Newcastle City Centre is the city centre district of Newcastle upon Tyne, England. It is the historical heart of the city and serves as the main cultural and commercial centre of the North East England region. The city centre forms the core of the Tyneside conurbation.

 

The city centre district is sometimes subdivided into the areas of Haymarket, Quayside, Grainger Town, Monument, Gallowgate, and Chinatown.

 

Areas

Haymarket

Haymarket is the northern edge of the city centre bordered by Spital Tongues and Jesmond to the north west and north east respectively. It is the location of Newcastle Civic Centre, Newcastle University, Northumbria University, Haymarket bus station and the City Pool, and is mainly a business area. The Church of St Thomas the Martyr is a prominent landmark in the area opposite the Metro station at the northern end of Northumberland Street, the city's main shopping street.

 

Quayside

The Quayside is a more modern part of Newcastle city centre known for its bars and restaurants.

 

Four bridges cross the River Tyne at the Quayside: The High Level Bridge, the Swing Bridge, the Tyne Bridge and the Gateshead Millennium Bridge.

 

The QuayLink bus route links the area with Monument and Haymarket and Central station, Gateshead metro stations.

 

The path along the river forms part of the cycle network eastwards towards North Shields and Tynemouth and westwards to Hexham.

 

Central Station

Newcastle railway station, or locally known as Central station, is surrounded by an assortment of bars and clubs. Towards the western end is the city's popular Gay District known locally as the Pink Triangle. The Centre for Life on Times Square, Utilita Arena Newcastle, Newcastle Cathedral, Discovery Museum and the Mill Volvo Tyne Theatre are all located in the vicinity, as is the city's coach station.

 

Grainger Town

Grainger Town is the streets between, and encompassing, Pilgrim Street, Clayton Street and Blackett Street. It was built in the mid-19th century and, today, is an area centred on shopping, nightlife and most notable neo-classical architecture. The Theatre Royal is situated on Grey Street. The Grainger Market is a covered market built to house the traders displaced during the re-modelling of the city.

 

Gallowgate

Gallowgate is a small area surrounding St James' Park, the stadium of Newcastle United F.C, and St James Metro station, named after the main road running through the area. There are a small number of pubs in the area but it is not a major area of residence, except for some student accommodation. Businesses include and various law firms in Citygate and the recently built Time Central, a Tesco Express store, fish and sandwich shops. Behind it is Leazes Park that leads to Spital Tongues. The area is also to host a 400 square metre memorial garden to Sir Bobby Robson. Work began on it in November 2010, with it due to be opened in Spring 2011.

 

Chinatown

Chinatown is on the western edge of the city centre centred on Stowell Street with a number of Chinese restaurants and the rear entrance to The Gate.

 

Transport

The Tyne and Wear Metro has four stations in Newcastle city centre which are all underground. Running north to south, Haymarket, Monument and Central Station are on both the Green and Yellow lines which run northbound to the Airport or towards the coast via Whitley Bay and southbound to South Hylton or South Shields.

 

St James is the western terminus of the Yellow Line and precedes Monument. Trains run towards the coast via North Shields.

 

Bus and coach

Newcastle has two bus stations for local and regional terminating bus services. Services heading north and east generally use Haymarket bus station, whilst those to the south and west use Eldon Square bus station. Both bus stations are operated by Nexus.

 

Many roads in the city centre are for buses only or have bus lanes. Stagecoach is the predominant operator for bus services within the city, which tend to call at several stops in the city centre rather than at a bus station. The QuayLink service, with its bright yellow electric buses, has two routes – Q1 from Haymarket to Quayside and Q2 from Central Station to Gateshead.

 

For long-distance coach services, National Express uses Newcastle Coach Station on St James Boulevard, and Megabus used to stop outside Central Station. Now they stop on John Dobson Street outside the library.

 

Rail

Newcastle, known locally as Central, is the city's mainline railway station and a principal stop on the East Coast Main Line From there, local, regional and national destinations are served directly. Manors is the only other station in the city, but it has a very limited service.

 

Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.

 

Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.

 

The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.

 

Roman settlement

The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.

 

The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

 

Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.

 

Anglo-Saxon development

The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.

 

Norman period

After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.

 

In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.

 

Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.

 

Middle Ages

Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.

 

The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.

 

Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.

 

In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.

 

In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.

 

Religious houses

During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.

 

The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.

 

The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.

 

The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.

 

The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.

 

The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.

 

All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.

 

An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.

 

Tudor period

The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.

 

During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).

 

With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.

 

Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.

 

The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.

 

In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.

 

Stuart period

In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.

 

In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.

 

In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.

 

In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.

 

In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.

 

A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.

 

Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.

 

In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.

 

In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.

 

Eighteenth century

In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.

 

In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.

 

In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.

 

Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.

 

The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.

 

In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.

 

A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.

 

Victorian period

Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.

 

In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.

 

In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.

 

In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.

 

In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.

 

Industrialisation

In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.

 

Innovation in Newcastle and surrounding areas included the following:

 

George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.

George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.

 

Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.

 

Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.

 

William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.

 

The following major industries developed in Newcastle or its surrounding area:

 

Glassmaking

A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.

 

Locomotive manufacture

In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.

 

Shipbuilding

In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.

 

Armaments

In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.

 

Steam turbines

Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.

 

Pottery

In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.

 

Expansion of the city

Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.

 

Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.

 

Twentieth century

In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.

 

During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.

 

In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.

 

Newcastle City Council moved to the new Newcastle Civic Centre in 1968.

 

As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.

 

In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.

 

As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.

 

The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.

 

Recent developments

Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.

立法會過渡性房屋及劏房事宜小組委員會視察劏房及過渡性房屋項目

立法会过渡性房屋及劏房事宜小组委员会视察劏房及过渡性房屋项目

LegCo Subcommittee on Issues Relating to Transitional Housing and Subdivided Units visits subdivided units and transitional housing projects (2021.05.20)

Clifford Home.

 

Date: 1905

Source Type: Photograph

Publisher, Printer, Photographer: A. H. Reading

Postmark: Not Applicable

Collection: Steven R. Shook

Remark: The house was constructed for Thomas A. E. Campbell by a Mr. Shade and was located on Valparaiso's Chestnut Street between Campbell Street and Weston Avenue. This house no longer exists.

 

The estate of Thomas A. E. Campbell was sued after Campbell's death by Mr. Shade. Shade who claimed he had not been fully compensated for his work in constructing the Campbell residence. The jury verdict was in Shade's favor in the amount of $400. However, Judge Field set aside the verdict "as contrary to law and evidence and gave a new trial."

 

After Campbell's death, A. E. Woodhull, his son-in-law, would take ownership of the home. Patrick W. Clifford then became owner of the home followed by W. E. Franklin. The next owner of the home was Lewis E. Myers.

 

Demolition of the home commenced on December 1, 1938, and the land subdivided for the construction of eighteen new homes built by the Foster Lumber & Construction Company. Demolition and construction costs totaled about $125,000 (or $2.25 million in 2021 dollars). The following historical information concerning this house was published in the Porter County centennial edition of The Vidette-Messenger on August 18, 1936:

 

That Stately Brick House On Chestnut Street Was the T. A. Campbell Mansion

BY MABEL BENNY

 

The stately brick house, with the square observatory surmounting the main roof, standing on Chestnut street, between Campbell and Weston Avenue, has been the home of a number of interesting people. It was built by T. A. E. Campbell, who visited its site in 1833 and returned a couple of years later to make his home on the south side of the old Sac Trail, which ran diagonally from the intersection of what are now Chicago and Academy streets northwest past his home to the Chicago road. Thomas Campbell desired a real mansion and such this house remains today. In the main building, under the observatory, thus it was spoken of in the early days, were the rooms designed for the family. The ell running to the east from the northeast corner of the house proper was intended to house the servants above and the horses on the ground floor. There were other buildings for cows, pigs, sheep and fowl. From the earliest days the grounds were kept like a park.

 

The Campbells were a large family and two of the married daughters with their families were often at home, so twenty at the dining room table was not an unusual number. After Mr. Campbell's death, the Woodhull family, Mrs. Woodhull was a daughter of T. A. E. Campbell -- moved to Valparaiso from Chicago and became active in the interests of the town. Mr. Woodhull was mayor for a number of years. He encouraged Powers and Higley to bring their factory here and engineered sale of the lots in Chautauqua Park. These were platted from the Campbell farm. Mr. Powers preferred to build a new home, and for a time the old mansion with its massive doors and windows was deserted.

 

P. T. Clifford, a railroad contractor, lived a few miles west of the Campbell place. The youngest son, P. W. Clifford, on his way to school at old St. Paul's, must have passed the place almost daily and admired its elegance and retirement. The Woodhulls had moved back to Chicago and regarded the house as a white elephant. Mr. Clifford purchased it, built handsome porches to the east and south and further beautified the grounds. But the house was too large for a family of four and lonely for one woman whose men folks were gone all day. Why sit on a porch if no one went by from sunrise to sundown? The Cliffords built near town and the place was again sold, this time to W. E. Franklin.

 

Mr. Franklin at the time of the purchase was owner of the Franklin Circus. He had followed the business from boyhood with different troupes and menageries. Often these aggregations pitched their tents on the Campbell lots. He told the writer of this article he dreamed of some day owning and living in that house every time he came to town with a circus. The dream became reality. But the Franklins had no children, servants were hard to keep. The servants were afraid. They were too far from town; the house was too large; the ceilings too high; the place was hard to heat; the modern conveniences were clumsily installed. He ended his lament, "I'd almost give it away if someone would take it."

 

Lewis E. Myers, president of the Myers Plant, accepted his proposition. He turned the servants' rooms on the upper floor of the ell into a magnificent library, where the board of directors of the Myers corporation often met around the long table before the fireplace. Since Myers' time the house has been on the market, occupied by not lived in.

 

All four owners of men of affairs, outstanding personalities, highly individualized, and with the exception of Mr. Franklin, interested in the doings of the town. The Campbells and Woodhulls were Presbyterians. Their home was open to many church festivities as well as other social affairs. The Cliffords entertained their church people, the Catholic societies, as well as their friends and neighbors. Both Mr. and Mrs. Myers were civic workers. The League of Women Voters, the men's clubs and other groups for civic betterment met in the library, the stately parlor, the cozy down stairs study, or the long dining room for conferences. While Mr. Franklin held aloof from the townspeople, he was a typical figure of the old southern gentleman, as he made his daily trip to the post office accompanied by his magnificent dog.

 

The old house would make a splendid historical museum were if not for the cost of upkeep of its grounds and of the building itself, whose very stateliness makes it a problem.

 

The following news item concerning this home was published in the October5, 1882, issue of the Porter County Vidette:

 

The Widow Campbell property in this city is henceforth to be occupied also by the family of Mr. and Mrs. Addis E. Woodhull, who moved this week from Chicago. The house has been re-painted and finished throughout in beautiful and artistic style.

 

Sources:

Porter County Vidette, Valparaiso, Porter County, Indiana; January 8, 1880; Volume 24, Number 2, Page 3, Column 4. Column titled "Porter Circuit Court."

 

Porter County Vidette, Valparaiso, Porter County, Indiana; October 5, 1882; Volume 26, Number 40, Page 5, Column 3.

 

Reading, A. H. 1905. The City of Homes, Schools and Churches: A Pictorial Story of Valparaiso, Its People and Its Environs. Valparaiso, Indiana: A. H. Reading. 82 p. [see p. 69]

 

The Vidette-Messenger, Valparaiso, Porter County, Indiana; August 18, 1936; Volume 10, Section 4, Page 6. Column titled "That Stately Brick House On Chestnut Street Was the T. A. E. Campbell Mansion."

 

The Vidette-Messenger, Valparaiso, Porter County, Indiana; December 12, 1938; Volume 12, Page 1, Column 5 and Page 2, Column 3 Column titled "Local Boom in Building Recalls '26."

 

Copyright 2021. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.

Entrance gates & fence installed by George Wilcox. [Photo from State Library of SA: PRG 742/5.201 (c1880)]

 

Original house built c1856 on land owned by William Martin Letchford, leased 1877 to Robert Rowan Purdon Hickson. Purchased, enlarged & named Eynesbury by George Wilcox 1881, property subdivided 1919, house purchased 1919 by Henry Maxwell Bradford, later converted to flats, leased 1980s by religious group, leased as a school 1990-2001, now private.

 

“District Councils. . . Mitcham. . . [Letter] from W. M. Letchford, for culvert to his entrance on Unley-road, offering to pay half cost of same — to be attended to.” [Register 28 Aug 1872]

 

R Hickson, Lower Mitcham [Adelaide Directories 1878, 1879]

 

“Mr Robert Rowan Purdon Hickson. . . From 1874 to 1881 he was engineer-in-chief of harbours and jetties In South Australia.” [Sydney Morning Herald 29 Jun 1923]

 

“A garden party, followed by a banquet, was given to the Stow Church Choir and their friends on Saturday, October 19, by Mr. and Mrs. George Wilcox, at their residence, ‘Eynesbury’, Lower Mitcham. During the afternoon outdoor games were participated in, and in the evening about forty guests sat down to the spread.” [Evening Journal 21 Oct 1889]

 

“the beautiful grounds of Eynesbury, the residence of Mr. George Wilcox at Mitcham, presented a busy scene when a strawberry fete in aid of the building fond for a new Anglican church at Hawthorn was held.” [Advertiser 15 Nov 1897]

 

“the fine wisteria climbing over Mr. George Wilcox's residence, Eynesbury, Mitcham, shows the enormous growth to advantage. The wisteria is 30 ft. high, and covers a space of over 1,200 ft., and now that it is in full bloom makes a beautiful exhibit.” [Critic, Adelaide 13 Oct 1900]

 

“The late Mr. George Wilcox purchased the property from Mr. Letchford, of the firm of Messrs. Shuttleworth & Letehford in March, 1881, but the owner was not living there at the time, as Capt Hickson, the Engineer for Harbours, was then renting the place. When Mr. Wilcox took possession the whole of the back portion of the land was under vines, but these were subsequently rooted out. The late Mr. Wilcox also imported all the ornate ironwork for the front gates, fence, and balconies. These were purchased by his son, Mr. John Wilcox, while he was in England. The first consignment of .this material went to the bottom of the sea on a sailing ship off the coast of Ireland in 1884, and the duplicate set ordered is that now standing at Eynesbury House.” [Register 8 May 1919]

 

“'Eynesbury House', Unley Road, formerly the residence of the late Sir. George Wilcox. This imposing mansion, which is massively built of stone, is famed throughout Australia for its wonderful wistaria [sic] creeper. The estate, which comprises some 20 odd acres, has just been subdivided, leaving 3 acres of garden surrounding the house, and the balance of the land (together with the beautiful tree-studded paddock adjoining Mr. Alfred Wilkinson's residence) has been surveyed into 66 residential sites, and named 'Kingswood Park'. 'Eynesbury House' contains 12 rooms, also magnificent ballroom (52 x 25 ft.), and extensive domestic offices. For a family residence, a high-class guest home, for residential flats, or for a rest home it would be hard indeed to find its equal. The trustees of the estate (Elder's Trustee & Executor Co.. Ltd., and Mr. Sydney Wilcox) have instructed Messrs. Wilkinson, Panda, & Wyles to dispose of the property by public auction. . . To ensure its sale, the nominal upset price of £1,700 has been placed on ‘Eynesbury House' (with 3 acres).” [The Mail 10 May 1919, p 11]

 

“Eynesbury House. . . The residence of the late Mr. George Wilcox, containing 12 rooms, &c. realised £1,825, the purchaser being Mr. J. Milburn. The iron fencing on the Unley road frontage of the estate was sold separately, and realized the sum of £120.” [Register 29 May 1919]

 

“the following sales by public auction and private contract. . . Account Messrs. Milburn and Jeffery — the well-known two-story residence of 14 rooms, &c., known as Eynesbury House, Kingswood Park, to Mr. H. M. Bradford.” [Register 4 Dec 1919]

 

“Mr. W. M. Bradford, 'Eynesbury', Unley, referring to the 380 ft. of iron palisading, presented to the Town Council by Mr, Willcox [sic]; as he had purchased 'Eynesbury’, he would be pleased to make the Council an offer for 120 ft. of same, as he desired to replace the home as Mr. Willcox left it.” [Bunyip, Gawler 5 Mar 1920]

 

“Mitcham Study Circle. At the invitation of the Misses Humphris, the opening meeting of the Study Circle will be held at Eynesbury House, 69 Victoria terrace, Mitcham.” [Advertiser 23 Feb 1934]

 

“Super U. furn. flats, s.c. 5 or 6 rooms, adults, garage, Eynesbury House, 69 Victoria terrace. L. Mitcham.” [Advertiser 18 Nov 1936 advert]

 

WILLIAM MARTIN LETCHFORD

“At a meeting of the ratepayers, held at the Brownhill Creek Inn, Mitcham. . . Mr. William Letchford was duly elected to serve as a Councillor for the year 1858.” [Register 2 Jul 1858]

 

“LETCHFORD. — On the 16th July, at Lower Mitcham, after 12 hours' illness, Anne, the beloved wife of W. M. Letchford, aged 36 years.” [Register 17 Jul 1872]

 

“the death of Mrs. W. M. Letchford. . . at Mitcham. . . Mrs. Letchford leaves seven young children behind her.” [Register 17 Jul 1872]

 

“LETCHFORD — CHAMBERS.— On the 4th June, at the residence of the bride's father, Mr. Wm. Walker, Parade, Norwood, by the Rev. W. L. Binks, W. M. Letchford, of Lower Mitcham, to Anne, widow of the late Thomas Waterhouse Chambers.” [Advertiser 18 Jun 1874]

 

“For Sale.— The Valuable Freehold Property, known as the Residence of Mr. W. M. Letchford, comprising 18 Acres of Land, on the Unley and Mitcham Road, together with the Excellent Family Residence erected thereon, and Stabling, Storerooms, Wine Cellars, Tanks, and every requisite required.” [Register 1 Jul 1876 advert]

 

“For Sale, or To be Let on Lease, with or without Right of Purchase, the Residence of the undersigned, Grove Villa, Lower Mitcham. . . W. M. Letchford.” [Evening Journal 26 Dec 1876 advert].

 

“At Glenelg fronting the sea wall, a handsome villa residence in the Italian style is being erected for Mr. W. M. Letchford.” Advertiser 10 Jan 1877]

 

“LETCHFORD. — On the 13th December, at Albert-terrace [now South Esplanade], Glenelg, William Martin Letchford, aged 56 years.” [Advertiser 14 Dec 1880]

 

“Mr. W. M. Letchford. . . many years ago established the soap and candle factory in South Adelaide which is now known as Tidmarsh & Co.'s. Since then, for a number of years, he has carried on business as a land and estate agent, and was confidential manager for Mr. T. G. Waterhouse. . . South Australian Carrying Company. . . Equitable Insurance Company, and also of the Equitable Building and Investment Society.” [Register 14 Dec 1880]

 

ROBERT ROWAN PURDON HICKSON

“On Wednesday morning, June 30, the professional and clerical staff of the Department of Harbours and Jetties waited upon the Engineer, Mr. Hickson, in his office, for the purpose of bidding him farewell prior to the dissolution of the department, which was to take effect on the following day.” [Register 3 Jul 1880]

 

“Mr. Robert Rowan Purdon Hickson, I.S.O. . . born in .1842, in County Kerry, Ireland, and served articles as an engineer to James Burton, engineer-in-chief of the principal works in the North of Ireland, He was appointed to take charge of the Carlingford Harbor works in 1864, and was Engineer-in-Chief of Harbors and Jetties in South Australia from 1876 to 1881. In 1881 Mr. Hickson became Resident Engineer at Newcastle. . . President of the Sydney Harbor Trust, 1901-1912. . . He is survived by a widow, 7 children. . . Mrs. W. F. Everett (London), Mrs. E. A. M. Merewether (Newcastle), Messrs. G. F. Hickson (Mildura), R. P. Hickson (Gunnedah), W. L. Hickson (Singleton), C. H. Hickson (Western Australia),. R. M. Hickson (Armidale).” [The Sun, Sydney 28 Jun 1923]

 

GEORGE WILCOX

“WILCOX.— On the 13th April, at Eynesbury House, Lower Mitcham, Annie, beloved wife of George Wilcox (suddenly), aged 57 years.” [Register 14 Apr 1897]

 

“wife of Mr. George Wilcox, of Mitcham. . . was a native of Huntingdonshire, England, and a colonist of over thirty-five years. . . There are two daughters — Mrs McRostie and Miss Wilcox — and three sons, who are in business in Sydney.” [Advertiser 15 Apr 1897]

 

“WILCOX.—On the 5th September, at Eynesbury, Lower Mitcham, George Wilcox, aged 78 years. No flowers by request.” [Express & Telegraph 6 Sep 1917]

 

“Mr. George Wilcox. . . took keen interest in his garden at Mitcham, and was particularly proud of the magnificent wistaria [sic] — one of the finest and largest in Australia — growing against the house.” [Register 6 Sep 1917]

 

“Mr. George Wilcox. . . was a native of St. Neots, Huntingdonshire. He was born in 1838. . . Mr. Wilcox became apprenticed to the grocery trade in England, and in 1858, he came to South Australia and started as a storekeeper at Gawler, where he remained until 1872, when he relinquished business and returned to England for two years. In 1874 he returned to South Australia. . . a business as an export merchant until 1903, when he retired. Subsequently he interested himself only in the Koonamore sheep station in the north-east, which he held in partnership with the late Mr. William Hamilton. . . Two sons (Messrs. Sydney Wilcox, of Adelaide; and Murray Wilcox, of Sydney), and two daughters (Mesdames H. E. McRostie, of Glencoe East, and Miss Wilcox, of Mitcham) survive. Mrs. Wilcox died about 20 years ago.” [Critic, Adelaide 12 Sep 1917]

 

Photo taken on January 13th, 2008. It is one of four corners known as Colonial Corners. This corner originally contained a Restaurant. A New Orleans themed Restaurant that lasted for years. After the restaurant left, it has since been subdivided into several small restaurants, including Starbucks Coffee Shop. Catty corner is the former Drug Store that was located next door to the former Thriftimart Grocery Store. The former Thriftimart Grocery Store lasted until the early 1960's when the Thriftimart closed down. It was then gutted and converted to a Westward Ho Market. A small independent chain. After a couple of decades, Westward Ho Markets sold their store to Whole Foods. Whole Foods Supermarkets renovated the building again by gutting it. The supermarket is located at the corner of Barrington and National in West Los Angeles, California. One of xx photos of this site. Originally Thriftimart had two entrances, one along National and a parking lot entrance. Currently there is only one parking lot entrance. Originally when Whole Foods moved into the building the Drug Store remained for a couple of years with a corner entrance. Whole Foods expanded a couple of years ago, taking over the drug store portion and closing off this entrance.

