professor of government and foreign affairs seeks to reconcile the two conflicting images and find out just where the truth lies about the man and the statesman.

 

Hosted February 24, 2012. Miller Center, Charlottesville VA.

  

For more information, visit millercenter.org/.

In early 2009, there was much speculation that Spandau Ballet was set to reform later that year. Although the band did not initially comment on these reports, the official Spandau Ballet website encouraged fans to sign up "for an exciting announcement" fuelling rumours that a reunion was imminent. Jonathan Ross also mentioned during his BBC Radio 2 programme on 21 March 2009 that he was aware that the band were re-forming and had been invited to the band's reunion party.

 

The band eventually confirmed the rumours at a press conference held on 25 March 2009 on board HMS Belfast in London to announce their comeback tour .

 

The band began a world tour in October 2009, starting with eight dates across Ireland and the UK, the first of which was in Dublin on 13 October 2009. The tickets for the UK and Ireland shows went on pre-sale on the official Spandau Ballet website on 25 March 2009. These then went on general release on 27 March 2009. For the general release tickets, the London O2 arena tickets sold out within 20 minutes and an extra two dates were added there because of demand. The band also announced an extra date in Birmingham and added Liverpool to the tour. They gave their "first public performance and interview anywhere in the world for 19 years" on Jonathan Ross's BBC television show Friday Night with Jonathan Ross on 24 April 2009.

 

The Future of Health Care is a subject that has been under intense speculation and debate in recent times across different forums. Several interesting prototypes and scenarios have been made by professionals and designers to give the World a glimpse of a fuzzy future.

 

For the first time ever, Ergonomidesign have made it possible to actually experience the future of Health Care. Following their launch at the Medica/ Compamed trade fair (in Düsseldorf, Germany, Nov. 18-20), Ergonomidesign will present and demonstrate a future life science application that brings together 40 years of design experience for Ergonomidesign in the Life Science industry. This video is one of 2, that give an overview of the entire concept.

 

Combining a fully functioning prototype with a well resolved service-ecosystem, Ergonomidesign will demonstrate vital segments of their vision “The Future of Integrated Health Care”. The application- “Helping Hands” (a Natural User Interface developed on a MS Surface table) will enable an experience that lets you manage your own health in the future. Their concept combines the benefits of ubiquitous computing with a merger of Health Care services with internet service providers. This merger would give rise to an exciting ‘ecosystem’, one that would bring cure to your doorstep or literally to the palm of your hand. Much like the mobile ‘app-world’, pharmacies would be able to sell a variety of healthcare devices containing embedded software that synchronized with relevant devices and your body automatically.

 

By the year 2015, vast amounts of personal data will constantly be uploaded in real-time to the “Cloud” - for others to use, share and benefit from. Through embedded sensors in our clothes, wrist watches, necklaces, shoes etc. it will be possible to constantly monitor our biometric data. These vast amounts of data pushed to the Cloud, would be made accessible to a network of ‘smart objects’ e.g. our mobile devices and our ‘smart’ homes, furniture and environments. Our biometric data will be accessible everywhere, constantly - to us and those who we have granted admission to (e.g. our doctors and family and relevant networks). The Cloud would also allow us constant access to contacts and services in a vast directory of doctors, fellow-patients and other daily health-care programs such as diet, exercise and prescription medicine. Your good health would now truly be based on the learning, benefits and experiences of others.

 

The experience envisioned by Ergonomidesign comprises lucid scenarios, personas and a working prototype that was developed by interaction designers, design strategists and graphic designers. Their challenge was to envision a complex future and develop user friendly, intuitive solutions for the World to understand and use. They have created an experience that combines intuitive gestural interactions with well-resolved service scenarios for the Health Care industry.

 

Sci-fi writer William Gibson famously quoted – “The Future is already here, it is just unevenly distributed.”(Neuromancer, 1984.) Most of the technology necessary to make our vision a reality is already here e.g. Nike+, LinkedIn, Facebook and the Apple ‘app-store’.

 

Ergonomidesign hopes that ‘Helping Hands’ will inspire thought and discussion about a World where staying in great shape and avoiding illness can actually be within reach.

  

Watch this video on Vimeo. Video created by Ergonomidesign.

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

 

Built in 1900-01, the 294 Riverside Drive House is a rare survivor which exemplifies the character of Riverside Drive from the time when it was developed with many luxurious single-family residences. Located between West 101st Street and 102nd Street, today it is one of the very few remaining houses on the thoroughfare along Riverside Park which was commissioned by a particular client rather than built on speculation.

 

The house was designed in the then popular Beaux-Arts style by the distinguished architectural firm of Schickel & Ditmars, and was built for William Baumgarten who had been, from 1881 to 1891, the head of the firm of Herter Brothers which executed some of the most important interior design work being done in New York City at that time. Baumgarten had successfully established a firm under his own name, William Baumgarten & Company, at the time he built this house, and had a long-standing professional association with the notable architect William Schickel.

 

The most striking features of the facade of 294 Riverside Drive — the orderly, asymmetrical arrangement, the finely carved limestone detailing, the graceful Ionic portico, the slate mansard roof, the elaborate dormers, and the ornate ironwork — eloquently express the richness embodied in the Beaux-Arts style.

 

The Development of Riverside Drive

 

The Upper West Side, known as Bloomingdale prior to its urbanization, remained largely undeveloped until the 1880s. In the early eighteenth century, Bloomingdale Road (later renamed the Boulevard and finally Broadway in 1898) was opened through rural Bloomingdale and provided the northern route out of the city which was then concentrated in the southern tip of Manhattan. The Upper West Side was included in the Randel Survey of 1811 (known as the Commissioner's Map) which established a uniform grid of avenues and cross streets in Manhattan as far north as 155th Street, although years elapsed before streets on the Upper West Side were actually laid out, some as late as the 1870s and 1880s, and the land was subdivided into building lots.

 

Improved public transportation to the area contributed to the growth and sustained development of the Upper West Side, particularly the completion In 1879 of the Elevated Railway on Ninth Avenue (renamed Columbus Avenue in 1890). However, the biggest boost to the development of the West End (the area west of Broadway) was the creation of Riverside Drive and Park (a designated New York City Scenic Landmark).

 

The presence of the park and drive was an important factor in making this area desirable for high-quality residential development.

 

In 1865 the first proposal for converting the land on the Upper West Side along the eastern shore of the Hudson River into an ornamental park had been presented by Park Commissioner William R. Martin.

 

The purchase of the park site and initial plans were approved in 1866. The drive, as proposed at this time, was to be a straight 100-foot wide road; this plan was impractical, however, due to the existing topography.

 

Hired by the Commissioners in 1873, Frederick law Olmsted (1822-1903), already distinguished by his role with Calvert Vaux (1824-1895) in the successful design for Central Park, proposed an alternate scheme. Olmsted's design for Riverside Park and Drive took into consideration the pre-existing topography, landscape possibilities, and views. He designed a drive that would be adapted to the topographic features, would be amenable for horses and pleasure driving, would provide shaded walks for pedestrians, and would also allow easy access to and scenic vistas from the real estate bordering it on the east.

 

Olmsted's plan was adopted by the Commissioners but the park was not executed under his supervision; it was actually developed between 1875 and 1900 by other designers including Vaux, Samuel Parsons, and Julius Munckwitz, who did not adhere to Olmsted's original scheme in its entirety. The Drive, from West 72nd Street to approximately 129th Street, where it is effectively terminated by the viaduct and the Manhattanville fault, has a particularly strong character derived from its curves that break with the regular street grid and its location overlooking the park and the Hudson River.

 

By the fall of 1879, work was completed between 72nd and 85th Streets and Riverside Avenue (as it was called until 1908) was opened to the public in 1880.5 The numerous and exceptional advantages of the location, namely, its situation on a plateau, its "advantages of pure air and beautiful surroundings, glimpses of New Jersey hills . . . and, the nearness of parks," assisted in making the area along Riverside Drive prime real estate, deserving of the highest character of residential development.

 

By 1885 the Upper West Side had emerged as the area in the city experiencing the most intense real estate speculation. The expectation that the blocks along Riverside Drive and West End Avenue would be lined with mansions kept the value of these lots, as well as adjacent land, consistently higher and developers were willing to wait to realize profits from the potentially valuable sites.

 

The initial development along Riverside Drive mostly took the form of single-family town houses and rowhouses, although luxury apartment buildings, as they gained in popularity toward the turn of the century, also appeared. Most of the single-family residences on the Upper West Side were speculatively-built rowhouses; along West End Avenue and Riverside Drive the houses tended to be larger and more elegant than those on the side streets. Architect-developer Clarence True, in particular, was largely responsible for the promotion of lower Riverside Drive as an attractive residential thoroughfare.

 

True characterized the drive as "the most ideal homesite in the western hemisphere - the Acropolis of the world's second city."

 

The speculative development of Riverside Drive in the 1890s by True and others provided a residential context for the new area and was an impetus for a wealthier class of homeowners — those who could afford more than speculatively-built houses — to commission noted architects to custom design town houses and mansions for them.

 

Of the roughly thirty freestanding mansions that were erected along Riverside Drive, today only two remain, the Rice Mansion at 170 Riverside Drive (1901-03, Herts & Tallant, a designated New York City Landmark), and the Schinasi Residence at 351 Riverside Drive (1907-09, William B. Tuthill, also a designated New York City Landmark). Like Rice and Schinasi, William Baumgarten had achieved a level of success in his career that would allow him the luxury of an individually-designed residence by a prominent architect.

 

A self-made businessman in the field of interior design, Baumgarten was a professional peer of architect William Schickel; as a client, Baumgarten had not only the financial means, but also the aesthetic sensitivity to have Schickel design a house that would meet his personal specifications. Most of the single-family houses built along Riverside Drive — only a few of which, like Baumgarten's, were custom built — have been replaced by apartment buildings.

 

The Client: William Baumgarten

 

Born in Wolfenbuttel, Germany, in 1845, William Baumgarten was the son of a master cabinet-maker. After studying engineering and immediately before he was to serve in the army, he left for America in 1865. In New York he met Theodore Steinway, the piano manufacturer, and through him he became associated with the furniture and decorating company of J. Ziegler & Co. For the next five years he assisted in that firm's design work and general business operations.

 

In 1870 Baumgarten met Christian Herter, the head of the famous New York furniture and interior decoration firm of Herter Brothers, and soon began assisting him. In the late-nineteenth century Herter Brothers executed some of the most important work in interior design being done in New York City. Among the architects with whom the firm collaborated was William Schickel, the architect who later designed Baumgarten's house.

 

Founded in 1865 by two Stuttgart-born brothers, Gustave and Christian Herter, the firm of Herter Brothers set the standard for elegance and fine craftsmanship in American interior decoration.

 

Furniture and even whole rooms, complete with woodwork, fixtures and fittings, textiles, mosaics, stained glass, decorative plasterwork, and carpets were designed for same of the grandest private residences and public interiors ever built in the United States.

 

Although the furnishings designed by Herter Brothers were often derived from a variety of historical styles, including Gothic, Renaissance, and Queen Anne, the firm is best known for its progressive Anglo-Japanese style, inaugurated at the 1876 Centennial Exposition in Philadelphia, which placed it at the forefront of the Aesthetic Movement in this country.

 

Herter Brothers was responsible for the interiors of residences for a number of the most prominent and wealthiest Americans of the time, including William H. Vanderbilt, Darius 0. Mills, J. Pierpont Morgan, Mark Hopkins, Josiah M. Fisk and numerous others.

 

After Christian Herter's retirement in 1881 Baumgarten succeeded him as the head of the firm and for ten years maintained the firm's unrivaled prestige. Other equally important interiors were then completed, including those of the William Rockefeller residence in Tarrytown, New York. Herter Brothers became a stock company in 1891.

 

At that point Baumgarten established William Baumgarten & Company, at 321 Fifth Avenue, with his younger brother Emile as his partner. The new firm was also very prestigious and successful and was patronized by a clientele similar to that of Herter Brothers. The year 1893 marked the highest achievement in Baumgarten's career. He established the making of Gobelin tapestries in this country by importing four French weavers.

 

Later over eighty weavers were employed in the creation of wall panels for the interiors of stately residences. Many years later Baumgarten's son erected a plaque on the site of the factory on Williamsbridge Road in the Bronx stating that it was the location where his father "wove the first tapestry in the United States." It was felt that the quality of these tapestries equaled those from the Gobelin works in Paris.

 

Baumgarten was married to Clara Frankel in New York on May 7, 1887. They had a daughter and three sons, two of whom, Robert and Paul, succeeded their father in the firm, which continued for many years. Later the company moved to 715 Fifth Avenue and established branches in Chicago and Paris. Baumgarten died on April 29, 1906, and the family sold the house at No. 294 Riverside Drive in 1914.

 

The Architects: Schickel & Ditmars

 

William Schickel (1850-1907) and Isaac Edward Ditmars (1850-1934) practiced together from 1896 until Schickel's death in 1907. Schickel, a German-born architect, immigrated to New York at the age of twenty. He received his American training in the office of Richard Morris Hunt which was one of the few places in the United States at that time where a young architect could receive an academic architectural education. Schickel worked for Hunt for about six months in the early 1870s, then entered the office of Henry Fernbach. In 1873, he established his own practice.

 

Throughout his career Schickel received the patronage of wealthy German immigrants, such as the Ottendorfers, for important commissions. He was especially prominent as an architect of commercial structures which are distinguished not only in their architectural quality but also in their innovative use of such materials as terra cotta and cast iron. A notable example of Schickel's commercial work is the Queen Anne style Century Building at 33 East 17th Street (1880-81, a designated New York City Landmark).

 

Schickel expanded his office in the 1880s and in 1887 formed the firm of William Schickel & Company with Isaac Ditmars and Hugo Kafka. Ditmars, born in Nova Scotia, had been associated with the New York architect John F. Miller before joining Schickel. He was a founder and past president of the Brooklyn Chapter of the American Institute of Architects and was nominated a Fellow in 1895. Ditmars was responsible for the business operations of the firm, while Schickel was the principal designer.

 

As early as 1882, Schickel and Baumgarten had established a professional association that would last for many years. In 1883, Schickel carried out alterations to the Herter Brothers showroom, then located at 154 Fifth Avenue. later, when Baumgarten began his own business, Schickel was commissioned to renovate the William Baumgarten & Company showroom at 321 Fifth Avenue.

 

Schickel's firm designed major department stores now within the Ladies Mile Historic District, including two cast-iron fronted buildings, Ehrich Brothers (1889) and a major addition to Fernbach's 1878 design for Stern Brothers (1892). Herter Brothers supplied the partitions and fixtures for the Ehrich Brothers store and William Baumgarten & Company provided millinery fixtures for Stern Brothers.

 

The office of William Schickel & Company was in a Neo-Renaissance style store and office building designed by the firm at 109-111 Fifth Avenue, also within the ladies Mile Historic District.

 

Kafka left the firm after a short time to practice on his own. The firm, then Schickel & Ditmars, remained active until 1907. Among its works this partnership designed buildings for the Lenox Hill Hospital, St. Vincent's Hospital in 1900, several impressive Roman Catholic churches, the Ehret Mausoleum in Woodlawn Cemetery in 1907, and five commercial buildings now within the ladies Mile Historic District.

 

The firm's work from the turn of the century is characterized by the use of the Neo-Renaissance and Beaux-Arts styles, as evidenced in the John D. Crimmins House (1897-98), 40 East 68th Street (in the Upper East Side Historic District) and Baumgarten's house, built in 1900-01.

 

Baumgarten's professional relationship with Schickel extended to the architect's residential commissions, for which first Herter Brothers and then William Baumgarten & Company received numerous contracts to carry out interior work that included cabinetry, furniture, wall coverings, and decorations.

 

Among the contracts received by Herter Brothers were the Robert L. Stuart House (1882, demolished) at Fifth Avenue and 57th Street; the Adolf Kuttroff House (1883) on 69th Street between Lexington and Third Avenues; the first of two houses for Isaac Stern of Stern Brothers (1884-85, 835 Madison Avenue, in the Upper East Side Historic District) ; three houses commissioned by Max Nathan (1886-87) on the south side of East 72nd Street between Park and Madison Avenues; and the Peter Doelger House (1887-89, demolished) at Riverside Drive and 100th Street. William Baumgarten & Company carried out varnishing, painting, wallpapering, and decorating in an extension to the Nathan House on East 72nd Street (1891); provided cabinetwork and wall coverings for an alteration to the W. Caspary House (1891-92) at 19 East 71st Street; and designed interior woodwork and furnishings for the second house for Isaac Stern (1893-95) at 858 Fifth Avenue.

 

Schickel & Company also designed a Renaissance Revival style rowhouse at 121 West 79th Street for Hugo Jaeckel (1891-92, now within the Upper West Side/Central Park West Historic District), a commission for which William Baumgarten & Company was contracted to do mantels, mirrors, and a sideboard.

 

Design and Construction

 

The site of the No. 294 Riverside Drive House, at Riverside Drive between West 101st and 102nd Streets, was originally part of the George Dyckman Farm and had been undeveloped until construction began in October of 1900. ^ The house was completed in September of the following year.

 

Designed with an American basement plan, the house has a low stoop. This type of stoop and its related interior planning features were popularized in the 1890s by the architect Clarence True, although this scheme is said to have been introduced at least a decade earlier but not widely adopted.

 

The Beaux-Arts style design of the facade reflects the popularity of classically-inspired academic architecture following the influential 1893 World's Columbian Exposition in Chicago. Based on the principles of the Ecole des Beaux-Arts in Paris, this style was advocated by the increasing number of Americans who had studied at the Ecole, the era's premiere school of architecture; over 350 of them had enrolled between 1890 and 1910.

 

That generation of American architects shifted their attention toward interpretations of Renaissance and Baroque prototypes for inspiration for their designs. Leading practitioners of this style such as McKim, Mead & White and Richard Morris Hunt — with whom Schickel had trained — had a great impact on the design of residential architecture during this period through their commissions for mansions for the wealthy.

 

More than any other style, with the possible exception of Chateauesque, this style expressed the tastes and values of America's upper class at the turn of the century.

 

The design of No. 294 Riverside Drive, with its ornate ironwork, finely carved limestone, graceful Ionic portico, and mansard roof with elaborate dormers, evokes the affluence and prestige of the client.

 

Description

 

The twenty-five foot wide, asymmetrically organized facade of the 294 Riverside Drive House, located on the east side of Riverside Drive between 101st and 102nd Streets, is all that is visible of the building from the street. The building extends back into the block 102 feet and is nearly eighty-three feet high. Faced in limestone, the four-and-a-half-story house has a slate mansard roof.

 

The house is of the American basement type with the entrance slightly above the street level. Two bays wide, the house's southern bay projects forward and curves on the northern edge. The entrance portico on the north, reached by four sandstone steps, is formed by Ionic columns (now stuccoed) which are surmounted by a balcony with a wide decorative wrought-iron railing extending the width of the facade. The original wood double doors with oculus windows and their original hardware are extant.

 

The balcony is supported at the southern bay by carved limestone consoles above a segmentally-arched window opening with a vermiculated keystone and casement sash. It is fronted by its original ornate wrought-iron grille with intricate, naturalistic forms. At street level is an original wrought-iron areaway fence and gate leading to a basement entrance with an original iron grille, flanked by a window with a non-historic grille.

 

The two French windows at the second story balcony level are original (with recent storm sash/screens) and their openings have carved scrolled keystones. The transom to the south has a rectangular window cut into it at a later date. Paneled spandrels separate the second and third stories. The third story has segmentally-arched openings. The casement windows are original on the north (with one altered panel), but white aluminum multipane replacements exist on the south.

 

At the fourth story, decorative wrought-iron balconies underscore tall openings with scrolled keystones. The balconies are supported by scrolled consoles flanking ornate cartouches. The French doors and transoms are brown aluminum replacements. A pulvinated laurel frieze and cartouches with pendants underscore the modillioned cornice, broken at the south by an ornate, round-arched dormer decorated with laurel swags and a cartouche.

 

This dormer has a double-hung one-over-one aluminum sash window. At the north, the mansard roof is pierced by a dormer.

 

Subsequent History

 

The 294 Riverside Drive House was occupied by the Baumgarten family until it was sold to Emery L. Ferris in 1914. Ferris, who was a real estate lawyer, sold the home to Julia J. Cohen in May of 1940. In August of 1940 the house was converted to a multiple dwelling. Few alterations have occurred on the exterior and it remains largely intact.

 

- From the 1991 NYCLPC Landmark Designation Report

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

 

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

 

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

 

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

 

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

 

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

 

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

 

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

 

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

 

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

 

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

 

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

 

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

 

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

 

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

 

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

 

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

 

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

 

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

 

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

 

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

 

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

 

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

 

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

 

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

 

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

 

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

 

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

 

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

 

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

 

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

 

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

 

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

 

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

 

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

 

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

 

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

 

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

 

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

 

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

 

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

 

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

  

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

 

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

 

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

 

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

 

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

 

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

 

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

 

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

 

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

 

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

 

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

 

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

 

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

 

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

 

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

 

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

 

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

 

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

 

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

 

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

 

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

 

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

 

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

 

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

 

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

 

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

 

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

 

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

 

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

 

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

 

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

 

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

 

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

 

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

 

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

 

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

 

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

 

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

 

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

 

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

 

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

 

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

 

WIKIPEDIA

Sioux Falls is the most populous city in the U.S. state of South Dakota and the 121st-most populous city in the United States. It is the county seat of Minnehaha County and also extends into northern Lincoln County to the south, which continues up to the Iowa state line. The population was 192,517 at the 2020 census, and in 2022, its estimated population was 202,078. According to city officials, the estimated population had grown to 213,891 as of early 2024. The Sioux Falls metro area accounts for more than 30% of the state's population. Chartered in 1856 on the banks of the Big Sioux River, the city is situated in the rolling hills at the junction of interstates 29 and 90.

 

Sioux Falls is the largest city in the U.S. state of South Dakota. Founded in 1856, the city was abandoned, sacked, resettled and later grew to become a city with a 2020 Census population of 192,517 people.

 

The history of Sioux Falls revolves around the cascades of the Big Sioux River. The falls were created about 14,000 years ago when the last glacial ice sheet redirected the flow of the river into the large looping bends of its present course. Fueled by water from the melting ice, the river exposed the underlying Sioux quartzite bedrock, the hard pinkish stone of the falls. The quartzite itself is about a billion and a half years old. It began as sediments deposited on the bottom of an ancient, shallow sea.

 

The lure of the falls has been a powerful influence. A prehistoric people who inhabited the region before 500 B.C. left numerous burial mounds on the high bluffs near the river. These people were followed by an agricultural society that built fortified villages on many of the same sites. Tribes of the Lakota and Dakota, widely ranging nomadic bison hunters, arrived sometime around the 18th century. Early maps indicate they used the falls as a place to rendezvous with French fur trappers, considered the first European visitors at the falls.

 

The falls also drew the attention of early explorers. An August 1804 journal entry of the Lewis and Clark expedition describes the falls of the "Soues River." Famous pathfinder John C. Fremont and French scientist Joseph Nicollet explored the region in 1838 and also wrote a description of the falls. Both are considered second hand accounts rather than evidence of an actual visit.

 

The first documented visit was by Philander Prescott, an explorer, trader, and trapper who camped overnight at the falls in December 1832. Captain James Allen led a military expedition out of Fort Des Moines in 1844. The early descriptions of the falls were published in The States and Territories of the Great West, an 1856 book by Jacob Ferris which inspired townsite developers to seek out the falls.

 

The focus of intense land speculation activity in Minnesota and Iowa during the mid-1850s inevitably turned toward the Big Sioux River valley. Sioux Falls was founded by land speculators who hoped to build great wealth by claiming prime townsites before the arrival of railroads and settlers.

 

Two separate groups, the Dakota Land Company of St. Paul and the Western Town Company of Dubuque, Iowa organized in 1856 to claim the land around the falls, considered a promising townsite for its beauty and water power. The Western Town Company arrived first, and was soon followed by the St. Paul–based company in 1857. Each laid out 320-acre (1.3 km2) claims, but worked together for mutual protection. They built a temporary barricade of turf which they dubbed "Fort Sod," in response to hostilities threatened by native tribes. Seventeen men then spent "the first winter" in Sioux Falls. The following year the population grew to near 40.

 

Although conflicts in Minnehaha County between Native Americans and white settlers were few, the Dakota War of 1862 engulfed nearby southwestern Minnesota. The town was evacuated in August of that year when two local settlers were killed as a result of the conflict. The settlers and soldiers stationed here traveled to Yankton in late August 1862. The abandoned townsite was pillaged and burned.

 

Fort Dakota, a military reservation established in present-day downtown, was established in May 1865. Many former settlers gradually returned and a new wave of settlers arrived in the following years. The population grew to 593 by 1873, and a building boom was underway in that year.

 

The Village of Sioux Falls, consisting of 1,200 acres (4.9 km2), was incorporated in 1876 by the 12th legislative assembly of the Dakota Territory, which convened in the territorial capital of Yankton. The village charter proved to be too restrictive, however, and Sioux Falls petitioned to become a city. The city charter was granted by the Dakota Territorial legislature on March 3, 1883.

 

The arrival of the railroads ushered in the great Dakota Boom decade of the 1880s. The population of Sioux Falls mushroomed from 2,164 in 1880 to 10,167 at the close of the decade. The growth transformed the city. A severe plague of grasshoppers and a national depression halted the boom by the early 1890s. The city grew by only 89 people from 1890 to 1900.

 

Beginning in the 1880s, a 90-day residency law and lax oversight on the part of local judges concerning sworn testimony caused word to spread across the United States that a legal divorce was easily obtained in Dakota Territory. As a result, both Sioux Falls and Fargo (in later North Dakota) became known as "divorce capitals". Thousands of people traveled to the towns seeking a divorce, with the resulting divorce rate in Minnehaha County during this period being nearly three times that of the national average. Although many local residents were unhappy with the notoriety, the surge of "tourists" necessitated the construction of a number of new hotels and restaurants, and the situation brought a level of attention uncommon for towns of a similar size. Divorce laws were tightened after statehood, and the phenomenon had ended by the early 1900s.

 

With the opening of the John Morrell meat-packing plant in 1909, the establishment of an airbase and a military radio and communications training school in 1942, and the completion of the interstate highways in the early 1960s, Sioux Falls grew at a moderate but steady pace in the early and middle years of the 20th century. During this period, the city's economy was largely centered on the stockyards and the meat packing industry. Sioux Falls was home to one of the largest stockyards in the nation at the time, and the John Morrell plant was by far the largest employer in the city.

 

Beginning in the late 20th century, Sioux Falls began growing at a considerably faster pace than during previous decades. The economy became more service-based, and word began to spread about the relatively low levels of unemployment and crime. Annexations of adjacent land in Minnehaha County became common. The first annexation of land south of 57th Street from Lincoln County was in 1969 for a municipal water tower. The next annexations from Lincoln County occurred in 1978 when a couple of new subdivisions were added.

 

Several large shopping malls opened during the 1970s, and the retail and dining industry began to exert a growing influence on the city's economy. In 1981, Citibank transferred its credit card operations from New York to Sioux Falls to take advantage of recently relaxed state anti-usury laws. Several other financial companies also moved to Sioux Falls or expanded its existing business in the city, resulting in a large present-day banking and financial presence in the city. A third factor contributing to recent growth is the expansion of the local healthcare industry. The two largest hospitals in the city, Sanford Health and Avera Health, are also the two largest present-day employers in the city.

 

South Dakota is a landlocked U.S. state in the North Central region of the United States. It is also part of the Great Plains. South Dakota is named after the Dakota Sioux tribe, which comprises a large portion of the population with nine reservations currently in the state and has historically dominated the territory. South Dakota is the 17th largest by area, but the 5th least populous, and the 5th least densely populated of the 50 United States. Pierre is the state capital, and Sioux Falls, with a population of about 213,900, is South Dakota's most populous city. The state is bisected by the Missouri River, dividing South Dakota into two geographically and socially distinct halves, known to residents as "East River" and "West River". South Dakota is bordered by the states of North Dakota (to the north), Minnesota (to the east), Iowa (to the southeast), Nebraska (to the south), Wyoming (to the west), and Montana (to the northwest).

 

Humans have inhabited the area for several millennia, with the Sioux becoming dominant by the early 19th century. In the late 19th century, European-American settlement intensified after a gold rush in the Black Hills and the construction of railroads from the east. Encroaching miners and settlers triggered a number of Indian wars, ending with the Wounded Knee Massacre in 1890. As the southern part of the former Dakota Territory, South Dakota became a state on November 2, 1889, simultaneously with North Dakota. They are the 39th and 40th states admitted to the union; President Benjamin Harrison shuffled the statehood papers before signing them so that no one could tell which became a state first.

 

Key events in the 20th century included the Dust Bowl and Great Depression, increased federal spending during the 1940s and 1950s for agriculture and defense, and an industrialization of agriculture that has reduced family farming. Eastern South Dakota is home to most of the state's population, and the area's fertile soil is used to grow a variety of crops. West of the Missouri River, ranching is the predominant agricultural activity, and the economy is more dependent on tourism and defense spending. Most of the Native American reservations are in West River. The Black Hills, a group of low pine-covered mountains sacred to the Sioux, is in the southwest part of the state. Mount Rushmore, a major tourist destination, is there. South Dakota has a temperate continental climate, with four distinct seasons and precipitation ranging from moderate in the east to semi-arid in the west. The state's ecology features species typical of a North American grassland biome.

 

While several Democrats have represented South Dakota for multiple terms in both chambers of Congress, the state government is largely controlled by the Republican Party, whose nominees have carried South Dakota in each of the last 14 presidential elections. Historically dominated by an agricultural economy and a rural lifestyle, South Dakota has recently sought to diversify its economy in other areas to both attract and retain residents. South Dakota's history and rural character still strongly influence the state's culture.

 

The history of South Dakota describes the history of the U.S. state of South Dakota over the course of several millennia, from its first inhabitants to the recent issues facing the state.

 

Human beings have lived in what is today South Dakota for at least several thousand years. Early hunters are believed to have first entered North America at least 17,000 years ago via the Bering land bridge, which existed during the last ice age and connected Siberia with Alaska. Early settlers in what would become South Dakota were nomadic hunter-gatherers, using primitive Stone Age technology to hunt large prehistoric mammals in the area such as mammoths, sloths, and camels. The Paleolithic culture of these people disappeared around 5000 BC, after the extinction of most of their prey species.

 

Between AD 500 and 800, much of eastern South Dakota was inhabited by a people known as the 'Mound Builders'. The Mound Builders were hunters who lived in temporary villages and were named for the low earthen burial mounds they constructed, many of which still exist. Their settlement seems to have been concentrated around the watershed of the Big Sioux River and Big Stone Lake, although other sites have been excavated throughout eastern South Dakota. Either assimilation or warfare led to the demise of the Mound Builders by the year 800. Between 1250 and 1400 an agricultural people, likely the ancestors of the modern Mandan of North Dakota, arrived from the east and settled in the central part of the state. In 1325, what has become known as the Crow Creek Massacre occurred near Chamberlain. An archeological excavation of the site has discovered 486 bodies buried in a mass grave within a type of fortification; many of the skeletal remains show evidence of scalping and decapitation.

 

The Arikara, also known as the Ree, began arriving from the south in the 16th century. They spoke a Caddoan language similar to that of the Pawnee, and probably originated in what is now Kansas and Nebraska. Although they would at times travel to hunt or trade, the Arikara were far less nomadic than many of their neighbors, and lived for the most part in permanent villages. These villages usually consisted of a stockade enclosing a number of circular earthen lodges built on bluffs looking over the rivers. Each village had a semi-autonomous political structure, with the Arikara's various subtribes being connected in a loose alliance. In addition to hunting and growing crops such as corn, beans, pumpkin and other squash, the Arikara were also skilled traders, and would often serve as intermediaries between tribes to the north and south It was probably through their trading connections that Spanish horses first reached the region around 1760. The Arikara reached the height of their power in the 17th century, and may have included as many as 32 villages. Due both to disease as well as pressure from other tribes, the number of Arikara villages would decline to only two by the late 18th century, and the Arikara eventually merged entirely with the Mandan to the north.

 

The sister tribe of the Arikaras, the Pawnee, may have also had a small amount of land in the state. Both were Caddoan and were among the only known tribes in the continental U.S. to have committed human sacrifice, via a religious ritual that occurred once a year. It is said that the U.S. government worked hard to halt this practice before their homelands came to be heavily settled, for fear that the general public might react harshly or refuse to move there.

 

The Lakota Oral histories tell of them driving the Algonquian ancestors of the Cheyenne from the Black Hills regions, south of the Platte River, in the 18th century. Before that, the Cheyenne say that they were, in fact, two tribes, which they call the Tsitsistas & Sutaio After their defeat, much of their territory was contained to southeast Wyoming & western Nebraska. While they had been able to hold off the Sioux for quite some time, they were heavily damaged by a smallpox outbreak. They are also responsible for introducing the horse to the Lakota.

 

The Ioway, or Iowa people, also inhabited the region where the modern states of South Dakota, Minnesota & Iowa meet, north of the Missouri River. They also had a sister nation, known as the Otoe who lived south of them. They were Chiwere speaking, a very old variation of Siouan language said to have originated amongst the ancestors of the Ho-Chunk of Wisconsin. They also would have had a fairly similar culture to that of the Dhegihan Sioux tribes of Nebraska & Kansas.

 

By the 17th century, the Sioux, who would later come to dominate much of the state, had settled in what is today central and northern Minnesota. The Sioux spoke a language of the Siouan language family, and were divided into two culture groups – the Dakota & Nakota. By the early 18th century the Sioux would begin to move south and then west into the plains. This migration was due to several factors, including greater food availability to the west, as well as the fact that the rival Ojibwe & other related Algonquians had obtained rifles from the French at a time when the Sioux were still using the bow and arrow. Other tribes were also displaced during some sort of poorly understood conflict that occurred between Siouan & Algonquian peoples in the early 18th century.

 

In moving west into the prairies, the lifestyle of the Sioux would be greatly altered, coming to resemble that of a nomadic northern plains tribe much more so than a largely settled eastern woodlands one. Characteristics of this transformation include a greater dependence on the bison for food, a heavier reliance on the horse for transportation, and the adoption of the tipi for habitation, a dwelling more suited to the frequent movements of a nomadic people than their earlier semi-permanent lodges.

 

Once on the plains, a schism caused the two subgroups of the Sioux to divide into three separate nations—the Lakota, who migrated south, the Asiniboine who migrated back east to Minnesota & the remaining Sioux. It appears to be around this time that the Dakota people became more prominent over the Nakota & the entirety of the people came to call themselves as such.

 

The Lakota, who crossed the Missouri around 1760 and reached the Black Hills by 1776, would come to settle largely in western South Dakota, northwestern Nebraska, and southwestern North Dakota. The Yankton primarily settled in southeastern South Dakota, the Yanktonnais settled in northeastern South Dakota and southeastern North Dakota, and the Santee settled primarily in central and southern Minnesota. Due in large part to the Sioux migrations, a number of tribes would be driven from the area. The tribes in and around the Black Hills, most notably the Cheyenne, would be pushed to the west, the Arikara would move further north along the Missouri, and the Omaha would be driven out of southeastern South Dakota and into northeastern Nebraska.

 

Later, the Lakota & Assiniboine returned to the fold, forming a single confederacy known as the Oceti Sakowin, or Seven council fire. This was divided into four cultural groups—the Lakota, Dakota, Nakota & Nagoda-- & seven distinct tribes, each with their own chief—the Nakota Mdewakan (Note—Older attempts at Lakota language show a mistake in writing the sound 'bl' as 'md', such as summer, Bloketu, misprinted as mdoketu. Therefore, this word should be Blewakan.) & Wahpeton, the Dakota Santee & Sisseton, the Nagoda Yankton & Yanktonai & the Lakota Teton. In this form, they were able to secure from the U.S. government a homeland, commonly referred to as Mni-Sota Makoce, or the Lakotah Republic. However, conflicts increased between Sioux & American citizens in the decades leading up the Civil War & a poorly funded & organized Bureau of Indian Affairs had difficulty keeping peace between groups. This eventually resulted in the United States blaming the Sioux for the atrocities & rendering the treaty which recognized the nation of Lakotah null and void. The U.S., however, later recognized their fault in a Supreme Court case in the 1980s after several decades of failed lawsuits by the Sioux, yet little has been done to smooth the issue over to the best interests of both sides.

 

France was the first European nation to hold any real claim over what would become South Dakota. Its claims covered most of the modern state. However, at most a few French scouting parties may have entered eastern South Dakota. In 1679 Daniel G. Duluth sent explorers west from Lake Mille Lacs, and they may have reached Big Stone Lake and the Coteau des Prairies. Pierre Le Sueur's traders entered the Big Sioux River Valley on multiple occasions. Evidence for these journeys is from a 1701 map by William De L'Isle that shows a trail to below the falls of the Big Sioux River from the Mississippi River.

 

After 1713, France looked west to sustain its fur trade. The first Europeans to enter South Dakota from the north, the Verendrye brothers, began their expedition in 1743. The expedition started at Fort La Reine on Lake Manitoba, and was attempting to locate an all-water route to the Pacific Ocean. They buried a lead plate inscribed near Ft. Pierre; it was rediscovered by schoolchildren in 1913.

 

In 1762, France granted Spain all French territory west of the Mississippi River in the Treaty of Fontainebleau. The agreement, which was signed in secret, was motivated by a French desire to convince Spain to come to terms with Britain and accept defeat in the Seven Years' War. In an attempt to secure Spanish claims in the region against possible encroachment from other European powers, Spain adopted a policy for the upper Missouri which emphasized the development of closer trade relations with local tribes as well as greater exploration of the region, a primary focus of which would be a search for a water route to the Pacific Ocean. Although traders such as Jacques D'Eglise and Juan Munier had been active in the region for several years, these men had been operating independently, and a determined effort to reach the Pacific and solidify Spanish control of the region had never been undertaken. In 1793, a group commonly known as the Missouri Company was formed in St. Louis, with the twin goals of trading and exploring on the upper Missouri. The company sponsored several attempts to reach the Pacific Ocean, none of which made it further than the mouth of the Yellowstone. In 1794, Jean Truteau (also spelled Trudeau) built a cabin near the present-day location of Fort Randall, and in 1795 the Mackay-Evans Expedition traveled up the Missouri as far as present-day North Dakota, where they expelled several British traders who had been active in the area. In 1801, a post known as Fort aux Cedres was constructed by Registre Loisel of St. Louis, on Cedar Island on the Missouri about 35 miles (56 km) southeast of the present location of Pierre. This trading post was the major regional post until its destruction by fire in 1810.[30] In 1800, Spain gave Louisiana back to France in the Treaty of San Ildefonso.

 

In 1803, the United States purchased the Louisiana Territory from Napoleon for $11,000,000. The territory included most of the western half of the Mississippi watershed and covered nearly all of present-day South Dakota, except for a small portion in the northeast corner of the state. The region was still largely unexplored and unsettled, and President Thomas Jefferson organized a group commonly referred to as the Lewis and Clark Expedition to explore the newly acquired region over a period of more than two years. The expedition, also known as the Corps of Discovery, was tasked with following the route of the Missouri to its source, continuing on to the Pacific Ocean, establishing diplomatic relations with the various tribes in the area, and taking cartographic, geologic, and botanical surveys of the area. The expedition left St. Louis on May 14, 1804, with 45 men and 15 tons of supplies in three boats (one keelboat and two pirogues). The party progressed slowly against the Missouri's current, reaching what is today South Dakota on August 22. Near present-day Vermillion, the party hiked to the Spirit Mound after hearing local legends of the place being inhabited by "little spirits" (or "devils"). Shortly after this, a peaceful meeting took place with the Yankton Sioux, while an encounter with the Lakota Sioux further north was not as uneventful. The Lakota mistook the party as traders, at one point stealing a horse. Weapons were brandished on both sides after it appeared as though the Lakota were going to further delay or even halt the expedition, but they eventually stood down and allowed the party to continue up the river and out of their territory. In north central South Dakota, the expedition acted as mediators between the warring Arikara and Mandan. After leaving the state on October 14, the party wintered with the Mandan in North Dakota before successfully reaching the Pacific Ocean and returning by the same route, safely reaching St. Louis in 1806. On the return trip, the expedition spent only 15 days in South Dakota, traveling more swiftly with the Missouri's current.

 

Pittsburgh lawyer Henry Marie Brackenridge was South Dakota's first recorded tourist. In 1811 he was hosted by fur trader Manuel Lisa.

 

In 1817, an American fur trading post was set up at present-day Fort Pierre, beginning continuous American settlement of the area. During the 1830s, fur trading was the dominant economic activity for the few white people who lived in the area. More than one hundred fur-trading posts were in present-day South Dakota in the first half of the 19th century, and Fort Pierre was the center of activity.[citation needed] General William Henry Ashley, Andrew Henry, and Jedediah Smith of the Rocky Mountain Fur Company, and Manuel Lisa and Joshua Pilcher of the St. Louis Fur Company, trapped in that region. Pierre Chouteau Jr. brought the steamship Yellowstone to Fort Tecumseh on the Missouri River in 1831. In 1832 the fort was replaced by Fort Pierre Chouteau Jr.: today's town of Fort Pierre. Pierre bought the Western Department of John Jacob Astor's American Fur Company and renamed it Pratte, Chouteau and Company, and then Pierre Chouteau and Company. It operated in present-day South Dakota from 1834 to 1858. Most trappers and traders left the area after European demand for furs dwindled around 1840.

 

Main articles: Kansas–Nebraska Act, Nebraska Territory, Organic act § List of organic acts, and Dakota Territory

In 1855, the U.S. Army bought Fort Pierre but abandoned it the following year in favor of Fort Randall to the south. Settlement by Americans and Europeans was by this time increasing rapidly, and in 1858 the Yankton Sioux signed the 1858 "Treaty of Washington", ceding most of present-day eastern South Dakota to the United States.

 

Land speculators founded two of eastern South Dakota's largest present-day cities: Sioux Falls in 1856 and Yankton in 1859. The Big Sioux River falls was the spot of an 1856 settlement established by a Dubuque, Iowa, company; that town was quickly removed by native residents. But in the following year, May 1857, the town was resettled and named Sioux Falls. That June, St. Paul, Minnesota's Dakota Land Company came to an adjacent 320 acres (130 ha), calling it Sioux Falls City. In June 1857, Flandreau and Medary, South Dakota, were established by the Dakota Land Company. Along with Yankton in 1859, Bon Homme, Elk Point, and Vermillion were among the new communities along the Missouri River or border with Minnesota. Settlers therein numbered about 5,000 in 1860. In 1861, Dakota Territory was established by the United States government (this initially included North Dakota, South Dakota, and parts of Montana and Wyoming). Settlers from Scandinavia, Germany, Ireland, Czechoslovakia[citation needed] and Russia,[citation needed] as well as elsewhere in Europe and from the eastern U.S. states increased from a trickle to a flood, especially after the completion of an eastern railway link to the territorial capital of Yankton in 1872, and the discovery of gold in the Black Hills in 1874 during a military expedition led by George A. Custer.

 

The Dakota Territory had significant regional tensions between the northern part and the southern part from the beginning, the southern part always being more populated – in the 1880 United States census, the population of the southern part (98,268) was more than two and a half times of the northern part (36,909), and southern Dakotans saw the northern part as bit of disreputable, "controlled by the wild folks, cattle ranchers, fur traders” and too frequently the site of conflict with the indigenous population. Also, the new railroads built connected the northern and southern parts to different hubs – northern part was closer tied to Minneapolis–Saint Paul area; and southern part to Sioux City and from there to Omaha. The last straw was territorial governor Nehemiah G. Ordway moving the territorial capital from Yankton to Bismarck in modern-day North Dakota. As the Southern part had the necessary population for statehood (60,000), they held a separate convention in September 1883 and drafted a constitution. Various bills to divide the Dakota Territory in half ended up stalling, until in 1887, when the Territorial Legislature submitted the question of division to a popular vote at the November general elections, where it was approved by 37,784 votes over 32,913. A bill for statehood for North Dakota and South Dakota (as well as Montana and Washington) titled the Enabling Act of 1889 was passed on February 22, 1889, during the Administration of Grover Cleveland, dividing Dakota along the seventh standard parallel. It was left to his successor, Benjamin Harrison, to sign proclamations formally admitting North and South Dakota to the Union on November 2, 1889. Harrison directed his Secretary of State James G. Blaine to shuffle the papers and obscure from him which he was signing first and the actual order went unrecorded.

 

With statehood South Dakota was now in a position to make decisions on the major issues it confronted: prohibition, women's suffrage, the location of the state capital, the opening of the Sioux lands for settlement, and the cyclical issues of drought (severe in 1889) and low wheat prices (1893–1896). In early 1889 a prohibition bill passed the new state legislature, only to be vetoed by Governor Louis Church. Fierce opposition came from the wet German community, with financing from beer and liquor interests. The Yankee women organized to demand suffrage, as well as prohibition. Neither party supported their cause, and the wet element counter-organized to block women's suffrage. Popular interest reached a peak in the debates over locating the state capital. Prestige, real estate values and government jobs were at stake, as well as the question of access in such a large geographical region with limited railroads. Huron was the temporary site, centrally located Pierre was the best organized contender, and three other towns were in the running. Real estate speculators had money to toss around. Pierre, population 3200, made the most generous case to the voters—its promoters truly believed it would be the next Denver and be the railway hub of the Dakotas. The North Western railroad came through but not the others it expected. In 1938 Pierre counted 4000 people and three small hotels.

 

The national government continued to handle Indian affairs. The Army's 1874 Custer expedition took place despite the fact that the western half of present-day South Dakota had been granted to the Sioux by the Treaty of Fort Laramie as part of the Great Sioux Reservation. The Sioux declined to grant mining rights or land in the Black Hills, and the Great Sioux War of 1876 broke out after the U.S. failed to stop white miners and settlers from entering the region. The Sioux were eventually defeated and settled on reservations within South Dakota and North Dakota.

 

In 1889 Harrison sent general George Crook with a commission to persuade the Sioux to sell half their reservation land to the government. It was believed that the state would not be viable unless more land was made available to settlers. Crook used a number of dubious methods to secure agreement and obtain the land.

 

On December 29, 1890, the Wounded Knee Massacre occurred on the Pine Ridge Indian Reservation. It was the last major armed conflict between the United States and the Sioux Nation, the massacre resulted in the deaths of 300 Sioux, many of them women and children. In addition 25 U.S. soldiers were also killed in the episode.

 

Railroads played a central role in South Dakota transportation from the late 19th century until the 1930s, when they were surpassed by highways. The Milwaukee Road and the Chicago & North Western were the state's largest railroads, and the Milwaukee's east–west transcontinental line traversed the northern tier of the state. About 4,420 miles (7,110 km) of railroad track were built in South Dakota during the late nineteenth and early twentieth centuries, though only 1,839 miles (2,960 km) were active in 2007.

 

The railroads sold land to prospective farmers at very low rates, expecting to make a profit by shipping farm products out and home goods in. They also set up small towns that would serve as shipping points and commercial centers, and attract businessmen and more farmers. The Minneapolis and St. Louis Railway (M&StL) in 1905, under the leadership of vice president and general manager L. F. Day, added lines from Watertown to LeBeau and from Conde through Aberdeen to Leola. It developed town sites along the new lines and by 1910, the new lines served 35 small communities.

 

Not all of the new towns survived. The M&StL situated LeBeau along the Missouri River on the eastern edge of the Cheyenne River Indian Reservation. The new town was a hub for the cattle and grain industries. Livestock valued at one million dollars were shipped out in 1908, and the rail company planned a bridge across the Missouri River. Allotment of the Cheyenne River Reservation in 1909 promised further growth. By the early 1920s, however, troubles multiplied, with the murder of a local rancher, a fire that destroyed the business district, and drought that ruined ranchers and farmers alike. LeBeau became a ghost town.

 

Most of the traffic was freight, but the main lines also offered passenger service. After the European immigrants settled, there never were many people moving about inside the state. Profits were slim. Automobiles and busses were much more popular, but there was an increase during World War II when gasoline was scarce. All passenger service was ended in the state by 1969.

 

In the rural areas farmers and ranchers depended on local general stores that had a limited stock and slow turnover; they made enough profit to stay in operation by selling at high prices. Prices were not marked on each item; instead the customer negotiated a price. Men did most of the shopping, since the main criterion was credit rather than quality of goods. Indeed, most customers shopped on credit, paying off the bill when crops or cattle were later sold; the owner's ability to judge credit worthiness was vital to his success.

 

In the cities consumers had much more choice, and bought their dry goods and supplies at locally owned department stores. They had a much wider selection of goods than in the country general stores and price tags that gave the actual selling price. The department stores provided a very limited credit, and set up attractive displays and, after 1900, window displays as well. Their clerks—usually men before the 1940s—were experienced salesmen whose knowledge of the products appealed to the better educated middle-class housewives who did most of the shopping. The keys to success were a large variety of high-quality brand-name merchandise, high turnover, reasonable prices, and frequent special sales. The larger stores sent their buyers to Denver, Minneapolis, and Chicago once or twice a year to evaluate the newest trends in merchandising and stock up on the latest fashions. By the 1920s and 1930s, large mail-order houses such as Sears, Roebuck & Co. and Montgomery Ward provided serious competition, making the department stores rely even more on salesmanship and close integration with the community.

 

Many entrepreneurs built stores, shops, and offices along Main Street. The most handsome ones used pre-formed, sheet iron facades, especially those manufactured by the Mesker Brothers of St. Louis. These neoclassical, stylized facades added sophistication to brick or wood-frame buildings throughout the state.

 

During the 1930s, several economic and climatic conditions combined with disastrous results for South Dakota. A lack of rainfall, extremely high temperatures and over-cultivation of farmland produced what was known as the Dust Bowl in South Dakota and several other plains states. Fertile topsoil was blown away in massive dust storms, and several harvests were completely ruined. The experiences of the Dust Bowl, coupled with local bank foreclosures and the general economic effects of the Great Depression resulted in many South Dakotans leaving the state. The population of South Dakota declined by more than seven percent between 1930 and 1940.

 

Prosperity returned with the U.S. entry into World War II in 1941, when demand for the state's agricultural and industrial products grew as the nation mobilized for war. Over 68,000 South Dakotans served in the armed forces during the war, of which over 2,200 were killed.

 

In 1944, the Pick-Sloan Plan was passed as part of the Flood Control Act of 1944 by the U.S. Congress, resulting in the construction of six large dams on the Missouri River, four of which are at least partially located in South Dakota.[83] Flood control, hydroelectricity and recreational opportunities such as boating and fishing are provided by the dams and their reservoirs.

 

On the night of June 9–10, 1972, heavy rainfall in the eastern Black Hills caused the Canyon Lake Dam on Rapid Creek to fail. The failure of the dam, combined with heavy runoff from the storm, turned the usually small creek into a massive torrent that washed through central Rapid City. The flood resulted in 238 deaths and destroyed 1,335 homes and around 5,000 automobiles.[84] Damage from the flood totaled $160 million (the equivalent of $664 million today).

 

On April 19, 1993, Governor George S. Mickelson was killed in a plane crash in Iowa while returning from a business meeting in Cincinnati. Several other state officials were also killed in the crash. Mickelson, who was in the middle of his second term as governor, was succeeded by Walter Dale Miller.

 

In recent decades, South Dakota has transformed from a state dominated by agriculture to one with a more diversified economy. The tourism industry has grown considerably since the completion of the interstate system in the 1960s, with the Black Hills being especially impacted. The financial service industry began to grow in the state as well, with Citibank moving its credit card operations from New York to Sioux Falls in 1981, a move that has since been followed by several other financial companies. In 2007, the site of the recently closed Homestake gold mine near Lead was chosen as the location of a new underground research facility. Despite a growing state population and recent economic development, many rural areas have been struggling over the past 50 years with locally declining populations and the emigration of educated young adults to larger South Dakota cities, such as Rapid City or Sioux Falls, or to other states. The Cattleman's Blizzard of October 2013 killed tens of thousands of livestock in western South Dakota, and was one of the worst blizzards in the state's history.

  

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......as viewed from White Mill, Sturminster Marshall in Dorset.

 

Generations of my maternal ancestors lived and died in Sturminster Marshall. I have traced the lines back to the 1500's, all in this same parish.

 

Why Whitemill? The short answer is that nobody knows. The "Whitemill" name goes back a very long way, with references in 1175 and again in 1326. What is, perhaps, significant is that other places appear to have taken their names from Whitemill (Whitemill Farm, Whitemill Bridge) rather than the mill taking its name from the village. In 1326 we find a deed: "John Chyke to Peter le Boyt - all his tenements at Wytemull... together with part of his mill" which hints that the mill may once have been "Wytemull Mill".

 

Wild speculation aside... It is possible that an earlier building on the site, presumably of timber framed construction, might have been limewashed (a frequent occurrence) - but on that basis almost every mill in the country has probably been a white mill at some time in its life. A more likely explanation ties in with the fact that we have a former chalk pit (now the car park) behind the mill, and that the west end of the building appears to stand on an artificial island made largely from chalk. So it wouldn't just have been the mill that was white, the whole area would have been white from all the chalk. We shall probably never know for sure.

 

The mill as we see it today was rebuilt in 1776 on very much older foundations, on a site that is older still. Throughout this final incarnation, the tenancy of the mill was held by successive members of the Joyce family.

 

The present edition of the mill worked under water power until 1866 when a severe winter flood breached the diversionary works in the river so severely that they were deemed beyond economic repair. By this time the miller was also the local baker so, rather than simply closing the mill, he converted one half of it to run from a portable steam engine in order to keep his bakehouse supplied with flour. Commercial milling however appears to have ended with the flood.

 

With the retirement of the last miller, around the end of the Nineteenth century, the working life of the mill came to an end and the millstones came to rest. By this time the Joyce family were one of the oldest and most respected tenants of the Bankes' Kingston Lacy Estate.