 

Whole Foods is located on one of 4 corners known as Colonial Corners. This intersection is known as Colonial Corners because the buildings on each corner are designed in a Colonial Theme. Originally only three of the corners had a Colonial theme buildings. The fourth corner was originally a giant nursery. When that property was sold in the 1970s, It became housing along with a small shopping center. The nursery was named the J.P.Howard Nursery. When the shopping center was first developed it was not coordinated with the other three corners. After several years of being the odd corner, the owners have attempted in recent years to blend their corner with the other three corners. Located at Barrington and National in West Los Angeles, California. The other two corners are Restaurants, shops and offices.

Former gunpowder and dynamite factory built in 1879 somewhere in Belgium. This site is where powder and explosives were made, in particular for a use in the mines. The site was sold and demilitarized in 1990 after the bankruptcy of its company.

 

Spread over about ten hectares secretly hidden in the forest, the "factory" is subdivided into approximately fifty buildings isolated from each other. The reason of this isolation? Simply to avoid chain explosions in case of accident.

 

Among all these buildings, there are workshops, laboratories and testing rooms, as well as administration and machinery buildings, and also warehouses. The site is also provided with a central heating network distributed towards all the buildings through above-ground insulated conducts.

 

Discovering the site is comparable to a long and pleasant stroll in the forest, but we have to admit that most of the instruments and working accessories are gone and many buildings are now empty.

 

Besides, the site is polluted and many nitrophilous plants took a malicious pleasure in regaining control of the place, even growing inside the houses.

 

---------

 

Ancienne poudrerie et dynamiterie belge construite en 1879. À ne pas confondre avec la poudrière (soit le "magasin à poudre"), ce site était une usine de fabrication de poudre et explosifs, destinés notamment à un usage dans les mines. Le site fut revendu et démilitarisé en 1990 suite à la faillite de la société.

 

Étalée sur une bonne dizaine d'hectares enfouis secrètement dans la forêt, "l'usine" se subdivise en (approximativement) une cinquantaine de bâtiments isolés les uns des autres. La raison de cet isolement? Simplement pour éviter des explosions en chaîne en cas d'accident de travail.

 

Parmi tous ces bâtiments, on retrouve des ateliers, laboratoires et salles de test, ou encore des bâtiments administratifs, de machinerie et des entrepôts. Le site est également muni d'un réseau de chauffage central redistribué vers tous les bâtiments via des conduites aériennes à parois isolantes.

 

Si la visite du site constitue une longue et agréable balade en forêt, force est de constater qu'il reste peu d'instruments et accessoires de travail dans les bâtiments.

 

Le site étant par ailleurs pollué par des ingrédients (comme le nitrate) qui servaient à la fabrication de la poudre, les plantes nitrophiles ont depuis lors pris un malin plaisir à se ré-approprier les lieux, allant jusqu'à pousser à l'intérieur des maisons.

Turpan (simplified Chinese: 吐鲁番; traditional Chinese: 吐魯番; pinyin: Tǔlǔfān; Uyghur: تۇرپان‎, ULY: Turpan, UYY: Turpan?), also known as Turfan or Tulufan, is a prefecture-level city located in the east of Xinjiang, People's Republic of China. It has an area of 69,324 square kilometres and a population of 570,000 (2003).

 

HISTORY

Turpan has long been the centre of a fertile oasis (with water provided by the karez canal system) and an important trade centre. It was historically located along the Silk Road, at which time it was adjacent to the kingdoms of Kroran and Yanqi. The name Turfan itself however was not used until the end of the Middle Ages - its use became widespread only in the post-Mongol period. The center of the region has shifted a number of times, from Yar-Khoto (Jiaohe, 10 km to the west of modern Turpan) to Qocho (Gaochang, 30 km to the southeast of Turpan), and to Turpan itself. Historically, many settlements in the region have been given a number of different names, some of which refer to more than one place – Turpan/Turfan/Tulufan is one such example. (Others include Loulan/Kroran/Korla, Jushi/Gushi, Gaochang/Qocho/Karakhoja, Hezhou, and Jiaohe/Yarkhoto.)

 

The peoples of the Kingdoms of Nearer and Further Jushi (the Turpan Oasis and the region to the north of the mountains near modern Jimasa), were closely related. It was originally one kingdom called Gushi, which the Chinese conquered in 107 BC. It was subdivided into two kingdoms by the Chinese in 60 BC. During the Han era the city changed hands several times between the Xiongnu and the Han, interspersed with short periods of independence.

 

After the fall of the Han dynasty in 220, the region was virtually independent but tributary to various dynasties. Until the 5th century AD, the capital of this kingdom was Jiaohe (modern Yarghul 16 kilometres west of Turpan).

 

From 487 to 541 AD, Turpan was an independent Kingdom ruled by a Turkic tribe known to the Chinese as the Tiele. The Rouran Khaganate defeated the Tiele and subjugated Turpan, but soon afterwards the Rouran were destroyed by the Göktürks.

 

TANG CONQUEST

The Tang dynasty had reconquered the Tarim Basin by the 7th century AD. During the 7th, 8th, and early 9th centuries the Tibetan Empire, the Tang Chinese, and Turks fought to conquer the Tarim Basin. Sogdians and Chinese engaged in extensive commercial activities with each other under Tang rule. The Sogdians were mostly Mazdaist at this time. Turpan, renamed Xizhou by the Tang after their armies conquered it in 640 AD, had a history of commerce and trade along the Silk Road already centuries old; it had many inns catering to merchants and other travelers, while numerous brothels are recorded in Kucha and Khotan. As a result of the Tang conquest, policies forcing minority group relocation and encouraging Han settlement led to Turpan's name in the Sogdian language becoming known as “Chinatown” or "Town of the Chinese".

 

In Astana, a contract written in Sogdian detailing the sale of a Sogdian girl to a Chinese man was discovered dated to 639 AD. Individual slaves were common among silk route houses; early documents recorded an increase in the selling of slaves in Turpan. Twenty-one 7th-century marriage contracts were found that showed, where one Sogdian spouse was present, for 18 of them their partner was a Sogdian. The only Sogdian men who married Chinese women were highly eminent officials. Several commercial interactions were recorded, for example a camel was sold priced at 14 silk bolts in 673, and a Chang'an native bought a girl age 11 for 40 silk bolts in 731 from a Sogdian merchant. Five men swore that the girl was never free before enslavement, since the Tang Code forbade commoners to be sold as slaves.

 

The Tang dynasty became weakened considerably due to the An Lushan Rebellion, and the Tibetans took the opportunity to expand into Gansu and the Western Regions. The Tibetans took control of Turfan in 792.

7th or 8th century old dumplings and wontons were found in Turfan.

 

UYGHUR RULE

In 803, the Uyghurs of the Uyghur Khaganate seized Turfan from the Tibetans. The Uyghur Khaganate however was destroyed by the Kirghiz and its capital Ordu-Baliq in Mongolia sacked in 840. The defeat resulted in the mass movement of the Uyghurs out of Mongolia and their dispersal into Gansu and Central Asia, and many joined other Uyghurs already present in Turfan. In the early twentieth century, a collection of some 900 Christian manuscripts dating to the ninth to the twelfth centuries was found at a monastery site at Turfan.

 

The Uyghurs established a Kingdom in the Turpan region with its capital in Gaochang or Kara-Khoja. The kingdom was known as the Uyghuria Idikut state or Kara-Khoja Kingdom that lasted from 856 to 1389 AD. The Uyghurs were Manichaean but later converted to Buddhism and funded the construction the cave temples in the Bezeklik Caves. The Uyghurs formed an alliance with the rulers of Dunhuang. The Uyghur state later became a vassal state of the Kara-Khitans, and then as a vassal of the Mongol Empire. This Kingdom was led by the Idikuts, or Saint Spiritual Rulers. The last Idikut left Turpan area in 1284 for Kumul, then Gansu to seek protection of Yuan Dynasty, but local Uyghur Buddhist rulers still held power until the invasion by the Moghul Hizir Khoja in 1389. The conversion of the local Buddhist population to Islam was completed nevertheless only in the second half of the 15th century.

 

After being converted to Islam, the descendants of the previously Buddhist Uyghurs in Turfan failed to retain memory of their ancestral legacy and falsely believed that the "infidel Kalmuks" (Dzungars) were the ones who built Buddhist monuments in their area.

 

15TH AND 16TH CENTURIES

As late as 1420, the Timurid envoy Ghiyāth al-dīn Naqqāsh, who passed through Turpan on the way from Herat to Beijing, reported that many of the city's residents were "infidels". He visited a "very large and beautiful" temple with a statue of Shakyamuni; in one of the versions of his account it was also claimed that many Turpanians "worshipped the cross".The Moghul ruler of Turpan Yunus Khan, also known as Ḥājjī `Ali, (ruled 1462–1478) unified Moghulistan (roughly corresponding to today's Eastern Xinjiang) under his authority in 1472. Around that time, a conflict with the Ming China started over the issues of tribute trade: Turpanians benefited from sending "tribute missions" to China, which allowed them to receive valuable gifts from the Ming emperors and to do plenty of trading on the side; the Chinese, however, felt that receiving and entertaining these missions was just too expensive. (Muslim envoys to the early Ming China were impressed by the lavish reception offered to them along their route through China, from Suzhou to Beijing, such as described by Ghiyāth al-dīn Naqqāsh in 1420–1421.

 

Yunus Khan was irritated by the restrictions on the frequency and size of Turpanian missions (no more than one mission in 5 years, with no more than 10 members) imposed by the Ming government in 1465, and by the Ming's refusal to bestow sufficiently luxurious gifts on his envoys (1469). Accordingly, in 1473 he went to war against China, and succeeded in capturing Hami in 1473 from the Oirat Mongol Henshen and holding it for a while, until Ali was repulsed by the Ming Dynasty into Turfan. He reoccupied Hami after Ming left. Henshen's Mongols recaptured Hami twice in 1482 and 1483, but the son of Ali, Ahmad Alaq, reconquered it in 1493 and captured the Hami leader and the resident of China in Hami (Hami was a vassal state to Ming). In response, the Ming Dynasty imposed an economic blockade on Turfan and kicked out all the Uyghurs from Gansu. It became so harsh for Turfan that Ahmed left. Ahmed's son Mansur succeeded him and took over Hami in 1517. These conflicts were called the Ming Turpan Border Wars.

 

Several times, after occupying Hami, Mansur tried to attack China in 1524 with 20,000 men, but was beaten by Chinese forces. The Turpan kingdom under Mansur, in alliance with Oirat Mongols, tried to raid Suzhou in Gansu in 1528, but were severely defeated by Ming Chinese forces and suffered heavy casualties. The Chinese refused to lift the economic blockade and restrictions that had led to the battles, and continued restricting Turpan's tribute and trade with China. Turfan also annexed Hami.

 

19TH CENTURY

Francis Younghusband visited Turpan in 1887 on his overland journey from Beijing to India. He said it consisted of two walled towns, a Chinese one with a population of no more than 5,000 and, about 1.6 km to the west, a Turk town of "probably" 12,000 to 15,000 inhabitants. The town (presumably the "Turk town") had four gateways, one for each of the cardinal directions, of solid brickwork and massive wooden doors plated with iron and covered by a semicircular bastion. The well-kept walls were of mud and about 10.7 m tall and 6 to 9 m thick, with loopholes at the top. There was a level space about 14 m wide outside the main walls surrounded by a musketry wall about 2.4 m high, with a ditch around it some 3.7 m deep and 6 m wide. There were drumtowers over the gateways, small square towers at the corners and two small square bastions between the corners and the gateways, "two to each front." Wheat, cotton, poppies, melons and grapes were grown in the surrounding fields.

 

Turpan grapes impressed other travelers to the region as well. The 19th-century Russian explorer Grigory Grumm-Grzhimaylo, thought the local raisins may be "the best in the world", and noted the buildings of a "perfectly peculiar design" used for drying them called chunche.

 

SUBDEVISIONS

Turpan directly controls 1 district and 2 counties.

 

GEOGRAPHY AND CLIMATE

Turpan is located about 150 km southeast of Ürümqi, Xinjiang's capital, in a mountain basin, on the northern side of the Turpan Depression, at an elevation of 30 m above sea level. Outside of Turpan is a small volcanic cone, the Turfan volcano, that is said to have erupted in 1120 as described in the Song Dynasty.

 

Turpan has a harsh, drastic, cold desert climate (Köppen BWk), with very hot and long summers, and very cold but short winters, and brief spring and autumn in between. Annual precipitation is very low, amounting to only 15.7 millimetres. The monthly 24-hour average temperature ranges from −7.6 °C in January to 32.2 °C in July; the annual mean is 14.4 °C. With monthly percent possible sunshine ranging from 48% in December to 75% in September, sunshine is abundant and the city receives 2,912 hours of bright sunshine annually. Temperature differences between summer and winter are oppressively large (over 50 °C). The warmest months often approach the stifling intensity of cities such as Phoenix or Las Vegas, while winters produce average lows that more closely resemble frigid Minneapolis.

 

Extremes have ranged from −28.9 °C to 48.1 °C, although a reading of 49.6 °C in July 1975 is regarded as dubious.

 

However, the very heat and dryness of the summer, when combined with the area's ancient system of irrigation, allows the countryside around Turpan to produce great quantities of high-quality fruit.

 

DEMOGRAPHY

According to the 2000 census, the city of Turpan had a population of 251,652 (population density 15.99 inh./km²).

 

TRANSPORT

Turpan is served by China National Highway 312. It is the junction for the Lanzhou-Xinjiang and the Southern Xinjiang Railways.

 

WIKIPEDIA

College Point, Queens

 

The Herman A. and Malvina Schleicher House is located in College Point, in north central Queens. It stands on an unusual circular site that was created c. 1906 when the original 14-acre estate was subdivided into building lots and became part of the surrounding street grid. Morris A. Gescheidt, a German-born painter and architect, was responsible for the building’s neo-classical design. Two-and-a-half stories tall, this large red brick house has four visible facades that display elements associated with the Italianate and Second Empire styles, including a mansard roof, segmental arch windows, and quoins. Active in New York City from the late 1840s to the 1860s, Gescheidt also built a factory structure for College Point’s leading citizen, the industrialist Conrad Poppenhusen, in 1854.

 

These developments coincided with the introduction of regular ferry service, resulting in the construction of many residences by German immigrants, particularly in the north section of the village where owners enjoyed views of the East River and Long Island Sound. Two contemporary newspapers commented on Gescheidt’s handsome design; while one writer listed it as among several “elegant residences . . . under contract” in the area, the Flushing Journal called it “another gem of a residence.” The Schleicher House was originally situated at the west end of a walled compound that incorporated out buildings and landscaped carriage paths.

 

Though relatively little is known about the Schleicher family, census records indicate that Herman had Prussian parents and was a successful merchant, involved in the sale of dry goods, stationary, and coal. He shared the house with his wife Malvina, four children, and three servants. Following his death in 1866, the building was acquired by Kenneth G. White, who owned considerable property in the area and is often identified as an attorney and law clerk. In 1890, the house was sold to developer William K. Aston who leased it to John Jockers, a former Schleicher employee. For about a decade, Jockers operated the structure as the 11-room Grand View Hotel. Divided into apartments in 1923, there are currently seven units in the building. Despite changes, the 1857 Schleicher House has many notable characteristics; not only is it one of the oldest houses in College Point but it is one of the earliest surviving structures in New York City to feature a mansard roof.

 

College Point, Queens

 

The Schleicher House was constructed in 1857, during the decade when College Point was transformed from mostly meadows and farmland to a compact village of factories and homes. Located on a peninsula in north central Queens, College Point extends into the East River and adjoins Flushing Bay. It was named for St. Paul’s College, which opened in 1839. Located on the site of present-day MacNeil Park, the seminary lasted for less than a decade, closing in 1847. At the time, the area to the south was known as Strattonport and Flammersburg. These neighborhoods were named for businessman Eliphalet Stratton (1745-1831) who purchased 320 acres from descendents of the English merchant and slave owner William Lawrence (1622-1680) in 1789,3 and real estate developer John A. Flammer, who acquired 141 acres from the Stratton estate in 1851 and subdivided the property into 80 building lots. These villages then merged and were incorporated as College Point in 1867 or 1870.

 

Regular ferry service between Manhattan and the village started in the 1850s and plans were soon developed to construct a paved causeway, linking the peninsula to Flushing. These transit improvements attracted a growing number of residents, from several hundred in 1853 to 2,200 in 1860. More than half were foreign born, including nearly a thousand from Germany. The rest were mainly Irish. Because the majority of early residents were originally German, College Point was sometimes referred to as the “Little Heidelberg.” Conrad Poppenhusen, the town’s best-known citizen, was born in Hamburg, Germany, in 1813.

 

He immigrated to the United States in 1843, forming a partnership with H. C. Meyer in Williamsburg, Brooklyn, to produce consumer products from whale bones. When demand declined, he sought new opportunities, acquiring a license from the American inventor Charles Goodyear, who held various patents for the vulcanization of rubber. In July 1853, he toured College Point to inspect “eligible locations” for his new company and in September 1854 laid the cornerstone for the “India Rubber Comb Company,” with at least six hundred people in attendance. Among various attendees were several men who would later be associated with the Schleicher residence: M. Gescheidt, the architect; A. Schleicher, either his father, Arthur, or the owner himself; and of course, the owner of the factory, Poppenhusen – Schleicher’s neighbor and co-executor of his will.

 

Herman A. Schleicher (c. 1827-1866)

 

Relatively little is known about Herman A(lvin) Schleicher. Born in New York City to Prussian immigrants in the late 1820s, documents indicate that during his brief life he lived in Manhattan, Brooklyn, and possibly Long Island. He married Malvina (born Prussia, c. 1830) in the late 1840s or early 1850s and they produced four children: Herman, Julia, Frederick, and Walter.5 Schleicher was a successful merchant who was involved in several areas of business, including the sale of hardware, stationary, and coal. In the 1860s, he was identified as: a partner in Schleicher, Walkinshaw & Co., a local importer of dry goods, a trustee of the Mercantile Insurance Company, a director of the St. Nicholas Bank on Wall Street, and a director of the Germania Fire Insurance Company. Schleicher also served with Poppenhusen on Flushing’s first board of education, starting in 1858, and was listed as one of College Point’s top ten income tax payers in 1866.