 

In A Kingston Lacy Childhood Viola Bankes (the sister of Ralph Bankes who gave the Kingston Lacy estates to the National Trust in 1982) recalls "The oldest tenant farmer on the Bankes estate was Mr. Joyce who made the tenants' speech at the reception at Kingston Lacy when my farther brought my mother there as his bride. My grandfather later offered Mr. Joyce the freehold on his farm, 'White Mill', because of the long association of his family with the Bankes family, but the proud old man refused it, saying, 'Thank you, but a Joyce always pays for what he has'".

 

After the turn of the century, the tenancy changed hands a couple of times in quick succession and the building spent the next 85 years rotting away as little more than a farm shed. Whitemill, along with the rest of the Kingston Lacy estates, was bequeathed to the National Trust by Ralph Bankes in 1982, but it wasn't until 1994 that the Trust found the resources to begin the painstaking conservation of the property. The key word here is "conservation" rather than restoration - the mill today does not, and will never again, work at the task for which it was built. The mill cottage is now home to the custodian, one of only an handful of such "custodial tenancies" of National Trust properties.

 

The manor of Shapwick, in which Whitemill stands, was purchased by Henry Bankes of Kingston Lacy house in the year 1773. His survey of the new estate showed that he had a mill, with resident miller by the name of John Joyce, but also that he was getting no rent for the property because the mill itself had decayed beyond use. Bankes and Joyce reached an agreement to the effect that Joyce would pay £20 per annum in rent if Bankes would rebuild and maintain the mill. The cost to the Bankes family of rebuilding the mill was approximately £370.00, a huge capital sum at that time. In so far as it is possible to equate money then with money now, the original cost of the building is remarkably similar to the £300,000 that the Trust spent on the conservation.

 

The body of the current mill is built of brick, but the Wheelchamber is of quality stone construction. This stonework dates, we are told, to sometime in the fourteenth century, around the period when the Duke of Lancaster held the manor as a grant from the King. It is clear that when it came to the 1776 re-build, the builders considered that the power-plant was good enough to retain even though the superstructure (probably timber framed) was ruined. This fourteenth century dating is reinforced by the discovery of timbers in the foundations, during the underpinning of the river end wall, which have been radio-carbon dated to the same era. It is probable that the current mill is simply the last in a long line of rebuilds on the same foundations.

 

Whilst we have no tangible remains from any earlier mill on this site we know, from documentary sources, that there must have been a mill here or hereabouts as far back as the twelfth century. We find references to the building of "A Bridge on the River Stour adjacent to the White Mill" in the year 1175. Although the bridge we see today is probably a sixteenth century structure (somewhat hacked around by the Victorians) we know, from an investigation of the foundations a few years ago, that it stands on timber pilings which have themselves been carbon dated to the twelfth century. This is alleged to be the oldest bridge site in Dorset and is well worth a closer look in its own right.

 

Prior to 1175 the history of the mill becomes a bit more uncertain. The Domesday Book is a bit of a let down since it doesn't list the local mills by name, merely recording a total of 8 mills in the manor:

 

WIMBORNE (Minster), SHAPWICK, (Moor) CRICHEL, WIMBORNE (St.Giles). King Edward held them in lordship. It is not known how many hides are there because they did not pay tax before 1066. Land for 45 ploughs. In lordship 5 ploughs; 15 slaves. 63 villagers, 68 smallholders and 7 cottagers have 22 ploughs. 8 mills which pay 110s; meadow, 150 acres; pasture 6 leagues long and 3 leagues wide; woodland 5 leagues long and 1 league wide. 3 cobs; 30 pigs; 250 sheep; 44 goats.

 

This extended manor covers a large part of East Dorset (perhaps as much as 45,000 acres), and presumably formed the core of the future Kingston Lacy Estate. However, within the region described, there are not enough other known mills to make it certain that Whitemill, or its predecessor, is not one of them.

 

We know that there was considerable Saxon activity in the area with a "Cyninges Tun", or King's Farm, from which Kingston Lacy is thought to take its name, in the present day woods behind Pamphill. The farm was almost certainly there to support the religious institution founded in 709AD by Cuthberga, sister to King Ine, at Wimborne. Although repeatedly rebuilt down the centuries, the site of her nunnery survives as the present day Wimborne Minster.

 

Before the Saxons, there was considerable Roman activity around Badbury Rings with the junction of several major roads. The Romans are thought to have built a town just outside the Rings which they called Vindocladia - The Place Of White Walls. Might this be an even older origin for the name Whitemill?

 

All these settlements would have needed the services of a mill, so why shouldn't it have been on the site of the present Whitemill?

 

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Sturminster Marshall is a village on the river Stour, four miles west of Wimborne in Dorset. The name Sturminster in fact means ‘large church on the river Stour’.

 

The first church was built in Norman times (12th century) and during the 13th & 14th centuries additions and improvements were made. There was little further work until 1802 when the tower fell down and was rebuilt. A restoration took place in 1859-60. The registers of the Church of St Mary the Virgin date from 1563.

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

 

The Beresford Apartments, completed in 1929 and designed by Emery Roth, then at the pinnacle of his career as a specialist in apartment house design, is one of the largest and grandest of the apartment buildings along Central Park West. Prominently located at the corner of 81st Street across from the American Museum of Natural History, it takes full advantage of its site, with two monumental facades crowned by comer towers. Executed in brick with limestone and terra-cotta detailing, the Beresford is distinctively ornamented with a sculptural program of late Renaissance inspiration which features winged cherubs, angels, dolphins and rams' heads, along with elaborate cartouches, festoons, rosettes and finials. Its vast scale and dramatic profile make the Beresford one of the most important elements on the Central Park West skyline, as well as a reminder of the heyday of luxury apartment building in New York.

 

Development of Central Park West

 

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

 

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

 

The stage had been set by two great monuments, the American Museum of Natural History between 77th and 81st Streets, , and the Dakota, the pioneering luxury apartments at 72nd Street . Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses. A few apartment hotels had been constructed by the early 1890s, including the Hotel Beresford at the northwest corner of 81st Street across from the museum on Manhattan Square. Opened in late 1889, this original Beresford was described as the first apartment hotel to be constructed on the Upper West Side.

 

The property, already considered at that date, " one of the choicest and most costly on the west side of the city," had gene through a number of real estate speculators' hands. 2 The six-story hotel was constructed by Alva S. Walker, who also owned the northern portion of the Central Park West blockfront which he intended to turn into a small park " with two tennis courts in the centre, with seats around for the use of the guests." Apparently the success of the Beresford and ever rising land values prescribed a change of course, and a ten-story wing was added instead.

 

Among the other early apartments on Central Park West were the Majestic at 71st Street, the San Remo at 75th Street, and the El Dorado at 90th Street, which, like the Beresford, have all been replaced by their towered namesakes of the late 1920s and early 1930s. A few grand apartment buildings were constructed prior to World War I, including the Prasada at 65th, the Langham at 73rd, and the Kenilworth at 75th Street. This phase in Central Park West's development was interrupted by the war, when construction ground to a halt. The second major phase of development began with the great prosperity of the '20s, producing the Art Deco towered buildings, and Roth's Beresford and San Remo Apartments, which now define the skyline.

 

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

  

The Architect

 

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

 

When still a teenager living a hand to mouth existence in Bloomington, Illinois, Roth determined to become an architect. He worked for both a local builder and a local architect. In 1889, having won a national-government sponsored contest, the Maize Competition—for which he drew a living roan utilizing the com plant as a decorative motif—Roth took his $100 prize money and set out for Kansas City. Apparently he could not find architectural employment there, but while he was still in Bloomington, had applied to join the office of Burnham & Root. Offered the job by mail, Roth moved cm to Chicago and worked under Charles Atwood

 

Roth helped to prepare drawings for the celebrated Palace of Fine Arts. While at the fair, he met Richard Morris Hunt, the recognized dean of American architects, who offered to hire him if he ever came to New York. After the fair, with true to form optimism, Roth made his way to New York, where Hunt's casual offer was honored. Assigned to draft interior perspectives for The Breakers, the Newport mansion of Cornelius Vanderbilt, Roth came in contact with Ogden Codman, a noted architect, interior designer and socialite. In 1895 Roth went to work for Codman, where his decorative and planning abilities were sharpened.

 

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

 

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

 

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

 

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

 

In 1926 Roth in association with Thomas Hastings, the surviving partner of the eminent firm of Carrere & Hastings, designed the Ritz Tower at Park Avenue and 57th Street, a 41-story apartment hotel in a neo-Renaissance style, its extreme height malting it "a symbol of a new way to live for wealthy New Yorkers." After the Ritz Tower, Roth went on to design a host of luxury residential skyscrapers, among them the Oliver Cromwell Hotel on West 72nd Street , the San Remo Apartments on Central Park West, and as a consultant to Margon & Holder, the Art Deco style Eldorado Apartments also on Central Park West .

 

From the mid-1920s on, the signature of a major Roth apartment house was its tower. Initially designed to conceal water tanks, they evolved into a major element of the design. In the San Remo, among Roth's finest works, the towers become an integral component of this residential skyscraper. This fusing of the functional with the aesthetic was equally characteristic of his apartment plans. Roth's sons credit their father with the creation of the foyer plan, and if not the originator he was certainly a refiner of this type. Roth's best apartments seem effortlessly interlocked, wasteful corridor space reduced to a minimum, with spacious, well-lit rooms in their stead.

 

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

 

The Beresford

 

Officially completed on September 13, 1929, just a few weeks before the Black Friday stock market crash, the Beresford had been planned during the most halcyon days of the 1920s. It was constructed by the H.R.H. Construction Company, which also built the San Remo. In an article in the New Yorker magazine, Penthouse [Marcia Clarke Davenport] remarks that the Beresford demonstrates that one can still find "really large rooms, really high ceilings; and you can pay—very very well for them." She further admires the windows "by far the most triumphant feature," affording unobstructed views, and the "hung" ceilings without visible beams.

 

Die plans for the Beresford reflect the luxurious standard of living envisioned for its tenants. A number of apartments contained not only the usual maids' rooms, but "servants' halls." Other amenities were provided,

 

such as dressing rooms, large cedar storage closets, breakfast roans, sun porches and numerous bathrooms. Sane of the large duplex apartments were virtually the equivalent of a large townhouse, both in size and arrangement.

 

But the economic mayhem of the Depression years resulted in serious financial difficulties for the Beresford. In 1940, it was sold along with Roth's other grand Central Park West apartment, the San Remo, which had suffered a similar plight, for a mere $25,000 over existing mortgages, despite the fact that the combined value of these two structures has been estimated at a pre-Depression value of ten million dollars.

 

The Beresford has long been associated with famous tenants in the arts and shew business. It was converted to co-operative ownership in 1962.

 

Architectural style

 

The Beresford has been compared to a medieval fortress and to a grand country villa, both allusions to its commanding presence and traditional style. Although in fact a huge 20-story skyscraper with three surmounting water tanks, the blocky massive proportions of the building emphasize its Renaissance allusions. Emery Roth had a life-long predilection for classicism and eclecticism, both clearly revealed in the Beresford design, late Renaissance and vaguely Baroque details are used relatively sparingly but are key elements.

 

Roth's aesthetic treatment of water tanks, on many buildings merely a functional eyesore, is the salient example of the architect's ability to combine traditional architectural values and modern functional requirements. At the Beresford, the water tanks—originally planned with three "observation rooms" beneath—are transformed into elegant pavilions, and integral components of the overall design. This solution, with setbacks below, allows the corners of the facade to be perceived as tower pavilions. With Roth's next major commission, the San Remo, Roth took this concept even further, resulting in its grand twin towered profile.

 

The sculptural program of the Beresford deserves special note. Few buildings of its type and date have figural ornament in such profusion. Winged cherub heads adorn keystones, angels flank doorways, and high above the street and well beyond the range of the naked eye, half-figures of cherubs support cartouches and urns, while rams' heads and skulls support festoons. Best appreciated from the terraces, this detailing is a potent symbol of the architectural extravagance of the '20s.

 

Description

 

The Beresford Apartments is a 20-story skyscraper occupying the Central Park West block front between 81st and 82nd streets, with two principal elevations facing the avenue and the south. The north elevation is similarly detailed, but secondary owing to its placement. The rear elevation with a central courtyard is not ornamented. The building is constructed in buff brick with a limestone base, with sculptural detailing in limestone at the lower four stories, and in terra cotta at the upper stories, and with mission tile roofs, metal railings and grilles, and copper lanterns. There aire four main entrances, two on the south, one on the north and one on the avenue. These lead to separate elevator banks,

 

each elevator opening to only one or two apartments per floor. Apartments originally ranged in size from 4 to 16 roans, both simplex and duplex. One of the last of the grand apartments built prior to the Depression, the building is luxuriously detailed, both on the exterior and interior. The detail is in the style of the late Italian Renaissance. Setbacks appear at the 14th, 16th, 18th and 20th stories, providing terraces. Three water tanks in towers at the principal corners of the building are the crowning elements of the corner pavilions.

 

On the three street elevations, the first three stories are faced in limestone above a granite water table. The first story is separated by a bandcourse from the two above and has bush-hammered rustication. The upper two stories have smooth rustication. A broad bandcourse separates the limestone base from the main brick portion of the building. Bandcourses comprised of two terra-cotta moldings appear between the 9th and 10th stories, the 12th and 13th, and the 13th and 14th.

 

The fenestration on these three elevations is of one basic type with two metal casement windows, beneath a single-paned transom.

 

The building rises to the 14th story in an uninterrupted block, constructed to the building line. The setbacks above articulate the corner pavilions which aire surmounted by two-story penthouses and the watertank towers. Chimneys, beginning at the 18th story are centrally located, and a large chimney appears at the west end of the southern elevation.

 

Central Park West Elevation

 

This elevation is 29 bays wide with windows in groupings to the 14th story: 3-3-5-3-3-5-3-4. At the 14th story a balustraded terrace 16 bays wide is located between corner pavilions, 6 and 7 bays wide. The central 16 bay-portion continues to the 17th story above which are two further setbacks at the 19th and 20th stories. The corner pavilions on this elevation are 6 bays wide and 7 bays wide at the 14th and 15th stories; 5 bays wide each up to the 18th story and 3 larger bays each at the 19th. The two penthouse stories appear above these corner pavilions under the observation roans and watertank coverings.

 

A. Main Entrance: located between 15th and 16th bays.

 

A canopy on bronze supports, flanked by ground level plantings behind low simple metal guard rails. Double doors glazed with plain bronze muntins and mullions. Bronze and glass lanterns flanking the doorway. Doorway with limestone enframement with scrolled keystone and carved relief panels to each side, depicting Renaissance-style stands composed of acanthus leaves, symmetrically disposed and supporting a winged frontal figure of an angel playing a horn. Above, a broken lintel with a central large scrolled cartouche, with floral festoon. At second-story level a yellow marble panel with limestone enframement, with a winged cherub head in relief above a festoon suspended from rosettes, all beneath a lintel.

 

B. Office entrances: 2, located between 15th and 16th bays.

 

Set within reveals, single doors of bronze with glazed upper panel and glazed transom.

 

C. Balustrade: above 3rd story, 13th to 18th bays.

 

Carved in limestone relief, centered above main entrance, on modillions.

 

D. Plaque and cartouches: above 4th story, at 13th and 18th, 6th and 25th

 

bays.

 

Four scrolled cartouches enliven facade, 2 inner ones frame plaque with festoons, guttae, scrolls and cartouche, inscribed "Erected 1929".

 

E. Cartouche: 14th story, between 15th and 16th bays.

 

Above main entrance, large scale, with scrolls, set in center of balustrade . Held by flanking half-figures of winged cherubs which emerge from foliate ornament- Cherub heads atop and below the cartouche scrolls.

 

F. Windows: 10th and 11th stories; 3 bays wide, at 5th-7th, 13th-15th, 16th-18th, and 24th-26th bays.

 

Two-story groupings of windows in threes enframed by terra cotta, above bandcourse with pseudo-balustrades. Between the two stories a beribboned cartouche flanked by winged cherub heads and scrolled brackets. A rosette above the central 11th-story window of each grouping.

 

G. Windows: 14th and 15th stories, 3 bays wide, at 5th-7th bays, and 24th-26th bays.

 

located at the first setback level, groupings with rosettes beneath each window at the 14th story, a balcony projection at the central bay at this level, the rosette in an octagonal frame. The two-story composition enframed by brick pilasters supporting a triangular broken pediment. An ornamental grille at the center of the pediment. The central bays at each story with enframements. At the 14th story a curved broken pediment, with a ram's head at the center, supporting festoons, and a scroll above. The 15th story central window with cartouche and flanking festoons.

 

H. Windows: 19th and 20th stories, at 3rd and 27th bays.

 

Set in the corner pavilions, 2-story compositions with enframed windows separated by a balustrade. Pilasters at the 20th story on console brackets under a curved broken pediment, with a central segmental-arched dormer with a round-arched opening containing a grille. At the 20th story above the central window, a winged cherub head on a tablet, with festoons.

 

I. Cartouche: 17th story, between 15th and 16th bays.

 

An elaborate scrolled and beribboned cartouche, continuing central composition above the main entrance, also signalizing chimneys above. A

 

rami's skull at the base, with festoon.

 

J. Finials: above the 20th story.

 

Set at the corners of balustrades, at the 1st story of penthouses; urn-shaped.

 

Water tank towers

 

Octagonal, with broader faces set rectilinealy and narrower faces set diagonally. Four double-height round-arched windows above a balustrade, each flanked by engaged columns on console brackets, supporting a lintel and broken triangular pediment with a central bull's-eye opening with surmounting winged cherub head. Half-figures of cherubs emerging from foliate ornament flank and hold an urn with ram's head below. Drapery swags suspended from rosettes with a central scrolled keystone.

 

Interspersed by 4 square-headed blind windows surmounted by triangular broken pediments with central winged cherub heads in panels above. Beneath the windows console brackets support simple obelisk shaped finials. Copper and glass lanterns surmount the roofs.

 

South Elevation

 

This facade with two main entrances and three office doors is 30 bays wide with windows grouped in threes except in the outermost bays where there is a single pair at the east and and 2 pairs at the west, up to the 14th story, where the setbacks begin. From the 14th to 17th stories the center of the facade is 15 bays wide, flanked by 8 bays to the west and 7 to the east. Terraces appear at the 18th to 20th stories at the center. A large chimney rises from the 17th story beneath the western tower.

 

Main entrance: 2,at 5th-7th bays, and 23rd-25th bays.

 

A canopy on bronze supports, flanked by ground level plantings behind simple guard rails. Double doors with simple bronze muntins and mullions. Bronze and glass lanterns flank the doors. Doorway with limestone enframement and carved relief panels to each side, depicting Renaissance style stands of acanthus leaves, symmetrically disposed adorned with a pair of dolphins. Above, a curved broken pediment with a central scrolled cartouche, above a console bracket, ornamented with a festoon. At 2nd story level, an enframed central window with a winged cherub head beneath a lintel.

 

Office doors: 3, located at 14th, 19th and 28th bays. See "B." above.

 

Cartouches: above 4th story, at 6th, 12th, 18th, 24th bays.

 

Windows: 10th and 11th stories, at the 5th-7th, 11th-13th, 17th-19th, 23rd-25th bays.

 

See "F." above.

 

Windows: 14th and 15th stories, at the 5th-7th, 23rd-25th bays.

 

See "H." above.

 

Windows: 20th story, at 15th-16th bays.

 

Two windows with eared enframements, surmounted by a central cartouche.

 

Balustrade: 14th story, from the 8th to 22nd bays.

 

North elevation

 

This elevation has 29 bays in groupings of three with two additional bays at the west. A series of graduated setback terraces with curved parapet wall and metal railings appears at the westernmost five bays beginning at the 9th story and continuing to roof level.

 

Main entrance: 1, at 7th bay .

 

Single doorway, flanked by small glass and bronze lanterns. Surmounted by a cartouche set on the door enframent. A glazed transom, with metal grille, enframed, and surmounted by a garland, winged cherub head, and scroll.

 

Office doors: 4, at the 6th, 13th, 19th and 27th bays.

 

See "B." above. Cartouches: Above the 4th story at the 10th and 23rd bays.

 

Windows: 10th and 11th stories,

 

See "F." above.

 

Windows: 14th and 15th stories,

 

See "G." above.

 

Balustrade: 14th story, from 12th to 23rd bays.

 

Service Entrances: 2, at the westerly ends of the side street elevations.

 

Each one story in height, with round-arched doorways in a rusticated wall, with a metal grille gate, A winged cherub head keystone,

 

- From the 1987 NYCLPC Landmark Designation Report

Since we receive a lot of questions and speculations on this matter, here is where you download the Attendee Information document. Inside, you will find some important information and the attendee release form. Sending in your release form ensure that registration will go as quickly as possible on the day of the event!

 

Please read the Attendee Info BEFORE pre-registering: blythecon.com/blythecon/event.html

 

You must pre-register to receive a personalized ButtonArcade name tag and a gift bag of awesomeness. Pre-registration ends on June 1, 2011. We will be accepting people the day of the event; come one, come all!

Since Russian leader Vladimir Putin assumed power in August 1999, speculation about his character, motives, and plans for Russia’s future has been rampant in the West. Even after he stepped down as president in May 2008, retaining a significant measure of power as prime minister under his hand-picked successor, President Dmitri Medvedev, Putin remains poorly understood. In this interpretive biography of Putin, ALLEN C. LYNCH, director of the Center for Russian and East European Studies and associate professor of government and foreign affairs seeks to reconcile the two conflicting images and find out just where the truth lies about the man and the statesman.

  

Held February 24, 2012. Miller Center, Charlottesville, VA.

 

For more information, visit millercenter.org/.

The history of the Jemison Center, often strangely called "Old Bryce," seems to be mired in half-truths and speculation on the internet. The earliest information found dates back to when the land was a plantation, called Crab Orchard back in the 1820s, due to the many crab apple trees located on the property. It was owned by William Jemison, who then passed it down to his son, Robert Jemison Jr., a successful politician and businessman. The 4,000 acre tract in Northport was later known as Cherokee Place, where Robert would live until his new home was completed in Tuscaloosa in 1862. Jemison was a major advocate for the establishment of a hospital for the insane in Alabama, and is considered a major influence to select the area as the site for the first asylum in the state - the Alabama State Hospital for the Insane (Bryce Hospital).

 

By the 1920s the asylum had become severely overcrowded, and satellite institutions were created nearby to relieve the pressure, such as the Alabama Home for Mental Defectives (later known as Partlow State School). In 1939, the site of the Cherokee Plantation was purchased and transformed into the State Farm Colony for Negroes (the old Bryce Hospital grounds only housed white patients during the Jim Crow era). The former plantation house on the hill was razed and in its place the state of Alabama constructed the Jemison Institute, a three-story brick institution with detached heating plant for $161,000.

 

History seems to fade from there; it's assumed the Jemison Center operated as a state work farm, where able-bodied African American patients would work the fields to produce food for the hospital, as well as performing other kinds of labor (weaving, mending, etc). Desegregation orders from the government and changes in labor laws seemed to put an end to the Jemison Center; all farming operations at Bryce ceased in 1977. A mid-19th century structure was also erected on the property, called the S.D. Allen Intermediate Care Facility; it was used as a nursing home until it closed in 2003.

 

Info taken from - opacity.us/site245_jemison_center.htm

 

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

 

The 103 Riverside Drive House, originally designed by well-known architect and developer Clarence F. True, was built on speculation in 1898- 99 as one house of a picturesque group of six houses on the southeast corner of Riverside Drive and West 83rd Street. Today the 103 Riverside Drive House is architecturally significant and as one of the five extant houses in this group represents the first period of development on Riverside Drive. True designed several hundred houses, primarily in groups, on the Upper West Side in the years between 1890 and 1901, and was largely responsible for promoting the development and establishing the character of lower Riverside Drive. The houses in the group at Riverside and West 83rd Street were designed in True's signature "Elizabethan Revival" style based on French and English Renaissance prototypes and built by True's development firm, the Riverside Building Company; they are the northernmost of True's designs built along the Drive. The design of the L-shaped 103 Riverside Drive House is characterized by such picturesque elements as contrasting tan Roman ironspot brick and limestone facing, round-arched and rectangular windows, keyed surrounds, side courtyard facades, decorative ironwork, dormers, and a tile roof. This house was originally designed with a projecting bowfront and a low stoop, but these features (along with those of the adjacent houses) became the focus of an interesting legal controversy several years after construction. As the result of a lawsuit brought by an adjacent property owner, the court ruled in 1903 that no one had the authority to place permanent encroachments onto public thoroughfares, and the owners of the houses in the True group facing onto Riverside Drive were thus ordered to remove the projections. In 1911 the main facades were removed and rebuilt to follow the diagonal of the Riverside Drive property lines. No. 103 (owned by Amelia Bingham, an immensely popular actress) was rebuilt with the original materials by the firm of Clinton & Russell so that today, although it reflects the work of two -architectural firms, it basically remains a modified version of the original picturesque Elizabethan Revival design.

 

The Development of Riverside Drive

 

The Upper West Side, known as Bloomingdale prior to its urbanization, remained largely undeveloped until the 1880s. In the early eighteenth century, Bloomingdale Road (later renamed the Boulevard and finally Broadway in 1898) was opened through rural Bloomingdale and provided the northern route out of the city which was then concentrated at the southern tip of Manhattan. The Upper West Side was included in the Randel Survey of 1811 (known as the Commissioners' Map) which established a uniform grid of avenues and cross streets in Manhattan as far north as 155th Street, although years elapsed before streets on the Upper West Side were actually laid out, some as late as the 1870s and 1880s, and the land was subdivided into building lots. Improved public transportation to the area contributed to the growth and sustained development of the Upper West Side, particularly the completion in 1879 of the Elevated Railway on Ninth Avenue (renamed Columbus Avenue in 1890).

 

The biggest boost to the development of the West End (the area west of Broadway) , however, was the creation of Riverside Drive and Park (a designated New York City Scenic landmark). The presence of the Park and Drive was an important factor in making this area desirable for high-quality residential development. In 1865 the first proposal for converting the land on the Upper West Side along the eastern shore of the Hudson River into an ornamental park had been presented by Park Commissioner William R. Martin. The purchase of the park site and initial plans were approved in 1866. The drive, as proposed at this time, was to be a straight 100-foot wide road; however, this plan was impractical due to the existing topography. Hired by the Commissioners in 1873, Frederick law Olmsted (1822-1903), already distinguished by his collaboration with Calvert Vaux (1824-1895) in the successful design for Central Park, proposed an alternate scheme. Olmsted's design for Riverside Park and Drive took into consideration the pre-existing topography, landscape possibilities, and views, resulting in a park and drive that would be amenable for horses and pleasure driving, would provide shaded walks for pedestrians, and would also allow easy access to and scenic vistas from the real estate bordering it on the east. Olmsted's plan was adopted by the Commissioners but the park was not executed under his supervision, due to his departure from New York City; it was actually developed between 1875 and 1900 by other designers including Vaux, Samuel Parsons, and Julius Munckwitz, who did not adhere to Olmsted's original scheme in its entirety. By the fall of 1879, work was completed between 72nd and 85th Streets, and Riverside Avenue (as it was called until 1908) was opened to the public in 1880.

 

The Drive, from West 72nd Street to approximately 129th Street, where it is effectively terminated by the viaduct and the Nanhattanville fault, has a particularly strong character derived from its curves that break with the regular street grid and its location overlooking the park and the Hudson River. Riverside Park and Drive fulfilled the Park Commissioners' plans for promoting the development of the area west of Broadway. The numerous and exceptional advantages of the location, namely, its situation on a plateau, its "advantages of pure air and beautiful surroundings, glimpses of New

 

Jersey hills . . . [and] the nearness of parks," assisted in making the area along Riverside Drive prime real estate, deserving of the highest character of residential development.

 

Development of the West End began slowly due to speculation, the hesitation of developers, and to the relative inconvenience of transportation compared to the area east of Broadway. By 1885, however, the whole Upper West Side had emerged as the area in the city experiencing the most intense real estate speculation. The expectation that the blocks along Riverside Drive and West End Avenue would be lined with mansions kept the value of these lots, as well as adjacent land, consistently higher and developers were willing to wait to realize profits from the potentially valuable sites.

 

The initial development along Riverside Drive mostly took the form of single-family town houses and rowhouses, although some freestanding mansions were built there. Luxury apartment buildings, as they gained in popularity toward the turn of the century, also appeared. Most of the single-family residences on the Upper West Side were speculatively-built rowhouses; along West End Avenue and Riverside Drive the houses tended to be larger and more elegant than those on the side streets. Architect-developer Clarence True, who characterized the Drive and its vicinity as "the most ideal home-site in the western hemisphere — the Acropolis of the world's second city, was largely responsible for the promotion of lower Riverside Drive as an attractive residential thoroughfare and his work there, like the group at 83rd Street, did much to establish the character of the area in the 1890s.

 

Clarence F. True and the Elizabethan Revival Style

 

Clarence Fagan True (1860-1928) was a prolific and well-known architect (and later architect-developer) who designed, almost solely, rowhouses and town houses and practiced mainly on the Upper West Side of Manhattan during the years from 1890 to 1901. Born in Massachusetts, he came to New York City in 1880 and was trained in the office of Richard M. Upjohn beginning around 1881; he was listed in directories in 1884 and established his own firm in 1889.® True received his commissions primarily from speculative builders and developers who were rapidly constructing houses throughout the Upper West Side. True is documented as having designed at least 270 houses on the Upper West Side, the majority located west of Broadway between 71st and 107th Streets. Diverse and eclectic in architectural style and massing, these houses contribute greatly to the architectural character of the Upper West Side. He also designed some twenty houses in Harlem, including several now located in the Hamilton Heights and Mount Morris Park Historic Districts. In 1893 he published a prospectus of his work, Designs of 141 Duelling Houses, in which he stated his aim of creating distinctive well- designed houses, both in interior plan and exterior appearance, that would mark a shift away from the homogeneity of the standard New York City brownstone rowhouse. True's executed work demonstrated that he succeeded in his ambitions.

 

True was primarily an architect of rowhouse groups. In his houses of the early 1890s, True employed a variety of contemporary architectural styles, frequently mingling them in an eclectic fashion; these included the popular Romanesque and Renaissance Revival styles, as well as the Francois I and a style he called "Elizabethan Revival" which was based on French and English Renaissance prototypes. In 1894 True began to work in part as his own developer and later formed the Riverside Building Company. A second prospectus, FA True History of! Riverside Drive (1899), pictured many of the houses for the Riverside Building Company, including the group of six houses at 102 to 107-109 Riverside Drive and 332 West 83rd Street which were then under construction and completed later that same year. In this prospectus True promoted the development of lower Riverside Drive;

 

Mr. Clarence True, who had erected houses upon some of the lower lots, became so thoroughly impressed with the possibilities of the river front as a residence district that he secured all the available property south of 84th street, and by covering it with beautiful dwellings, insured a most promising future for the Drive.

 

The area along and adjacent to Riverside Drive, from 75th to 85th Streets, includes the densest concentration of extant houses designed by True; many of these are now included in the West End-Collegiate and Riverside Drive-West 80th-81st Streets Historic Districts. These houses along the Drive — including No. 103 and the other houses in the corner group at 83rd Street — are characteristic of most of True's mature work; all were designed in the architect's highly idiosyncratic and readily identifiable "Elizabethan Revival" style. True's rowhouses in this vein are typified by lively silhouettes, composed of such elements as steeply-pitched roofs that often have curved or stepped gables, chimneys, stepped end-walls, turrets, bowed fronts, projecting three-sided and square bays, and dormers. The facades, varied within the group, also display a variety of contrasting materials, including fine brick and stone, and such features as quoins, keyed surrounds, stylized cornices, crenellation, parapets, and decorative ironwork. True's interest in the use of varied colors of building materials is also evident in the group at Riverside and 83rd — the brick colors graduate in hue from house to house, from tan to light orange to orange to red.

 

True was one of the architects who greatly popularized the American basement plan for rowhouse design in New York City during these years. He received much favorable notice in the architectural press of the 1890s, which published a number of his designs. Real Estate Record & Guide (1893) stated that True "has earned quite a reputation for the novelty of the ideas he has carried out in a large number of houses built from his designs on the West Side in the last few years. The old method of high stoop construction has been abandoned ... the houses are entered almost on a level with the street. Architecture and Building (1893) noted: "The facades show great variety and taste, and the plans, many of than upon narrow lots, ingenuity and skill in arrangement. "-- A History of Real Estate. Building, and Architecture in New York (1899) considered True "probably the best known New York architect designing almost entirely residential structures .... His work as exempl i fied by his houses is a credit both to himsel f and the city."

 

True also designed several apartment houses, hotels, and small commercial structures, as well as a church building in Harlem. Little is known about the end of his career, but it appears to coincide with the demise of rowhouse construction in New York City after the turn of the century. His last directory listing was in 1910, although Clarence True & Son received a listing in 1916-17. True died in Greensboro, North Carolina, in 1928, and was buried in Middletown, Connecticut.

 

Ackerman vs. True

 

An interesting controversy developed around the construction of the houses at 102 to 107-109 Riverside Drive which affected the design of their facades eleven years after completion. On July 28, 1898, Clarence True applied, by letter, to the Commissioner of Buildings, Thomas J. Brady, for a foundation permit for six, five-story houses. According to his accompanying plans, each of the six structures partly extended beyond the property line, due to the oblique angle of the Drive, by incorporating stoops, areaway walls, and projecting bays and bowfronts. On August 8, Brady returned a permit to True granting him permission "to construct the foundation work provided for new buildings on E. S. Riverside Drive bet. 82 & 83 St. as per

 

plans " On August 16, True filed an application for the erection of

 

these six new buildings (NB 730-1898), five fronting Riverside Drive and one fronting West 83rd Street. The Department of Buildings issued an objection to the application on September 15, stating that "projections beyond building lines are unlawful." True then obtained a letter from George C. Clauson, Commissioner of Parks, dated November 21, which granted consent "to the erection of projections on six proposed buildings" and exacted a fee based on the square footage of each projection. On November 28, True filed an amendment to the application which mentioned "consent from Park [sic] Department for projection beyond building lines is filed this date with

 

plans & etc " The structures were completed a year later in November

 

of 1899.

 

Building encroachments onto public property, a fairly common practice in New York City during the nineteenth century, became an increasingly debated topic at the turn of the century, as evidenced by the numerous lawsuits filed and by discussions in such periodicals as Real Estate Record & Guide. A lawsuit was brought against Clarence True, after the completion of the houses at Riverside Drive and West 83rd Street, by the adjacent property owner, Charlotte Y. Ackerman, who had purchased from True the lot to the south of the group. Ackerman's case argued that the projecting bays, bowfronts and stoops on the houses next to her property were illegal encroachments upon the public street which also diminished the value of her property through the obstruction of her view, light, and air. Ackerman won the case in 1903 on appeal to the New York State Court of Appeals, which reversed the Appellate Division of the Supreme Court's finding in favor of True. The court ruled that New York City's ownership of streets from property line to property line was "inalienable," that an encroachment was an "appropriation of the public street for private purposes," and that no individual or agency had the authority to permit encroachments onto public property. Thus the owners of the five houses in the group facing Riverside

 

Drive had to remove the projections on their buildings.

 

In 1911 the main facades of these houses were completely removed and rebuilt to follow the diagonal of the Riverside Drive property lines. No. 103 and No. 104, both altered by the architectural firm of Clinton & Russell, and No. 107-109, altered by Tracy, Swartwout & Litchfield, were rebuilt using the original materials and retaining many architectural elements; No. 105 received a new facade designed by Bosworth & Holden. No. 332 West 83rd Street and the West 83rd Street facade of No. 107-109 remained unaltered as they do not face onto the Drive and were thus apparently not subject to the lawsuit. The sixth house at 102 Riverside Drive, to the south of the existing group, was later demolished for a corner apartment building, built in 1932.

 

The 103 Riverside Drive House

 

The 103 Riverside Drive House was purchased in 1906 by Elbridge Gerry Snow, Jr., and his wife, Maud; Snow was a prominent banker, broker, and insurance businessman. An application (Alt. 2773-1910) was filed for alterations in November of 1910; the changes were carried out by the well- known architectural firm of Clinton & Russell in 1911. Clinton & Russell, founded in 1894 by Charles William Clinton (1838-1910) and William Hamilton Russell (1856-1907), was responsible for numerous buildings in New York City including early skyscrapers, luxury apartment houses, institutions, and fashionable hotels. The firm continued under that name until 1940; both founding architects were deceased when this alteration took place. The choice of Clinton & Russell was due, undoubtedly, to the influence of next- door neighbor Frederick W. Winterbum, an architect who worked for the firm, which also altered his house at No. 104. By April of 1911 the property was purchased by Amelia Bingham, an immensely popular actress and the first American female theatrical producer. She resided there until her death in 1927. The house was converted to a multiple dwelling in 1929.

 

The original design for the L-shaped 103 Riverside Drive House featured a four-story bowfront capped by a steeply pitched tile roof with a gabled dormer, and a side courtyard. The main facade was dismantled in 1911 and rebuilt using the original materials, with some modifications made (particularly after an amendment was filed in September of 1911), as a flat wall following the diagonal of the property line. Two bays wide, the facade is faced with tan Roman ironspot brick and limestone trim. Original elements re-worked into the design were the watertable, the round-arched recessed entranceway with carved limestone reveals and the ground-story window (both with keyed surrounds and, respectively, a glass and wrought- iron door and decorative wrought-iron grille), the pedimented second-story windows, and the round-arched fourth-story windows with keystones. A cornice, similar to the original, was added to the facade. Surviving roof elements include the majority of the peaked red tile roof, part of the south end-wall chimney, a dormer with a broken scroll pediment at the courtyard end, and the south end-wall gable capped by a finial and an urn. The original design was further modified by the insertion of a tripartite window with a keyed surround at the third story which originally had a pair of flat-arched windows with voussoirs. In addition, the wall was extended upward one story and the dormer was rebuilt to meet the new wall plane; the dormer has a pair of windows framed by pilasters and surmounted by a cornice and a pediment with a cartouche. At the south, where there was originally a courtyard, a wall was constructed at the building line which contains a round-arched opening with a decorative wrought-iron gate and is surmounted by a parapet with a wrought-iron security fence; a new ground-story service entrance addition was inserted here. The original courtyard facades survive and continue the general scheme of window surrounds: both pedimented and molded lintels on the second story, flat arches with voussoirs on the third story and gable, and fourth-story round archeswith keystones. More recent alterations have been the removal of a parapet above the main entrance and of front dormer finials, the replacement of all one-over-one double-hung wood sash windows with mostly single-pane aluminum sash, and the installation of four through-the-wall air conditioners on the south facade, a large flagpole on the second story, and large lamps flanking the entrance.

 

No. 103, incorporating the work of two architectural firms in the house of 1898-99 and its 1910-11 alteration, basically remains a modified version of the original picturesque Elizabethan Revival design.

 

- From the 1991 NYCLPC Landmark Designation Report

Since Russian leader Vladimir Putin assumed power in August 1999, speculation about his character, motives, and plans for Russia’s future has been rampant in the West. Even after he stepped down as president in May 2008, retaining a significant measure of power as prime minister under his hand-picked successor, President Dmitri Medvedev, Putin remains poorly understood. In this interpretive biography of Putin, ALLEN C. LYNCH, director of the Center for Russian and East European Studies and associate professor of government and foreign affairs seeks to reconcile the two conflicting images and find out just where the truth lies about the man and the statesman.

 

Hosted February 24, 2012. Miller Center, Charlottesville VA.

  

For more information, visit millercenter.org/.

Artwork © Wizards of the Coast.

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

 

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

 

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

 

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

 

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

 

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

 

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

 

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

 

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

 

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

 

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

 

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

 

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

 

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

 

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

 

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

 

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

 

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

 

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

 

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

 

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

 

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

 

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

 

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

 

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

 

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

 

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

 

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

 

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

 

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

 

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

 

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

 

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

 

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

 

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

 

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

 

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

 

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

 

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

 

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

 

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

 

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

 

WIKIPEDIA

After the collapse of the South Sea Bubble in 1720, Hogarth viciously mocked the stock-market fever that had gripped London and ultimately wiped out countless speculators. Under a turbulent sky full of whirling clouds, a crowd hauls a giant wooden lever that turns a creaking merry-go-round, where speculators from all walks of life straddle horses shaped like phalluses. The merry-go-round is topped by a statue of a goat, ancient symbol of the Greek god Pan, from whom the word "panic" is derived. To the question "Who'l[l] Ride," the only answer is everyone, as a tophatted gentleman tries to balance a ladder against the spinning merry-go-round and even clergymen squat in the corner to "play at pitch and Hussle." At the left, the Devil spews flaming venom from his mouth as the huge crowd hangs on his every word. Like a butcher dispensing cuts of meat, the Devil is hacking the body of Fortune, goddess of wealth and luck, to bits and throwing her dismembered limbs to the crowd. A Quaker holds open a sack to catch a shower of money that never comes, while a dwarf picks the pocket of a schoolteacher. Away from the mob, a man of "Honour" is flogged at a whipping post by "Vilany" as an ape in devil's garb stands watch, while the figure of "Honesty," stripped naked, is bludgeoned by "Self Interest" atop a wheel of fortune as a minister intones a prayer over him. The gambling spirit has infected everything: The balcony at top left is teeming with women lined up to enter an office under a sign that reads "Raffleing for Husbands with Lottery Fortunes in Here." Hogarth suggests that speculation is morally corrupting: Jackals slink over the monument "erected in memory of the destruction of this city," while the goddess of Trade (legitimate industry), clothed in rags, cowers in the lowest corner, starving in the dark.

 

The caption-poem at the bottom reads:

See here ye Causes why in London,

So many Men are made & undone,

That Arts, and honest Trading drop,

To “Swarm about ye Devils Shop [A]

Who Cuts out [B] Fortune’s Golden Haunches,

Trapping their Souls with Lotts & Chances

Shareing each[?] from Blue Garters down

To all Blue Aprons in the Town.

Here all Religions flock together,

Like Tame & Wild Fowl of a Feather.

Leaving their strife Religious bustle,

Kneel down to play at pitch & Hussle, [C]

Thus when the Sheepherds are at play,

Their flocks must surely go Astray;

The woeful Cause that in these Times,

[E] Honour, & [D] honesty, are Crimes,

That publickly are punish’d by

[G] Self Interest and [F] Vilany;

So much for Monys magick power

Guess at the Rest you find out more.

price 1 shilling

  

commons.wikimedia.org/wiki/File:William_Hogarth_-_The_Sou...

British Touring Car Championship, round 1 held on the Brands Hatch Indy circuit over the 29th & 30th March 2014.

 

After what seems like an eturity since Andrew Jordan celebrated his first BTCC championship, standing on the podium in a rain soaked floodlit October evening. Since that memorable night there has been huge amount of speculation and anticipation as to what the new BTCC season would bring.

 

Well now the bright Spring sunshine finally welcomes the new BTCC era to the beautifully prepared Brands Hatch Indy circuit. This season sees the disappearance of the final S2000 cars and now it is a full grid of 30 NGTCs (Next Generation Touring Cars) that will contest the 2014 championship.

 

New cars have appeared including the great looking WIX sponsored Mercedes A class and a very striking Blue Audi A3. Along with the new teams and cars, the BTCC also welcome a influx of new and returning drivers. The headline returnees are previous multiple champions, Alain Menu and Fabrizio Giovanardi with also some single seater converts, most notiably, the ex Formula 3 champion Marc Hynes and the Formula 2 racer, Jack Clarke driving the Motorbase Ford Focus.

 

Another change which may affect the championship this year is the long awaited tightening up of the track limits rules. The MSA, along with the circuit owners have now confirmed and will enforce the rule that no wheels should be run outside of the white line or the back of the kerb. Brand Hatch have invested in CCTV and kerb sensor technology to monitor and enforce the new driving standards.

 

Saturday afteroon saw 30 touring cars all out on the very short and tight Indy circuit at the same time for the qualifiying session. With the circuit resembling the M25 at rush hour, the 30 drivers tried to find a gap in the traffic to set a quick lap time. This drama all made for a very interesting and challenging qualifying session which ended with a Jordan, Plato, Turkington in the 1,2,3 grid slots.

 

Sunday's race one started in dramatic fashion with Andrew Jordan sliding his Pirtek Honda sidewards down Paddock Hill after a slight coming together between Colin Turkington and Jason Plato at the top of the first corner. Andrew used all his preivous rallycross experience to catch and save the car and even managed to maintain first place in the run up to Durids. Unfortunately Alain Menu was so luckly and after travelling some distance sideways down Paddock Hill he then speared off and only just miss the inside barriers. Alain managed to get going again and limpped back to the pits to change a wheel.

 

As the first race settled down the cream came to the top as Jordan was chased through the entire race by Jason Plato's MG6 with the new Honda Tourers getting the better of Turkington's BMW to finish a Jordan, Plato and Neal; 1-2-3. Another great effort from Rob Austin saw him on the pace throughout and closing rapidly to the back of the Hondas to finish a credible 5th.

 

Race two saw Jason Plato fail to get off the line, luckily he wasn't hit by anyone and was able to CTL/ALT/DEL whilst coasting down Paddock Hill. Andrew Jordan, with maximum success ballast on board, drove a faultless lights to flag race to make it two out of two for the 2014 season.

 

Rob Austin's day took a turn for the worst when he broke a driveshaft getting off the line. Hopefully he will be repaired and out for race 3.

 

The reverse grid draw was made by Fabrizio Giovanardi, who as he had finished in 10th place in race two, obviously pulled out the six ball, which sent Rob Collard onto pole position for race three.

 

The race saw a particularly average performance from Andrew Jordan with maximum ballast and soft tyres, but great recovery drives from Jason Plato 11th to 3rd, Alain Menu 16th to 5th and Rob Austin dragging his repaired Audi A4 up from 28th to 11th.

 

As the race trucks are packed up, Andrew Jordan will go to the next round at Donington with small but important lead over Matt Neal.

  

Jordan - 47 points

 

Neal - 45 points

 

Turkington - 44 points

 

Shedden - 40 points

 

Plato - 38 points

 

Absolutely great weekend was rounded off by a easy exit from the circuit and a trouble free journey home.

myetvmedia does not own this photo.

Standing by my speculation that Florida has more monorails than anywhere else on earth.

 

Just guessing. But pretty confident.

 

Epcot

Orlando, FL

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

 

The Beresford Apartments, completed in 1929 and designed by Emery Roth, then at the pinnacle of his career as a specialist in apartment house design, is one of the largest and grandest of the apartment buildings along Central Park West. Prominently located at the corner of 81st Street across from the American Museum of Natural History, it takes full advantage of its site, with two monumental facades crowned by comer towers. Executed in brick with limestone and terra-cotta detailing, the Beresford is distinctively ornamented with a sculptural program of late Renaissance inspiration which features winged cherubs, angels, dolphins and rams' heads, along with elaborate cartouches, festoons, rosettes and finials. Its vast scale and dramatic profile make the Beresford one of the most important elements on the Central Park West skyline, as well as a reminder of the heyday of luxury apartment building in New York.

 

Development of Central Park West

 

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

 

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

 

The stage had been set by two great monuments, the American Museum of Natural History between 77th and 81st Streets, , and the Dakota, the pioneering luxury apartments at 72nd Street . Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses. A few apartment hotels had been constructed by the early 1890s, including the Hotel Beresford at the northwest corner of 81st Street across from the museum on Manhattan Square. Opened in late 1889, this original Beresford was described as the first apartment hotel to be constructed on the Upper West Side.

 

The property, already considered at that date, " one of the choicest and most costly on the west side of the city," had gene through a number of real estate speculators' hands. 2 The six-story hotel was constructed by Alva S. Walker, who also owned the northern portion of the Central Park West blockfront which he intended to turn into a small park " with two tennis courts in the centre, with seats around for the use of the guests." Apparently the success of the Beresford and ever rising land values prescribed a change of course, and a ten-story wing was added instead.

 

Among the other early apartments on Central Park West were the Majestic at 71st Street, the San Remo at 75th Street, and the El Dorado at 90th Street, which, like the Beresford, have all been replaced by their towered namesakes of the late 1920s and early 1930s. A few grand apartment buildings were constructed prior to World War I, including the Prasada at 65th, the Langham at 73rd, and the Kenilworth at 75th Street. This phase in Central Park West's development was interrupted by the war, when construction ground to a halt. The second major phase of development began with the great prosperity of the '20s, producing the Art Deco towered buildings, and Roth's Beresford and San Remo Apartments, which now define the skyline.

 

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

  

The Architect

 

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

 

When still a teenager living a hand to mouth existence in Bloomington, Illinois, Roth determined to become an architect. He worked for both a local builder and a local architect. In 1889, having won a national-government sponsored contest, the Maize Competition—for which he drew a living roan utilizing the com plant as a decorative motif—Roth took his $100 prize money and set out for Kansas City. Apparently he could not find architectural employment there, but while he was still in Bloomington, had applied to join the office of Burnham & Root. Offered the job by mail, Roth moved cm to Chicago and worked under Charles Atwood

 

Roth helped to prepare drawings for the celebrated Palace of Fine Arts. While at the fair, he met Richard Morris Hunt, the recognized dean of American architects, who offered to hire him if he ever came to New York. After the fair, with true to form optimism, Roth made his way to New York, where Hunt's casual offer was honored. Assigned to draft interior perspectives for The Breakers, the Newport mansion of Cornelius Vanderbilt, Roth came in contact with Ogden Codman, a noted architect, interior designer and socialite. In 1895 Roth went to work for Codman, where his decorative and planning abilities were sharpened.

 

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

 

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

 

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

 

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

 

In 1926 Roth in association with Thomas Hastings, the surviving partner of the eminent firm of Carrere & Hastings, designed the Ritz Tower at Park Avenue and 57th Street, a 41-story apartment hotel in a neo-Renaissance style, its extreme height malting it "a symbol of a new way to live for wealthy New Yorkers." After the Ritz Tower, Roth went on to design a host of luxury residential skyscrapers, among them the Oliver Cromwell Hotel on West 72nd Street , the San Remo Apartments on Central Park West, and as a consultant to Margon & Holder, the Art Deco style Eldorado Apartments also on Central Park West .

 

From the mid-1920s on, the signature of a major Roth apartment house was its tower. Initially designed to conceal water tanks, they evolved into a major element of the design. In the San Remo, among Roth's finest works, the towers become an integral component of this residential skyscraper. This fusing of the functional with the aesthetic was equally characteristic of his apartment plans. Roth's sons credit their father with the creation of the foyer plan, and if not the originator he was certainly a refiner of this type. Roth's best apartments seem effortlessly interlocked, wasteful corridor space reduced to a minimum, with spacious, well-lit rooms in their stead.

 

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

 

The Beresford

 

Officially completed on September 13, 1929, just a few weeks before the Black Friday stock market crash, the Beresford had been planned during the most halcyon days of the 1920s. It was constructed by the H.R.H. Construction Company, which also built the San Remo. In an article in the New Yorker magazine, Penthouse [Marcia Clarke Davenport] remarks that the Beresford demonstrates that one can still find "really large rooms, really high ceilings; and you can pay—very very well for them." She further admires the windows "by far the most triumphant feature," affording unobstructed views, and the "hung" ceilings without visible beams.

 

Die plans for the Beresford reflect the luxurious standard of living envisioned for its tenants. A number of apartments contained not only the usual maids' rooms, but "servants' halls." Other amenities were provided,

 

such as dressing rooms, large cedar storage closets, breakfast roans, sun porches and numerous bathrooms. Sane of the large duplex apartments were virtually the equivalent of a large townhouse, both in size and arrangement.

 

But the economic mayhem of the Depression years resulted in serious financial difficulties for the Beresford. In 1940, it was sold along with Roth's other grand Central Park West apartment, the San Remo, which had suffered a similar plight, for a mere $25,000 over existing mortgages, despite the fact that the combined value of these two structures has been estimated at a pre-Depression value of ten million dollars.

 

The Beresford has long been associated with famous tenants in the arts and shew business. It was converted to co-operative ownership in 1962.

 

Architectural style

 

The Beresford has been compared to a medieval fortress and to a grand country villa, both allusions to its commanding presence and traditional style. Although in fact a huge 20-story skyscraper with three surmounting water tanks, the blocky massive proportions of the building emphasize its Renaissance allusions. Emery Roth had a life-long predilection for classicism and eclecticism, both clearly revealed in the Beresford design, late Renaissance and vaguely Baroque details are used relatively sparingly but are key elements.

 

Roth's aesthetic treatment of water tanks, on many buildings merely a functional eyesore, is the salient example of the architect's ability to combine traditional architectural values and modern functional requirements. At the Beresford, the water tanks—originally planned with three "observation rooms" beneath—are transformed into elegant pavilions, and integral components of the overall design. This solution, with setbacks below, allows the corners of the facade to be perceived as tower pavilions. With Roth's next major commission, the San Remo, Roth took this concept even further, resulting in its grand twin towered profile.

 

The sculptural program of the Beresford deserves special note. Few buildings of its type and date have figural ornament in such profusion. Winged cherub heads adorn keystones, angels flank doorways, and high above the street and well beyond the range of the naked eye, half-figures of cherubs support cartouches and urns, while rams' heads and skulls support festoons. Best appreciated from the terraces, this detailing is a potent symbol of the architectural extravagance of the '20s.

 

Description

 

The Beresford Apartments is a 20-story skyscraper occupying the Central Park West block front between 81st and 82nd streets, with two principal elevations facing the avenue and the south. The north elevation is similarly detailed, but secondary owing to its placement. The rear elevation with a central courtyard is not ornamented. The building is constructed in buff brick with a limestone base, with sculptural detailing in limestone at the lower four stories, and in terra cotta at the upper stories, and with mission tile roofs, metal railings and grilles, and copper lanterns. There aire four main entrances, two on the south, one on the north and one on the avenue. These lead to separate elevator banks,

 

each elevator opening to only one or two apartments per floor. Apartments originally ranged in size from 4 to 16 roans, both simplex and duplex. One of the last of the grand apartments built prior to the Depression, the building is luxuriously detailed, both on the exterior and interior. The detail is in the style of the late Italian Renaissance. Setbacks appear at the 14th, 16th, 18th and 20th stories, providing terraces. Three water tanks in towers at the principal corners of the building are the crowning elements of the corner pavilions.