 

Schleicher died suddenly at the age of 39 in July 1866 and several months later, in November 1866, his dry goods firm consigned a “valuable” collection of European and American paintings to the Leeds Art Galleries in Manhattan.7 Though it can not be confirmed, it seems likely it was Schleicher’s art collection. Irwan Von Auw and Conrad Poppenhusen, both of College Point, served as the executors of his will.8 His funeral took place in Brooklyn and he is buried in a family plot at Greenwood Cemetery, Brooklyn, beside Arthur (d. 1859), Herman

(d. 1906), and Waldemar (d. 1922) Schleicher.

 

Morris A. Gescheidt (d. 1871)

 

The Schleicher House was designed by the architect Morris (Moritz) Albert Gescheidt. His name appears on a rendering of the building in the collection of the Poppenhusen Institute, located in College Point. Little is known about Gescheidt, who immigrated to New York in 1837. He was probably born in Dresden and studied at the Munich Academy of Fine Arts, starting in 1831. According to the Dictionary of Artists in America, he was active as an “architectural painter” in Rome from 1834 to 1836 and may have been the artist who exhibited “views of two Italian churches” at the National Academy of Design in New York in 1838.

 

Gescheidt began to practice architecture in the early 1840s, locating his office at 11 Wall Street. He built at least one additional structure in College Point, a 300- by 40-foot brick factory (1854-55) for Conrad Poppenhusen. He may also have designed Poppenhusen’s house (c. 1857, demolished after 1905) which stood within view of the Schleicher House, near 12th Avenue and College Avenue (now College Place), and incorporated similar architectural elements. In 1860-61, Gescheidt built part of a five-story brick warehouse with cast-iron details for Henry J. Meyer at 393 Greenwich Street (part of the Tribeca West Historic District, Manhattan), near N. Moore Street.

 

Meyer was the son of H(einrich) C(hristian) Meyer, who employed Poppenhusen at his Williamsburg factory in the 1840s. Gescheidt lived in Williamsburg, Brooklyn, on South 3rd Street, and owned property at Castleton, Staten Island, including a “fine mansion house,” which was sold as part of a “mortgage sale” in 1871. Gescheidt died around this time and was listed in various New York State court proceedings in October 1871 as “deceased.”

 

The Schleicher Estate

 

In March 1857, Malvina Schleicher acquired 14 acres from Herman A. Funke, a business associate of Conrad Poppenhusen. The land was directly across from Funke’s own residence and adjoined properties owned by Poppenhusen and his son, H. C. Poppenhusen. Located in College Point’s exclusive north section, approximately 100 feet above sea level, residents of the area enjoyed panoramic views and summer breezes. Gescheidt may have been involved in laying out the grounds, which is known from a site plan dating from before 1866 in the collection of the Poppenhusen Institute.

 

The house was sited near the west end of the parcel, near what is now College Point Boulevard, and was formerly known as 13th Avenue. Many houses were currently under construction in the area: three or four “elegant residences” were described as “under contract” in January 1857, and in August 1857 the Flushing Journal reported that “Joseph Stonebank has just completed an elegant mansion for Conrad Poppenhusen, Esq. and is erecting another gem of residence for Mr. Schleicher in the same section.”12 Stonebank was a successful carpenter and builder in College Point from the 1850s to 1870. He reported an income of $15,000 in 1860 and built his family a 13-room house with such conveniences as speaking tubes, gas, bells, as well as hot and cold running water.

 

The Schleicher House originally stood at the end of tree-lined, semi-circular drive. The rear elevation faced east, toward a sloping, almost circular lawn, ringed by trees. South of the house stood a “back” house or privy, suggesting that at the time of construction the bathrooms were not served by running water. To the north of the house, from west to east, was planned a large vegetable garden with rows of fruit trees, a coach house and stable, a hen house, and duck yard. There were also asparagus beds and winding carriage paths that led to an oval pond at the northeast corner of the estate, near present-day 125th or 126th Street. At the center of the pond was a small island, reached by a bridge. Here stood a small “summer” pavilion and “back” house.

 

Design of the Schleicher House

 

Among various houses erected in College Point during the mid-19th century, the Schleicher House is the last substantial one to survive. Landscape architect A. J. Downing, who published The Architecture of Country Houses in 1850, wrote:

The villa – the country house, should above all things, manifest individuality. It should say

something of the character of the family within – as much as possible of their life and history, their

tastes and associations, should mould and fashion themselves upon its walls.

  

Gescheidt’s stately design blends Italianate and French Second Empire Style features. Inspired by recent developments in Europe, these features, as well as the materials selected by the architect, helped distinguish the house, as well as some its neighbors, from College Point’s agrarian roots. Built of red brick, the exterior was originally covered with light-colored stucco that created the impression that it was constructed of large stone blocks. Other notable classical revival elements included paired columns, slightly arched windows, and a continuous projecting wood cornice. In the decade prior to the Civil War, such decorative treatments became defining characteristics of row houses in New York and Brooklyn, as well as in larger free-standing mansions.

 

Downing also observed that the “Italian style is one that expresses not wholly the spirit of country life nor of town life, but something between both, and which is mingling of both.”15 This may explain why many surviving examples of this architectural style in New York City, including the Schleicher House, were built in once-suburban areas, including: the Phelps-Stokes House (1852-53) in Murray Hill, Manhattan, the Litchfield Villa (1854-57) in Prospect Park, Brooklyn, and the Benjamin Pike House (1858) in Astoria, Queens – all designated New York City Landmarks.

 

In contrast to Italianate houses, which often display flat or low pitch roofs, the Schleicher House was distinguished by a squat mansard punctuated by dormer windows on four sides. Perhaps the earliest surviving structure with this roof treatment in New York City, it was named for the 17th century French architect Francois Mansart who frequently used this type of construction in residential designs.16 Revived in France during the 1830s, it became particularly popular under the rule of Napoleon III (1852-70) and was a characteristic feature of the Second Empire Style.

 

Mansard roofs generally slope inward from all sides and provide additional interior space at the attic level. Such practical solutions were also present in Germany and Austria, where roofs were “raised to a very great pitch, on the account of the great quantity of snow that falls.”

 

Detlef Lienau, who studied architecture at the Ecole des Beaux Arts in Paris, has been credited with introducing the Second Empire Style in New York City, in his 1850-52 residence (demolished) for the French merchant Hart M. Schiff. Located on the southwest corner of Fifth Avenue and 10th Street, his brick-and-brownstone design was widely praised – it incorporated many architectural features employed by Gescheidt, including corner and wall quoins, a tiled mansard roof, and elaborately-decorated dormers.

 

The Schleicher House is 2½ stories tall. Oriented toward the west, to face the setting sun, the main elevation is divided in two sections. The larger, main section was designed in a symmetrical manner, with a wide front porch reached by stairs that were flanked by wood railings and balusters. The balusters curved outward, with the steps getting wider close to the ground. The porch incorporated four pairs of Ionic columns. Directly above the stairs, Gescheidt included a rounded pediment that displayed a small medallion relief.

 

This feature softened the facade’s rectilinear character and echoed the shape of the arched window openings. Each story was divided into three bays, including large windows on the parlor floor, pairs of arched, eight-pane windows on the second floor, and single dormers at the attic level aligned with the windows below. As completed in 1857, all of first and second floor windows probably had wood shutters and the dormers were flanked by decorative brackets. The recessed north section (left) was divided into two bays, each with eight-pane windows. This wing was likely to have contained the kitchen, and the adjoining interior space, to the rear (east), served as a dining or breakfast room.

 

The rear facade faced east, where a sloping lawn descended to landscaped grounds. Less formal in character, this elevation has an irregular profile, with two projecting bays. Each was designed to suggest a Second Empire Style pavilion, crowned by a nearly independent mansard. As built, the original raised wood porch extended across three of the four bays. Though no 19th century photograph has been located that shows the east facade in detail, it can be assumed that the columns and fenestration resembled the west facade.

 

Along with the nearby Poppenhusen mansion, the Schleicher House helped popularize the Second Empire Style in College Point. A photograph taken from the mansard roof of the Poppenhusen Institute in 1880 looking northeast, shows numerous buildings executed in this style, including a large number of houses.19 Today, most of these buildings have been lost or what survives has been significantly altered.

 

Subsequent History

 

Following Schleicher’s death, the house was sold in 1870 to Kenneth G. White for $40,000. White, who served as a clerk in the Federal Circuit Court as well as a United States Commissioner, owned the house for less than two decades and it may be his family and friends who occupy the west porch in a circa 1872 photograph. The house was then acquired by Henry C. and Margaret Cronkright who sold it to the New York City developer William B. Aston (d. 1919) in 1892. Contemporary maps show that both White and Aston owned multiple lots in the vicinity and may have assembled these parcels with the intention to subdivide.

 

In May 1892, it became the Grand View Hotel and Park, providing “First-class accommodations to summer boarders and private parties.” Ten miles from Manhattan, Sunday and summer excursionists arrived by hourly ferry, on railroads from Hunter’s Point in Long Island City, and by trolley. Famous for beer gardens, boating facilities and scenic drives, it was estimated that on weekends the town’s population would double or triple. The hotel’s manager was John Jockers, a long-time employee of the Schleicher family. Born in Germany in 1836, he immigrated to New York City in 1853 and after a brief period working for Conrad Poppenhusen was hired by Schleicher.

 

In the 1870 United States Census, he described himself as a gardener, and in the 1880 Census, a coachman. In later years he was also identified as the “superintendent of the residence and grounds . . . where he laid out the grounds and improved them with the assistance of a number of workmen.”21 The hotel was said to offer “eleven light and airy sleeping rooms” and “the dining accommodations are ample to meet all demands, while the service is above the average found in this vicinity.”22 What remained of the Schleicher estate was described as a “beautiful park” where guests could play lawn tennis and croquet.

 

Jockers probably leased the house from Aston who planned to divide the property into building lots. In 1893, 100 lots were put up for sale, but few were actually sold. Some were purchased by 1896 but it was not until 1906 that the majority of lots, approximately 11 acres, were finally sold. During this period, the surrounding street grid was cut through the site, isolating the house at the center of four streets. Two years later, in 1908, the house itself appeared at auction and was described as occupying “an exactly circular plot, 110 feet in diameter, at North Fourteenth Street and Schleicher Court.”

 

Ownership of the Schleicher House changed several times over the next decades. In 1910, it was described as being “occupied for years by foreigners of the poorest class and is in very bad repair.”24 In 1923 major alterations by owner A. Szczur were approved by the Queens Department of Buildings.25 These changes are likely to have involved the legal conversion of the house into multiple units, the addition of fire escapes on the east facade, and the modification of the east porch into a second entrance with stairs. A researcher for the Works Progress Administration (WPA) observed in 1938 that the house “still stands and is run as a tenement.”

 

Photographs of the building, taken in 1957, show a significant loss of stucco on the exterior. Eva Rohan, the previous owner, acquired the building from Peter Stella in 1971. It was awarded a Queensmark for architectural and historical significance from the Queens Historical Society in 1997. A series of wood brackets, set below the cornice, were removed in the 1990s or possibly later. The house is currently divided into seven apartments, with about 14 tenants.

 

Description

 

The Herman A. and Malvina Schleicher House is located at 11-41 123rd Street in College Point, in north central Queens. Situated on a circular parcel, this freestanding house stands at the intersection of 13th Avenue and 123rd Street, one block east of College Point Boulevard. Non-historic chain-link fencing, partially covered with vines, encloses and divides the property, which is planted with bushes and a few older trees. To the east and west, stone steps rise toward non-historic concrete paths that lead to the entrances. Two-and-a-half stories tall, this large red brick house features a raised basement and a steep mansard roof with projecting dormer windows. All of the aluminum-frame windows are non-historic. The dormers have been modified but retain their original shape and projection. The roof is covered with non-historic black shingles. From a distance, a large central brick chimney is visible.

 

The main (west) facade faces 13th Avenue, toward College Point Boulevard. The facade is asymmetrical; the north section contains two bays, each with single windows, and the south section is divided into three bays, each with two windows. The first (parlor) floor of the south section has a large enclosed porch, reached by non-historic concrete stairs with painted pipe railings. The beed board paneling, brown wood shingles, one-over-one white metal windows and fixed clerestories are non-historic, but the brick bases with horizontal recesses, the painted Ionic composite wood columns that support the porch and flank the entrance, and the general contours appear to be historic.

 

The arched, second-story windows share a single stone sill, and are framed by raised brickwork that rises from each end of the sill. Below the projecting cornice, the brackets have been removed, revealing rectangular recesses, painted white. The roof has three dormer windows, aligned above the paired windows. The northern edge of the west facade has brick quoins. A horizontal stone element (painted white) extends between the base of the porch and the north edge of the house. Below this element, two basement windows are visible. At the second story, the south (right) window has been filled with brick. The roof has a single window, aligned between the first and second story windows. Beneath the wood porch is the original areaway, with basement windows, reached by brick steps on the north side. Most of the stone and brick inside the areaway is painted white. To the right of the door is an oval window.

 

The north facade faces 123rd Street, towards 11th Avenue. Each window is framed with raised brickwork that rises from wide stone sills. The fenestration is asymmetrical, with a wide space between the center and west (right) windows. Between the center and east (left) window, a metal pipe extends up the wall and through the projecting cornice. The roof has a single dormer at center and a brick chimney stack with a recessed decorative pattern to the right (west).

 

The east facade faces 13th Avenue, towards 124th Street. Divided into four bays, an entrance is located in the center-left bay. Reached by non-historic stairs, flanked by non-historic brick walls and wood columns, the wood entrance doors and transom are historic but the wood pediment is probably not. A raised horizontal stone element (painted white), between the basement and the first floor, originally framed a wide porch and is visible in the south and north bays. The center-left bay projects out from the main body of the house, with angled side windows. Both windows have been significantly altered: the first story is partially filled with brick and the second story is entirely enclosed with brick. The south (left) bay is served by an iron fire escape that descends from a dormer window on the roof to the second floor window and then continues down to the south facade.

 

Along the edge of this bay is a metal pipe, painted white. The windows in the center-right bay are identical to the south bay. The north bay also projects from the main body of the house, with angled side windows. It is served by an iron fire escape that descends from the dormer window on the roof to both center and south windows on the second floor and then down to a landing set between the center and south windows on the first floor. Both of the center windows have been filled with brick. At the basement level, there is a squat, one over-one-window. The side windows are one-over-one aluminum windows. Extending the full length of the east facade is a deep areaway with windows, reached by stairs with a single iron railing along the south side. Below first story entrance is a single door to the basement, flanked by small windows, with prominent lintels and sills, and the original vertical bars.

The south facade faces 123rd Street, toward 14th Avenue.

 

The first and second floors have four window openings. A pair of windows on the second floor has been filled with brick. On the roof is a single dormer window, flanked by brick chimney stacks, decorated with arched recessed patterns. A metal pipe extends up from inside the right half of the west (left) chimney. Between the center and west (left) windows on the first floor, a gray television dish is attached to the wall. Between the base and the first story, a raised white horizontal element (probably painted stone) extends the full length of the facade. The basement has four windows, aligned with the windows above. The center pair has been filled with brick. At the west edge of the facade, a white metal pipe extends up the wall and through the projecting cornice.

 

- From the 2009 NYCLPC Landmark Designation Report

Real Estate developer Frederick Bartlett began subdividing land he purchased from Long Jonh Wentworth starting in 1910 from Cicero west down Archer to Harlem. He placed these concrete gates at the end of each block to create a "gated community" effect. Later the gates were used as street markers,

 

350 East 2nd Street, North Vancouver, BC.

 

Description of Historic Place:

 

Hamersley House is a large Tudor Revival estate home set back on a large lot in a residential area east of Lonsdale Avenue. Two and one-half stories in height and set on a full basement, it is unusual for having the main floor built of poured concrete. Although the original grounds have been subdivided, the house maintains a gracious setting, with many mature trees dating to the date of construction. The historic place includes the house and grounds.

 

Heritage Value:

 

Hamersley House is valued for its association with prominent North Vancouver resident Colonel Alfred St. George Hamersley. Hamersley (1850-1929) had a short but meaningful stay in North Vancouver at the turn of the twentieth century. Although working in Vancouver as the first City Solicitor, Hamersley chose District Lot 274 in North Vancouver as the location for his family estate. An early commuter to Vancouver from the North Shore, Hamersley had a controlling interest in the North Vancouver Ferry and Power Company, which established a regular ferry service across Burrard Inlet. This grand estate once included the house, then named "Langton Lodge", park-like grounds (including fifty maple trees planted by Hamersley), and a simple gardener's cottage.

 

The Hamersley House is also significant for its architecture and construction materials. It is a very good example of an Edwardian era estate home, substantially built with a granite-faced foundation and exposed concrete for the main floor structure and cladding. This is the earliest identified use of concrete above grade for a building in the Vancouver region. A steep gabled roof contains the two upper floors. The home also features a large and distinctive verandah across the west elevation that wraps around the front and back.

 

Hamersley House is also significant for its associations with architects Honeyman and Curtis. John J. Honeyman (1864-1934) and George D. Curtis (1868-1940) had been located in Rossland, B.C., but anticipating greater opportunity on the coast, had moved to Vancouver and established their partnership in 1902. Together they completed a number of prestigious commissions for the provincial government, the Canadian Pacific Railway (CPR) and churches for a variety of denominations. This prominent house was one of their earliest local commissions. Curtis lived in North Vancouver, and over the course of their careers the partners undertook many commissions on the North Shore.

 

Source: Heritage Planning Files, City of North Vancouver

 

Character-Defining Elements:

 

Key elements that define the heritage character of the Hamersley House include its:

- massive form, imposing scale and irregular, picturesque massing

- masonry construction, including a granite-faced foundation and exposed reinforced concrete construction on the main floor

- tall and prominent side gable roof with front wall gable, hip and shed dormers, clad with cedar shingles

- stucco and wood half timbering in the gable ends, with cedar shingles above

- wooden-sash windows

- corbelled brick chimneys

- west side verandah with bowed porch balustrades between paired columns

- landscape setting, with mature plantings and trees

 

Canada's Historic Places

Phetchabun is one of the northern provinces ( Changwat ) of Thailand. Neighbouring provinces are Loei, Khon Kaen, Chaiyaphum, Lopburi, Nakhon Sawan, Phichit and Phitsanulok. Phetchabun is located in the lower northern region of Thailand, in the area between the northern and the central region. The province lies in the broad fertile river valley of the Pa Sak River, with mountains of the Phetchabun mountain range to the east and west. It is surrounded by places of interest, many well known national parks, beautiful waterfalls and great lakes. The province is subdivided in 11 districts ( Amphoe ). These are further subdivided into 117 sub districts ( Tambon ) and 1261 villages ( Muban ).

1. Mueang Phetchabun 2. Chon Daen 3. Lom Sak 4. Lom Kao 5. Wichian Buri 6. Si Thep 7. Nong Phai 8. Bueng Sam Phan 9. Nam Nao 10. Wang Pong 11. Khao Kho

Phetchabun was established by two kingdoms: the Sukhothai Kingdom, and the Ayutthaya Period of the King Narai. In the thesaphiban administrative reforms at the beginning of the 20th century, the province together with Lom Sak Province to the north formed the monthon Phetchabun. As it was the smallest monthon, it was also the first monthon to be dissolved in 1915, after being temporarily administered from Monthon Phitsanulok between 1903 and 1907. Lom Sak Province was abolished and merged into Phetchabun in 1932. During the period between 1968-1982 communist insurgents established bases in the mountains in the province. From hidden locations they fought occasional skirmishes against the Thai Army.

It is the mountains that draw tourists. The rolling peaks of Khao Thor, known as Little Switzerland, were once a battlefield against communist insurgents. Today, its beautiful scenery and cool weather attracts many visitors, to see the mountain-top army base turned into a museum, and enjoy trekking in the open zoo and non-hunting areas. The national parks of Phu Hin Rong Kla, with its stunning rock formations, and Nam Nao, whose forests are home to many large animals and birds, are now starting to attract more and more trekkers and eco tourists. Khao Kho The most engaging national park of Phetchabun Province is Khao Kho National Park, about one hour northwest of Phetchabun town. It was designated to be Little Switzerland from many visitors, because of beautiful scenery and cool weather like Switzerland. It was once a battle field against communist insurgents conducted their struggles against the authorities. Its charming scenery and great weather allure tourists to see the mountain – top, army base turned into a museum, a Chedi containing a holy relic and enjoy trekking in the open zoo and non – hunting areas.

Phetchabun may be reach by Road No.21 ( Kochasenee Rd.) from Saraburi and 370 kilometres from Bangkok.

How to get there

By Train

There is no railway system to Phetchabun

By Car

Road No.1 from capital city ( Bangkok ) to Saraburi province and then Road No.21 to Phetchabun road No.12 from Khon kaen ( central province of the northeastern region ) to Lom Sak and then Road 21. southward to Phetchabun.