 

On the three street elevations, the first three stories are faced in limestone above a granite water table. The first story is separated by a bandcourse from the two above and has bush-hammered rustication. The upper two stories have smooth rustication. A broad bandcourse separates the limestone base from the main brick portion of the building. Bandcourses comprised of two terra-cotta moldings appear between the 9th and 10th stories, the 12th and 13th, and the 13th and 14th.

 

The fenestration on these three elevations is of one basic type with two metal casement windows, beneath a single-paned transom.

 

The building rises to the 14th story in an uninterrupted block, constructed to the building line. The setbacks above articulate the corner pavilions which aire surmounted by two-story penthouses and the watertank towers. Chimneys, beginning at the 18th story are centrally located, and a large chimney appears at the west end of the southern elevation.

 

Central Park West Elevation

 

This elevation is 29 bays wide with windows in groupings to the 14th story: 3-3-5-3-3-5-3-4. At the 14th story a balustraded terrace 16 bays wide is located between corner pavilions, 6 and 7 bays wide. The central 16 bay-portion continues to the 17th story above which are two further setbacks at the 19th and 20th stories. The corner pavilions on this elevation are 6 bays wide and 7 bays wide at the 14th and 15th stories; 5 bays wide each up to the 18th story and 3 larger bays each at the 19th. The two penthouse stories appear above these corner pavilions under the observation roans and watertank coverings.

 

A. Main Entrance: located between 15th and 16th bays.

 

A canopy on bronze supports, flanked by ground level plantings behind low simple metal guard rails. Double doors glazed with plain bronze muntins and mullions. Bronze and glass lanterns flanking the doorway. Doorway with limestone enframement with scrolled keystone and carved relief panels to each side, depicting Renaissance-style stands composed of acanthus leaves, symmetrically disposed and supporting a winged frontal figure of an angel playing a horn. Above, a broken lintel with a central large scrolled cartouche, with floral festoon. At second-story level a yellow marble panel with limestone enframement, with a winged cherub head in relief above a festoon suspended from rosettes, all beneath a lintel.

 

B. Office entrances: 2, located between 15th and 16th bays.

 

Set within reveals, single doors of bronze with glazed upper panel and glazed transom.

 

C. Balustrade: above 3rd story, 13th to 18th bays.

 

Carved in limestone relief, centered above main entrance, on modillions.

 

D. Plaque and cartouches: above 4th story, at 13th and 18th, 6th and 25th

 

bays.

 

Four scrolled cartouches enliven facade, 2 inner ones frame plaque with festoons, guttae, scrolls and cartouche, inscribed "Erected 1929".

 

E. Cartouche: 14th story, between 15th and 16th bays.

 

Above main entrance, large scale, with scrolls, set in center of balustrade . Held by flanking half-figures of winged cherubs which emerge from foliate ornament- Cherub heads atop and below the cartouche scrolls.

 

F. Windows: 10th and 11th stories; 3 bays wide, at 5th-7th, 13th-15th, 16th-18th, and 24th-26th bays.

 

Two-story groupings of windows in threes enframed by terra cotta, above bandcourse with pseudo-balustrades. Between the two stories a beribboned cartouche flanked by winged cherub heads and scrolled brackets. A rosette above the central 11th-story window of each grouping.

 

G. Windows: 14th and 15th stories, 3 bays wide, at 5th-7th bays, and 24th-26th bays.

 

located at the first setback level, groupings with rosettes beneath each window at the 14th story, a balcony projection at the central bay at this level, the rosette in an octagonal frame. The two-story composition enframed by brick pilasters supporting a triangular broken pediment. An ornamental grille at the center of the pediment. The central bays at each story with enframements. At the 14th story a curved broken pediment, with a ram's head at the center, supporting festoons, and a scroll above. The 15th story central window with cartouche and flanking festoons.

 

H. Windows: 19th and 20th stories, at 3rd and 27th bays.

 

Set in the corner pavilions, 2-story compositions with enframed windows separated by a balustrade. Pilasters at the 20th story on console brackets under a curved broken pediment, with a central segmental-arched dormer with a round-arched opening containing a grille. At the 20th story above the central window, a winged cherub head on a tablet, with festoons.

 

I. Cartouche: 17th story, between 15th and 16th bays.

 

An elaborate scrolled and beribboned cartouche, continuing central composition above the main entrance, also signalizing chimneys above. A

 

rami's skull at the base, with festoon.

 

J. Finials: above the 20th story.

 

Set at the corners of balustrades, at the 1st story of penthouses; urn-shaped.

 

Water tank towers

 

Octagonal, with broader faces set rectilinealy and narrower faces set diagonally. Four double-height round-arched windows above a balustrade, each flanked by engaged columns on console brackets, supporting a lintel and broken triangular pediment with a central bull's-eye opening with surmounting winged cherub head. Half-figures of cherubs emerging from foliate ornament flank and hold an urn with ram's head below. Drapery swags suspended from rosettes with a central scrolled keystone.

 

Interspersed by 4 square-headed blind windows surmounted by triangular broken pediments with central winged cherub heads in panels above. Beneath the windows console brackets support simple obelisk shaped finials. Copper and glass lanterns surmount the roofs.

 

South Elevation

 

This facade with two main entrances and three office doors is 30 bays wide with windows grouped in threes except in the outermost bays where there is a single pair at the east and and 2 pairs at the west, up to the 14th story, where the setbacks begin. From the 14th to 17th stories the center of the facade is 15 bays wide, flanked by 8 bays to the west and 7 to the east. Terraces appear at the 18th to 20th stories at the center. A large chimney rises from the 17th story beneath the western tower.

 

Main entrance: 2,at 5th-7th bays, and 23rd-25th bays.

 

A canopy on bronze supports, flanked by ground level plantings behind simple guard rails. Double doors with simple bronze muntins and mullions. Bronze and glass lanterns flank the doors. Doorway with limestone enframement and carved relief panels to each side, depicting Renaissance style stands of acanthus leaves, symmetrically disposed adorned with a pair of dolphins. Above, a curved broken pediment with a central scrolled cartouche, above a console bracket, ornamented with a festoon. At 2nd story level, an enframed central window with a winged cherub head beneath a lintel.

 

Office doors: 3, located at 14th, 19th and 28th bays. See "B." above.

 

Cartouches: above 4th story, at 6th, 12th, 18th, 24th bays.

 

Windows: 10th and 11th stories, at the 5th-7th, 11th-13th, 17th-19th, 23rd-25th bays.

 

See "F." above.

 

Windows: 14th and 15th stories, at the 5th-7th, 23rd-25th bays.

 

See "H." above.

 

Windows: 20th story, at 15th-16th bays.

 

Two windows with eared enframements, surmounted by a central cartouche.

 

Balustrade: 14th story, from the 8th to 22nd bays.

 

North elevation

 

This elevation has 29 bays in groupings of three with two additional bays at the west. A series of graduated setback terraces with curved parapet wall and metal railings appears at the westernmost five bays beginning at the 9th story and continuing to roof level.

 

Main entrance: 1, at 7th bay .

 

Single doorway, flanked by small glass and bronze lanterns. Surmounted by a cartouche set on the door enframent. A glazed transom, with metal grille, enframed, and surmounted by a garland, winged cherub head, and scroll.

 

Office doors: 4, at the 6th, 13th, 19th and 27th bays.

 

See "B." above. Cartouches: Above the 4th story at the 10th and 23rd bays.

 

Windows: 10th and 11th stories,

 

See "F." above.

 

Windows: 14th and 15th stories,

 

See "G." above.

 

Balustrade: 14th story, from 12th to 23rd bays.

 

Service Entrances: 2, at the westerly ends of the side street elevations.

 

Each one story in height, with round-arched doorways in a rusticated wall, with a metal grille gate, A winged cherub head keystone,

 

- From the 1987 NYCLPC Landmark Designation Report

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

 

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

 

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

 

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times. This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

 

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

 

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

 

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

 

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

 

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

 

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

 

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

 

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

 

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

 

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

 

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

 

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

 

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

 

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

 

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

 

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

 

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

 

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

 

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

 

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

 

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

 

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

 

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

 

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

 

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

 

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

 

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

 

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

 

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

 

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

 

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

 

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

 

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

 

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

 

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

 

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

 

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

 

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

 

WIKIPEDIA

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

 

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

 

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

 

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

 

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

 

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

 

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

 

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

 

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

 

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

 

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

 

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

 

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

 

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

 

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

 

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

 

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

 

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

 

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

 

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

 

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

 

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

 

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

 

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

 

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

 

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

 

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

 

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

 

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

 

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

 

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

 

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

 

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

 

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

 

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

 

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

 

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

 

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

 

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

 

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

 

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

 

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

 

WIKIPEDIA

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

 

The Beresford Apartments, completed in 1929 and designed by Emery Roth, then at the pinnacle of his career as a specialist in apartment house design, is one of the largest and grandest of the apartment buildings along Central Park West. Prominently located at the corner of 81st Street across from the American Museum of Natural History, it takes full advantage of its site, with two monumental facades crowned by comer towers. Executed in brick with limestone and terra-cotta detailing, the Beresford is distinctively ornamented with a sculptural program of late Renaissance inspiration which features winged cherubs, angels, dolphins and rams' heads, along with elaborate cartouches, festoons, rosettes and finials. Its vast scale and dramatic profile make the Beresford one of the most important elements on the Central Park West skyline, as well as a reminder of the heyday of luxury apartment building in New York.

 

Development of Central Park West

 

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

 

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

 

The stage had been set by two great monuments, the American Museum of Natural History between 77th and 81st Streets, , and the Dakota, the pioneering luxury apartments at 72nd Street . Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses. A few apartment hotels had been constructed by the early 1890s, including the Hotel Beresford at the northwest corner of 81st Street across from the museum on Manhattan Square. Opened in late 1889, this original Beresford was described as the first apartment hotel to be constructed on the Upper West Side.

 

The property, already considered at that date, " one of the choicest and most costly on the west side of the city," had gene through a number of real estate speculators' hands. 2 The six-story hotel was constructed by Alva S. Walker, who also owned the northern portion of the Central Park West blockfront which he intended to turn into a small park " with two tennis courts in the centre, with seats around for the use of the guests." Apparently the success of the Beresford and ever rising land values prescribed a change of course, and a ten-story wing was added instead.

 

Among the other early apartments on Central Park West were the Majestic at 71st Street, the San Remo at 75th Street, and the El Dorado at 90th Street, which, like the Beresford, have all been replaced by their towered namesakes of the late 1920s and early 1930s. A few grand apartment buildings were constructed prior to World War I, including the Prasada at 65th, the Langham at 73rd, and the Kenilworth at 75th Street. This phase in Central Park West's development was interrupted by the war, when construction ground to a halt. The second major phase of development began with the great prosperity of the '20s, producing the Art Deco towered buildings, and Roth's Beresford and San Remo Apartments, which now define the skyline.

 

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

  

The Architect

 

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

 

When still a teenager living a hand to mouth existence in Bloomington, Illinois, Roth determined to become an architect. He worked for both a local builder and a local architect. In 1889, having won a national-government sponsored contest, the Maize Competition—for which he drew a living roan utilizing the com plant as a decorative motif—Roth took his $100 prize money and set out for Kansas City. Apparently he could not find architectural employment there, but while he was still in Bloomington, had applied to join the office of Burnham & Root. Offered the job by mail, Roth moved cm to Chicago and worked under Charles Atwood

 

Roth helped to prepare drawings for the celebrated Palace of Fine Arts. While at the fair, he met Richard Morris Hunt, the recognized dean of American architects, who offered to hire him if he ever came to New York. After the fair, with true to form optimism, Roth made his way to New York, where Hunt's casual offer was honored. Assigned to draft interior perspectives for The Breakers, the Newport mansion of Cornelius Vanderbilt, Roth came in contact with Ogden Codman, a noted architect, interior designer and socialite. In 1895 Roth went to work for Codman, where his decorative and planning abilities were sharpened.

 

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

 

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

 

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

 

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

 

In 1926 Roth in association with Thomas Hastings, the surviving partner of the eminent firm of Carrere & Hastings, designed the Ritz Tower at Park Avenue and 57th Street, a 41-story apartment hotel in a neo-Renaissance style, its extreme height malting it "a symbol of a new way to live for wealthy New Yorkers." After the Ritz Tower, Roth went on to design a host of luxury residential skyscrapers, among them the Oliver Cromwell Hotel on West 72nd Street , the San Remo Apartments on Central Park West, and as a consultant to Margon & Holder, the Art Deco style Eldorado Apartments also on Central Park West .

 

From the mid-1920s on, the signature of a major Roth apartment house was its tower. Initially designed to conceal water tanks, they evolved into a major element of the design. In the San Remo, among Roth's finest works, the towers become an integral component of this residential skyscraper. This fusing of the functional with the aesthetic was equally characteristic of his apartment plans. Roth's sons credit their father with the creation of the foyer plan, and if not the originator he was certainly a refiner of this type. Roth's best apartments seem effortlessly interlocked, wasteful corridor space reduced to a minimum, with spacious, well-lit rooms in their stead.

 

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

 

The Beresford

 

Officially completed on September 13, 1929, just a few weeks before the Black Friday stock market crash, the Beresford had been planned during the most halcyon days of the 1920s. It was constructed by the H.R.H. Construction Company, which also built the San Remo. In an article in the New Yorker magazine, Penthouse [Marcia Clarke Davenport] remarks that the Beresford demonstrates that one can still find "really large rooms, really high ceilings; and you can pay—very very well for them." She further admires the windows "by far the most triumphant feature," affording unobstructed views, and the "hung" ceilings without visible beams.

 

Die plans for the Beresford reflect the luxurious standard of living envisioned for its tenants. A number of apartments contained not only the usual maids' rooms, but "servants' halls." Other amenities were provided,

 

such as dressing rooms, large cedar storage closets, breakfast roans, sun porches and numerous bathrooms. Sane of the large duplex apartments were virtually the equivalent of a large townhouse, both in size and arrangement.

 

But the economic mayhem of the Depression years resulted in serious financial difficulties for the Beresford. In 1940, it was sold along with Roth's other grand Central Park West apartment, the San Remo, which had suffered a similar plight, for a mere $25,000 over existing mortgages, despite the fact that the combined value of these two structures has been estimated at a pre-Depression value of ten million dollars.

 

The Beresford has long been associated with famous tenants in the arts and shew business. It was converted to co-operative ownership in 1962.

 

Architectural style

 

The Beresford has been compared to a medieval fortress and to a grand country villa, both allusions to its commanding presence and traditional style. Although in fact a huge 20-story skyscraper with three surmounting water tanks, the blocky massive proportions of the building emphasize its Renaissance allusions. Emery Roth had a life-long predilection for classicism and eclecticism, both clearly revealed in the Beresford design, late Renaissance and vaguely Baroque details are used relatively sparingly but are key elements.

 

Roth's aesthetic treatment of water tanks, on many buildings merely a functional eyesore, is the salient example of the architect's ability to combine traditional architectural values and modern functional requirements. At the Beresford, the water tanks—originally planned with three "observation rooms" beneath—are transformed into elegant pavilions, and integral components of the overall design. This solution, with setbacks below, allows the corners of the facade to be perceived as tower pavilions. With Roth's next major commission, the San Remo, Roth took this concept even further, resulting in its grand twin towered profile.

 

The sculptural program of the Beresford deserves special note. Few buildings of its type and date have figural ornament in such profusion. Winged cherub heads adorn keystones, angels flank doorways, and high above the street and well beyond the range of the naked eye, half-figures of cherubs support cartouches and urns, while rams' heads and skulls support festoons. Best appreciated from the terraces, this detailing is a potent symbol of the architectural extravagance of the '20s.

 

Description

 

The Beresford Apartments is a 20-story skyscraper occupying the Central Park West block front between 81st and 82nd streets, with two principal elevations facing the avenue and the south. The north elevation is similarly detailed, but secondary owing to its placement. The rear elevation with a central courtyard is not ornamented. The building is constructed in buff brick with a limestone base, with sculptural detailing in limestone at the lower four stories, and in terra cotta at the upper stories, and with mission tile roofs, metal railings and grilles, and copper lanterns. There aire four main entrances, two on the south, one on the north and one on the avenue. These lead to separate elevator banks,

 

each elevator opening to only one or two apartments per floor. Apartments originally ranged in size from 4 to 16 roans, both simplex and duplex. One of the last of the grand apartments built prior to the Depression, the building is luxuriously detailed, both on the exterior and interior. The detail is in the style of the late Italian Renaissance. Setbacks appear at the 14th, 16th, 18th and 20th stories, providing terraces. Three water tanks in towers at the principal corners of the building are the crowning elements of the corner pavilions.

 

On the three street elevations, the first three stories are faced in limestone above a granite water table. The first story is separated by a bandcourse from the two above and has bush-hammered rustication. The upper two stories have smooth rustication. A broad bandcourse separates the limestone base from the main brick portion of the building. Bandcourses comprised of two terra-cotta moldings appear between the 9th and 10th stories, the 12th and 13th, and the 13th and 14th.

 

The fenestration on these three elevations is of one basic type with two metal casement windows, beneath a single-paned transom.

 

The building rises to the 14th story in an uninterrupted block, constructed to the building line. The setbacks above articulate the corner pavilions which aire surmounted by two-story penthouses and the watertank towers. Chimneys, beginning at the 18th story are centrally located, and a large chimney appears at the west end of the southern elevation.

 

Central Park West Elevation

 

This elevation is 29 bays wide with windows in groupings to the 14th story: 3-3-5-3-3-5-3-4. At the 14th story a balustraded terrace 16 bays wide is located between corner pavilions, 6 and 7 bays wide. The central 16 bay-portion continues to the 17th story above which are two further setbacks at the 19th and 20th stories. The corner pavilions on this elevation are 6 bays wide and 7 bays wide at the 14th and 15th stories; 5 bays wide each up to the 18th story and 3 larger bays each at the 19th. The two penthouse stories appear above these corner pavilions under the observation roans and watertank coverings.

 

A. Main Entrance: located between 15th and 16th bays.

 

A canopy on bronze supports, flanked by ground level plantings behind low simple metal guard rails. Double doors glazed with plain bronze muntins and mullions. Bronze and glass lanterns flanking the doorway. Doorway with limestone enframement with scrolled keystone and carved relief panels to each side, depicting Renaissance-style stands composed of acanthus leaves, symmetrically disposed and supporting a winged frontal figure of an angel playing a horn. Above, a broken lintel with a central large scrolled cartouche, with floral festoon. At second-story level a yellow marble panel with limestone enframement, with a winged cherub head in relief above a festoon suspended from rosettes, all beneath a lintel.

 

B. Office entrances: 2, located between 15th and 16th bays.

 

Set within reveals, single doors of bronze with glazed upper panel and glazed transom.

 

C. Balustrade: above 3rd story, 13th to 18th bays.

 

Carved in limestone relief, centered above main entrance, on modillions.

 

D. Plaque and cartouches: above 4th story, at 13th and 18th, 6th and 25th

 

bays.

 

Four scrolled cartouches enliven facade, 2 inner ones frame plaque with festoons, guttae, scrolls and cartouche, inscribed "Erected 1929".

 

E. Cartouche: 14th story, between 15th and 16th bays.

 

Above main entrance, large scale, with scrolls, set in center of balustrade . Held by flanking half-figures of winged cherubs which emerge from foliate ornament- Cherub heads atop and below the cartouche scrolls.

 

F. Windows: 10th and 11th stories; 3 bays wide, at 5th-7th, 13th-15th, 16th-18th, and 24th-26th bays.

 

Two-story groupings of windows in threes enframed by terra cotta, above bandcourse with pseudo-balustrades. Between the two stories a beribboned cartouche flanked by winged cherub heads and scrolled brackets. A rosette above the central 11th-story window of each grouping.

 

G. Windows: 14th and 15th stories, 3 bays wide, at 5th-7th bays, and 24th-26th bays.

 

located at the first setback level, groupings with rosettes beneath each window at the 14th story, a balcony projection at the central bay at this level, the rosette in an octagonal frame. The two-story composition enframed by brick pilasters supporting a triangular broken pediment. An ornamental grille at the center of the pediment. The central bays at each story with enframements. At the 14th story a curved broken pediment, with a ram's head at the center, supporting festoons, and a scroll above. The 15th story central window with cartouche and flanking festoons.

 

H. Windows: 19th and 20th stories, at 3rd and 27th bays.

 

Set in the corner pavilions, 2-story compositions with enframed windows separated by a balustrade. Pilasters at the 20th story on console brackets under a curved broken pediment, with a central segmental-arched dormer with a round-arched opening containing a grille. At the 20th story above the central window, a winged cherub head on a tablet, with festoons.

 

I. Cartouche: 17th story, between 15th and 16th bays.

 

An elaborate scrolled and beribboned cartouche, continuing central composition above the main entrance, also signalizing chimneys above. A

 

rami's skull at the base, with festoon.

 

J. Finials: above the 20th story.

 

Set at the corners of balustrades, at the 1st story of penthouses; urn-shaped.

 

Water tank towers

 

Octagonal, with broader faces set rectilinealy and narrower faces set diagonally. Four double-height round-arched windows above a balustrade, each flanked by engaged columns on console brackets, supporting a lintel and broken triangular pediment with a central bull's-eye opening with surmounting winged cherub head. Half-figures of cherubs emerging from foliate ornament flank and hold an urn with ram's head below. Drapery swags suspended from rosettes with a central scrolled keystone.

 

Interspersed by 4 square-headed blind windows surmounted by triangular broken pediments with central winged cherub heads in panels above. Beneath the windows console brackets support simple obelisk shaped finials. Copper and glass lanterns surmount the roofs.

 

South Elevation

 

This facade with two main entrances and three office doors is 30 bays wide with windows grouped in threes except in the outermost bays where there is a single pair at the east and and 2 pairs at the west, up to the 14th story, where the setbacks begin. From the 14th to 17th stories the center of the facade is 15 bays wide, flanked by 8 bays to the west and 7 to the east. Terraces appear at the 18th to 20th stories at the center. A large chimney rises from the 17th story beneath the western tower.

 

Main entrance: 2,at 5th-7th bays, and 23rd-25th bays.

 

A canopy on bronze supports, flanked by ground level plantings behind simple guard rails. Double doors with simple bronze muntins and mullions. Bronze and glass lanterns flank the doors. Doorway with limestone enframement and carved relief panels to each side, depicting Renaissance style stands of acanthus leaves, symmetrically disposed adorned with a pair of dolphins. Above, a curved broken pediment with a central scrolled cartouche, above a console bracket, ornamented with a festoon. At 2nd story level, an enframed central window with a winged cherub head beneath a lintel.

 

Office doors: 3, located at 14th, 19th and 28th bays. See "B." above.

 

Cartouches: above 4th story, at 6th, 12th, 18th, 24th bays.

 

Windows: 10th and 11th stories, at the 5th-7th, 11th-13th, 17th-19th, 23rd-25th bays.

 

See "F." above.

 

Windows: 14th and 15th stories, at the 5th-7th, 23rd-25th bays.

 

See "H." above.

 

Windows: 20th story, at 15th-16th bays.

 

Two windows with eared enframements, surmounted by a central cartouche.

 

Balustrade: 14th story, from the 8th to 22nd bays.

 

North elevation

 

This elevation has 29 bays in groupings of three with two additional bays at the west. A series of graduated setback terraces with curved parapet wall and metal railings appears at the westernmost five bays beginning at the 9th story and continuing to roof level.

 

Main entrance: 1, at 7th bay .

 

Single doorway, flanked by small glass and bronze lanterns. Surmounted by a cartouche set on the door enframent. A glazed transom, with metal grille, enframed, and surmounted by a garland, winged cherub head, and scroll.

 

Office doors: 4, at the 6th, 13th, 19th and 27th bays.

 

See "B." above. Cartouches: Above the 4th story at the 10th and 23rd bays.

 

Windows: 10th and 11th stories,

 

See "F." above.

 

Windows: 14th and 15th stories,

 

See "G." above.

 

Balustrade: 14th story, from 12th to 23rd bays.

 

Service Entrances: 2, at the westerly ends of the side street elevations.

 

Each one story in height, with round-arched doorways in a rusticated wall, with a metal grille gate, A winged cherub head keystone,

 

- From the 1987 NYCLPC Landmark Designation Report

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

 

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

 

The Century Apartments, extending along the entire blockfront of Central Park West between West 62nd Street to West 63rd Street, anchors the southern end of one of New York City's finest residential boulevards, tfith twin towers rising 300 feet from the street, this building is one of a small group of related structures that help give Central Park West its distinctive silhouette. Designed in 1930 by Irwin S. Chanin of the Chanin Construction Company, the Century Apartments is among the most sophisticated residential Art Deco buildings in New York and is a major work by one of America's pioneering Art Deco designers.

 

Built in 1931, the Century was among the last buildings erected as part of the early 20th-century redevelopment of Central Park West. Central Park West, a continuation of Eighth Avenue, runs along the western edge of Central Park. Development along this prime avenue occurred very slowly, lagging substantially behind the general development of the Upper West Side. When Frederick Law Olmsted laid out Central Park he saw that the presence of the park would raise the value of land immediately adjacent to it. Olmsted expected these areas to develop as prime residential streets. Land speculation did indeed occur on Central Park West. However, the west side of the park never attracted the extremely wealthy people who could afford the inflated prices of land bordering on the park. Thus, while the side streets of the Upper West Side were built up with rows of speculative houses, Central Park West remained largely undeveloped.

 

A survey of Central Park West published in February 1893 shows that of the three blocks between 60th and 96th Streets (the American Museum of Natural History, located between 77th and 81st Streets is counted as one block) nineteen were either totally vacant or contained old shanties and frame houses. Other blocks were partially vacant. South of 71st Street every blockfront was empty except for the southernmost frontages which contained the Durland Riding Academy and the Van Norman Institute. 1

 

The earliest residential improvement on Central Park West, and one of its great architectural monuments was the Dakota, a designated New York City Landmark, at 72nd Street. Built in 1880-84, this eight-story building established Central Park West's character as a street of multiple dwellings. In 1890, by which time the Dakota had been joined by two apartment hotels, the St. Remo on 75th Street and the Beresford on 81st Street, as well as several flat houses, real estate broker F. R. Houghton noted that:

 

Central Park West seems to have only one future— it is destined to become an avenue of grand apartment houses and hotels. Everything tends that way. It is too public a thoroughfare to become a private residential avenue 3

 

However, it wasn't until several years later that Central Park West experienced the construction boom that Houghton had predicted.

 

The first concentrated building boom on Central Park West occurred at the turn of the century when a significant number of elegant residential and institutional buildings were erected south of 96th Street. These include some of the finest apartment houses in New York, such as the Prasada (1904) at 65th Street, the Langham (1905) at 73rd Street, the Kenilworth (1908) at 75th Street, and the St. Urban (1904) at 89th Street, as well as such institutional structures as the Ethical Culture Society School and Meeting House (1902, 1909) at 63rd and 64th Streets, Holy Trinity Evangelical Lutheran Church (1903) at 65th Street, the Second Church of Christ, Scientist (1898) at 68th Street, the Congregation Shearith Israel Synagogue (1895) at 70th Street, the Universalist Church of the Divine Paternity (1898) at 76th Street, and the Progress Club (now the Walden School, 1902) at 88th Street.