By Bus.

Quite a lot of buses stop at this town on the way to Lom Sak. Here are some services you can find from Mo chit Terminal: www.transport.co.th 0 2936 2852-66

Phet Tour 0 2936 3230

Thin Siam Tour 0 2936 0500Buses are very frequent, like 2 or 3 within an hour. First Class service from Phet Tour cost 263 Baht and takes 4 hour+.

Wat Mahathat Phetchabun, Thailand. on Nikon Bamrung Road in town, houses several ancient Chedi's of Sukhothai style. Situated in Muang Phetchabun municipality. It seemed strange seeing this Temple as there is another Wat Mahathat I visited in Ayutthaya last year in 2010. However this Temple is totally different to that at Ayutthaya as you will see. Within the grounds is a school for the training of Buddhist Monks and many where around the day I visited this fine Temple. This monastery is an ancient temple which HRH Prince Damrong presumed that this monastery might be constructed during Sukhothai period. Wat Mahathat has the important objects of worship such as, Phum Khao Binth styled pagoda has been presumed that it might be constructed about B.E. 1926 ( 1383 ). This pagoda is a place that comprises Buddha's relics, Orrahan's ( saint ) ashes, and small images of Buddha in several styles. Two Buddha images of the U-Thong period whose laps are 36 inches wide. One is housed in the main chapel and the other is housed in the vihara of Wat Mahathat.

Badian is a 3rd class municipality in the province of Cebu, Philippines. According to the 2010 census, it has a population of 37,699 people. The Municipality of Badian is located 97.6 km southwest of Cebu City. It is bounded on the north by the municipality of Moalboal; on the south by the municipality of Alegria; on the east by the municipalities of Dalaguete and Argao; and on the west by Tanon Strait.

Badian is administratively subdivided into 29 barangays.

Alawijao Balhaan Banhigan Basak Basiao Bato Bugas Calangcang Candiis Dagatan Dobdob

Ginablan Lambug Malbago Malhiao Manduyong Matutinao Patong Poblacion Sanlagan

Santicon Sohoton Sulsugan Talayong Taytay Tigbao Tiguib Tubod Zaragosa

The Kawasan Falls is a three-layered waterfall series located in the Municipality of Badian, Cebu, which has become a huge attraction with foreign and local tourists throughout the years. The first waterfall is the largest and highest of the three falls, while the two falls uphill are smaller.

Kawasan Falls is located in Barangay Matutinao in Badian, Cebu. To get to Badian from Cebu City you can take a bus at the South Bus Terminal for a three hour ride that will directly take you to Badian. From there, you can take a tricycle that will take you to Barangay Matutinao.

If you are taking a private vehicle, drive past the Municipality of Carcar, and upon reaching the Municipality of Badian through the picturesque mountain road, then drive to Matutinao village. You can always ask for directions from people along the way if it is your first time to go to Kawasan Falls, so you won’t get lost.

When you reach the main road leading to Kawasan Falls, there is a main entrance to the waterfalls area and an entrance fee of 10 peso’s per person. From there, you start on a 20 to 30 minute walk on a trail that will lead you to the first waterfall.

You will then have to trek a further 10 to 15 minutes uphill to get to the second waterfall, and another 15 minute trek to the third waterfalls. There is a resort with restaurant at the area of the first waterfalls. There are small cottages and tables for rent at 300 peso’s each table as at September 2012 ( on top of the menu prices ) and several rooms for rent for those who want to stay overnight. A popular attraction is a bamboo raft ride leading to a shower under the cool falling waters of the first and second waterfall.

The Mactan International Airport is located in Mactan, Cebu; it is served by major airlines like Cebu Pacific Air and Philippine Airlines. You can also fly from Metro Manila to Cebu. There are many domestic flights and sometimes it is economical because many airlines offer a cheaper airfare. Check also for any available promo. If you arrived earlier in Cebu, you can leave straight to Badian providing you already arranged your accommodation there before your arrival or you can stay for a night in Cebu City and have your trip to Badian the next day.

Your choices to come from Cebu City to Badian are: from the airport you can take a taxi to South Bus Terminal look for Ceres Bus Liner via Barili, you can also take Librando Trans. There are buses leaving Cebu City to Badian every 30 minutes or one hour. It will take 2-3 hours or more bus travel to reach Badian from Cebu City depending on the number of stops. You can also hire a taxi at the airport or at the city to Badian, it is more comfortable and faster. Make sure the driver knows where Badian is. The fare is about Php 1500.00 - Php 3000.00 and be prepare for some bartering and some hidden costs

The capital barangay of Badian town is Poblacion. It is located in the centre of the town. This is where the local high school is located called Badian National High School ( BNHS ) is one of the two high schools in the town of Badian. This is also the largest of the two and many students from the neighbouring town just like Moalboal, Alcantara and Ronda come to study in this high school. The lower educational facility in Badian is the Badian Central Elementary School where all the younger children go to school for the simple fact that it is completely free and the only elementary school and the biggest one in town. One more very important institution that is located in Poblacion is the Town Hospital where everyone from every other barangay goes to in the time of sickness.

The facility has been better than the past management they have more improvements to the hospitals than anything else which is the best thing they could have done because this is where most Badianganons run to in the time of need. This is also the location where the town church is located ~ the church of Santiago Apostol, which celebrates its Festival on the 25th of July every year. Together with the Feast of Santiago Apostle is the Banig Festival which was started about three years ago. Poblacion is also where the Municipal Hall is located in sitio sawang. Thus, I believe that the municipality should ought to have more funding's in the Hospital Facility more so that the roads that they are trying to fix every single year Poblacion has many sitios which is the little corners of Poblacion which is residential or commercial properties. Some of these sitios are; Syma, Walog, Sawang, Highway, and many more. This is the only urban place in Badian compared to any other barangays that surround the town. Poblacion is also the most populated barangay in all Badian. Which has 3854 population as of 2007 Census. Poblacion is where the marketplace is located. Thus, most of the trading is here. Many vendors from all over town will show up mostly on Saturdays and Sundays for the trading.

English / Português

 

English

Portel is a Portuguese town in the District of Évora, Alentejo and Central sub-region of Alentejo, with about 2 800 inhabitants.

It is the seat of a municipality with 601.15 kilometers ² and 8 109 inhabitants (2001), subdivided into 8 districts. It is bordered to the north by the Municipality of Évora, east of Évora, southeast by Moura, Vidigueira the south, southwest of Cuba and west of Viana do Alentejo.

The town of Portel was founded in 1261 and received charter county in 1262.

History

St. Mary or Our Lady of the Lake

It was the year 1257, Lisbon on 28 June, when the King Alfonso III ordered the Municipality of Évora to hand over to D. John Peres Aboim, Rich Man, his vassal and Butler-Mor, the lands that now constitute the end of Portel. On 18 October 1261 was authorized by the king to build a castle and fortress, thus laying the foundations of the current town of Portel. On 1 December 1262, D. John and his wife Aboim D. Afonso Navy grant to residents of the new town of Portel letter of charter with the forums and customs of the city of Evora.

Deceased D. John Aboim fit the town of Portel, an inheritance to his son D. Pedro Eanes that came to deliver his sister Maria Eanes. This and her husband exchanged it for other lands, with the King Dinis. This landlord owned the town of Portel and castle until April 1331. Subsequently became the landlord, respectively, to: Queen Santa Isabel, King Afonso IV, D. Pedro I, and King Friends who donated to Gonçalo Rodrigues de Sousa became this man and mayor of Portel.

During the crisis politico-economic and social discovered in Portugal in the years 1383-1385 and after the s struggles that were fought for the occupation of the throne by King John I, was the town of Portel donated to the disputed D. Nuno Alvares Pereira. It is through his grandson, D. Fernando, 2nd Duke of Braganza, the town of Portel became part of the landlord of the house of Braganza, where he remained until the advent of Liberalism.

In 1510, King D. Manuel reformed the forums and customs of the Charter of charter of 1262 granting the Provincial Portel New Reading.

After the Liberal Revolution of 1820, Portel was integrated in the general administration of the state.

Monuments and tourist attractions-sheet: Medieval castle and walled town;

Churches and Convents (Matrix, Mercy, Holy Spirit, St. Paul and St. António Capuchin) and chapel and church of S. Pedro;

Urban area surrounding the castle and the urban Vale Flores - narrow streets, white houses, chimneys protruding in the majestic facade;

Palaces and mansions of the Republic Square and the Largo 5 October;

In the Town of Portel was attached to the old Town of St. John Baptist Odivelas whose parish church of the patron saint S. John the Baptist and located at Mount St. John is at present in complete ruin.

Português

Portel é uma vila portuguesa, no Distrito de Évora, região Alentejo e subregião do Alentejo Central, com cerca de 2 800 habitantes.

É sede de um município com 601,15 km² de área e 8 109 habitantes (2001), subdividido em 8 freguesias. O município é limitado a norte pelo município de Évora, a leste por Reguengos de Monsaraz, a sueste por Moura, a sul pela Vidigueira, a sudoeste por Cuba e a oeste por Viana do Alentejo.

A vila de Portel foi fundada em 1261, tendo recebido foral de concelho em 1262.

Historia

Santa Maria ou Nossa Senhora da Lagoa

Decorria o ano de 1257, Lisboa a 28 de Junho, quando o Rei D. Afonso III, ordenou ao Concelho de Évora que entregasse a D. João Peres de Aboim, Rico Homem, seu Vassalo e Mordomo-Mor, as terras que passaram a constituir o termo de Portel. Em 18 de Outubro de 1261 foi autorizada pelo soberano a construção de castelo e fortaleza, lançando assim os fundamentos da actual povoação de Portel. A 1 de Dezembro de 1262, D. João de Aboim e sua mulher D. Marinha Afonso concederam aos moradores da nova vila de Portel Carta de Foral com os foros e costumes da cidade de Évora.

Falecido D. João de Aboim coube a vila de Portel, em herança, a seu filho D. Pedro Eanes que a veio a entregar a sua irmã D. Maria Eanes. Esta e seu marido trocaram-na, por outras terras, com o rei D. Dinis. Este possuiu o senhorio da vila de Portel e castelo até Abril de 1331. Passou, posteriormente o senhorio, respectivamente, para: a rainha Santa Isabel, Rei D. Afonso IV, D. Pedro I, e Rei D. Fernando que o doou a Gonçalo Rodrigues de Sousa tornando-se este senhor e alcaide de Portel.

Durante a crise politico-económica e social que surgiu em Portugal nos anos 1383-1385 e posteriormente à s lutas que se travaram pela ocupação do trono por D. João I, foi a vila de Portel doada ao Contestável D. Nuno Alvares Pereira. É, por intermédio de seu neto, D. Fernando, 2º Duque de Bragança, que a vila de Portel passou a fazer parte do senhorio da Casa de Bragança onde se manteve até ao advento do Liberalismo.

Em 1510, El-Rei D. Manuel reformou os foros e costumes da Carta de Foral de 1262 concedendo a Portel Foral de Leitura Nova.

Depois da Revolução Liberal de 1820, Portel foi integrado na administração geral do Estado.

Monumentos e locais de interesse turístico-patrimonial: Castelo medieval e amuralhamento da vila;

Igrejas e Conventos (Matriz, Misericórdia, Espírito Santo, S. Paulo e Stº António dos Capuchos ) e ermida e igreja de S. Pedro;

Malha urbana envolvente ao castelo e malha urbana de Vale Flores - ruas estreitas, casas brancas, chaminés magestosas salientes na fachada;

Casas apalaçadas e brasonadas da Praça da República e do Largo 5 de Outubro;

À Freguesia de Portel foi anexada a antiga Freguesia de S. João Baptista de Odivelas cuja igreja paroquial de orago a S. João Baptista e situada no Monte de S. João se encontra, na actualidade, em completa ruína.

 

The house at Lafayette Street was constructed in 1884 on the recently subdivided property of William O. Lincoln, formerly the Bates Estate. The name of the street was not a flight of wishful thinking: in the late 1770s General Lafayette himself had stayed in the Anchor Tavern, which had stood just a few yards down the hill. The General was in charge of the French troops who were reinforcing Fort Independence in Hull. The tavern was demolished in the 1870s

There are 1.3 million people living in poverty in Hong Kong. Over 100,000 these live in subdivided flats in "cage dwellings" or cubicle homes. The residents are the single elderly, new immigrants, low income families and people with mental and physical disabilities - the most vulnerable and needy groups in society. In April 2010, the AWA (American Women's Association, together with HKIS delivered donations of food and toiletries to the residents of this type of accommodation.

 

If you are interested in finding out more, take a look at the website of the Society for Community Organization (SoCo)

www.soco.org.hk/rights/rights_main_e.htm

  

Creators: Bruford and Braim, Authorised Surveyors & C., 67 Chancery Lane, Melbourne

 

Text includes:

 

"The Gem of Oakleigh is situated at the corner of the Convent Road & Warrigal Road, and is the finest estate ever subdivided at Oakleigh. The most magnificent views are obtainable from every lot.

 

The value of this estate is determined by the fact of its being right in the centre of the business portions of Oakleigh, the Warrigal Road being the main business thoroughfare....

 

Five railway lines will shortly terminate at Oakleigh.

 

The Fern Tree Gully tramway will start from Oakleigh.

 

Prices will soon double and treble, so don't miss this chance."

 

Notes:

 

This estate is the western side of Warrigal Road and therefore sits just beyond the boundary of Monash City and in current-day suburb of Chadstone.

 

The Convent Road, Pine Street and Elm Street no longer exist. Instead, there is Castlebar Road (previously listed in the Melways as Castle Bar Road), Camira Street and Carrum Street.

 

Copyright status: This work is out of copyright

Terms of use: No copyright restrictions apply.

 

Series / Collection: Vale collection

 

Link to online item: handle.slv.vic.gov.au/10381/165030

 

Link to this record: search.slv.vic.gov.au/MAIN:Everything:SLV_VOYAGER2132164

 

Former gunpowder and dynamite factory built in 1879 somewhere in Belgium. This site is where powder and explosives were made, in particular for a use in the mines. The site was sold and demilitarized in 1990 after the bankruptcy of its company.

 

Spread over about ten hectares secretly hidden in the forest, the "factory" is subdivided into approximately fifty buildings isolated from each other. The reason of this isolation? Simply to avoid chain explosions in case of accident.

 

Among all these buildings, there are workshops, laboratories and testing rooms, as well as administration and machinery buildings, and also warehouses. The site is also provided with a central heating network distributed towards all the buildings through above-ground insulated conducts.

 

Discovering the site is comparable to a long and pleasant stroll in the forest, but we have to admit that most of the instruments and working accessories are gone and many buildings are now empty.

 

Besides, the site is polluted and many nitrophilous plants took a malicious pleasure in regaining control of the place, even growing inside the houses.

 

---------

 

Ancienne poudrerie et dynamiterie belge construite en 1879. À ne pas confondre avec la poudrière (soit le "magasin à poudre"), ce site était une usine de fabrication de poudre et explosifs, destinés notamment à un usage dans les mines. Le site fut revendu et démilitarisé en 1990 suite à la faillite de la société.

 

Étalée sur une bonne dizaine d'hectares enfouis secrètement dans la forêt, "l'usine" se subdivise en (approximativement) une cinquantaine de bâtiments isolés les uns des autres. La raison de cet isolement? Simplement pour éviter des explosions en chaîne en cas d'accident de travail.

 

Parmi tous ces bâtiments, on retrouve des ateliers, laboratoires et salles de test, ou encore des bâtiments administratifs, de machinerie et des entrepôts. Le site est également muni d'un réseau de chauffage central redistribué vers tous les bâtiments via des conduites aériennes à parois isolantes.

 

Si la visite du site constitue une longue et agréable balade en forêt, force est de constater qu'il reste peu d'instruments et accessoires de travail dans les bâtiments.

 

Le site étant par ailleurs pollué par des ingrédients (comme le nitrate) qui servaient à la fabrication de la poudre, les plantes nitrophiles ont depuis lors pris un malin plaisir à se ré-approprier les lieux, allant jusqu'à pousser à l'intérieur des maisons.

English / Português

 

English

Portel is a Portuguese town in the District of Évora, Alentejo and Central sub-region of Alentejo, with about 2 800 inhabitants.

It is the seat of a municipality with 601.15 kilometers ² and 8 109 inhabitants (2001), subdivided into 8 districts. It is bordered to the north by the Municipality of Évora, east of Évora, southeast by Moura, Vidigueira the south, southwest of Cuba and west of Viana do Alentejo.

The town of Portel was founded in 1261 and received charter county in 1262.

History

St. Mary or Our Lady of the Lake

It was the year 1257, Lisbon on 28 June, when the King Alfonso III ordered the Municipality of Évora to hand over to D. John Peres Aboim, Rich Man, his vassal and Butler-Mor, the lands that now constitute the end of Portel. On 18 October 1261 was authorized by the king to build a castle and fortress, thus laying the foundations of the current town of Portel. On 1 December 1262, D. John and his wife Aboim D. Afonso Navy grant to residents of the new town of Portel letter of charter with the forums and customs of the city of Evora.

Deceased D. John Aboim fit the town of Portel, an inheritance to his son D. Pedro Eanes that came to deliver his sister Maria Eanes. This and her husband exchanged it for other lands, with the King Dinis. This landlord owned the town of Portel and castle until April 1331. Subsequently became the landlord, respectively, to: Queen Santa Isabel, King Afonso IV, D. Pedro I, and King Friends who donated to Gonçalo Rodrigues de Sousa became this man and mayor of Portel.

During the crisis politico-economic and social discovered in Portugal in the years 1383-1385 and after the s struggles that were fought for the occupation of the throne by King John I, was the town of Portel donated to the disputed D. Nuno Alvares Pereira. It is through his grandson, D. Fernando, 2nd Duke of Braganza, the town of Portel became part of the landlord of the house of Braganza, where he remained until the advent of Liberalism.

In 1510, King D. Manuel reformed the forums and customs of the Charter of charter of 1262 granting the Provincial Portel New Reading.

After the Liberal Revolution of 1820, Portel was integrated in the general administration of the state.

Monuments and tourist attractions-sheet: Medieval castle and walled town;

Churches and Convents (Matrix, Mercy, Holy Spirit, St. Paul and St. António Capuchin) and chapel and church of S. Pedro;

Urban area surrounding the castle and the urban Vale Flores - narrow streets, white houses, chimneys protruding in the majestic facade;

Palaces and mansions of the Republic Square and the Largo 5 October;

In the Town of Portel was attached to the old Town of St. John Baptist Odivelas whose parish church of the patron saint S. John the Baptist and located at Mount St. John is at present in complete ruin.

   

Português

Portel é uma vila portuguesa, no Distrito de Évora, região Alentejo e subregião do Alentejo Central, com cerca de 2 800 habitantes.

É sede de um município com 601,15 km² de área e 8 109 habitantes (2001), subdividido em 8 freguesias. O município é limitado a norte pelo município de Évora, a leste por Reguengos de Monsaraz, a sueste por Moura, a sul pela Vidigueira, a sudoeste por Cuba e a oeste por Viana do Alentejo.

A vila de Portel foi fundada em 1261, tendo recebido foral de concelho em 1262.

Historia

Santa Maria ou Nossa Senhora da Lagoa

Decorria o ano de 1257, Lisboa a 28 de Junho, quando o Rei D. Afonso III, ordenou ao Concelho de Évora que entregasse a D. João Peres de Aboim, Rico Homem, seu Vassalo e Mordomo-Mor, as terras que passaram a constituir o termo de Portel. Em 18 de Outubro de 1261 foi autorizada pelo soberano a construção de castelo e fortaleza, lançando assim os fundamentos da actual povoação de Portel. A 1 de Dezembro de 1262, D. João de Aboim e sua mulher D. Marinha Afonso concederam aos moradores da nova vila de Portel Carta de Foral com os foros e costumes da cidade de Évora.

Falecido D. João de Aboim coube a vila de Portel, em herança, a seu filho D. Pedro Eanes que a veio a entregar a sua irmã D. Maria Eanes. Esta e seu marido trocaram-na, por outras terras, com o rei D. Dinis. Este possuiu o senhorio da vila de Portel e castelo até Abril de 1331. Passou, posteriormente o senhorio, respectivamente, para: a rainha Santa Isabel, Rei D. Afonso IV, D. Pedro I, e Rei D. Fernando que o doou a Gonçalo Rodrigues de Sousa tornando-se este senhor e alcaide de Portel.

Durante a crise politico-económica e social que surgiu em Portugal nos anos 1383-1385 e posteriormente à s lutas que se travaram pela ocupação do trono por D. João I, foi a vila de Portel doada ao Contestável D. Nuno Alvares Pereira. É, por intermédio de seu neto, D. Fernando, 2º Duque de Bragança, que a vila de Portel passou a fazer parte do senhorio da Casa de Bragança onde se manteve até ao advento do Liberalismo.