 

The presence of these fine apatment buildings and institutions on Central Park West reflects the coming of age of the Upper West Side. The Upper West Side had developed in the final decades of the 19th century as an enclave of upper middle-class life. Affluent middle-class families were attracted to the area by the quality of its housing, the presence of Riverside Park and Central Park, and by the accessibility of the neighborhood. As the Upper West Side became more and more desirable, developers began to build on the more expensive sites bordering the parks, and Central Park West began to be transformed into an elegant avenue of tall buildings that contrasted dramatically in scale to low rise residential Fifth Avenue. 4

 

In 1909 the new Central Park West apartment houses and institutions were joined by one of New York City's most sumptuous buildings, the New Theatre designed by Carrere & Hastings. This elegant limestone structure extended along the entire blockfront between 62nd Street and 63rd Street and was erected to house a subsidized theater company that would be artistically and physically separate from the commercial theaters centered around Times Square. This was not a successful artistic venture and the effort to establish a classical theater company at the New Theatre failed. In 1911 the theater was renamed the Century and it became a commercial house, albeit one located far from the commercial theater center. In 1920 the Shubert Organization gained control of the theater, and they managed it until its sale to the Chanin Construction Company in 1930.

 

During World War I construction on Central Park West slowed, but between 1920 and 1931 the area was transformed as the vacant sites were filled and many of the early apartment hotels and flats were replaced by new apartment houses. This final phase of Central Park West's development culminated in 1929-31 with the construction of the four twin-towered buildings that gave Central Park West its characteristic skyline. The distinctive form of the Century at 62nd and 63rd Streets, the Majestic (1930) at 71st-72nd Streets, the San Remo (1929) at 74th-75th Streets, and the Eldorado (1929) at 90th-91st Streets has come to symbolize the high quality of residential design of New York's Upper West Side.

 

Two of these great twin-towered buildings, the Majestic and Century, are Art Deco style structures designed and constructed by Irwin S. Chanin, one of New York City's leading builders and a pioneer in the design of Art Deco buildings in America. Irwin Salmon Chanin was born in Bensonhurst, Brooklyn. Soon after his birth the family returned to its native Ukraine, remaining there until 1907 when they moved back to Bensonhurst. Chanin graduated from Cooper Union in 1915 having studied engineering and architecture. His earliest employment was as an engineer working on subway construction in New York and Philadelphia. In 1919, after a brief stint in the army, Chanin began his building activities by constructing two houses in Bensonhurst. The success of this modest venture led to the construction of other one- and two-family houses in Bensonhurst as well as the formation of the Chanin Construction Company. In 1924 Chanin entered the real estate field in Manhattan with the erection of the Fur Center Building.

 

Also in that year Chanin began the construction of the first of a series of Broadway theaters. These theaters— all designed by architect Herbert Krapp—the 46th Street, Biltmore, Mansfield (now Brooks Atkinson), Royale, Majestic, and Masque (now Golden) have excellent sightlines and acoustics and only a single balcony; they remain among the finest Broadway houses. Chanin also built three large movie houses—the Loew's Coney Island (1925), Reilly & Hall, architects; the Roxy (1927), Walter Ahlschlager, architect; and the Beacon (1927-28), Walter Ahlschlager, architect. In 1925 Chanin spent four weeks in Paris visiting the Exposition Internationale des Arts Decoratifs et Industriels Modernes. This decorative arts exhibition had a profound influence on American architecture as American architects began to adapt the ornamental forms they had seen in Paris to their buildings. The first architects In the United States to use what have come to be known as Art Deco forms on major architectural works were Chanin and Ely

Jacques Kahn, both of whom had visited the Paris exhibition.^ Art Deco motifs first appear in Chanin's work at the Lincoln Hotel (now the Milford Plaza Hotel) built in 1927 as part of a complex of buildings that included the Royale, Majestic, and Masque Theatres.

 

The Lincoln was a traditionally styled structure designed by Schwartz & Gross. For the lobby and dining room, however, Chanin designed Art Deco wall panels and furnishings. The Lincoln Hotel interiors were followed by the Chanin Building of 1927-29 located at the southwest corner of East 42nd Street and Lexington Avenue. At the time the Chanin Building was designed, Chanin was not a registered architect. Chanin hired Sloan & Robertson, a rather conservative architectural firm responsible for the nearby Graybar Building, to examine the plans prepared by the Chanin Construction Company* Sloan & Robertson were only responsible for the exterior form of the building. Chanin personally supervised the decoration of the building. The building is filled with French-inspired Art Deco motifs, many executed under Chanin's direction by French-trained sculptor Rene Chambellan.

 

In 1930 Chanin became a registered architect and he was responsible for the design of the two Central Park West apartment buildings, but both projects had their genesis in plans for other building types. In April 1929, the Chanin Construction Company purchased the old Hotel Majestic on Central Park West between 71st Street and 72nd Street, intending to replace the old structure with a 45-story hotel.^ As designed, this was a dramatically-massed Art Deco structure, but the building situation in New York following the stock market crash precluded the construction of such an ambitious and risky project. In June 1930 it was announced that a 29-story twin-towered apartment house would rise on the site. According to Chanin, the design of this building was somewhat experimental—he wished to see if Art Deco forms would be accepted for a residential building.

 

Chanin's official involvement with the Century site began on May 28, 1929, when it was announced that the Chanin Construction Company would purchase the entire city block bounded by Broadway, Central Park West, West 62nd Street, and West 63rd Street. The site included the Century Theatre on Central Park West, Daly's Theatre on 63rd Street, and an apartment house and two garages on Broadway. Chanin announced that he would build a 65-story skyscraper on the site, that would, according to the New York Times, "be revolutionary in design and use."8 The Century Theatre was the property of the Shubert Organization, and in order to acquire the Central Park West site, Chanin was forced to sell them his interest in the Royale, Masque, and Majestic Theatres. The Shubert Organization had purchased a half interest in these theaters in 1928 and, according to Chanin, had had an interest in acquiring full control.

 

In August 1929 Chanin announced specific plans for the newly acquired Century Theatre site. He proposed to build an office and hotel that would be "an innovation in international relations."^ The building, to be known as the Palais de France, was to house the French consulate and tourist board, and the offices of French commercial firms. Chanin was to design the new building which would be in a "modern French [style] adapted to the exigencies of American skyscraper construction.In other words, this was to be an Art Deco style building using forms similar to those already in evidence at the Chanin Building. The building was to have three stories of permanent exhibition space for the display of French manufactured goods and for an international display of automobiles, airplanes, and yachts. There would also be shops on the ground floor. The next 27 stories were to be a hotel, while the top 30 stories were to be the French offices.

 

The conception of a Palais de France for New York reflects Chanin's interest in France and French culture. He wished to provide a building where French and American art and commerce could be united. While Chanin was impressed with European, and particularly French, modern design, he felt that America had successfully adapted these forms to create its own design idiom:

 

While Europe is the motherland in the development of the so-called modernistic tendencies in design, it is my own opinion that America is rationalizing these ideas and is making them fit into the scheme of things more successfully than Europe. I did not see abroad'any modernistic interiors or furniture that approaches either in beauty or usefulness that which is becoming fairly common in New York.H

The Palais de France was to unite a modern American structure with the finest modern French products.

 

Chanin and banker S.W. Straus traveled to France to arrange the sale of the Century site to the French. Negotiations seemed to be progressing, but no money was forthcoming from French banks, and in October 1930, Chanin announced that the Palais de France scheme had been dropped and that he would build a twin-towered apartment house similar in concept to the Majestic, then under construction. This building was to contain small apartments of from two to seven rooms "to meet the demand for this type of housing accommodation along Central Park West."12 According to Irwin Chanin the Century's apartments are smaller than those of earlier buildings because of the difficulty in renting large apartments during the Depression. The earlier Majestic had large apartments, some of which were difficult to rent and so the Century was planned with smaller, but still carefully laid out units.^ The Century, designed a year after the Majestic, is considered by Chanin to be a finer work.

 

He particularly noted that the crown of Century is a more complex creation and that the building has finer bay windows and balconies, and special glass.

 

The Century was the last of the four great Central Park West twin-towered apartment buildings. It is these buildings which prompted the New York Times to write that the west side "skyline bids fair to be ere long as beautifully fantastic as it is where the river mingles in the bay."^-^ The tower forms of the Century, Majestic, San Remo, and Eldorado came about as a result of the multiple dwelling law passed by the New York State Legislature in 1929. This law mandated an increase in yard and court area, but allowed residential buildings to rise higher than before, legalizing setbacks and towers in this building type for the first time. The bill limited the height of street walls to time the width of the street, but, on plots of over 25,000 square feet, allowed towers that could rise up to three times the width of the street.

 

The Century is a sophisticated essay in "modern American" or Art Deco design. The facade exhibits a complex balance of horizontal an^ vertical elements that creates a dynamic design tension. The nineteen-story superstructure forms a street wall that hugs the lot line on all three main elevations and lines up with the older pre-1929 buildings on Central Park West, while the towers rise up to proclaim the advent of a new zoning scheme and a modern style of architecture. The bands of tan and light brown brick, the long corner windows, and the cantilevered balconies lend a strong horizontal force to the design, but these are balanced by the vertical thrust of the projecting bowed window bays with their vertical brick ornament, by the rust-colored brick spandrel panels, and by the recessed window bays of the towers. The geometric masses that crown the towers also display this complex balance of horizontal and vertical forms.

 

On a smaller scale, the pattern of window mullions echoes the balance of horizontal and vertical elements found elsewhere. This is particularly true at the corner solaria with their strong horizontal mullions and rhythm of narrow and wider vertical mullions. These solaria are an important feature of the Century's design, and they, along with the other windows of the building, were equipped with a special imported English glass that allowed ultra-violat rays Into the apartments. Much of the Century's interest lies in the manipulation of such structural features as the brickwork, windows, bays, and balconies. Ornament, placed sparingly on the exterior, is used to highlight major focal points of the building such as the entrances, setbacks, and crowns. It is the crowns, visible from Central Park and as far east as Fifth Avenue, that are, appropriately, given the most dramatic ornamental form. The buttressed crowns with their corner fins and arched rear projections are one of New York City's major architectural adornments.

 

When it opened, the Century contained 417 suites and 1,688 rooms. Among its special features were sunken drawing rooms with fireplaces, creak-proof floors of walnut and selected hardwoods, free standing showers, duplex suites, and lobbies adjacent to the three entrances that displayed the finest in contemporary American design. In addition, there was a private landscaped garden located within the U-shaped plan of the building. The garden walls are faced with the same brick used for the street facades, reflecting Chanin*s effort to have the eighty-foot wide garden take on the form of a street, so that when residents looked out of their garden windows they did not have the feeling of living in a dark court.

 

The quality of the Century's design and its location near Hidtown offices and the theater district have attracted many prominent tenants including members of the Chanin family, Ethel Merman, Lee Shubert, Nanette Fabray, Jack Dempsey, Joey Heatherton, Mark Connolly, Theodore Sorensan, Carol Lawrence, Robert Goulet, Bill Cullin, and Leo Lindy (of cheesecake fame).

 

Description

 

The Century Apartments faces onto Central Park West between 62nd and 63rd Streets and extends back 250 feet on both side streets. The massing of this 30-story building is divided into a massive nineteen-story base that runs along the lot line on all three elevations and a pair of tall towers set at the Central Park West corners. The structure rests on a low rose-colored granite watertable, above which is a one- and two-story ochre-colored stone base. In the center of the Central Park West facade, the one-story stone base is pierced by the main entrance. The lobby is entered through a pair of glass doors protected by stylized geometric Art Deco style grilles of "white metal." The doors are set within a modest white metal enframement. The entrance ensemble is surrounded by the same rose-colored granite used on the watertable. This surround is framed by quoin-like forms ending in raised vertical moldings. To either side of the entrance are window groups and doors leading to professional apartments.

 

There are stores at either corner. The storefronts are not original, but they are set within the original openings. The commercial space at the 62nd Street corner was originally planned to house a bank, but due to the Depression the two-story space remained vacant. After World War II the space was divided and an apartment was created .on the second floor.

 

In its massing and ornamentation the Century Apartments displays a sophisticated balance between horizontal and vertical elements. Vertically, the main mass of the symmetrical apartment house can be divided,into five pavilions, each separated by shallow bow windows. The three central sections are faced with a tan brick that was chosen because of its resemblance to the color of limestone. The facade is enlivened with wide bands of light brown brick set between all of the windows with the exception of those beside the vertical bowed bays at either end. The central pavilion, above the entrance, is articulated by two windows on each of the floors between two and fifteen (exterior floor numbers may not always correspond with the interior numbering system). As with all of the windows of the building the sash consists of metal casements. Each window is divided into several movable and stationary panes by thin metal mullions.

 

The balance between the vertical and horizontal mullions echoes the overall balance of the building. In the central section each window consists of two movable casements. Long rectangular panes flank the casements while four stationary panes are set above and four jalousie windows are set below. There are concrete sill bands below each window.

 

Flanking the central section and separated from it by pairs of bowed window bays are pavilions that consist of pairs of small single casement windows and a double casement. The bowed bays rise vertically from the second floor. Bands of tan and light brown brick are located between the bays of each pair. The bowed window of each apartment is set below the level of the other windows indicating the presence of sunken drawing (living)rooms. Each of the bow windows Is divided into five parts with three narrow casements flanked by stationary panes. There are fixed transoms above and jalousies below. The bays are enlivened by the use of rust-colored brick spandrels ornamented with vertical bands of projecting bricks laid at an angle.

 

The rows of angled bricks continue the vertical Lines of the window mullions. Each window in the bay has a concrete sill and a brick lintel.

 

The corner sections of the building are faced entirely in tan brick and are articulated by large glass solaria. The end pavilions are separated from the central portion of the building by single bowed bays identical in form to those already described. These bays rise to the seventeenth floor, two stories higher than the central bays. Each solaria consists of eight windows on Central Park West and three on the side street. With the exception of the end panes on Central Park West all of these are movable casements. These large window groups have strongly articulated horizontal metal mullions and a rhythm narrow and wider mullions.

 

The sixteenth through nineteenth floors form a transitional zone between the main mass of the building and the towers above. Each of these floors contains cantilevered concrete balconies guarded by metal railings ornamented with Art Deco style chevron patterns.

 

The twin towers soar upwards to the ornamental crowns that identify the building from afar. The towers are faced with tan brick with light brown bands at the corners. The windows, with their metal mullions, are of the type discussed above. On Central Park West, beginning above the twentieth floor, the four central windows of each tower are ornamented by bold goemetric brick patterns. At the thirtieth floor each tower sets back to form the unique top that gives the Century its distinctive, recognizable silhouette. Like the massing and ornamentation of the facades and^the arrangement -a£»ithe windows _ these crowns exhibit a complex interaction of horizontal and vertical elements. Each consists of a main geometric mass (housing a water tower) that is supported by buttresses. The vertical thrust of the buttresses is countered by concrete "fins that straddle each corner of the towers.

 

At the northwest corner of the north tower and the corresponding southwest corner of the south tower arched projections with incised channels rise almost to the roofline (that to the south has been poorly rebuilt). These add to the dynamic silhouette of each tower.

 

The side street elevations of the Century step down in accordance with zoning rules. There are four major levels on each side street elevation, each of which is topped by projecting concrete balconies. The tan brick facades are interrupted in three locations by pairs of ornamental rust-colored brick window spandrels. On the ground floor are a succession of doors leading to professional offices and secondary residential entrances similar in design to that of the front elevation. At the rear, on each street, are geometric Art Deco gates leading to the service entrances. Geometric water tower pavilions, similar in form to the tower crowns, are located above the roofline of each side street facade.

 

The main mass of the Century is laid out on a U-shaped plan with a central garden that is visible from the public park and drive of the Lincoln Plaza Apartments off Broadway. The inner elevations of the Century are faced with the same tan brick used elsewhere and are articulated with a similar fenestration pattern. The use of the same face brick on the private inner court that was used for the public facades was unusual and evinces a desire on Mr. Chanin's part to design and build a building of the highest residential quality. The court created by the U-shaped plan was laid out as a garden for the enjoyment of the tenants. This garden, with its four brick pylons, survives.

 

There have been only two serious alterations to the Century since its completion. These are the alteration to the arched fin of the south tower, previously noted, and the removal of the original windows and brickwork from the twentieth and twenty-first floors of the Central Park West elevation of the south tower. Other alterations have occurred to the windows of the north tower penthouse and to several other apartment windows.

 

The Century Apartments stands today as a testament to the vision of architect and builder Irwin S. Chanin. In its characteristic twin-towered form, it remains one of the landmarks of Central Park West and is one of the major Art Deco style apartment buildings in America.

 

- From the 1985 NYCLPC Landmark Designation Report

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

 

DESCRIPTION AND ANALYSIS

 

Summary

 

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

 

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

 

Development of Central Park West

 

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

 

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

 

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

 

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

 

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

 

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

 

The Architect

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The San Remo

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

are fine in silhouette____ The proportions are

 

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

 

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

 

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

 

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

 

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

 

Architectural Sources and Style

 

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

 

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

 

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

 

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

 

Description

 

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

 

Detailing

 

Fenestration:

 

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

 

Main Entrances:

 

Facade [Central Park West] .

 

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

 

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

 

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

 

Office Entrances:

 

Facade [Central Park West] .

 

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

 

North elevation [75th St.] .

 

These are detailed like those on the facade.

 

South elevation [74th St.] .

 

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

 

Service Entrances:

 

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

 

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

 

Third Story Window Enframements:

 

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

 

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

 

Fourth Story Window Enframements:

 

Facade [Central Park West] .

 

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

 

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

 

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

 

Fourth Story Cartouche:

 

Facade [Central Park West] .

 

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

 

Eleventh-Twelfth Story Window Enframements:

 

Facade [Central Park West] .

 

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

 

Thirteenth to Fifteenth Story Window Enframements:

 

Facade .

 

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

 

Thirteenth to Seventeenth Story Window Enframements:

 

Facade [Central Park West] .

 

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

 

Twenty-third Story Window Enframements:

 

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

 

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

 

Twenty-sixth - Twenty-seventh Story Window Enframements:

 

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

 

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

 

Suprastructure Window Enframements:

 

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

 

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

 

Temples:

 

North and south towers, .

 

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

 

- From the 1987 NYCLPC Landmark Designation Report

There seems to be some speculation as to which railroad this depot belonged to and an actual build date. Some guesses are Pennsylvania Railroad (PRR), Cleveland, Cincinnati, Chicago & St. Louis (CCC&St.L) and the Cleveland, Columbus, Cincinnati & Indianapolis (CCC&I) Railroads. Build dates vary from 1875 to 1960.

According to the county auditors information, it was built in 1890 and ownership can only be tracked back to the 1920's.

 

Google Map coordinates... 40.127197, -83.005193

When Kellie Pickler Plastic Surgery is discussed it’s not only her breast which captures attention in fact speculations are also present that she has opted for botox and facelifts.

celebsplasticsurgery.com/kellie-pickler-plastic-surgery/

My place of comfort during the study period for my exams.

 

Surrounded by knowledge, speculations, lies & fiction.

  

...Seemed to be the brief for the "Samsung" designers with the ECX1...

 

It's the latest model to join my "99p Camera Club", and is pictured above with fellow member, a Rollei X70.

 

There's much speculation about who made these cameras, and there can be little doubt that very similar brains, if not bodies, are present.

 

Flash Modes - Auto, Auto Red Eye, Auto Backlight Control, Fill In, Fill In Red Eye, Off? Check.

 

Fuzzy Zoom mode? Check.

 

Portrait Zoom mode? Check.

 

Step Zoom (up to 3 shots of the same scene at different focal lengths)? Check.

 

Double Self Timer (one shot after 10 seconds, another after 3 seconds more)? Check?

 

Continuous Shooting? Check.

 

Interval Shooting? Check.

 

Landscape/ Infinity Mode? Check.

 

Snap Mode ("hyperfocal" length, small aperture, good for anything between 1.3 - 5m)? Check.

 

Multiple Exposures? Check.

 

The ECX1 even has +/-3 exposure compensation and a kind of manual focus where you can set the distance it will focus to, from 0.6m to 199m!

 

But aside from those last two functions, the brain appears almost identical, as do the display icons and text.

 

When you switch the cameras on and fire the shutter, with the lights out I couldn't distinguish between them, so similar are their twitches and whirrs.

 

Slightly different are the viewfinders, the ECX1 one being somehow much more difficult to locate with your eye and use, despite them being similar in size when you do look through.

 

Vastly different however, are the size and weight of these cousins.

 

The ECX weighs a shade over half a kilogram, a crazy amount for a supposed "compact" camera, to the Rollei's moderate 275g. There must be dozens of late 80s onwards SLRs that weigh less, and even the bodies of the Pentax all metal SLRs of the 70s like the ME Super weigh only about 450g.

 

Plus, the Samsung is a bulbous beast, like one of those muscle bound gym addicts who have gone far beyond what looks healthy and into the realms of the almost grotesque.

 

This could be partly forgiven all those bulges added up to beautiful ergonomics. But they don't.

 

Plus, although the right hand grip is rubberised, it's such a hard and shiny kind of rubber, it feels more slippery than plastic with a few well placed grooves or bobbles, like the Rollei has.

 

For me, the Rollei X70 with its simple rectangular form with smoothed edges, plus that subtle added grip in the right places makes it a far more comfortable camera to hold.

 

And it can be slipped into a coat or even large trouser pocket in an instant. Not a chance with the Samsung, you'd need a bag or simply to have it dangling awkwardly (and weightily!) around your neck.

 

The Samsung, some say, has a very good lens. The (for me) unnecessary 38-140mm zoom doesn't appeal at all, I'm much happier with the 35-70mm of the Rollei.

 

I don't expect the Rollei lens to be poor, especially with that relatively short focal length range, but I have yet to develop the first roll shot with it, so the jury is still out.

 

My fingers are crossed, because if the photographs turn out fairly good, it's sure to become a keeper, as it offers all you could really want in a compact, in a genuinely fairly compact and understated package.

 

The ECX1 unfortunately, with its over designed, overweight and faintly ridiculous looks, is most likely destined for the charity shop...

 

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

 

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

 

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

 

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times. This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

 

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

 

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

 

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

 

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

 

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

 

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

 

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

 

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

 

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

 

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

 

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

 

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

 

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

 

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

 

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

 

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

 

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

 

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

 

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

 

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

 

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

 

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

 

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

 

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

 

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

 

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

 

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

 

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

 

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

 

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

 

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

 

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

 

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

 

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

 

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

 

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

 

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

 

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

 

WIKIPEDIA

Since Russian leader Vladimir Putin assumed power in August 1999, speculation about his character, motives, and plans for Russia’s future has been rampant in the West. Even after he stepped down as president in May 2008, retaining a significant measure of power as prime minister under his hand-picked successor, President Dmitri Medvedev, Putin remains poorly understood. In this interpretive biography of Putin, ALLEN C. LYNCH, director of the Center for Russian and East European Studies and associate professor of government and foreign affairs seeks to reconcile the two conflicting images and find out just where the truth lies about the man and the statesman.

  

Held February 24, 2012. Miller Center, Charlottesville, VA.

 

For more information, visit millercenter.org/.

Since Russian leader Vladimir Putin assumed power in August 1999, speculation about his character, motives, and plans for Russia’s future has been rampant in the West. Even after he stepped down as president in May 2008, retaining a significant measure of power as prime minister under his hand-picked successor, President Dmitri Medvedev, Putin remains poorly understood. In this interpretive biography of Putin, ALLEN C. LYNCH, director of the Center for Russian and East European Studies and associate professor of government and foreign affairs seeks to reconcile the two conflicting images and find out just where the truth lies about the man and the statesman.

 

Hosted February 24, 2012. Miller Center, Charlottesville VA.

  

For more information, visit millercenter.org/.

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

 

The Century Apartments, extending along the entire blockfront of Central Park West between West 62nd Street to West 63rd Street, anchors the southern end of one of New York City's finest residential boulevards, tfith twin towers rising 300 feet from the street, this building is one of a small group of related structures that help give Central Park West its distinctive silhouette. Designed in 1930 by Irwin S. Chanin of the Chanin Construction Company, the Century Apartments is among the most sophisticated residential Art Deco buildings in New York and is a major work by one of America's pioneering Art Deco designers.

 

Built in 1931, the Century was among the last buildings erected as part of the early 20th-century redevelopment of Central Park West. Central Park West, a continuation of Eighth Avenue, runs along the western edge of Central Park. Development along this prime avenue occurred very slowly, lagging substantially behind the general development of the Upper West Side. When Frederick Law Olmsted laid out Central Park he saw that the presence of the park would raise the value of land immediately adjacent to it. Olmsted expected these areas to develop as prime residential streets. Land speculation did indeed occur on Central Park West. However, the west side of the park never attracted the extremely wealthy people who could afford the inflated prices of land bordering on the park. Thus, while the side streets of the Upper West Side were built up with rows of speculative houses, Central Park West remained largely undeveloped.

 

A survey of Central Park West published in February 1893 shows that of the three blocks between 60th and 96th Streets (the American Museum of Natural History, located between 77th and 81st Streets is counted as one block) nineteen were either totally vacant or contained old shanties and frame houses. Other blocks were partially vacant. South of 71st Street every blockfront was empty except for the southernmost frontages which contained the Durland Riding Academy and the Van Norman Institute. 1

 

The earliest residential improvement on Central Park West, and one of its great architectural monuments was the Dakota, a designated New York City Landmark, at 72nd Street. Built in 1880-84, this eight-story building established Central Park West's character as a street of multiple dwellings. In 1890, by which time the Dakota had been joined by two apartment hotels, the St. Remo on 75th Street and the Beresford on 81st Street, as well as several flat houses, real estate broker F. R. Houghton noted that:

 

Central Park West seems to have only one future— it is destined to become an avenue of grand apartment houses and hotels. Everything tends that way. It is too public a thoroughfare to become a private residential avenue 3

 

However, it wasn't until several years later that Central Park West experienced the construction boom that Houghton had predicted.

 

The first concentrated building boom on Central Park West occurred at the turn of the century when a significant number of elegant residential and institutional buildings were erected south of 96th Street. These include some of the finest apartment houses in New York, such as the Prasada (1904) at 65th Street, the Langham (1905) at 73rd Street, the Kenilworth (1908) at 75th Street, and the St. Urban (1904) at 89th Street, as well as such institutional structures as the Ethical Culture Society School and Meeting House (1902, 1909) at 63rd and 64th Streets, Holy Trinity Evangelical Lutheran Church (1903) at 65th Street, the Second Church of Christ, Scientist (1898) at 68th Street, the Congregation Shearith Israel Synagogue (1895) at 70th Street, the Universalist Church of the Divine Paternity (1898) at 76th Street, and the Progress Club (now the Walden School, 1902) at 88th Street.

 

The presence of these fine apatment buildings and institutions on Central Park West reflects the coming of age of the Upper West Side. The Upper West Side had developed in the final decades of the 19th century as an enclave of upper middle-class life. Affluent middle-class families were attracted to the area by the quality of its housing, the presence of Riverside Park and Central Park, and by the accessibility of the neighborhood. As the Upper West Side became more and more desirable, developers began to build on the more expensive sites bordering the parks, and Central Park West began to be transformed into an elegant avenue of tall buildings that contrasted dramatically in scale to low rise residential Fifth Avenue. 4

 

In 1909 the new Central Park West apartment houses and institutions were joined by one of New York City's most sumptuous buildings, the New Theatre designed by Carrere & Hastings. This elegant limestone structure extended along the entire blockfront between 62nd Street and 63rd Street and was erected to house a subsidized theater company that would be artistically and physically separate from the commercial theaters centered around Times Square. This was not a successful artistic venture and the effort to establish a classical theater company at the New Theatre failed. In 1911 the theater was renamed the Century and it became a commercial house, albeit one located far from the commercial theater center. In 1920 the Shubert Organization gained control of the theater, and they managed it until its sale to the Chanin Construction Company in 1930.

 

During World War I construction on Central Park West slowed, but between 1920 and 1931 the area was transformed as the vacant sites were filled and many of the early apartment hotels and flats were replaced by new apartment houses. This final phase of Central Park West's development culminated in 1929-31 with the construction of the four twin-towered buildings that gave Central Park West its characteristic skyline. The distinctive form of the Century at 62nd and 63rd Streets, the Majestic (1930) at 71st-72nd Streets, the San Remo (1929) at 74th-75th Streets, and the Eldorado (1929) at 90th-91st Streets has come to symbolize the high quality of residential design of New York's Upper West Side.

 

Two of these great twin-towered buildings, the Majestic and Century, are Art Deco style structures designed and constructed by Irwin S. Chanin, one of New York City's leading builders and a pioneer in the design of Art Deco buildings in America. Irwin Salmon Chanin was born in Bensonhurst, Brooklyn. Soon after his birth the family returned to its native Ukraine, remaining there until 1907 when they moved back to Bensonhurst. Chanin graduated from Cooper Union in 1915 having studied engineering and architecture. His earliest employment was as an engineer working on subway construction in New York and Philadelphia. In 1919, after a brief stint in the army, Chanin began his building activities by constructing two houses in Bensonhurst. The success of this modest venture led to the construction of other one- and two-family houses in Bensonhurst as well as the formation of the Chanin Construction Company. In 1924 Chanin entered the real estate field in Manhattan with the erection of the Fur Center Building.

 

Also in that year Chanin began the construction of the first of a series of Broadway theaters. These theaters— all designed by architect Herbert Krapp—the 46th Street, Biltmore, Mansfield (now Brooks Atkinson), Royale, Majestic, and Masque (now Golden) have excellent sightlines and acoustics and only a single balcony; they remain among the finest Broadway houses. Chanin also built three large movie houses—the Loew's Coney Island (1925), Reilly & Hall, architects; the Roxy (1927), Walter Ahlschlager, architect; and the Beacon (1927-28), Walter Ahlschlager, architect. In 1925 Chanin spent four weeks in Paris visiting the Exposition Internationale des Arts Decoratifs et Industriels Modernes. This decorative arts exhibition had a profound influence on American architecture as American architects began to adapt the ornamental forms they had seen in Paris to their buildings. The first architects In the United States to use what have come to be known as Art Deco forms on major architectural works were Chanin and Ely

Jacques Kahn, both of whom had visited the Paris exhibition.^ Art Deco motifs first appear in Chanin's work at the Lincoln Hotel (now the Milford Plaza Hotel) built in 1927 as part of a complex of buildings that included the Royale, Majestic, and Masque Theatres.

 

The Lincoln was a traditionally styled structure designed by Schwartz & Gross. For the lobby and dining room, however, Chanin designed Art Deco wall panels and furnishings. The Lincoln Hotel interiors were followed by the Chanin Building of 1927-29 located at the southwest corner of East 42nd Street and Lexington Avenue. At the time the Chanin Building was designed, Chanin was not a registered architect. Chanin hired Sloan & Robertson, a rather conservative architectural firm responsible for the nearby Graybar Building, to examine the plans prepared by the Chanin Construction Company* Sloan & Robertson were only responsible for the exterior form of the building. Chanin personally supervised the decoration of the building. The building is filled with French-inspired Art Deco motifs, many executed under Chanin's direction by French-trained sculptor Rene Chambellan.

 

In 1930 Chanin became a registered architect and he was responsible for the design of the two Central Park West apartment buildings, but both projects had their genesis in plans for other building types. In April 1929, the Chanin Construction Company purchased the old Hotel Majestic on Central Park West between 71st Street and 72nd Street, intending to replace the old structure with a 45-story hotel.^ As designed, this was a dramatically-massed Art Deco structure, but the building situation in New York following the stock market crash precluded the construction of such an ambitious and risky project. In June 1930 it was announced that a 29-story twin-towered apartment house would rise on the site. According to Chanin, the design of this building was somewhat experimental—he wished to see if Art Deco forms would be accepted for a residential building.

 

Chanin's official involvement with the Century site began on May 28, 1929, when it was announced that the Chanin Construction Company would purchase the entire city block bounded by Broadway, Central Park West, West 62nd Street, and West 63rd Street. The site included the Century Theatre on Central Park West, Daly's Theatre on 63rd Street, and an apartment house and two garages on Broadway. Chanin announced that he would build a 65-story skyscraper on the site, that would, according to the New York Times, "be revolutionary in design and use."8 The Century Theatre was the property of the Shubert Organization, and in order to acquire the Central Park West site, Chanin was forced to sell them his interest in the Royale, Masque, and Majestic Theatres. The Shubert Organization had purchased a half interest in these theaters in 1928 and, according to Chanin, had had an interest in acquiring full control.

 

In August 1929 Chanin announced specific plans for the newly acquired Century Theatre site. He proposed to build an office and hotel that would be "an innovation in international relations."^ The building, to be known as the Palais de France, was to house the French consulate and tourist board, and the offices of French commercial firms. Chanin was to design the new building which would be in a "modern French [style] adapted to the exigencies of American skyscraper construction.In other words, this was to be an Art Deco style building using forms similar to those already in evidence at the Chanin Building. The building was to have three stories of permanent exhibition space for the display of French manufactured goods and for an international display of automobiles, airplanes, and yachts. There would also be shops on the ground floor. The next 27 stories were to be a hotel, while the top 30 stories were to be the French offices.

 

The conception of a Palais de France for New York reflects Chanin's interest in France and French culture. He wished to provide a building where French and American art and commerce could be united. While Chanin was impressed with European, and particularly French, modern design, he felt that America had successfully adapted these forms to create its own design idiom:

 

While Europe is the motherland in the development of the so-called modernistic tendencies in design, it is my own opinion that America is rationalizing these ideas and is making them fit into the scheme of things more successfully than Europe. I did not see abroad'any modernistic interiors or furniture that approaches either in beauty or usefulness that which is becoming fairly common in New York.H

The Palais de France was to unite a modern American structure with the finest modern French products.

 

Chanin and banker S.W. Straus traveled to France to arrange the sale of the Century site to the French. Negotiations seemed to be progressing, but no money was forthcoming from French banks, and in October 1930, Chanin announced that the Palais de France scheme had been dropped and that he would build a twin-towered apartment house similar in concept to the Majestic, then under construction. This building was to contain small apartments of from two to seven rooms "to meet the demand for this type of housing accommodation along Central Park West."12 According to Irwin Chanin the Century's apartments are smaller than those of earlier buildings because of the difficulty in renting large apartments during the Depression. The earlier Majestic had large apartments, some of which were difficult to rent and so the Century was planned with smaller, but still carefully laid out units.^ The Century, designed a year after the Majestic, is considered by Chanin to be a finer work.

 

He particularly noted that the crown of Century is a more complex creation and that the building has finer bay windows and balconies, and special glass.

 

The Century was the last of the four great Central Park West twin-towered apartment buildings. It is these buildings which prompted the New York Times to write that the west side "skyline bids fair to be ere long as beautifully fantastic as it is where the river mingles in the bay."^-^ The tower forms of the Century, Majestic, San Remo, and Eldorado came about as a result of the multiple dwelling law passed by the New York State Legislature in 1929. This law mandated an increase in yard and court area, but allowed residential buildings to rise higher than before, legalizing setbacks and towers in this building type for the first time. The bill limited the height of street walls to time the width of the street, but, on plots of over 25,000 square feet, allowed towers that could rise up to three times the width of the street.

 

The Century is a sophisticated essay in "modern American" or Art Deco design. The facade exhibits a complex balance of horizontal an^ vertical elements that creates a dynamic design tension. The nineteen-story superstructure forms a street wall that hugs the lot line on all three main elevations and lines up with the older pre-1929 buildings on Central Park West, while the towers rise up to proclaim the advent of a new zoning scheme and a modern style of architecture. The bands of tan and light brown brick, the long corner windows, and the cantilevered balconies lend a strong horizontal force to the design, but these are balanced by the vertical thrust of the projecting bowed window bays with their vertical brick ornament, by the rust-colored brick spandrel panels, and by the recessed window bays of the towers. The geometric masses that crown the towers also display this complex balance of horizontal and vertical forms.

 

On a smaller scale, the pattern of window mullions echoes the balance of horizontal and vertical elements found elsewhere. This is particularly true at the corner solaria with their strong horizontal mullions and rhythm of narrow and wider vertical mullions. These solaria are an important feature of the Century's design, and they, along with the other windows of the building, were equipped with a special imported English glass that allowed ultra-violat rays Into the apartments. Much of the Century's interest lies in the manipulation of such structural features as the brickwork, windows, bays, and balconies. Ornament, placed sparingly on the exterior, is used to highlight major focal points of the building such as the entrances, setbacks, and crowns. It is the crowns, visible from Central Park and as far east as Fifth Avenue, that are, appropriately, given the most dramatic ornamental form. The buttressed crowns with their corner fins and arched rear projections are one of New York City's major architectural adornments.

 

When it opened, the Century contained 417 suites and 1,688 rooms. Among its special features were sunken drawing rooms with fireplaces, creak-proof floors of walnut and selected hardwoods, free standing showers, duplex suites, and lobbies adjacent to the three entrances that displayed the finest in contemporary American design. In addition, there was a private landscaped garden located within the U-shaped plan of the building. The garden walls are faced with the same brick used for the street facades, reflecting Chanin*s effort to have the eighty-foot wide garden take on the form of a street, so that when residents looked out of their garden windows they did not have the feeling of living in a dark court.

 

The quality of the Century's design and its location near Hidtown offices and the theater district have attracted many prominent tenants including members of the Chanin family, Ethel Merman, Lee Shubert, Nanette Fabray, Jack Dempsey, Joey Heatherton, Mark Connolly, Theodore Sorensan, Carol Lawrence, Robert Goulet, Bill Cullin, and Leo Lindy (of cheesecake fame).

 

Description

 

The Century Apartments faces onto Central Park West between 62nd and 63rd Streets and extends back 250 feet on both side streets. The massing of this 30-story building is divided into a massive nineteen-story base that runs along the lot line on all three elevations and a pair of tall towers set at the Central Park West corners. The structure rests on a low rose-colored granite watertable, above which is a one- and two-story ochre-colored stone base. In the center of the Central Park West facade, the one-story stone base is pierced by the main entrance. The lobby is entered through a pair of glass doors protected by stylized geometric Art Deco style grilles of "white metal." The doors are set within a modest white metal enframement. The entrance ensemble is surrounded by the same rose-colored granite used on the watertable. This surround is framed by quoin-like forms ending in raised vertical moldings. To either side of the entrance are window groups and doors leading to professional apartments.

 

There are stores at either corner. The storefronts are not original, but they are set within the original openings. The commercial space at the 62nd Street corner was originally planned to house a bank, but due to the Depression the two-story space remained vacant. After World War II the space was divided and an apartment was created .on the second floor.

 

In its massing and ornamentation the Century Apartments displays a sophisticated balance between horizontal and vertical elements. Vertically, the main mass of the symmetrical apartment house can be divided,into five pavilions, each separated by shallow bow windows. The three central sections are faced with a tan brick that was chosen because of its resemblance to the color of limestone. The facade is enlivened with wide bands of light brown brick set between all of the windows with the exception of those beside the vertical bowed bays at either end. The central pavilion, above the entrance, is articulated by two windows on each of the floors between two and fifteen (exterior floor numbers may not always correspond with the interior numbering system). As with all of the windows of the building the sash consists of metal casements. Each window is divided into several movable and stationary panes by thin metal mullions.

 

The balance between the vertical and horizontal mullions echoes the overall balance of the building. In the central section each window consists of two movable casements. Long rectangular panes flank the casements while four stationary panes are set above and four jalousie windows are set below. There are concrete sill bands below each window.

 

Flanking the central section and separated from it by pairs of bowed window bays are pavilions that consist of pairs of small single casement windows and a double casement. The bowed bays rise vertically from the second floor. Bands of tan and light brown brick are located between the bays of each pair. The bowed window of each apartment is set below the level of the other windows indicating the presence of sunken drawing (living)rooms. Each of the bow windows Is divided into five parts with three narrow casements flanked by stationary panes. There are fixed transoms above and jalousies below. The bays are enlivened by the use of rust-colored brick spandrels ornamented with vertical bands of projecting bricks laid at an angle.

 

The rows of angled bricks continue the vertical Lines of the window mullions. Each window in the bay has a concrete sill and a brick lintel.

 

The corner sections of the building are faced entirely in tan brick and are articulated by large glass solaria. The end pavilions are separated from the central portion of the building by single bowed bays identical in form to those already described. These bays rise to the seventeenth floor, two stories higher than the central bays. Each solaria consists of eight windows on Central Park West and three on the side street. With the exception of the end panes on Central Park West all of these are movable casements. These large window groups have strongly articulated horizontal metal mullions and a rhythm narrow and wider mullions.

 

The sixteenth through nineteenth floors form a transitional zone between the main mass of the building and the towers above. Each of these floors contains cantilevered concrete balconies guarded by metal railings ornamented with Art Deco style chevron patterns.

 

The twin towers soar upwards to the ornamental crowns that identify the building from afar. The towers are faced with tan brick with light brown bands at the corners. The windows, with their metal mullions, are of the type discussed above. On Central Park West, beginning above the twentieth floor, the four central windows of each tower are ornamented by bold goemetric brick patterns. At the thirtieth floor each tower sets back to form the unique top that gives the Century its distinctive, recognizable silhouette. Like the massing and ornamentation of the facades and^the arrangement -a£»ithe windows _ these crowns exhibit a complex interaction of horizontal and vertical elements. Each consists of a main geometric mass (housing a water tower) that is supported by buttresses. The vertical thrust of the buttresses is countered by concrete "fins that straddle each corner of the towers.

 

At the northwest corner of the north tower and the corresponding southwest corner of the south tower arched projections with incised channels rise almost to the roofline (that to the south has been poorly rebuilt). These add to the dynamic silhouette of each tower.

 

The side street elevations of the Century step down in accordance with zoning rules. There are four major levels on each side street elevation, each of which is topped by projecting concrete balconies. The tan brick facades are interrupted in three locations by pairs of ornamental rust-colored brick window spandrels. On the ground floor are a succession of doors leading to professional offices and secondary residential entrances similar in design to that of the front elevation. At the rear, on each street, are geometric Art Deco gates leading to the service entrances. Geometric water tower pavilions, similar in form to the tower crowns, are located above the roofline of each side street facade.

 

The main mass of the Century is laid out on a U-shaped plan with a central garden that is visible from the public park and drive of the Lincoln Plaza Apartments off Broadway. The inner elevations of the Century are faced with the same tan brick used elsewhere and are articulated with a similar fenestration pattern. The use of the same face brick on the private inner court that was used for the public facades was unusual and evinces a desire on Mr. Chanin's part to design and build a building of the highest residential quality. The court created by the U-shaped plan was laid out as a garden for the enjoyment of the tenants. This garden, with its four brick pylons, survives.

 

There have been only two serious alterations to the Century since its completion. These are the alteration to the arched fin of the south tower, previously noted, and the removal of the original windows and brickwork from the twentieth and twenty-first floors of the Central Park West elevation of the south tower. Other alterations have occurred to the windows of the north tower penthouse and to several other apartment windows.

 

The Century Apartments stands today as a testament to the vision of architect and builder Irwin S. Chanin. In its characteristic twin-towered form, it remains one of the landmarks of Central Park West and is one of the major Art Deco style apartment buildings in America.

 

- From the 1985 NYCLPC Landmark Designation Report

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

 

Summary

 

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

 

Development of Central Park West

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The Architect

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The San Remo

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

are fine in silhouette____ The proportions are

 

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

 

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

 

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

 

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

 

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

 

Architectural Sources and Style

 

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

 

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

 

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

 

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

 

Description

 

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

 

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

 

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

 

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

 

Detailing

 

Fenestration:

 

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

 

Main Entrances:

 

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

 

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

 

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

 

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

 

Office Entrances:

 

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

 

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

 

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

 

These are detailed like those on the facade.

 

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

 

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

 

Service Entrances:

 

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

 

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

 

Third Story Window Enframements:

 

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

 

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

 

Fourth Story Window Enframements:

 

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

 

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

 

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

 

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

 

Fourth Story Cartouche:

 

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

 

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

 

Eleventh-Twelfth Story Window Enframements:

 

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

 

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

 

Thirteenth to Fifteenth Story Window Enframements:

 

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

 

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

 

Thirteenth to Seventeenth Story Window Enframements:

 

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

 

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

 

Twenty-third Story Window Enframements:

 

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

 

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

 

Twenty-sixth - Twenty-seventh Story Window Enframements:

 

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

 

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

 

Suprastructure Window Enframements:

 

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

 

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

 

Temples:

 

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

 

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

 

- From the 1987 NYCLPC Landmark Designation Report

Since Russian leader Vladimir Putin assumed power in August 1999, speculation about his character, motives, and plans for Russia’s future has been rampant in the West. Even after he stepped down as president in May 2008, retaining a significant measure of power as prime minister under his hand-picked successor, President Dmitri Medvedev, Putin remains poorly understood. In this interpretive biography of Putin, ALLEN C. LYNCH, director of the Center for Russian and East European Studies and associate professor of government and foreign affairs seeks to reconcile the two conflicting images and find out just where the truth lies about the man and the statesman.

  

Held February 24, 2012. Miller Center, Charlottesville, VA.

 

For more information, visit millercenter.org/.

Actors dressed as bankers were restrained with hazard tape today in a stunt calling on EU negotiators to strengthen rules intended to curb the destructive practice of food speculation.

 

The protest by Friends of the Earth Europe, alongside development organisations FairFin, Oxfam, SOS Faim, World Development Movement and CNCD, comes at the start of crucial negotiations on proposed EU financial reforms known as MiFID (Markets in Financial Instruments Directive).

 

The organisations are calling on negotiators to close loopholes in the negotiating texts to prevent banks and financial investors from driving-up food prices through food speculation.

The Shore Temple (built in 700–728 AD) is so named because it overlooks the shore of the Bay of Bengal. It is a structural temple, built with blocks of granite, dating from the 8th century AD. It was built on a promontory sticking out into the Bay of Bengal at Mahabalipuram, a village south of Chennai in the state of Tamil Nadu in India. At the time of its creation, the village was a busy port during the reign of Narasimhavarman II of the Pallava dynasty. As one of the Group of Monuments at Mahabalipuram, it has been classified as a UNESCO World Heritage Site since 1984. It is one of the oldest structural (versus rock-cut) stone temples of South India.

 

GEOGRAPHY

Shore temple is a complex of three temples, one large and two small, located right on the shores of the Coromandel Coast of the Bay of Bengal in Mahabalipuram, which was earlier known as Mamallapuram. During the Pallava Dynasty reign this was a port city of their kingdom which they ruled from Kanchipuram. It was built by the Pallava Dynasty when it was the trading port of the dynasty.

 

HISTORY

Sailors gave the name Seven Pagodas to the Shore Temple when they saw this tall structure on the seashore, as the temple probably acted as a landmark for navigation of their ships. As it appears like a Pagoda, the name became familiar to the seafarers.

 

This structural temple complex was the culmination of the architectural creations that were initiated by the King Narasimha Varma I (popularly called as Mammalla after whom the Mamallapuram town is named), in mid 7th century starting with the Cave temples and the monolithic Rathas. Even though the architectural creation of sculpturing cut-in and cut-out structures continued during subsequent periods, as seen in the Atiranachanda cave, the Pidari rathas and the Tiger cave, the main credit for the architectural elegance of the Shore Temple complex in the category of structural temples goes to the King Rajasimha (700–28 AD), also known as Narasimhavarman II, of the Pallava Dynasty. It is now inferred that this temple complex was the last in a series of temples that seemed to exist in the submerged coastline; this is supported by the appearance of an outline of its sister temples off the coast during the Tsunami of 2004 which struck this coastline. The architecture of the Shore Temple was continued by the Cholas (in the temples that they built) who ruled Tamil Nadu after defeating the Pallavas.

 

The Tsunami of December 2004 that struck the coastline of Coromandel exposed an old collapsed temple built entirely of granite blocks. This has renewed speculation that Mahablaipuram was a part of the Seven Pagodas described in the diaries of Europeans, of which six temples remain submerged in the sea. The Tsunami also exposed some ancient rock sculptures of lions, elephants, and peacocks that used to decorate walls and temples during the Pallava period during the 7th and 8th centuries.

 

Though the Tsunami of 26 December 2004 that occurred in the Indian Ocean struck the temple and the surrounding garden, the Shore Temple was not badly damaged, as the water level returned to its normal level within a few minutes. The damage was to the foundation of the bali peetam (sacrificial altar) in front of the temple, the steps leading to the boat jetty, and the small shrine with the Varaha (Boar) sculpture at the basement of the Shore temple. As the temple foundation is on hard granite rock, it could sustain the waves created by the Tsunami; the groynes erected around the temple area on the coastline also aided its protection.

 

According to the two inscriptions found in the slab of smaller Shiva temple, the names of the three temples mentioned are as Kshatriyasimha Pallaveshvara-griham, Rajasimha Pallaveshvara-griham and Pllikondaruliya-devar. The entire temple complex is called as Jalashayana (lying in water). This confirms that the Vishnu shrine was the first shrine to be excavated here. The inscription on the lintel of the Vishnu shrine also mentions this as Narapatisimha Pallava Vishnu Griha where Narapatisimha is a title of Rajasimha.

 

An archaeologist has observed that: "In locating the temple on the very margin of the sea, exposing it to avoidable dangers, the builders, there can be little doubt, sought theatrical effect."

 

INDIAN DANCE FESTIVAL-MAMALLAPURAM

The Mamallapuram Dance Festival is held every year during Dec-Jan in Mamallapuram, Tamil Nadu. This dance festival is organised by Department of Tourism, Govt. of Tamil Nadu. Exponents of Bharatanatyam, Kuchipudi, Kathak, Odissi, Mohini Attam and Kathakali perform against this magnificent backdrop of the Pallava rock sculptures. It is vibrant festival of dance where enormous audience enjoys this one month long festival.

 

LEGEND

As the Shore Temple was initially identified as part of the Seven Pagodas at Mahabalipuram, an ancient Hindu legend referred to the origin of these pagodas in mythical terms. Prince Hiranyakasipu refused to worship the god Vishnu. The prince’s son, Prahlada, loved and was devoted to Vishnu greatly and criticized his father’s lack of faith. Hiranyakasipu banished Prahlada but then relented and allowed him to come home. Father and son quickly began to argue about Vishnu’s nature. When Prahlada stated that Vishnu was present everywhere, including in the walls of their home, his father kicked a pillar. Vishnu emerged from the pillar in the form of a man with a lion’s head, and killed Hiranyakasipu. Prahlada eventually became the king, and had a son named Bali. Bali founded Mahabalipuram on this site. Myths also mention that Gods were jealous of the architectural elegance of the monuments of Mahablipuram, and as a result they caused floods to occur, which submerged most parts of the city, except for a few structures that are seen now.

 

ARCHITECTURE

LAYOUT

All the three Temples of the Shore Temple complex are built on the same platform. Viewed from the northern end, the temples appear to be a replica of the Dharmaraja Ratha. The main Shore Temple, which faces east so that the sun rays shine on the main deity of Shiva Linga in the shrine, is a five-storied structural Hindu temple rather than rock-cut as are the other monuments at the site. Built with sculpted granite stones hauled from a nearby quarry, it is the earliest important structural temple in South India. Its pyramidal structure is 18 m high and sits on a 15 m square platform. There is a small temple in front which was the original porch. It is made out of finely cut local granite. The shore temple is also one of the most popular temples. Recent excavations have revealed new structures here under the sand. The temple is a combination of three shrines. The main shrine is dedicated to Shiva as is the smaller second shrine. A small third shrine, between the two, is dedicated to a reclining Vishnu and may have had water channelled into the temple, entering the Vishnu shrine. The two Shiva shrines are orthogonal in configuration. The entrance is through a transverse barrel vault gopuram. The two shikharas have a pyramidal outline, each individual tier is distinct with overhanging eaves that cast dark shadows. The outer wall of the shrine to Vishnu and the inner side of the boundary wall are extensively sculptured and topped by large sculptures of Nandi. The temple's outer walls are divided by pilasters into bays, the lower part being carved into a series of rearing lions. The temple walls have large sculptures of Nandi.

 

FEATURES

The temple has a garbhagriha (sanctum sanctorum) in which the deity, Sivalinga, is enshrined, and a small mandapa surrounded by a heavy outer wall with little space between for circumambulation. At the rear are two shrines facing in opposite directions. The inner shrine dedicated to Ksatriyasimnesvara is reached through a passage while the other, dedicated to Vishnu, is facing outwards. The Durga is seated on her lion vahana. A small shrine may have been in the cavity in the lion's chest.

 

The Shore Temples configuration of the two Shiva shrines with the small Vishnu shrine in between illustrates an attempt to balance the different, competing religious requirements.

 

The roofs of the temples have ornamentation similar to the Pancha Rathas. The roofs have finials on the top, indicative of its religious functional nature, as it was a completed temple. The octagonal shape of the shikaras of the two temples dedicated to Shiva are in the Dravidian architectural style. Beneath the towers, the sanctuary walls are mostly blank with out any decorations but the columns are carved over lion mounted bases. The decorations on the outer faces of these shrines are similar to those seen on the Pancha Rathas, though due to their closeness to the sea, are partially eroded due to salty winds.