Em 1510, El-Rei D. Manuel reformou os foros e costumes da Carta de Foral de 1262 concedendo a Portel Foral de Leitura Nova.

Depois da Revolução Liberal de 1820, Portel foi integrado na administração geral do Estado.

Monumentos e locais de interesse turístico-patrimonial: Castelo medieval e amuralhamento da vila;

Igrejas e Conventos (Matriz, Misericórdia, Espírito Santo, S. Paulo e Stº António dos Capuchos ) e ermida e igreja de S. Pedro;

Malha urbana envolvente ao castelo e malha urbana de Vale Flores - ruas estreitas, casas brancas, chaminés magestosas salientes na fachada;

Casas apalaçadas e brasonadas da Praça da República e do Largo 5 de Outubro;

À Freguesia de Portel foi anexada a antiga Freguesia de S. João Baptista de Odivelas cuja igreja paroquial de orago a S. João Baptista e situada no Monte de S. João se encontra, na actualidade, em completa ruína.

 

Norwood, Bronx

 

Designed in 1900, and built from 1901 to 1902 by the New York architects Arthur J. Horgan and Vincent J. Slattery, the former 50th Precinct Police Station House is prominently sited at the intersection of Kingsbridge Terrace and Summit Place. Its style, scale, materials of construction, direct relation to the street, and ornament contribute to the monumental character, which distinguished the building from the surrounding two- and three-story frame structures of rapidly expanding Kingsbridge.

 

A symbol of the authority of the police force and of the presence of municipal government in early 20th century Kingsbridge, and an exemplar of Beaux-Arts principles of composition, the building should be seen within the context of the City Beautiful Movement.

 

Historical interest in the building further derives from its being among the best surviving works of an architectural firm that was very much in the public eye at the tum-of-the-century.

 

Development of the Kingsbridge Area

 

Coincident with the growth of the northwest Bronx generally, the modern development of Kingsbridge and of the area presently known as Kingsbridge Heights dates from the latter half of the 19th century.

 

Rural and sparsely populated, with a varied topographical character, the Bronx of the 19th century depended for its growth on the gradual subdivision of estates, on changed attitudes respecting the desirability of the area, and on the completion of the Harlem River Railroad, which provided a first impetus to the development of the "north side."

 

Kingsbridge formally began to take shape as a residential community in 1847 when the Macomb family's "Island Farm," an extensive tract, was surveyed and subdivided into building lots, which were then sold for development.

 

Notwithstanding its late development relative to communities on Manhattan Island, Kingsbridge has had a rich history beginning as early as 1609 with the arrival of Henry Hudson on the Spuyten Duyvil peninsula.

 

Apparently, the Dutch had considered siting their projected New Amsterdam colony at Kingsbridge.5 The plan was soon abandoned, but by the early 17th century, the Dutch were fanning areas, on Manhattan as far north as the flatlands of Harlem.

 

It was not long before they began to seek areas into which the population could expand; thus, in addition to disaffected New Englanders, among the first settlers of Westchester County (chartered in 1683) and the Bronx — the land "upon the Maine" — were the Dutch. Indeed, the earliest European settler of the immediate Kingsbridge area was the Dutchman Jonkheer Adrien Van der Donck in 1641.

 

Van der Donck's tract, known as de Jonkheers, included all of the land from Spuyten Duyvil north eight miles along the Hudson River and east to the Bronx River.

 

The construction of the Boston Post Road in 1673 facilitated travel and communication between Manhattan Island and the northern colonies. Originating in lower Manhattan, the route ran the length of the island, crossed the Spuyten Duyvil Creek, traversed Westchester County and Connecticut, and terminated in Boston.

 

Until 1693 and the construction of the King's Bridge by landowner Vredryck Flypsen, crossing of the Spuyten Duyvil was accomplished by ferry. From the bridge, the Boston Post Road ran to Albany Crescent (which is just north of the old West Farms/Kingsbridge town line), followed Boston Avenue (the original name for that block of Kingsbridge Terrace in which the police station is located), and then veered toward the northeast, crossing the Bronx River at William's Bridge.

 

Another of the early roads radiating from the location of the King's Bridge and moving north along Bailey Avenue, was the Albany Post Road (opened in 1669 as far as the Sawmill River and in 1700 to Albany), which then continued along the western side of the Van Cortlandt properties.

 

That the King's Bridge served as the principal passage from the northern tip of Manhattan Island to the Bronx mainland, underlines the significance of the greater Kingsbridge area during Revolutionary times. As the main military artery for the armies of both the British and the Americans, the bridge was under constant attack during those Revolutionary War years when New York City was subject to British occupation (1776-1783).

 

Boston Hill (the name for the rise in the immediate vicinity of Albany Crescent) was the scene of many battles in the years following 1776, and from 1777 to 1779, the British established a presence at the Van Cortlandt mansion (located on the eastern side of the Albany Post Road).

 

Early indications of the eventual residential development of the area can be seen in the period immediately fol lowing the Revolution, at which time, well-to-do New Yorkers focused on the natural beauty of the area with an eye toward moving northward.

 

The eventual annexation of the Bronx proceeded in piecemeal fashion and not without opposition: against the incorporation were those Bronx residents who thought that nothing would be gained by aligning themselves with heavily populated Manhattan, and those New Yorkers who saw no advantage to appropriating farmland.

 

Nevertheless, on 1 January 1874, the townships of Kingsbridge, West Farms, and Morrisania formally became the twenty-third and twenty-fourth wards of the City of New York; from that time until 1898, they were known

 

collectively as the "Annexed District". It was not until 1895, however, that the annexation of the Bronx east of the Bronx River was effected.

 

In 1897, the New York State Legislature passed a charter for the creation of Greater New York City; in 1898, twenty-four local governments including all the annexed districts north of the Harlem River, as well as the boroughs of Brooklyn, Queens, and Richmond (Staten Island) were officially consolidated.

 

Commenting on building operations in the Bronx and noting a remarkable thirty-three percent increase thereof between 1898 and 1899, a dealer in real estate averred: "as to the future of the borough, that is assured, for the natural trend of the city's growth is northward, and the Bronx with all its proposed improvements will reap a golden harvest."

 

Corroborating his opinion, the Real Estate Record and Guide of 1901 observed that "more families continue to forsake their downtown neighbors for better homes and the purer air and ampler room above the Harlem and especially brisk in the matter of building is [sic] the upper and eastern sections of the Bronx, where both private and tenement houses are springing up."

 

In point of fact, just after 1895 and the annexation of the eastern section, booms in both real estate and population occurred. These were attributable to a combination of factors, the most important being inclusion into the metropolitan area, self-government, and the improvement of transportation.

 

Bronx Police History and the 50th Precinct

 

Bronx police history formally began in January 1866 when the Metropolitan Police District, created by an act of the New York State legislature in 1857, established a substation in the Village of Tremont in the Town of West Farms.

 

Previously, police activity in Kingsbridge had been under the jurisdiction of Manhattan's 32nd Precinct (currently the 30th), located at Amsterdam Avenue and 152nd Street.

 

Due to an increase in criminal behavior accompanying the immediate post-Civil War growth of the area, the residents of Yonkers and West Farms had favored incorporation within the Metropolitan Police District. Participation in the State's Metropolitan Police District was not long-lived, however; in 1870, as a result of the reorganization of local government according to the terms of the Tweed Charter, the City reclaimed control of the police department.

 

In the following year, Yonkers withdrew from the Metropolitan Police District and organized a police force of its own. In November 1871, the Yonkers police established a substation at Kingsbridge (the predecessor of the 50th) to serve the precinct extending from the West Farms town line to just south of the present Yonkers city line; an existir^ frame building, located at Verveelen Place, just east of Broadway and south of 231st Street, was adapted for use as a station house.

 

As a consequence of the separation of the Township of Kingsbridge from the City of Yonkers in 1872, the force headquartered at Kingsbridge was administered by a joint Board of Police Commissioners of Yonkers and Kingsbridge. Following annexation in January 1874, the district constituted of Kingsbridge, Morrisania, and West Farms was divided into two precincts and one sub-precinct of the New York Police Department.

 

Shortly thereafter, the sub-precinct, headquartered at Kingsbridge, came into its own as the 35th Precinct.18

 

With the consolidation of 1898, the Police Department of Greater New York assimilated eighteen small police agencies, and a move was initiated to conform the boundaries of police precincts to the lines of the individual townships. New precincts were created to serve newly annexed areas and to accommodate rapid population increases and building and commercial development in already established ones.

 

In accordance with the general objective of creating a flexible system that would provide for future expansion of the force, several renumberings of Bronx precincts occurred during the next thirty years. Upon consolidation in 1898, Kingsbridge was redesignated the 40th; in January 1918, the 74th; in April of the same year, the 57th; in 1924, the 26th; and on 1 August 1929, the 50th, which it remains to this day.

 

Despite its changed status upon incorporation into the Greater New York City Police Department, the 40th Precinct (subsequently the 50th) continued to occupy its makeshift quarters at Verveelen Place, which were enlarged in 1886 by taking possession of a two-story frame building to the east. This measure served only as a stopgap, however, for conditions had become progressively unsatisfactory and indeed unsavory.

 

Not only were the quarters cramped, but the basement of the building had flooded so often that the jail had settled out of plumb. A newspaper reporter of the time remarked that "no more unhealthier police station exists in the City of New York than this one,and in the late 1880s, the Board of Health condemned the building. Nevertheless, although a project for construction of a new facility finally was initiated in 1898, new accommodations would not be had until 1902 when " 'the shanty', as the frame building which . . . sheltered the blue-coat&i guardians ever since the 40th precinct was established [was] abandoned for a modem structure.

 

In a review of the official architecture of New York City, The Real Estate Record and Guide (November 1898) branded municipal architecture a disgrace, deplored its standards, and observed that there appeared to be a tendency to employ builders over professional architects.

 

This situation — in which "there is not even one architecturally decent police station"^ — began to improve as New York embarked on a citywide reconstruction and renovation campaign to modernize police facilities. The turn of the century enthusiasm for constructing civic monuments provided a further impetus.

 

Horgan and Slattery were commissioned to design a new 40th Precinct Police Station House sometime between 1898 and fall 1900, although the City of New York did not purchase the land on which the building is situated until 2 October 1900.

 

The firm estimated the construction costs for the station house, stables, and a prison, at $70,000. Plans were filed in December 1900, but approval to proceed was denied due to the omission of tie rods between the steel floor and the spruce beams of the one-story carriage house.

 

The New Building Application was approved on 9 January 1901 only after the architects filed a petition demonstrating that their use of the Roebling System of Fireproof Construction would constitute a sufficient tie in itself.23 construction began 18 March 1901 and was completed 16 April 1902.

 

Horoan and Slattery

 

From 1894, when The New York Times initially reported on the financial difficulties of the firm, until the period 1899 to 1903, when the newspaper regularly and eagerly followed the professional lives of Horgan and Slattery, the architects gained more and more notoriety.

 

While political patronage certainly was not an invention of the Tammany administrators, Mayor Robert Van Wyck was overly zealous about stamping the municipal architecture of New York City with the seal of his administration. It appears to have been Van Wyck's intention either to convey all city projects directly to Horgan and Slattery or to install them in a consulting capacity over more widely renowned architects such as John Thomas (Hall of Records) or Frederick Withers (City Prison).

 

The firm first achieved public recognition with the rehabilitation of the interior of the Democratic Club in 1897. Upon completion of that job, apparently ". finding. . .hundreds of odd jobs, large and small. . .for the favored architects."

 

Queries from a perhaps overly critical press respecting any architect's professional qualifications or lack thereof are not in themselves objectionable.

 

However, in the case of Horgan and Slattery, the situation was rather more complicated as the attacks became a vehicle for denouncing the Van Wyck administration generally and pertained very little, if at all, with a fair assessment of the firm's work. In order to bolster their charges of corruption in the Van Wyck administration, the press seized upon the seeming irregularity in the relationship between the architects and the administration, claiming that the firm name had become "a trademark of municipal disrepute and jobbery".

 

Horgan and Slattery were characterized as political pawns "who had no standing artistic, political, scientific, or financial [but were] used as the cat's paw of politicians anxious to get control of municipal building in New York. . ."

 

Despite the scandals surrounding the firm, political affiliations carried the day, for "on the death of the architect J.R. Thomas, the contract for the completion of the Hall of Records was granted to the favorite Tammany contractors Horgan and Slattery in spite of strong denunciation of such action."

 

Considered cogs in a great political machine and sarcastically dubbed the "universal solvents" or experts in all fields of architecture, the firm was taken to task for lapsed professional and moral responsibilities:

 

The new city administration has acted none too soon and with none too much severity in the cases of those two "devouring absurdities" Horgan and Slattery. Two self-respecting men in their places — but that is unimaginable. Two self-respecting men could never occupy their places. But two men with not more than twice the average thickness of skin would have got out, when Tammany was defeated, withqut waiting to be kicked out amid the cheers of the bystanders.

 

Upon his election in 1902, Mayor Seth Low called for the "dishorganizing and unslatterifying" of municipal architecture and insisted that "all business relations between the city and Horgan and Slattery, who received the award of all city contracts during the administration of Mayor Van Wyck should be terminated as soon as possible."

 

Mayor Low's administration adopted a hardline position according to which it would be preferable to pay damages in court than to honor any outstanding contracts with the architects.

 

Although ethics rather than aesthetics constituted the point of departure for the accusations in the local press — there having been very little critical coverage of the design work —the artistic capabilities of the architects were fair game as well.

 

Nevertheless, the firm's rise to prominence, even in the context of its alleged association with the great tum-of-the-century New York City Democratic party machine, cannot nullify the inherent value of their designs, which, in large part, combined classical vocabularies and Beaux-Arts principles of composition.

 

The Architects' and Builders' Magazine of January 1907 recognized that, "[J. R. Thomas'] work has been carried on in praiseworthy fashion by Messrs. Horgan and Slattery who have added to Mr. Thomas' brilliant conception much of the virility of design which characterizes their other well-known masterpieces."

 

Scant biographical information exists on the two architects. Photographs or drawings of a fair number of their projects were published in architectural journals, but accompanying text is rare. Arthur J. Horgan (1868-1911) and Vincent J. Slattery (1867-1939) entered into partnership in 1886. Until 1897, the New York City Directory listed them as builders; interestingly, in the 1898 edition, they emerged as architects.

 

Evidently, they had incorporated as such and were working out of an office at 1 Madison Avenue. Apart from Horgan's testimony in 1899^^ before the Mazet Committee that he had studied architecture for five years in the offices of his godfather, Colonel Arthur Crocks,35, virtually nothing is known about the professional educations of the architects.

 

Slattery testified that the "outside work" of the firm was his responsibility, while Horgan assumed the "inside work"; he also referred all technical questions to Horgan. In the absence of conclusive information concerning their respective positions in the firm, which would elucidate Slattery's statement, one may speculate either that Horgan was the principal designer and Slattery the business partner, or that Horgan dealt with structural questions and Slattery with interior embellishment.

 

Following Horgan's death in 1911, Slattery went into business for himself, retiring in 1934.

 

The Design

 

The former 50th Precinct Police Station House is a handsome example of Beaux-Arts classicism, a mode of design that characterized much public architecture at the tum-of-the-century and became the emblem of the City Beautiful Movement.

 

Although clearly indebted to the architectural styles of the past, the design does not endeavor to replicate historical models exactly, nor did such archaeological accuracy underlie the historicism of the Ecole des Beaux-Arts. Rather, the elements are derived from classical prototypes but are freely interpreted and ingeniously combined.

 

Typologically, the building refers to an Italian Renaissance urban palace; the ornament is eclectic.

 

Horgan and Slattery approached the design of this small (relative to the grandest examples of the style in New York City, among them the Public Library and Grand Central Station) but imposing building in an imaginative way. The building dominates its site; further, it is the dominant architectural feature on the primarily residential block. The architects' masterful handling is demonstrated in the sensitivity to the site, an

 

understanding of the rules of Beaux-Arts composition, the use of ornament, and the adaptation of an ancient but particularly appropriate building type to a modern use.

 

Their studied application of Beaux-Arts principles is evident in the clear articulation of the parts of the building, the bilateral symmetry, the clearly marked and elaborated openings, the hierarchy of constituent elements in the facades, the play of advancing and receding planes, and the consistency of the articulation.

 

The form of the building refers to two distinct phases in the evolution of the Italian Renaissance urban palace. The 15th-century palace, such as the Pitti or the Medici, with its massive presence, direct relation with the street, and rusticated base, is an appropriate model for the expression of such values as power, security, invulnerability, and monumentality, which, surely in the public mind, are associated with the police force.

 

Strengthening this association are the horizontal extension of the station house, which intensifies the image of its being firmly wedded to its site, and the battlements or crenel lations of the roof parapet.

 

The horizontal lines of the building are reiterated in the surface treatment on every level of the facades: by the granite base; by the continuous channels of the recessed brick courses; by the lines of the windows; by the projecting stringcourses; by the continuous cornice, which is distinguished from the fabric of the building both in color, texture and materials; by the roof parapet, which is defined as a series of advancing and receding planes.

 

In the 16th-century type, exemplified by the design for the House of Raphael by Bramante, the ground story rustication is mediated by the application of architectural ornament in the upper stories, which is also the case here.

 

Description

 

The Kingsbridge Terrace of today, which is rather an unprepossessing street lined with detached houses as well as low-rise apartments, does not figure prominently in the street system of the Bronx, or even of Kingsbridge. This was not always the case, however.

 

From the 18th century until 1913, that portion of Kingsbridge Terrace north of what is presently Albany Crescent, was known as Boston Avenue, the name deriving from its having been a segment of the Boston Post Road. As the east/west section of the almost elliptical Albany Crescent (running roughly perpendicular to the present Bailey Avenue) was also a part of Boston Avenue, and Bailey Avenue formed part of the Albany Post Road, the station house is in close proximity to the intersection of two historically significant roads, and at the crest of Boston Hill.

 

From the street, the building appears as a massive two-story masonry block. In plan, however, it is a "U", oriented southward such that its eastern arm forms the principal or Kingsbridge Terrace facade, and its base (at the north) constitutes the secondary or Summit Place facade.

 

The principal facade is 83 feet in length and two stories in height; the secondary facade is 119 feet in length and three stories in height, only two of which are expressed, corresponding to those on the principal facade.

 

The juncture of the eastern and northern facades is mediated by a curved comer treatment. This transitional element, the articulation of whose second story departs from those of both street facades, constitutes the focal point of the composition if the building is viewed obliquely from the northeast.

 

The focal point, shifts, however to the center bay of the principal facade if

 

the building is viewed directly from the east or obliquely from the south; from either vantage point, the comer construction is virtually invisible.

 

In both cases, the corner element and the axis of symmetry (formed of the entry, the parapet directly above it, the window in the second story, the plaque identifying the building) provide vertical accents in an otherwise horizontally disposed composition. The principal facade consists of five bays, the central three flanked by projecting end bays in the north and south.

 

This "ABA" rhythm is repeated in the secondary facade with the difference that the projecting end bays flank a central section of seven bays. Three bays define the curved comer section.

 

Gamboge bricks, which are variegated in hue and are laid in Flemish bond, constitute the veneers of the facades, including the southern wall of the eastern arm of the "U". The contrasting limestone members of the windows, door, stringcourses, and columns, the granite of the base, the terra-cotta ornament, and the green tin denticulated Doric cornice create an impressive polychromatic image.

 

Like the urban palaces of the Italian Renaissance, the two stories are differentiated in characteristic ways: a projecting stringcourse composed of a series of classical moldings (the lowermost of which is egg and dart) literally cuts the building in half horizontally; the elaboration of the second story contrasts with the relatively unadorned ground story; the individual bricks in the second story are slightly more saturated in color than those in the first; and the apparent rustication of the ground story, achieved by recessing one course in every seven, is abandoned at the first stringcourse, above which the wall is planar.

 

In keeping with the unadorned character of the ground story are the openings, which receive identical articulation in both facades, in the corner, and on the southern side of the eastern arm. They differ only in their proportions: those in the north facade are squatter than those in the projecting bays and in the principal facade, and those in the curved section and the eastern arm are more attenuated.

 

The sash is one-over-one double-hung aluminum surmounted by a fixed pane of glass. The openings are unframed, vertically-oriented rectangles with flat-arch brick lintels and limestone sills with classical contours. A console at either end of the sill provides support, and a console serves as keystone in the flat arch (the console keystone is omitted in the outermost bays of the curved unit).