 

The most distinctive feature of the temple are the Dharalinga and the Somaskanda panel, which are enshrined in the interior walls of the sanctum of the east facing Kshatriyasimhesvara temple. The Dharalinga is deified in the garbhagriha, which is in square shape of 3.7 m and the height is 3.4 m. The Dharalinga or Shivalinga is in Rajasimha style, carved out of black basalt stone. It has sixteen faces with slight fluting to create a crown at the top. The top portion of the linga is damaged. Its total height is 1.8 m with one foot embedded in the foundation to provide stability. A bas-relief, which is a family image of Shiva and his consort Parvati with their child Kartikeya built over a stone slab is located in a small shrine in the temple. This is also called the Somaskanada panel, a carved stone panel. Two more similar panels are seen at the entrance porch of the temple. This type of panel is also depicted in the nearby Dharmaraja Ratha of the Paramesvarvarman’s era. The ardhamantapa or half chamber which is the first chamber before entering the sanctum sanctorum, also has sculptures of Brahma on the south wall and Vishnu on its north wall. Sculptures of Shiva as Tripurantaka and Durga are seen on the back side of the north wall of the main shrine. There is also a circumambulatory passage to go round the main shrine in a clockwise direction.

 

The smaller Shiva temple behind the main temple is a double storied structure with a stepped pyramidal tower with an octagonal shikhara built over a circular griva. A kalasa and finial are fitted above the shikhara. Kudus (horseshoe-arch dormer like projections) and small shrines are part of the cornices at both levels of the structure. A Somaskanda panel decorates the back wall of the inner shrine. There is no mantapa (hall) in front of this shrine (probably damaged). The external walls display two panels. One is called Ekapadamurti, a eye-legged form of Shiva with Brahma and Vishnu emanating from his sides. The second panel is of Nagaraja (king of serpents) standing below a five-hooded serpent.

 

Anantashayi Vishnu (reclining posture of Vishnu lying on the serpent Ananta) is enshrined in a small rectangular shrine between the large Kshatriyasimhesvara temple and the Rajasimha Pallaveshvara temple. Vishnu is depicted with four arms but his attributes are missing (damaged). The temple structure's rectangular tower is missing. The typical design of kudus and small square shrines are part of the cornice arrangement. The external walls have carvings of Krishna slaying the demon Kesi, Krishna dancing over Kaliya (the seven hooded serpent), and Vishnu seated on his vehicle Garuda in the act of saving Gajendra (elephant) from the mouth of a crocodile. Inscription noted in Pallava Grantha script is on the lintel indicating it as the earliest shrine of the complex.

 

The entire compound wall surrounding the temples is sculpted with large sculptures of Nandi, the vehicle or mount of Shiva, and also with Yalis and Varahas (boars).

 

LION MONOLITH

A monolith sculpture of a partly carved and partly sculpted lion with a hole in its torso is erected within the compound wall of the temple complex. A miniature image of Durga is sculpted on the back of the image, which is a depiction of Durga as Mahishasurmardini. The open mouth of the lion is inferred as representation of its role as the favourite mount of Durga. A female guardian with a bow is also carved on the leg of the lion.

 

MINIATURE SHRINE

In 1990, the Archaeological Survey of India (ASI) discovered a miniature shrine with the Bhuvaraha image in a well type enclosure. This is dated to the Pallava King Narasimhavarman Mamalla’s (AD 638–660) reign. It was enclosed with an elliptical well built during Rajasimha’s (AD 700-728) period. These are carved on the bedrock that also has the reclining Vishnu in the Shore Temple complex. The miniature shrine is also dedicated to Shiva. It has sixteen-sided base which is carved from bedrock. The circular wall and superstructure are of structural type. There are lions depicted on the pilasters. It is reported as a unique single tiered temple and not seen in other temples of the Pallava period. Its circular shikara, is in vesara style architecture. The shikhara is erected on a circular griva, which has kudus and maha-nasikas on its four sides and each nasika has an image of Ganesha. The kalasa above the shikara is missing. The carving of the Bhuvaraha depicts Varaha as the boar incarnation of Vishnu. This image is in unusual form, unlike another Varaha depictions in other regions of the country, as there is no Bhudevi shown nor an ocean. The depiction is in the form of Varaha performing a diving act into the ocean to rescue Bhudevi or mother earth. The symbolism of this act denotes the myth, only when the temple is submerged in water, as it is below the ground level. The sculpture is seen broken and the base has an inscription referring to titles of the Pallava king Rajasimha. The wall that surrounds the shrine to prevent intrusion of sand from the sea also has an inscription on the topmost layer, in Pallava-Grantha script, which equates the king with Arjuna.

 

CONSERVATION

ASI has constructed break-water wall all around the sea shore to save the temple from further damage. The temple structures, affected by rough Sea and winds with salt content are being conserved by the Archaeological Survey of India by building protective groynes, treatment with wall paper pulp, and by planting casurina trees along the affected coast line. The pulp treatment absorbs the saline water. In addition, chemical treatment is also given the monument to prevent water seepage into the rock. This kind of treatment is also reported to take out water stored inside the rock thus allowing the stone to breathe and preserve its strength. The area around the Shore Temple, has been beautified. The horticulture wing of the ASI has created a green lawn of 4.4 hectares around the Shore Temple. Fixing of signages with information on the monuments and creating fountains was also part of the beautification programme planned by ASI.

 

WIKIPEDIA

Oct 24, 2023, 18th Day of the Gaza/Hamas War

Post 21 by Tsiel Ohayon.

 

"There was a lot of talk and speculation last night about the release of 50 hostages, mainly the ones holding dual citizenship. Apparently that deal has collapsed due to Hamas’ insistence on receiving fuel in exchange for the 50 hostages. However, 2 Israeli ladies, Yocheved Lifshitz, age 85 and Nurit Kuper, age 80, were released on “humanitarian” ground, unfortunately their husbands are still captive in Gaza. Since when is Hamas thoughtful of Humanitarian issues? What a joke!

Both ladies were abducted from their Nahal Oz homes on Oct 7th. While they both looked tired from their ordeal, hospital officials mentioned that they are doing fine, especially after what they have just experienced. Yocheved talked to the press this morning and said that she had walked a few kilometers underground in Gaza, in a large tunnel complex which in the end led to a bigger room where 25 captives were held. They were separated into groups of 5 and each captive was assigned a guard. Many things said during the press conference were said under duress as her husband is still in captivity. I am assuming that Hamas gave her instructions on what needed to be said to keep her husband alive. I suggest that we don’t fall in any trap thinking Hamas was nice to these people and treated them humanely during their captivity. Let’s not forget, she and the 221 others should never have been in Gaza in the first place. One more word about Yocheved and her husband. For the last 10-15 years they have been driving every week to the Erez crossing, one of the main border crossings between Israel and Gaza. They have been taking in their own car, sick Palestinians who needed treatment in Israeli hospitals. They would go around the country to take these people where they had to go. They would wait for the daily treatment to end and take them back to the crossing in the evening. Hamas didn’t care, Hamas killed, plundered, and captured even those who tried to help their own people. Hamas doesn’t care about their people; this is another example.

The Israeli army dropped leaflets on Gaza saying that any Gazan who would bring information about the hostages would be rewarded. Hamas works in compartments, groups are separated and don’t communicate, not sure civilians will be able to help, unless it’s one of the captors who wants to turn his vest.

Dr. Amit Frankel is a medical doctor at Soroka Hospital in Beer Sheva. Nothing prepared the hospital to receive 100s of wounded on Oct 7th. In the first 3h of the morning he performed and helped perform 318 lifesaving procedures. By the end of the first day, he had treated 600 people. Hero. We never talk enough about those working in the hospitals day and night to save lives. As of today, there are still 278 people treated in Israeli hospitals, 40 of them in serious condition, 164 in medium condition and 74 lightly wounded. On October 9th, 2616 people had been hospitalized, 25 in critical condition, 357 in serious condition, 524 in medium condition and the rest lightly wounded.

The family of Amer Abu Sabila, 25 years old from Abu Talul from the Bedouin community, received official notification yesterday (Monday) about the identification of Amer’s body. Amer, who was married and the father of two children, aged four and two, was murdered in the Hamas terrorist attack near the police station in Sderot. He was shot dead while trying to save Odeya Suissa and her daughters, aged 6 and 3, after the family's father, Dolev, was murdered while they were on their way to escape the city. The Suissa family encountered the Hamas terrorists in Sderot near the commercial complex, and to save their lives, the father and mother split up, each of them taking one of the girls with them. They tried to hide, but in vain: the terrorists shot Dolev and wounded him, and he later died of his wounds. The girl who was with the father was not hurt, and instead ran away to her mother and sister. Amer, saw the scene and understood that Odeya was not in a mental state to drive. They saw a policeman who told them to come to the Sderot police station by following his patrol car. As they arrived, gunmen were already shooting at the police station. The policeman, Amer and Odeya were shot and killed. The little girls in the back were unhurt. Again, we see that Arabs helped Jews and vice versa in the wake of these senseless atrocities. The Bedouins of Israel have been serving in the Israeli Army for years, mainly as trackers. Many have fallen for the protection of the State of Israel. Amer is another example. As a population, we are all in this together. May he and the Suissa parents rest in peace and may the little girls have strength and courage to overcome this difficult period.

Last night, the Shabak (Israel internal security services) released some footage of captured Hamas prisoners while being investigated. They all deserve to be executed. However, the information provided to the Shabak is probably priceless. Two main things come out of these interrogations. A captured Israeli was worth 10,000 dollars and an apartment. I don’t think many Hamas terrorists will be getting an apartment soon unless they can live under slabs of ruins. The other thing that came out was the order to kill and kill and kill, as many as possible. Kill the “useless ones” and try to bring back some “useful ones”. Do they really believe that we are going to free bloodthirsty Hamas terrorists that are in our jails so that we can get more of these atrocities? Most if not all released from the Gilad Shalit deal are either part of the Hamas Leadership today or took part in the Oct 7th massacres. Enough. The exchange rate is simple. Hamas provided it last time. For every Israeli that is hurt in captivity, 1027 Palestinian prisoners should be executed. Sounds harsh … sounds undemocratic? Sounds fascistic?

This is war, and we need to speak the only language these people understand. The hostages should be ALL released at no cost and the sooner the better, even for the Palestinians.

Israeli security sources also released a recording of a Hamas Terrorist (apparently called Mahmud) who had infiltrated kibbutz Mefalsim, the morning of Oct 7th. He took the phone of one of his victims and called his parents to tell them how proud they should be of him as he had killed 10 Jews. He then told them to look at their WhatsApp as he sent pictures of the ones he had killed with his bare hands (in his language). His father congratulated him, his mother was choked with joy and crying, and his father told him to come home. He said: “Home? It’s either victory or martyrdom for this beautiful religion that you brought me in” … Monsters did we say? Probably even worse.

French President Emmanuel Macron has made a visit today to Israel. After meeting with the families of 30+ French nationals killed or captured by Hamas, he held political discussions with President Herzog, Prime Minister Netanyahu and one of the Opposition leaders Benny Gantz. President Macron was firm about condemning Hamas and understands the suffering of the Palestinian people in Gaza. He will meet later tonight with PA President Mahmoud Abbas. Macron also said that his country doesn’t believe Hezbollah want war. Lebanon can’t afford a war. The price will be very high for both sides, but if I were Nasrallah, I wouldn’t test our patience too much. In any case, what does Macron know.

Before I give an update on what’s happening on various fronts, I heard three interesting analyses today.

The first analysis is about the Iron Dome. The Iron Dome is a defensive weapon that blows rockets out of the sky. In real-time it calculates the rocket’s trajectory and if found to be dangerous (i.e. falling into a populated area), an Iron Dome missile is automatically fired to intercept the rocket. The system has been effective now for over 12 years. This has given a sense of security to Israelis that even if a couple of rockets get through the system, nothing really terrible is happening. If we didn’t have the Iron Dome, analysts say we would have eliminated Hamas much sooner as life without the Iron Dome would have been unbearable. Probably true.

The second analysis is about the army’s ineffectiveness on the first day of the war. According to the blogger I watched, Hamas had already placed sleeper cells in the country that were dispersed in Bedouin communities. Before the hordes of terrorists crossed the border, these sleeper cells attacked all army bases around the strip killing all of the scouts and observers manning the border. Once those “eyes” were out of commission, the “Hamas army” could come in and commit their atrocities. This is based on timings that some bases were reportedly attacked at 6:15 am, when Hamas hordes crossed into Israel at approximately 6:45 am. This is something to look into. I hope that if true, we have learned our lesson, stay vigilant and make sure the same is not going to happen in the North with Hezbollah.

The third analysis is from Eitan Ben Eliyahu, the former Israel Air Commander. He said, and rightly so, that errors in understanding intelligence information will always happen. You might have all of the data, but your conclusions are either wrong or you are not reading the data correctly. It doesn’t matter, it will always happen. He rightly says that with or without intelligence, your forces should always be ready for combat, otherwise there is no reason to have them there. There is no room for complacency in the Middle East, you always need to have your finger on the trigger.

On the Southern front, a senior military official, speaking on the condition of anonymity, revealed to the Saudi news site "Eilaf" the reasons for the delay in ground operations in the Gaza Strip - according to him, the allied countries, primarily the United States - fully support the ground entry. However, the allies want Israel to make sure it takes the necessary precautions regarding innocent Gazan civilians while leaving a humanitarian aid corridor open. According to the official, one of the reasons for delaying the ground entry is the Israeli desire to eliminate as many operatives and terrorists of the Hamas military wing as possible, as well as to attack headquarters, observation points and rocket launchers from the air. So that there will be no obstacles for the forces that will enter the strip. The second reason, according to the official, is to give the population of Gaza and the citizens more time to move from the north to the south of the Strip and evacuate the populated areas that the terrorist organization Hamas uses for its operations and to avoid Hamas using Gazans as human shields. Another reason is that Israel is using the time until the entry to train its forces better. According to him, all the training complexes in Israel witness an intensive presence of training soldiers, at the same time as the flow of weapons and equipment that will be used by Israel in the ground entrance. In addition, at the same time as the Air Force strikes, engineering forces and other forces are working on arrangements for the establishment of a buffer zone in the border area before the ground entry in order to ensure the survival of that area even after the end of the war and the achievement of its goals, which are to put an end to the military capability of Hamas and collapse its rule.

Regarding what is happening, more of the same basically. Over 400 aerial sorties, more Gaza buildings and neighborhoods destroyed, while Hamas and its friends launch more rockets into Israel. The rocket fire was mostly calm today, but a large salvo was fired at 5pm towards Tel Aviv, the Sharon and Shfela regions. There doesn’t seem to be any interruption in the war. However, there are some signs that the Gaza population is now starting to tire, and it questions Hamas’ strategy as the war has only brought destruction, death, and worldwide condemnation. The Palestinian cause has lost a lot of its credibility (at least at government levels) through Hamas’ actions. The Hamas is ISIS campaign has proven to be very effective.

In the evening, Hamas Frogmen tried to storm the Zikim kibbutz and beach just North of Gaza. The Israeli Navy and an elite commando unit killed the infiltrators, as of writing 7 frogmen are known dead, and maybe several more are unconfirmed. The number of Israeli casualties is currently undisclosed. The Naval base from which they departed was blasted to pieces as well. it seems there was a tunnel departing from the land that brought the men directly into the sea to evade the “eyes” of the Israeli army. Need to beware that Hezbollah could have the same in the North out of Ras Naqoura.

The Northern front was relatively calm today until dusk, a few skirmishes here and there but nothing different from what we have seen in the last week or so. At dusk, mortars and rockets were fired at Israeli outposts. Israel returned fire and hit a school in Ayta as Shaab, approx. 1km from the Israeli border. The rockets and mortars had been fired from the school compound. It is estimated that 50 Hezbollah fighters have been killed up to now. South Lebanese have mainly left the South and moved North hoping for better days.

From the Syrian Golan, with its large contingent of Iranian proxy soldiers waiting to storm the border, five rockets were fired towards the Israeli Golan heights, 2 fell on the Israeli side in open fields, 3 on the Syrian. This is the beginning of hostilities on that front. Israel returned fire towards the source. – usual army language. We need to be careful this is not a diversion attempt for something more important elsewhere.

In Syria and Iraq, Iranian proxies have attacked about 15 times US bases; Al Harir, Ein Al Asad, and Irbil Airport in Iraq; Al Tanaf, Al Rochban, Al Omar oil field, Koniko, Al Shadadi and Al Malkia in Syria. American officials believe that there will be a rapid increase in the number of attacks against US interests in the region. Two unconfirmed rumors state that one US base in Saudi Arabia has also been attacked as well as US shipping interests near Yemen. I need to follow up on those rumors as they could have significant developments in the future. The US are beefing up their forces in the region with an additional F-16 squadron which has been dispatched to the region. More men and material are being sent to the main bases in Syria and Iraq. The US’ reaction to Iranian backed proxy attacks is awaited, not just from us Israelis, but from all the enemies, especially Iran. The nature of America’s response will determine the course of the war.

Internally, Israel is cracking down on anybody showing any kind of sympathy for Hamas. Those sympathizers are swiftly arrested and interrogated. I would, also, like to put in a good word about the Arab population of Israel (20% of the pop) who for the moment have understood the gravity of the situation and who have mostly distanced themselves from Hamas and its actions. Several Israeli-Arab leaders, such as Mansur Abbas and Ayman Odeh, have been very clear about what has happened and have called upon the Arab population not to take advantage of the situation. This is a very responsible act on their part. In any case, the police and army have little patience and it would be best to stay put as much as possible. We, also, note that the violence in the Arab communities (many killings and settling of accounts) has drastically diminished since the beginning of the war. This is a good development and lets hope it continues.

Let’s keep our heads high and look forward to a victorious future. The road will be long and arduous, but the goal is understood by all.

Am Yisrael Hai!"

While Samsung #Galaxy #S10 has been a major hit, there is a vast majority of people who talk about the upcoming Galaxy #S11. Since there is no official information about this upcoming phone, all we have are the speculations which we can make on the basis of unofficial, or leaked, information.

 

In this scenario, we are going to collect the leaked information to give you a nice idea about this upcoming phone from the galaxy of Samsung.

 

Samsung Galaxy S11 design

Perhaps it is one of the most frequently asked questions about any smartphone that is yet to be launched. The well-known Twitter leaker, Evan Blass, says that this phone is going to have the popular curved-edge display. And there are going to be three models, based on screen size, available of this phone, i.e. 6.2in, 6.4in and 6.7in. All three models are going to support 4G LTE and 5G. On the other hand, the larger 6.9in model is going to support only 5G.

 

The launch date

According to some reports, Galaxy S11 is expected to launch at Feb 18, 2020. But the sources behind this information also tend to be skeptical about the credibility of this news. But given the history of the launch dates of Samsung Galaxy phones, it is quite certain this S11 will be launched sometime between Feb and March 2020.

 

The possible scrapping of Galaxy S11

There are some reports that #Samsung may consider scrapping the Galaxy S11 and, instead, go for the launch of a hybrid handset.

 

And according to some reports, this scrapping and replacement is not going to be just a branding strategy. The main idea is to combine the best features of Galaxy S11 and Galaxy Note 11 in order to bring out the handset with the best features.

 

According to Blass, the end result is going to be the handset which will be given the name ‘Galaxy One’. Although these are the unconfirmed reports, the launch of such a handset should come as a surprise considering Samsung’s claims about the next year’s phones to be “a new beginning”.

 

Is there going to be a Samsung Galaxy S11 Lite?

Some leaks about Samsung Galaxy S11 Lite have also become public. According to the reputable leakers, this handset is going to have a Snapdragon 855 chipset backed up by an 8GB of RAM. This handset is going to be the top choice for the people who wouldn’t want to go for the more expensive S11.

The Crow is a creature that has elicited much thought and speculation amongst all indigenous peoples and across many cultures and times. Crows throughout the ages are associated with Magick and Mysticism. Crow is the left-handed guardian. He knows the unknowable mysteries of creation and is the keeper of all sacred law. There are several species of Crow. Raven is one of these and magpies are another. Crow medicine people are masters of illusion. Do not try to figure crow out. It is the power of the unknown at work, and something special is about to happen.

 

Crow is also the guardian of ceremonial magick and healing. In any healing circle, Crow is present. Crow guides the magick of healing and the change in consciousness that will bring about a new reality and dispel "dis-ease" or illness. Crow can give you the courage to enter the darkness of the unconscious. He is an omen of change. You can rest assure when ever crows are around, magick is near by and you are about to experience a change in lifestyle and consciousness. Crow carries Souls from Darkness into the Light.

The history of the Jemison Center, often strangely called "Old Bryce," seems to be mired in half-truths and speculation on the internet. The earliest information found dates back to when the land was a plantation, called Crab Orchard back in the 1820s, due to the many crab apple trees located on the property. It was owned by William Jemison, who then passed it down to his son, Robert Jemison Jr., a successful politician and businessman. The 4,000 acre tract in Northport was later known as Cherokee Place, where Robert would live until his new home was completed in Tuscaloosa in 1862. Jemison was a major advocate for the establishment of a hospital for the insane in Alabama, and is considered a major influence to select the area as the site for the first asylum in the state - the Alabama State Hospital for the Insane (Bryce Hospital).

 

By the 1920s the asylum had become severely overcrowded, and satellite institutions were created nearby to relieve the pressure, such as the Alabama Home for Mental Defectives (later known as Partlow State School). In 1939, the site of the Cherokee Plantation was purchased and transformed into the State Farm Colony for Negroes (the old Bryce Hospital grounds only housed white patients during the Jim Crow era). The former plantation house on the hill was razed and in its place the state of Alabama constructed the Jemison Institute, a three-story brick institution with detached heating plant for $161,000.

 

History seems to fade from there; it's assumed the Jemison Center operated as a state work farm, where able-bodied African American patients would work the fields to produce food for the hospital, as well as performing other kinds of labor (weaving, mending, etc). Desegregation orders from the government and changes in labor laws seemed to put an end to the Jemison Center; all farming operations at Bryce ceased in 1977. A mid-19th century structure was also erected on the property, called the S.D. Allen Intermediate Care Facility; it was used as a nursing home until it closed in 2003.

 

Info taken from - opacity.us/site245_jemison_center.htm

 

Speculation on my part as to the actual name for this Aloe. Brian Kemble says it doesn't quite conform to a true Aloe x delaetii in all aspects. In any case, it is a great landscaping Aloe and also for containers, as it repeat blooms non-stop all year round, and is fairly fast to form nice clumps. I also like the soft pastel orange tones of the flowers, blends well with so many other things.

Percival Lowell (1855-1916) was an American businessman, author, mathematician, and astronomer who fueled speculation that there were canals on Mars. In 1894, he chose Flagstaff, Arizona as the home of his new observatory, the now famous Lowell Observatory. For the next fifteen years, he studied Mars extensively, and made intricate drawings of the surface markings as he perceived them. He was particularly interested in the canals of Mars, as drawn by Italian astronomer Giovanni Schiaparelli, who was director of the Milan Observatory. Lowell published his views in three books: “Mars” (1895), “Mars and Its Canals” (1906), and “Mars As the Abode of Life” (1908).

 

Lowell’s works include a full account of the “canals,” single and double, the “oases,” as he termed the dark spots at their intersections, and the varying visibility of both, depending partly on the Martian seasons. He theorized that an advanced but desperate culture had built the canals to tap Mars’ polar ice caps, the last source of water on an inexorably drying planet.

 

While this idea excited the public, the astronomical community was skeptical. Many astronomers could not see these markings, and few believed that they were as extensive as Lowell claimed. In 1909 the sixty-inch Mount Wilson Observatory telescope in Southern California allowed closer observation of the structures Lowell had interpreted as canals, and revealed irregular geological features, probably the result of natural erosion. The existence of canal-like features was definitely disproved in the 1960s by NASA’s Mariner missions. Today, the surface markings taken to be canals are regarded as an optical illusion.

 

Lowell's greatest contribution to planetary studies came during the last decade of his life, which he devoted to the search for Planet X, a hypothetical planet beyond Neptune. In 1930 Clyde Tombaugh, working at the Lowell Observatory, discovered Pluto near the location expected for Planet X. Partly in recognition of Lowell's efforts, a stylized P-L monogram – the first two letters of the new planet's name and also Lowell's initials – was chosen as Pluto's astronomical symbol.

 

Although Lowell's theories of the Martian canals are now discredited, his building of an observatory at the position where it would best function has been adopted as a principle for all observatories. He also established the program and an environment which made the discovery of Pluto by Clyde Tombaugh possible. Craters on the Moon and on Mars have been named after Percival Lowell. He has been described by other planetary scientists as "the most influential popularizer of planetary science in America before Carl Sagan". Lowell is buried on Mars Hill near his observatory. [Source: Wikipedia]

 

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

 

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

 

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

 

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

 

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

 

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

 

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

 

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

 

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

 

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

 

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

 

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

 

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

 

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

 

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

 

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

 

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

 

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

 

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

 

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

 

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

 

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

 

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

 

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

 

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

 

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

 

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

 

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

 

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

 

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

 

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

 

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

 

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

 

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

 

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

 

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

 

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

 

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

 

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

 

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

 

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

 

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

 

WIKIPEDIA

French postcard in the Les Vedettes de Cinéma series by A.N., Paris, no. 78. Photo: Goldwyn Pictures.

 

Mabel Normand (1892-1930) was a popular American silent film comedienne, in particular in films with Caplin, but alcohol, drugs, and scandal wrecked her career while TBC killed her at a young age.

 

Mabel Normand was born in New York City and grew up in extreme poverty. Normand was a model before her career as an actress. She became an actress in 1910 at the Eastcoast, at Vitagraph and Biograph, when director Mack Sennett discovered her and took her to his new studio (1912) Keystone in California. At the start, Normand was primarily portrayed in films as the beautiful woman, but soon her talent was in comedy, and she became a highly popular comedienne in shorts with Charlie Chaplin and Fatty Arbuckle. Normand even defended Chaplin before Sennett, when the latter was initially not convinced of Chaplin's acting qualities. In 1916, with Sennett Normand opened her own company at Culver City, as a subsidiary of Triangle, but when in 1918 that company collapsed it also took down Mabel's company and made Sennett lose Keystone.

 

When in 1918 also her affair with Sennett ended, Normand got a contract with Samuel Goldwyn. Yet her popularity and health declined. Normand became unhappy and became addicted to alcohol and drugs. Director William Desmond Taylor noticed this and tried to help her. This gave the two a relationship. He was killed though, in 1922, 15 minutes after Normand left the house. Since the murder was never unraveled, Normand was suspected by the police. There was also speculation that Normand's cocaine sellers may have been involved, as Taylor had repeatedly helped her to get off her drugs addiction and wanted to file charges against her suppliers. Many suspects of the murder are known but despite a confession of actress Margaret Gibson on her deathbed, the case is still open. Also, Brownlow & Kobal in their book Hollywood: The Pioneers claim no real proof of Normand's drugs addiction has surfaced and the idea that Taylor was murdered by drug dealers was invented by the studio for publicity purposes.

 

Normand became involved in another scandal when her driver Joe Kelly (also an ex-criminal) shot one of Normand's lovers with Normand's gun. Normand was hated by the media and decided to end her career in 1923. Still, she got a second chance when Hal Roach Studios offered her a contract in 1926. She received a lot of publicity, but her scandals from her past resurfaced and Normand's career was now destroyed.

 

Mabel Normand died of tuberculosis in 1930 at the age of 37. She was married in 1926 to actor Lew Cody (1884-1934), with whom she had appeared in the film Mickey (1918). Cody died four years after Normand because of a heart attack.

 

Sources: IMDB, and Wikipedia (Dutch, and English).