 

There are three distinct window treatments in the second story, although the sash remains constant. While the same size as those in the east, the windows in the north side are the least elaborate, treated in much the same way as those on the ground story. Replacing the consoles, however, are wedge-shaped limestone keystones that are articulated in three dimensions.

 

One such opening marks the second story of the southern side of the eastern arm. The windows of the corner element are squeezed within the intercolumniations of four Roman Doric, unf luted columns on bases, the two end ones of which are engaged; a series of classical moldings constitutes the lintels.

 

The surface bounded by the upper edge of each lintel and the lower edge of the second story stringcourse is pierced by a round window enframed with a terra-cotta wreath; the comers are enlivened with foliate terra-cotta forms.

 

All windows in the second stories of both the principal facade and the projecting bays are aedicular in type.

 

The aediculae, which frame the windows, are constituted of a series of freely interpreted classical elements including flanking pilasters, which are articulated with deep channels running vertically from the base, a capital, impost block, and lintel of classical moldings.

 

The window sill is tripartite: at either end, a segment projects slightly to form a base for the pilasters. A console with pendant foliate and vegetal ornament decorates each pilaster from just above mid-height to the capital. The window extends from the sill to the top of the capital; in the space that is roughly the height of the impost block and extends from the capital to the egg and dart molding of the lintel, is a flat, blank plaque.

 

The panel duplicates on a reduced scale the one crowning the axis of symmetry in the principal facade, which is inscribed with the name of the precinct. Each aedicula of the projecting bays is enframed by a larger aedicula, which is vestigial in that it is composed of thick pilasters that are simply projections of the brick fabric. Elaborating each pilaster are a cartouche, festoon, and pendant foliate form, placed in series within a vertically-oriented rectangular panel.

 

The axis of symmetry in the principal elevation serves a dual function: it divides the facade into two equal and opposite parts, and it creates a strong central focus. The double doors are preceded by two granite steps set between granite blocks, upon which originally were lampposts.

 

Rectangular hollow metal double doors, which have been painted bright red, with a transom on which the name of the Kingsbridge Heights Community Center has been painted in white, are placed within a basket or depressed arch with prominent brick voussoirs. A large, elaborate stone cartouche serves as the keystone.

 

Flanking the arch, large ancones with foliate ornament, surmounted by impost blocks, support the stringcourse, which breaks forward from the plane of the building at the entry. Directly above, a parapet is elaborated by a blank panel flanked by two triglyph-like elements surmounted by scrolls.

 

The triglyph/scroll unit (which resembles a section of fluted pilaster) supports a projecting molding along the upper edge of the parapet. Flanking each of the triglyph/scrolls is an S-shaped scroll in bas-relief.

 

The uppermost element of the axis is a plaque identifying the building as the 50th Precinct Police Station House. The limestone plaque is a horizontally disposed rectangle; a continuous egg and dart molding serves as a border. A tripartite guttae-like feature dangles from each side of the lower edge of the panel.

 

A block with a console in its center projects from the center of the lower edge of the inscribed panel.

 

The facade of the western arm of the "U" is undistinguished and virtually invisible from any street. The brick wall is punctuated by windows in the second story.

 

Alterations to the exterior have been few and have not significantly affected the street facades.36 The police moved from the building to their current location at 3450 Kingsbridge Avenue in December 1974; the present tenant, the Kingsbridge Heights Community Center, took possession in summer 1975. In 1979, with funding from the New York City Capital Budget and the Federal Community Development Budget, the Community Center embarked on a major rehabilitative program, which was completed in 1981.

 

Undertaken by the New York architects, Edelman and Salzman, most of the alterations were in the nature of adapting the interior spaces to new uses and upgrading

 

systems. The architects were sensitive to the original exterior; the north and east facades of the building remain virtually untouched.

 

The terracotta band courses were partially repointed; the existing wooden entrance doors and frames were replaced with hollow metal doors and frame, and the transom was closed; a new wrought iron gate to the courtyard was installed at the south end of the Kingsbridge Terrace facade; the wooden windows were replaced with aluminum ones, and stainless steel security screens were placed on every opening.

 

Unfortunately, the material condition of the exterior appears to be steadily deteriorating. The cornice, a section of which is missing from the curved elevation, shows an advanced state of erosion especially on the underside. Spalling marks the limestone members of the windows, door, stringcourses, as well as the terra-cotta ornament, and large pieces of the window sills have broken off.

 

- From the 1986 NYCLPC Landmark Designation Report

317 Central Ave; opened in 1958. Not sure when closed; became CVS # 2795 on 12/14/00, with a small section subdivided for a Chinese restaurant.

Phetchabun is one of the northern provinces ( Changwat ) of Thailand. Neighbouring provinces are Loei, Khon Kaen, Chaiyaphum, Lopburi, Nakhon Sawan, Phichit and Phitsanulok. Phetchabun is located in the lower northern region of Thailand, in the area between the northern and the central region. The province lies in the broad fertile river valley of the Pa Sak River, with mountains of the Phetchabun mountain range to the east and west. It is surrounded by places of interest, many well known national parks, beautiful waterfalls and great lakes. The province is subdivided in 11 districts ( Amphoe ). These are further subdivided into 117 sub districts ( Tambon ) and 1261 villages ( Muban ).

1. Mueang Phetchabun 2. Chon Daen 3. Lom Sak 4. Lom Kao 5. Wichian Buri 6. Si Thep 7. Nong Phai 8. Bueng Sam Phan 9. Nam Nao 10. Wang Pong 11. Khao Kho

Phetchabun was established by two kingdoms: the Sukhothai Kingdom, and the Ayutthaya Period of the King Narai. In the thesaphiban administrative reforms at the beginning of the 20th century, the province together with Lom Sak Province to the north formed the monthon Phetchabun. As it was the smallest monthon, it was also the first monthon to be dissolved in 1915, after being temporarily administered from Monthon Phitsanulok between 1903 and 1907. Lom Sak Province was abolished and merged into Phetchabun in 1932. During the period between 1968-1982 communist insurgents established bases in the mountains in the province. From hidden locations they fought occasional skirmishes against the Thai Army.

It is the mountains that draw tourists. The rolling peaks of Khao Thor, known as Little Switzerland, were once a battlefield against communist insurgents. Today, its beautiful scenery and cool weather attracts many visitors, to see the mountain-top army base turned into a museum, and enjoy trekking in the open zoo and non-hunting areas. The national parks of Phu Hin Rong Kla, with its stunning rock formations, and Nam Nao, whose forests are home to many large animals and birds, are now starting to attract more and more trekkers and eco tourists. Khao Kho The most engaging national park of Phetchabun Province is Khao Kho National Park, about one hour northwest of Phetchabun town. It was designated to be Little Switzerland from many visitors, because of beautiful scenery and cool weather like Switzerland. It was once a battle field against communist insurgents conducted their struggles against the authorities. Its charming scenery and great weather allure tourists to see the mountain – top, army base turned into a museum, a Chedi containing a holy relic and enjoy trekking in the open zoo and non – hunting areas.

Phetchabun may be reach by Road No.21 ( Kochasenee Rd.) from Saraburi and 370 kilometres from Bangkok.

How to get there

By Train

There is no railway system to Phetchabun

By Car

Road No.1 from capital city ( Bangkok ) to Saraburi province and then Road No.21 to Phetchabun road No.12 from Khon kaen ( central province of the northeastern region ) to Lom Sak and then Road 21. southward to Phetchabun.

By Bus.

Quite a lot of buses stop at this town on the way to Lom Sak. Here are some services you can find from Mo chit Terminal: www.transport.co.th 0 2936 2852-66

Phet Tour 0 2936 3230

Thin Siam Tour 0 2936 0500Buses are very frequent, like 2 or 3 within an hour. First Class service from Phet Tour cost 263 Baht and takes 4 hour+.

Wat Mahathat Phetchabun, Thailand. on Nikon Bamrung Road in town, houses several ancient Chedi's of Sukhothai style. Situated in Muang Phetchabun municipality. It seemed strange seeing this Temple as there is another Wat Mahathat I visited in Ayutthaya last year in 2010. However this Temple is totally different to that at Ayutthaya as you will see. Within the grounds is a school for the training of Buddhist Monks and many where around the day I visited this fine Temple. This monastery is an ancient temple which HRH Prince Damrong presumed that this monastery might be constructed during Sukhothai period. Wat Mahathat has the important objects of worship such as, Phum Khao Binth styled pagoda has been presumed that it might be constructed about B.E. 1926 ( 1383 ). This pagoda is a place that comprises Buddha's relics, Orrahan's ( saint ) ashes, and small images of Buddha in several styles. Two Buddha images of the U-Thong period whose laps are 36 inches wide. One is housed in the main chapel and the other is housed in the vihara of Wat Mahathat.

English / Português

 

English

Portel is a Portuguese town in the District of Évora, Alentejo and Central sub-region of Alentejo, with about 2 800 inhabitants.

It is the seat of a municipality with 601.15 kilometers ² and 8 109 inhabitants (2001), subdivided into 8 districts. It is bordered to the north by the Municipality of Évora, east of Évora, southeast by Moura, Vidigueira the south, southwest of Cuba and west of Viana do Alentejo.

The town of Portel was founded in 1261 and received charter county in 1262.

History

St. Mary or Our Lady of the Lake

It was the year 1257, Lisbon on 28 June, when the King Alfonso III ordered the Municipality of Évora to hand over to D. John Peres Aboim, Rich Man, his vassal and Butler-Mor, the lands that now constitute the end of Portel. On 18 October 1261 was authorized by the king to build a castle and fortress, thus laying the foundations of the current town of Portel. On 1 December 1262, D. John and his wife Aboim D. Afonso Navy grant to residents of the new town of Portel letter of charter with the forums and customs of the city of Evora.

Deceased D. John Aboim fit the town of Portel, an inheritance to his son D. Pedro Eanes that came to deliver his sister Maria Eanes. This and her husband exchanged it for other lands, with the King Dinis. This landlord owned the town of Portel and castle until April 1331. Subsequently became the landlord, respectively, to: Queen Santa Isabel, King Afonso IV, D. Pedro I, and King Friends who donated to Gonçalo Rodrigues de Sousa became this man and mayor of Portel.

During the crisis politico-economic and social discovered in Portugal in the years 1383-1385 and after the s struggles that were fought for the occupation of the throne by King John I, was the town of Portel donated to the disputed D. Nuno Alvares Pereira. It is through his grandson, D. Fernando, 2nd Duke of Braganza, the town of Portel became part of the landlord of the house of Braganza, where he remained until the advent of Liberalism.

In 1510, King D. Manuel reformed the forums and customs of the Charter of charter of 1262 granting the Provincial Portel New Reading.

After the Liberal Revolution of 1820, Portel was integrated in the general administration of the state.

Monuments and tourist attractions-sheet: Medieval castle and walled town;

Churches and Convents (Matrix, Mercy, Holy Spirit, St. Paul and St. António Capuchin) and chapel and church of S. Pedro;

Urban area surrounding the castle and the urban Vale Flores - narrow streets, white houses, chimneys protruding in the majestic facade;

Palaces and mansions of the Republic Square and the Largo 5 October;

In the Town of Portel was attached to the old Town of St. John Baptist Odivelas whose parish church of the patron saint S. John the Baptist and located at Mount St. John is at present in complete ruin.

Português

Portel é uma vila portuguesa, no Distrito de Évora, região Alentejo e subregião do Alentejo Central, com cerca de 2 800 habitantes.

É sede de um município com 601,15 km² de área e 8 109 habitantes (2001), subdividido em 8 freguesias. O município é limitado a norte pelo município de Évora, a leste por Reguengos de Monsaraz, a sueste por Moura, a sul pela Vidigueira, a sudoeste por Cuba e a oeste por Viana do Alentejo.

A vila de Portel foi fundada em 1261, tendo recebido foral de concelho em 1262.

Historia

Santa Maria ou Nossa Senhora da Lagoa

Decorria o ano de 1257, Lisboa a 28 de Junho, quando o Rei D. Afonso III, ordenou ao Concelho de Évora que entregasse a D. João Peres de Aboim, Rico Homem, seu Vassalo e Mordomo-Mor, as terras que passaram a constituir o termo de Portel. Em 18 de Outubro de 1261 foi autorizada pelo soberano a construção de castelo e fortaleza, lançando assim os fundamentos da actual povoação de Portel. A 1 de Dezembro de 1262, D. João de Aboim e sua mulher D. Marinha Afonso concederam aos moradores da nova vila de Portel Carta de Foral com os foros e costumes da cidade de Évora.

Falecido D. João de Aboim coube a vila de Portel, em herança, a seu filho D. Pedro Eanes que a veio a entregar a sua irmã D. Maria Eanes. Esta e seu marido trocaram-na, por outras terras, com o rei D. Dinis. Este possuiu o senhorio da vila de Portel e castelo até Abril de 1331. Passou, posteriormente o senhorio, respectivamente, para: a rainha Santa Isabel, Rei D. Afonso IV, D. Pedro I, e Rei D. Fernando que o doou a Gonçalo Rodrigues de Sousa tornando-se este senhor e alcaide de Portel.

Durante a crise politico-económica e social que surgiu em Portugal nos anos 1383-1385 e posteriormente à s lutas que se travaram pela ocupação do trono por D. João I, foi a vila de Portel doada ao Contestável D. Nuno Alvares Pereira. É, por intermédio de seu neto, D. Fernando, 2º Duque de Bragança, que a vila de Portel passou a fazer parte do senhorio da Casa de Bragança onde se manteve até ao advento do Liberalismo.

Em 1510, El-Rei D. Manuel reformou os foros e costumes da Carta de Foral de 1262 concedendo a Portel Foral de Leitura Nova.

Depois da Revolução Liberal de 1820, Portel foi integrado na administração geral do Estado.

Monumentos e locais de interesse turístico-patrimonial: Castelo medieval e amuralhamento da vila;

Igrejas e Conventos (Matriz, Misericórdia, Espírito Santo, S. Paulo e Stº António dos Capuchos ) e ermida e igreja de S. Pedro;

Malha urbana envolvente ao castelo e malha urbana de Vale Flores - ruas estreitas, casas brancas, chaminés magestosas salientes na fachada;

Casas apalaçadas e brasonadas da Praça da República e do Largo 5 de Outubro;

À Freguesia de Portel foi anexada a antiga Freguesia de S. João Baptista de Odivelas cuja igreja paroquial de orago a S. João Baptista e situada no Monte de S. João se encontra, na actualidade, em completa ruína.

 

This building is the former Jabuk Baptist Church – erected in 1910 as the Jabuk Mechanics’ Institute Hall.

School and Baptist services were conducted in the building. The porch at the front of the building was added after 1930. The building appears to be in private ownership.

 

In 1930 it was decided to build a new and larger Institute: the first and smaller building was sold to the Baptist Union for the sum of $300.

The institute of 1930 has been demolished.

 

Jabuk on the Marmon Jabuk Range

The name, Marmon Jabuk, probably derived from the word ‘marmadjabuk’. The Ngarkat Aboriginal applied this word to the ranges within these lands where they lived. Upon european settlement, the name was also given to the mountain, the township and the Hundred.

In 1941 the town name Marmon Jabuk was shortened to Jabuk to match the railway siding.

 

Between 1870 and the late 1890s, pastoralists occupied this area. The land was then subdivided into sections prior to the first farmers arriving in 1906.

 

The sandy and stony nature of the roads made travelling difficult so farmers signed a petition for a siding to be established on the new railway line constructed in 1906 (Pinnaroo line). The siding opened on 17 April 1908 and was named Jabuk.

 

*MARMON JABUK, September 3

For a long time past a movement has been on foot to erect a mechanics' institute here. The residents have now made a definite move, for last Wednesday afternoon saw the laying of the foundation stone of the building. The people for many miles around assembled to witness the ceremony, nearly 150 persons being present.

 

Mr J A Beelitz, who performed the ceremony, congratulated the building committee for their perseverance and energy in pushing the building on. The chief purpose in erecting the building was for a school. The Government had been too "longwinded" in granting a school, and so the parents had taken the matter in their own hands. There was a good number of children in the district, and it was a shame and a disgrace to the Government that there was not a school in the town. The district was going ahead by leaps and bounds, and the erection of the institute was a mark of solid progress. Amidst loud cheering Mr Beelitz laid the stone.

Mr J N Smith, of Marmon Jabuk, presented him with a solid silver trowel.

 

An adjournment was then made for refreshments, which had been provided by the ladies' committee.

 

Mr Hannaford, manager of the local branch of the Commercial Bank, in proposing "Prosperity to the district," said he had made a special inspection of blocks in the hundred and could safely say that Marmon Jabuk possessed some of the best land in the state and that prosperity was on the side of the people. He had been shocked to think that nothing had been done for the education of the children locally, and he strongly advised the residents to secure their rights in this respect. It was pleasing to know that apart from an institute and school that building would be used for religious purposes. When Marmon Jabuk got its up-to-date store, it would be one of the first places on the Pinnaroo line.

Pastor Beaston, in supporting the toast, congratulated the residents on their push and energy and strongly urged the young people to interest themselves in the institution, which would benefit the whole district.

Mr Beelitz, in replying to the toast, said he also was convinced the land in the district was amongst the best in Australia.

 

Mr Kirkpatrick (secretary) said the value of the building was estimated at £200. Of this £30 had been donated, and another £15 had been promised. The committee had borrowed the balance at very small interest, and the financial part of the project was quite satisfactory. The building would prove very useful and would be a worthy ornament to the town.

Mr. Millard said that the manner in which the residents had pulled together in the matter was very creditable. It was the intention of the committee to apply to the Education Department for a teacher immediately the building was completed. Not only would the children be benefited by the school, but they would be educated morally and spiritually by the religious worship on Sundays. [Ref: Mount Barker Courier and Onkaparinga and Gumeracha Advertiser 9-9-1910]

 

*A large gathering was held at Marmon Jabuk on Friday afternoon, when the Mechanics’ Institute was opened by Mr George Lee, the pioneer settler. About 150 persons were present, including many visitors from Sherlock, Parrakie, Geranium and Peake.

Mr T Millar, president of the institute committee introduced Mr Lee, who said that the need for a public hall had been keenly felt for many years. The building would also serve the purpose of a school and church.

After the opening ceremony a tea, concert and supper were held and proved a great success. [Ref: Advertiser 17-12-1910]

 

*Foundation Stone For New Hall Laid At Jabuk

Many people witnessed the laying of the foundation stone of the new institute. Mr F R Eylward, is chairman of the institute committee. Mr T Millard, one of the oldest residents, asked Mr M R Fraser to perform the ceremony, and presented him with a silver trowel.

The institute, which will cost over £1,000, is 68 by 30 ft and includes supper room, kitchen, and dressing rooms. The old institute has been sold to the Baptist Union. A dance followed in Mr M R Fraser's woolshed.

The Buccleuch Jazz Band was in attendance, and the MC was Mr D L Thompson. [Ref: Observer 17-4-1930]

 

*Residents of Jabuk and surrounding district met to celebrate the opening of the new Institute. Mr R F Elyward (chairman of the institute committee) introduced Mr T Millard (an old resident) and asked him to open the doors.

Mr Millard, in the course of his speech, referred to the prosperity of the district, and compared the present times with those of 20 years ago when the old institute was opened.

 

High tea was served in the institute, followed by a concert and dance. A programme of musical and elocutionary items was rendered by Adelaide and local artists.

Music was supplied for the dancing by the Lameroo Band, and Mr D L Thompson was MC.

The new institute, which is an imposing structure, is situated in the main street. The contractor was Mr T Saunders, of Sherlock. [Ref: Advertiser 2-9-1930]

   

Greenwich Village, Manhattan, New York City, New York, United States

 

The rowhouse at 131 MacDougal Street in Greenwich Village was constructed c. 1828-29 in the Federal style, characterized by its 2-1/2-story height, Flemish bond brickwork, low stoop with wrought-ironwork, entrance with Ionic columns, entablature and transom, molded lintels with end blocks, peaked roof, molded cornice, and pedimented double dormers. This was one of four houses speculatively built on lots owned by Alonzo Alwyn Alvord, a downtown hat merchant, as the area around Washington Square was being developed as an elite residential enclave. Until 1908, No. 131 was continually owned by families of the merchant and professional class. Around the time of the Civil War, as the neighborhood’s fashionable heyday waned, this house was no longer a single-family dwelling and became a lodging house. In the 1910s, this block of MacDougal Street became a cultural and social center of bohemian Greenwich Village, which experienced a real estate boom in the 1920s.

 

No. 131 was owned from 1919 to 1932 by the family of theatrical agent-playwright Will A. Page, and was partly in commercial use by 1924 for a number of tearooms and speakeasies. From 1940 to 1961, it was owned by Harold G. and Dorothy Donnell Calhoun, the former an assistant to the U.S. Attorney General; the Calhouns had purchased Nos. 127 and 129 in 1920. Alterations to the house included the creation of a roof “studio dormer” by linking its two dormers and the lowering and joining of the first-story windows as a commercial storefront . The Times in 1951 reported on the planned modernization of the houses, noting that their “old architectural charm” was to be preserved. Despite the loss of some architectural details, this house, notable singularly and as a group with its neighbors.

 

DESCRIPTION AND ANALYSIS

  

The Development of the Washington Square Neighborhood

 

The area of today’s Greenwich Village was, during the 18th century, the location of the small rural hamlet of Greenwich, as well as the country seats and summer homes of wealthy downtown aristocrats, merchants, and capitalists. A number of cholera and yellow fever epidemics in lower Manhattan between 1799 and 1822 led to an influx of settlers in the Greenwich area, with the population quadrupling between 1825 and 1840. Previously undeveloped tracts of land were speculatively subdivided for the construction of town houses and rowhouses. Whereas in the early 19th century many of the wealthiest New Yorkers lived in the vicinity of Broadway and the side streets adjacent to City Hall Park between Barclay and Chambers Streets, by the 1820s and 30s, as commercial development and congestion increasingly disrupted and displaced them, the elite moved northward into Greenwich Village east of Sixth Avenue. For a brief period beginning in the 1820s, Lafayette Place and Bond, Great Jones and Bleecker Streets were among the most fashionable addresses, the latter developed with three block-long rows of houses in 1827-31.

 

A potter’s field, located north of 4th Street below Fifth Avenue since 1797, was converted into Washington Military Parade Ground and expanded in 1826 and landscaped as Washington Square in 1828. This public square spurred the construction of fine houses surrounding it, beginning with a uniform row of twelve 3-1/2-story Federal style houses on Washington Square South , between Thompson and MacDougal Streets, by Col. James B. Murray and others. On Washington Square North, west of Fifth Avenue, Federal and Greek Revival style town houses were built between 1828 and 1839, while east of Fifth Avenue, “The Row” of thirteen large Greek Revival style town houses was developed in 1832-33 by downtown merchants and bankers who leased the properties from the Trustees of Sailors Snug Harbor. The University of the City of New York constructed its first structure, the Gothic Revival style University Building , on the east side of the Square. While many of the better houses were built on east-west streets south of the Square, more modest dwellings for the working class were constructed on many of the north-south streets. The block of MacDougal Street just southwest of the Square was developed with houses more modest than those on the Square, but still attracting the merchant and professional class.

 

In 1832, the Common Council created the 15th Ward out of the eastern section of the large 9th Ward, its boundaries being Sixth Avenue, Houston and 14th Streets, and the East River. According to Luther Harris’ recent history Around Washington Square, during the 1830s-40s “this ward drew the wealthiest, most influential, and most talented people from New York City and elsewhere. By 1845, 85 percent of the richest citizens living in the city’s northern wards resided in the Fifteenth.” Fifth Avenue, extended north of Washington Square to 23rd Street in 1829, emerged as the city’s most prestigious address.

 

Construction and 19th Century History of No. 131 MacDougal Street

 

No. 131 MacDougal Street was one of four adjacent rowhouses that were speculatively built on lots located between Amity and West 4th Street just southwest of Washington Square that were owned by Alonzo Alwyn Alvord. A downtown hat merchant in the firm of Alonzo A. Alvord & Co. at 14 Bowery, Alvord was born in Connecticut, married Elizabeth Bulkley in 1834, and served on the Board of Assistant Aldermen in 1851. Alvord had acquired this property in 1827 from Thomas R. and Mary Mercein; according to tax assessment records, he had been paying taxes on the property at least a year earlier. Construction on the four houses began in 1828 and was completed prior to March 1829, when Nos. 129 and 131 were sold for $8000 to downtown merchants John W. Harris and William Chauncey. The earliest known tenant of No. 131, in 1835-38, was Thomas J. Field, a downtown china merchant in the firm of Field & Co. In 1836, Nos. 129 and 131 were sold by John

 

W. and Frasier Harris and William and Julia Ann Chauncey to Elias Hicks Herrick , a wealthy downtown flour commission merchant in the firm of E. & J. Herrick, and his wife, Jane Maria Taylor Herrick . Elias Herrick transferred No. 129 in 1846 to Jacob B. Herrick, apparently his brother and a partner in his firm, but retained No. 131 until 1853. Resident tenants of No. 131 were downtown merchant Starkes W. Lewis and his wife, nee Matilda Campbell Varian, in 1838-42; and the newly wed John Abeel Weeks , a downtown lawyer, and his wife, nee Alice Hathaway Delano , in 1849-54. In 1853, physician Cyrus Knapp purchased this house, and he and his wife, Harriett P. Knapp, lived here in 1854-55. From 1855 until 1880, No. 131 was owned by downtown silversmith Henry Hebbard and his wife, nee Julia A. Douglas; the Hebbards lived here in 1855-60. The firm of Henry Hebbard & Co. was dissolved in 1859; successor silver firms were Hebbard & Moore and Hebbard, Strong & Co.

 

Commercial intrusions and the arrival of workingclass immigrants in parts of the neighborhood south of Washington Square had ended its fashionable heyday by the Civil War. Many older residences were converted into multiple dwellings or boardinghouses, as the former residents moved northward. Bleecker Street as early as the 1850s was known for its boardinghouses and artists’ community. The 1870 census listed African-American laborer John Jackson as a tenant of No. 131 MacDougal Street. In 1880, this property was acquired through foreclosure by Joseph Hall, a real estate operator. At some point thereafter, it was conveyed to Elizabeth A. Louderback Quackenbush , the wealthy wife of hardware merchant Abrahram A. Quackenbush.

 

Federal Style Rowhouses in Manhattan

 

As the city of New York grew in the period after the Revolution, large plots of land in lower Manhattan were sold and subdivided for the construction of groups of brick-clad houses. Their architectural style has been called “Federal” after the new republic, but in form and detail they continued the Georgian style of Great Britain. Federal style houses were constructed from the Battery as far north as 23rd Street between the 1790s and 1830s. The size of the lot dictated the size of the house: typically each house lot was 20 or 25 feet wide by 90 to 100 feet deep, which accorded with the rectilinear plan of New York City, laid out in 1807 and adopted as the Commissioners’ Plan in 1811. The rowhouse itself would be as wide as the lot, and 35 to 40 feet deep. This allowed for a stoop and small front yard or areaway, and a fairly spacious rear yard, which usually contained a buried cistern to collect fresh water and the privy. During the early 19th century, several houses were often constructed together, sharing common party walls, chimneys, and roof timbering to form a continuous group. The houses were of load-bearing masonry construction or modified timber-frame construction with brick-clad front facades. With shared structural framing and party walls, each house in a row was dependent on its neighbor for structural stability. With the increasing availability of pattern books, such as Asher Benjamin’s American Builders Companion , local builders had access to drawings and instructions for exterior and interior plans and details.

 

Federal style rowhouses usually had a three-bay facade with two full stories over a high basement and an additional half story under a peaked roof with the ridge line running parallel to the front facade. . The front facade was usually clad in red brick laid in the Flemish bond pattern, which alternated a stretcher and a header in every row. This system allowed the linking of the more expensive face brick with the cheaper, rougher brick behind. Walls were usually two “wythes,” or eight inches, thick. Because brick was fabricated by hand in molds , it was relatively porous. To protect the brick surface and slow water penetration, facades were often painted.

 

The planar quality of Federal style facades was relieved by ornament in the form of lintels, entrances, stoops with iron railings, cornices, and dormers. Doorway and window lintels, seen in a variety of types , were commonly brownstone. The most ornamental feature was the doorway, often framed with columns and sidelights and topped with a rectangular transom or fanlight, and having a single wooden paneled door. Some grander houses had large round-arched entrances with Gibbs surrounds. The entrance was approached by a stoop – a flight of brownstone steps placed to one side of the facade – on the parlor floor above a basement level. Wrought-iron railings with finials lined the stoop and enclosed areaways. Window openings at the parlor and second stories were usually the same height and were aligned and the same width from story to story. The wood-framed sash were double hung and multi-light . Shutters were common on the exterior. A wooden cornice with a molded fascia extended across the front along the eave, which carried a built-in gutter. A leader head and downspout that drained onto the sidewalk extended down the facade on the opposite side from the doorway. Pedimented or segmental dormers on the front roof slope usually had decorative wood trim, and the top sash were often arched with decorative muntins. The roof was covered with continuous wood sheathing over the rafters and clad in slate.

 

The original design of the three 19-1/2-foot-wide and 2-1/2-story rowhouses at 127, 129 and 131 MacDougal Street were characteristic of the Federal style in their Flemish bond brickwork, low stoops with wrought-ironwork, entrances with Ionic columns, entablatures and transoms, molded lintels with end blocks, peaked roofs, molded cornices, and pedimented double dormers. Remaining historic features on No. 131 are its 2-1/2-story configuration and basic fenestration pattern, Flemish bond brickwork , stoop, entrance with Ionic columns , entablature and transom, molded lintels, peaked roof, and early 20th-century dormer. The specific Federal style lintel type seen on this building is rare today. The lintels on Nos. 127, 129 and 131 are cast iron; they are probably replacements for the original brownstone ones, and possibly date from c. 1867, when No. 125 MacDougal Street received a one-story addition with this type of cast-iron lintel. Despite some alterations, including that of the first-story windows as a storefront, No. 131 MacDougal Street, notable singularly and as part of a group, is among the relatively rare surviving and significantly intact Manhattan buildings of the Federal style, period, and 2-1/2-story, dormered peaked-roof type .

 

20th Century History of MacDougal Street

 

After a period of decline, Greenwich Village was becoming known, prior to World War I, for its historic and picturesque qualities, its affordable housing, and the diversity of its population and social and political ideas. Many artists and writers, as well as tourists, were attracted to the Village. In 1914, the block of MacDougal Street just south of Washington Square emerged as a cultural and social center of the bohemian set. After the Liberal Club, headquarters also of the feminist Heterodoxy Club, moved into No. 137 in 1913, it was joined the following year by Polly Holladay’s popular basement restaurant, also in No. 137, and Albert and Charles Boni’s Washington Square Bookshop, specializing in modern literature, next door in No. 135. The Provincetown Playhouse, opened in 1916 in No. 139, relocated in No. 133 in 1918. . Other buildings on MacDougal Street, including No. 131, also attracted businesses that catered to both neighborhood residents and tourists to the Village. Historian George Chauncey has identified the importance of this block in the 1920s to New York’s burgeoning lesbian and gay community:

 

By the mid-twenties the MacDougal Street block south of Washington Square – the site oftheProvincetown Playhouse and numerous bohemian tearooms, gift shops, and speakeasies – had become the most important, and certainly the best-known locus of gay and lesbian commercial institutions. ... Although... gay-run clubs... on MacDougal Street encountered opposition in the Village, this should not obscure the fact that the very existence of such clubs in a middle-class cultural milieu was unprecedented.

 

At the same time, as observed by museum curator Jan S. Ramirez,

 

As early as 1914 a committee of Village property owners, merchants, social workers, and realtors had embarked on a campaign to combat the scruffy image the local bohemian populace had created for the community. ... Under the banner of the Greenwich Village Improvement Society and the Greenwich Village Rebuilding Corporation, this alliance of residents and businesses also rallied to arrest the district’s physical deterioration... their ultimate purpose was to reinstate higher-income-level families and young professionals in the Village to stimulate its economy. Shrewd realtors began to amass their holdings of dilapidated housing.

 

These various factors and the increased desirability of the Village lead to a real estate boom – “rents increased during the 1920s by 140 percent and in some cases by as much as 300 percent.” According to Luther Harris

 

From the 1920s through the 1940s, the population of the Washington Square district changed dramatically. Although a group of New York’s elite remained until the 1930s, and some even later, most of their single-family homes were subdivided into flats, and most of the new apartment houses were designed with much smaller one- and two-bedroom units. New residents were mainly upper-middle-class, professional people, including many young married couples. They enjoyed the convenient location and Village atmosphere with its informality, its cultural heritage, and, for some, its bohemian associations.

 

Older rowhouses, such as those on MacDougal Street,

 

were remodeled to attract a more affluent clientele or

 

as artists studios. Nearby, on most of the lots of the

 

two blocks of MacDougal Street to the north

 

, new apartment buildings

 

were constructed in 1925-29. New York University, particularly after World

 

War II, became a major institutional presence around Washington Square. Vanderbilt Hall , the main building of the Law School, at the southwest corner of the Square at MacDougal Street, was the vanguard of the university’s expansion and new construction to the south. During the 1950s, the area south of Washington Square, to Houston Street, was also targeted for urban renewal. The surviving historic streets to the west, including MacDougal Street, became particularly popular for coffee houses, restaurants, and clubs.

 

No. 131 MacDougal Street in the 20th Century

 

After the death of Elizabeth A. Louderback Quackenbush in 1908, No. 131 MacDougal Street was briefly owned in 1909-11 by John Franklin. From 1911 to 1919, the house was owned by Katie Hicks and her heirs. The Irish-born Ms. Hicks was convicted in 1912 along with the French-born Mary Chapelle, the owner of Nos. 127 and 129, as “two notorious keepers of disorderly houses;” they were pardoned by the governor in 1913. Katie Hicks died around 1916, and the property was inherited by her children, Robert Hicks and Gertrude Watkins. No. 131 was acquired in 1919 by Adelaide Helen Page and Sarah Crocker Page. Adelaide was the wife of Will A. Page , called by the New York Times a “well-known theatrical agent and playwright.” The house was transferred in 1922 to Georgia W. Page. The Milgor Realty Corp. was the owner from 1932 to 1940. Reflecting changes in Greenwich Village, No. 131 MacDougal Street was partly used for commercial purposes by 1924. Commercial tenants in the 1920s30s included the Kopper Kettle tearoom , Teddy Morone’s speakeasy, [Arthur] Murray’s Tearoom, and Henry’s Laundry.

 

From 1940 to 1961, No. 131 was owned by Harold Gilmore and Dorothy Donnell Calhoun . Harold G. Calhoun was a professor of political science at the University of California in Los Angeles and served as assistant to the U.S. Attorney General . His wife was a motion picture magazine editor and an assistant to Labor Secretary Frances Perkins , and wrote short stories, children’s books, and plays. In 1946, the house was internally altered from a three-family to a two-family dwelling. The Times in 1951 reported on the Calhouns’ 63-year lease of Nos. 127 to 131 MacDougal Street to operator Thomas M. Graham, who planned to modernize the houses by architects Knubel & Persich, but noted that Graham planned “to preserve the old architectural charm” . Commercial tenants of the 1940s-60s included Frank C. Pascale, plumbing and heating contractor, Playhouse Café Espresso, Africa Curios, and Leather Land Gifts. Alterations to the house c. 1950s were the creation of a roof “studio dormer” by linking its two dormers, and lowering the first-story windows as storefront windows. In 1961, Dorothy Donnell Calhoun transferred Nos. 127 to 131 MacDougal Street to Mormac Equities, Inc. No. 131 has been owned since 1974 by Juanita and Rodrigo R. Fernandez. The lowered first-story windows were joined as a multi-pane commercial storefront window . Later first-story commercial tenants have included Gemini Boutique, jewelry and dresses; Another Village Restaurant, Chinese country cooking; The Eleventh Hour, “truth emporium;” and a dentist’s office.

 

Description

 

No. 131 MacDougal Street is a 19-1/2-foot-wide and 2-1/2-story Federal style rowhouse clad on the front facade in Flemish bond brickwork . The basement level has two windows ; a sign has been placed between the windows. The concrete-paved areaway has steps, a non-historic wrought-iron gate beneath the stoop, and a non-historic basement entrance door, and is bordered by a 20th-century wrought-iron fence and gate. A low brownstone stoop with 20th-century wrought-iron railings and gates leads to the entrance , that originally framed sidelights, which were replaced by solid panels) with an entablature, rectangular transom, and a non-historic paneled wood door. A lantern has been placed over the doorway. The first-story windows were lowered as storefront windows and then joined as a multi-pane commercial storefront window with anodized aluminum framing . The entrance and first- and second-story windows have molded cast-iron lintels with end blocks. Four star-shaped iron tie-rod plates are located above the first-story window lintels . Sash was originally six-over-six double-hung wood; second-story windows currently have one-over-one double-hung wood sash. A downspout is placed at the southern edge of the building. The original molded wooden cornice was removed . The peaked roof originally had pedimented double dormers; a roof “studio dormer” was created by linking the dormers ; the dormer is sided with wood shingles . A chimney rises above the party wall with No. 129.

 

- From the 2004 NYCLPC Landmark Designation Report

College Point, Queens

 

The Herman A. and Malvina Schleicher House is located in College Point, in north central Queens. It stands on an unusual circular site that was created c. 1906 when the original 14-acre estate was subdivided into building lots and became part of the surrounding street grid. Morris A. Gescheidt, a German-born painter and architect, was responsible for the building’s neo-classical design. Two-and-a-half stories tall, this large red brick house has four visible facades that display elements associated with the Italianate and Second Empire styles, including a mansard roof, segmental arch windows, and quoins. Active in New York City from the late 1840s to the 1860s, Gescheidt also built a factory structure for College Point’s leading citizen, the industrialist Conrad Poppenhusen, in 1854.

 

These developments coincided with the introduction of regular ferry service, resulting in the construction of many residences by German immigrants, particularly in the north section of the village where owners enjoyed views of the East River and Long Island Sound. Two contemporary newspapers commented on Gescheidt’s handsome design; while one writer listed it as among several “elegant residences . . . under contract” in the area, the Flushing Journal called it “another gem of a residence.” The Schleicher House was originally situated at the west end of a walled compound that incorporated out buildings and landscaped carriage paths.

 

Though relatively little is known about the Schleicher family, census records indicate that Herman had Prussian parents and was a successful merchant, involved in the sale of dry goods, stationary, and coal. He shared the house with his wife Malvina, four children, and three servants. Following his death in 1866, the building was acquired by Kenneth G. White, who owned considerable property in the area and is often identified as an attorney and law clerk. In 1890, the house was sold to developer William K. Aston who leased it to John Jockers, a former Schleicher employee. For about a decade, Jockers operated the structure as the 11-room Grand View Hotel. Divided into apartments in 1923, there are currently seven units in the building. Despite changes, the 1857 Schleicher House has many notable characteristics; not only is it one of the oldest houses in College Point but it is one of the earliest surviving structures in New York City to feature a mansard roof.

 

College Point, Queens

 

The Schleicher House was constructed in 1857, during the decade when College Point was transformed from mostly meadows and farmland to a compact village of factories and homes. Located on a peninsula in north central Queens, College Point extends into the East River and adjoins Flushing Bay. It was named for St. Paul’s College, which opened in 1839. Located on the site of present-day MacNeil Park, the seminary lasted for less than a decade, closing in 1847. At the time, the area to the south was known as Strattonport and Flammersburg. These neighborhoods were named for businessman Eliphalet Stratton (1745-1831) who purchased 320 acres from descendents of the English merchant and slave owner William Lawrence (1622-1680) in 1789,3 and real estate developer John A. Flammer, who acquired 141 acres from the Stratton estate in 1851 and subdivided the property into 80 building lots. These villages then merged and were incorporated as College Point in 1867 or 1870.

 

Regular ferry service between Manhattan and the village started in the 1850s and plans were soon developed to construct a paved causeway, linking the peninsula to Flushing. These transit improvements attracted a growing number of residents, from several hundred in 1853 to 2,200 in 1860. More than half were foreign born, including nearly a thousand from Germany. The rest were mainly Irish. Because the majority of early residents were originally German, College Point was sometimes referred to as the “Little Heidelberg.” Conrad Poppenhusen, the town’s best-known citizen, was born in Hamburg, Germany, in 1813.

 

He immigrated to the United States in 1843, forming a partnership with H. C. Meyer in Williamsburg, Brooklyn, to produce consumer products from whale bones. When demand declined, he sought new opportunities, acquiring a license from the American inventor Charles Goodyear, who held various patents for the vulcanization of rubber. In July 1853, he toured College Point to inspect “eligible locations” for his new company and in September 1854 laid the cornerstone for the “India Rubber Comb Company,” with at least six hundred people in attendance. Among various attendees were several men who would later be associated with the Schleicher residence: M. Gescheidt, the architect; A. Schleicher, either his father, Arthur, or the owner himself; and of course, the owner of the factory, Poppenhusen – Schleicher’s neighbor and co-executor of his will.

 

Herman A. Schleicher (c. 1827-1866)

 

Relatively little is known about Herman A(lvin) Schleicher. Born in New York City to Prussian immigrants in the late 1820s, documents indicate that during his brief life he lived in Manhattan, Brooklyn, and possibly Long Island. He married Malvina (born Prussia, c. 1830) in the late 1840s or early 1850s and they produced four children: Herman, Julia, Frederick, and Walter.5 Schleicher was a successful merchant who was involved in several areas of business, including the sale of hardware, stationary, and coal. In the 1860s, he was identified as: a partner in Schleicher, Walkinshaw & Co., a local importer of dry goods, a trustee of the Mercantile Insurance Company, a director of the St. Nicholas Bank on Wall Street, and a director of the Germania Fire Insurance Company. Schleicher also served with Poppenhusen on Flushing’s first board of education, starting in 1858, and was listed as one of College Point’s top ten income tax payers in 1866.

 

Schleicher died suddenly at the age of 39 in July 1866 and several months later, in November 1866, his dry goods firm consigned a “valuable” collection of European and American paintings to the Leeds Art Galleries in Manhattan.7 Though it can not be confirmed, it seems likely it was Schleicher’s art collection. Irwan Von Auw and Conrad Poppenhusen, both of College Point, served as the executors of his will.8 His funeral took place in Brooklyn and he is buried in a family plot at Greenwood Cemetery, Brooklyn, beside Arthur (d. 1859), Herman

(d. 1906), and Waldemar (d. 1922) Schleicher.

 

Morris A. Gescheidt (d. 1871)

 

The Schleicher House was designed by the architect Morris (Moritz) Albert Gescheidt. His name appears on a rendering of the building in the collection of the Poppenhusen Institute, located in College Point. Little is known about Gescheidt, who immigrated to New York in 1837. He was probably born in Dresden and studied at the Munich Academy of Fine Arts, starting in 1831. According to the Dictionary of Artists in America, he was active as an “architectural painter” in Rome from 1834 to 1836 and may have been the artist who exhibited “views of two Italian churches” at the National Academy of Design in New York in 1838.

 

Gescheidt began to practice architecture in the early 1840s, locating his office at 11 Wall Street. He built at least one additional structure in College Point, a 300- by 40-foot brick factory (1854-55) for Conrad Poppenhusen. He may also have designed Poppenhusen’s house (c. 1857, demolished after 1905) which stood within view of the Schleicher House, near 12th Avenue and College Avenue (now College Place), and incorporated similar architectural elements. In 1860-61, Gescheidt built part of a five-story brick warehouse with cast-iron details for Henry J. Meyer at 393 Greenwich Street (part of the Tribeca West Historic District, Manhattan), near N. Moore Street.

 

Meyer was the son of H(einrich) C(hristian) Meyer, who employed Poppenhusen at his Williamsburg factory in the 1840s. Gescheidt lived in Williamsburg, Brooklyn, on South 3rd Street, and owned property at Castleton, Staten Island, including a “fine mansion house,” which was sold as part of a “mortgage sale” in 1871. Gescheidt died around this time and was listed in various New York State court proceedings in October 1871 as “deceased.”

 

The Schleicher Estate

 

In March 1857, Malvina Schleicher acquired 14 acres from Herman A. Funke, a business associate of Conrad Poppenhusen. The land was directly across from Funke’s own residence and adjoined properties owned by Poppenhusen and his son, H. C. Poppenhusen. Located in College Point’s exclusive north section, approximately 100 feet above sea level, residents of the area enjoyed panoramic views and summer breezes. Gescheidt may have been involved in laying out the grounds, which is known from a site plan dating from before 1866 in the collection of the Poppenhusen Institute.

 

The house was sited near the west end of the parcel, near what is now College Point Boulevard, and was formerly known as 13th Avenue. Many houses were currently under construction in the area: three or four “elegant residences” were described as “under contract” in January 1857, and in August 1857 the Flushing Journal reported that “Joseph Stonebank has just completed an elegant mansion for Conrad Poppenhusen, Esq. and is erecting another gem of residence for Mr. Schleicher in the same section.”12 Stonebank was a successful carpenter and builder in College Point from the 1850s to 1870. He reported an income of $15,000 in 1860 and built his family a 13-room house with such conveniences as speaking tubes, gas, bells, as well as hot and cold running water.

 

The Schleicher House originally stood at the end of tree-lined, semi-circular drive. The rear elevation faced east, toward a sloping, almost circular lawn, ringed by trees. South of the house stood a “back” house or privy, suggesting that at the time of construction the bathrooms were not served by running water. To the north of the house, from west to east, was planned a large vegetable garden with rows of fruit trees, a coach house and stable, a hen house, and duck yard. There were also asparagus beds and winding carriage paths that led to an oval pond at the northeast corner of the estate, near present-day 125th or 126th Street. At the center of the pond was a small island, reached by a bridge. Here stood a small “summer” pavilion and “back” house.

 

Design of the Schleicher House

 

Among various houses erected in College Point during the mid-19th century, the Schleicher House is the last substantial one to survive. Landscape architect A. J. Downing, who published The Architecture of Country Houses in 1850, wrote:

The villa – the country house, should above all things, manifest individuality. It should say

something of the character of the family within – as much as possible of their life and history, their

tastes and associations, should mould and fashion themselves upon its walls.

  

Gescheidt’s stately design blends Italianate and French Second Empire Style features. Inspired by recent developments in Europe, these features, as well as the materials selected by the architect, helped distinguish the house, as well as some its neighbors, from College Point’s agrarian roots. Built of red brick, the exterior was originally covered with light-colored stucco that created the impression that it was constructed of large stone blocks. Other notable classical revival elements included paired columns, slightly arched windows, and a continuous projecting wood cornice. In the decade prior to the Civil War, such decorative treatments became defining characteristics of row houses in New York and Brooklyn, as well as in larger free-standing mansions.

 

Downing also observed that the “Italian style is one that expresses not wholly the spirit of country life nor of town life, but something between both, and which is mingling of both.”15 This may explain why many surviving examples of this architectural style in New York City, including the Schleicher House, were built in once-suburban areas, including: the Phelps-Stokes House (1852-53) in Murray Hill, Manhattan, the Litchfield Villa (1854-57) in Prospect Park, Brooklyn, and the Benjamin Pike House (1858) in Astoria, Queens – all designated New York City Landmarks.

 

In contrast to Italianate houses, which often display flat or low pitch roofs, the Schleicher House was distinguished by a squat mansard punctuated by dormer windows on four sides. Perhaps the earliest surviving structure with this roof treatment in New York City, it was named for the 17th century French architect Francois Mansart who frequently used this type of construction in residential designs.16 Revived in France during the 1830s, it became particularly popular under the rule of Napoleon III (1852-70) and was a characteristic feature of the Second Empire Style.

 

Mansard roofs generally slope inward from all sides and provide additional interior space at the attic level. Such practical solutions were also present in Germany and Austria, where roofs were “raised to a very great pitch, on the account of the great quantity of snow that falls.”

 

Detlef Lienau, who studied architecture at the Ecole des Beaux Arts in Paris, has been credited with introducing the Second Empire Style in New York City, in his 1850-52 residence (demolished) for the French merchant Hart M. Schiff. Located on the southwest corner of Fifth Avenue and 10th Street, his brick-and-brownstone design was widely praised – it incorporated many architectural features employed by Gescheidt, including corner and wall quoins, a tiled mansard roof, and elaborately-decorated dormers.

 

The Schleicher House is 2½ stories tall. Oriented toward the west, to face the setting sun, the main elevation is divided in two sections. The larger, main section was designed in a symmetrical manner, with a wide front porch reached by stairs that were flanked by wood railings and balusters. The balusters curved outward, with the steps getting wider close to the ground. The porch incorporated four pairs of Ionic columns. Directly above the stairs, Gescheidt included a rounded pediment that displayed a small medallion relief.

 

This feature softened the facade’s rectilinear character and echoed the shape of the arched window openings. Each story was divided into three bays, including large windows on the parlor floor, pairs of arched, eight-pane windows on the second floor, and single dormers at the attic level aligned with the windows below. As completed in 1857, all of first and second floor windows probably had wood shutters and the dormers were flanked by decorative brackets. The recessed north section (left) was divided into two bays, each with eight-pane windows. This wing was likely to have contained the kitchen, and the adjoining interior space, to the rear (east), served as a dining or breakfast room.

 

The rear facade faced east, where a sloping lawn descended to landscaped grounds. Less formal in character, this elevation has an irregular profile, with two projecting bays. Each was designed to suggest a Second Empire Style pavilion, crowned by a nearly independent mansard. As built, the original raised wood porch extended across three of the four bays. Though no 19th century photograph has been located that shows the east facade in detail, it can be assumed that the columns and fenestration resembled the west facade.

 

Along with the nearby Poppenhusen mansion, the Schleicher House helped popularize the Second Empire Style in College Point. A photograph taken from the mansard roof of the Poppenhusen Institute in 1880 looking northeast, shows numerous buildings executed in this style, including a large number of houses.19 Today, most of these buildings have been lost or what survives has been significantly altered.

 

Subsequent History

 

Following Schleicher’s death, the house was sold in 1870 to Kenneth G. White for $40,000. White, who served as a clerk in the Federal Circuit Court as well as a United States Commissioner, owned the house for less than two decades and it may be his family and friends who occupy the west porch in a circa 1872 photograph. The house was then acquired by Henry C. and Margaret Cronkright who sold it to the New York City developer William B. Aston (d. 1919) in 1892. Contemporary maps show that both White and Aston owned multiple lots in the vicinity and may have assembled these parcels with the intention to subdivide.

 

In May 1892, it became the Grand View Hotel and Park, providing “First-class accommodations to summer boarders and private parties.” Ten miles from Manhattan, Sunday and summer excursionists arrived by hourly ferry, on railroads from Hunter’s Point in Long Island City, and by trolley. Famous for beer gardens, boating facilities and scenic drives, it was estimated that on weekends the town’s population would double or triple. The hotel’s manager was John Jockers, a long-time employee of the Schleicher family. Born in Germany in 1836, he immigrated to New York City in 1853 and after a brief period working for Conrad Poppenhusen was hired by Schleicher.

 

In the 1870 United States Census, he described himself as a gardener, and in the 1880 Census, a coachman. In later years he was also identified as the “superintendent of the residence and grounds . . . where he laid out the grounds and improved them with the assistance of a number of workmen.”21 The hotel was said to offer “eleven light and airy sleeping rooms” and “the dining accommodations are ample to meet all demands, while the service is above the average found in this vicinity.”22 What remained of the Schleicher estate was described as a “beautiful park” where guests could play lawn tennis and croquet.

 

Jockers probably leased the house from Aston who planned to divide the property into building lots. In 1893, 100 lots were put up for sale, but few were actually sold. Some were purchased by 1896 but it was not until 1906 that the majority of lots, approximately 11 acres, were finally sold. During this period, the surrounding street grid was cut through the site, isolating the house at the center of four streets. Two years later, in 1908, the house itself appeared at auction and was described as occupying “an exactly circular plot, 110 feet in diameter, at North Fourteenth Street and Schleicher Court.”

 

Ownership of the Schleicher House changed several times over the next decades. In 1910, it was described as being “occupied for years by foreigners of the poorest class and is in very bad repair.”24 In 1923 major alterations by owner A. Szczur were approved by the Queens Department of Buildings.25 These changes are likely to have involved the legal conversion of the house into multiple units, the addition of fire escapes on the east facade, and the modification of the east porch into a second entrance with stairs. A researcher for the Works Progress Administration (WPA) observed in 1938 that the house “still stands and is run as a tenement.”

 

Photographs of the building, taken in 1957, show a significant loss of stucco on the exterior. Eva Rohan, the previous owner, acquired the building from Peter Stella in 1971. It was awarded a Queensmark for architectural and historical significance from the Queens Historical Society in 1997. A series of wood brackets, set below the cornice, were removed in the 1990s or possibly later. The house is currently divided into seven apartments, with about 14 tenants.

 

Description

 

The Herman A. and Malvina Schleicher House is located at 11-41 123rd Street in College Point, in north central Queens. Situated on a circular parcel, this freestanding house stands at the intersection of 13th Avenue and 123rd Street, one block east of College Point Boulevard. Non-historic chain-link fencing, partially covered with vines, encloses and divides the property, which is planted with bushes and a few older trees. To the east and west, stone steps rise toward non-historic concrete paths that lead to the entrances. Two-and-a-half stories tall, this large red brick house features a raised basement and a steep mansard roof with projecting dormer windows. All of the aluminum-frame windows are non-historic. The dormers have been modified but retain their original shape and projection. The roof is covered with non-historic black shingles. From a distance, a large central brick chimney is visible.

 

The main (west) facade faces 13th Avenue, toward College Point Boulevard. The facade is asymmetrical; the north section contains two bays, each with single windows, and the south section is divided into three bays, each with two windows. The first (parlor) floor of the south section has a large enclosed porch, reached by non-historic concrete stairs with painted pipe railings. The beed board paneling, brown wood shingles, one-over-one white metal windows and fixed clerestories are non-historic, but the brick bases with horizontal recesses, the painted Ionic composite wood columns that support the porch and flank the entrance, and the general contours appear to be historic.

 

The arched, second-story windows share a single stone sill, and are framed by raised brickwork that rises from each end of the sill. Below the projecting cornice, the brackets have been removed, revealing rectangular recesses, painted white. The roof has three dormer windows, aligned above the paired windows. The northern edge of the west facade has brick quoins. A horizontal stone element (painted white) extends between the base of the porch and the north edge of the house. Below this element, two basement windows are visible. At the second story, the south (right) window has been filled with brick. The roof has a single window, aligned between the first and second story windows. Beneath the wood porch is the original areaway, with basement windows, reached by brick steps on the north side. Most of the stone and brick inside the areaway is painted white. To the right of the door is an oval window.

 

The north facade faces 123rd Street, towards 11th Avenue. Each window is framed with raised brickwork that rises from wide stone sills. The fenestration is asymmetrical, with a wide space between the center and west (right) windows. Between the center and east (left) window, a metal pipe extends up the wall and through the projecting cornice. The roof has a single dormer at center and a brick chimney stack with a recessed decorative pattern to the right (west).

 

The east facade faces 13th Avenue, towards 124th Street. Divided into four bays, an entrance is located in the center-left bay. Reached by non-historic stairs, flanked by non-historic brick walls and wood columns, the wood entrance doors and transom are historic but the wood pediment is probably not. A raised horizontal stone element (painted white), between the basement and the first floor, originally framed a wide porch and is visible in the south and north bays. The center-left bay projects out from the main body of the house, with angled side windows. Both windows have been significantly altered: the first story is partially filled with brick and the second story is entirely enclosed with brick. The south (left) bay is served by an iron fire escape that descends from a dormer window on the roof to the second floor window and then continues down to the south facade.

 

Along the edge of this bay is a metal pipe, painted white. The windows in the center-right bay are identical to the south bay. The north bay also projects from the main body of the house, with angled side windows. It is served by an iron fire escape that descends from the dormer window on the roof to both center and south windows on the second floor and then down to a landing set between the center and south windows on the first floor. Both of the center windows have been filled with brick. At the basement level, there is a squat, one over-one-window. The side windows are one-over-one aluminum windows. Extending the full length of the east facade is a deep areaway with windows, reached by stairs with a single iron railing along the south side. Below first story entrance is a single door to the basement, flanked by small windows, with prominent lintels and sills, and the original vertical bars.

The south facade faces 123rd Street, toward 14th Avenue.

 

The first and second floors have four window openings. A pair of windows on the second floor has been filled with brick. On the roof is a single dormer window, flanked by brick chimney stacks, decorated with arched recessed patterns. A metal pipe extends up from inside the right half of the west (left) chimney. Between the center and west (left) windows on the first floor, a gray television dish is attached to the wall. Between the base and the first story, a raised white horizontal element (probably painted stone) extends the full length of the facade. The basement has four windows, aligned with the windows above. The center pair has been filled with brick. At the west edge of the facade, a white metal pipe extends up the wall and through the projecting cornice.

 

- From the 2009 NYCLPC Landmark Designation Report

Lower East Side. Manhattan, New York City, New York, United States

 

The four-story, red brick-clad Aschenbroedel Verein Building, in todayís East Village neighborhood of Manhattan, was constructed in 1873 to the design of German-born architect August H. Blankenstein for this German-American professional orchestral musiciansí social and benevolent association. Founded informally in 1860, it had grown large enough by 1866 for the society to purchase this site and eventually construct the purpose-built structure. The Aschenbroedel Verein became one of the leading German organizations in Kleindeutschland on the Lower East Side.

 

It counted as members many of the most important musicians in the city, at a time when German-Americans dominated the orchestral scene. These included conductors Carl Bergmann, Theodore Thomas and Walter Damrosch, and the musicians of the New York Philharmonic and Theodore Thomas Orchestras. After the Aschenbroedel Verein moved to Yorkville in 1892, this building was subsequently owned for four years by the Gesangverein Schillerbund, one of the cityís leading and oldest German singing societies. The design of the main facade, altered at this time with the addition of cast-iron ornament by German-born architects [Frederick William] Kurtzer & [Richard O.L.] Rohl, combines elements of the German Renaissance Revival and neo-Grec styles with folk motifs , and features a variety of pedimented lintels, quoins, fraktur-like incising, three composersí busts over the second-story windows, and a prominent cornice with a large broken pediment.

 

After 1895, the building housed a variety of disparate uses, including a series of public meeting and dance halls, the Newsboysí Athletic Club, a laundry, and a meatpacking plant. Since 1969, it has been the home of the renowned La Mama Experimental Theatre Club, established in 1961 by Ellen Stewart, and today considered the oldest and most influential off-Off-Broadway theater in New York City. The building remains one of the significant reminders of 19th-century German-American cultural contributions to New York City, as well as the continuing vitality of off-Off-Broadway theater in the East Village.

 

DESCRIPTION AND ANALYSIS

 

The 19th-Century Development of East Village Neighborhood

 

The area of todayís Greenwich Village was, during the 18th century, the location of the small rural hamlet of Greenwich, as well as the country seats and summer homes of wealthy downtown aristocrats, merchants, and capitalists. A number of cholera and yellow fever epidemics in lower Manhattan between 1799 and 1822 led to an influx of settlers in the Greenwich area, with the population quadrupling between 1825 and 1840. Previously undeveloped tracts of land were speculatively subdivided for the construction of town houses and rowhouses. Whereas in the early 19th century many of the wealthiest New Yorkers lived in the vicinity of Broadway and the side streets adjacent to City Hall Park between Barclay and Chambers Streets, by the 1820s and 30s, as commercial development and congestion increasingly disrupted and displaced them, the elite moved northward into Greenwich Village east of Sixth Avenue.

 

To the east, during the 17th and 18th centuries, was Dutch Governor Peter Stuyvesantís Bowery farm. In the vicinity were Native American trails, todayís Broadway and Bowery, that the Lenape Indians traversed from the southern tip of Manhattan to Inwood and Harlem. St. Markís-in-the-Bowery Church was built on a higher, dry piece of land, while the area to the east of todayís Second Avenue, known as Stuyvesant Meadows, remained an undeveloped marshy area. In the late 18th century, the area east of Second Avenue was the estate of Mangle Minthorn, father-in-law of Daniel Tompkins , governor of New York and

 

U.S. vice president under James Monroe . Both Stuyvesant and Minthorn were slave owners. In 1832, the Common Council created the 15th Ward out of the eastern section of the large 9th Ward, its boundaries being Sixth Avenue, Houston and 14th Streets, and the Bowery. According to Luther Harrisí history Around Washington Square, during the 1830s-40s ìthis ward drew the wealthiest, most influential, and most talented people from New York City and elsewhere. For a brief period beginning in the 1820s-30s, Lafayette Place, including the grand marble Greek Revival style LaGrange Terrace , St. Markís Place, and Bond, Great Jones, East 4th and Bleecker Streets were also among the cityís most fashionable addresses. Lower Second Avenue and adjacent side streets remained prestigious through the 1850s.

 

Commercial and institutional intrusions and the continual arrival of immigrants ended the fashionable heyday of these wealthier enclaves before the Civil War. In the 1850s, Broadway north of Houston Street was transformed from a residential into a significant commercial district. Also beginning in the 1850s, after the political upheavals in Europe of 1848 and the resulting influx of German-speaking immigrants to New York City, the Lower East Side became known as Kleindeutschland . Aside from their presence as residents, these immigrants contributed in significant ways to the vibrant commercial and cultural life of the neighborhood and the city at large. By 1880, this neighborhood constituted one-fourth of the cityís population and was the first major urban foreign-speaking neighborhood in the U.S., as well as the leading German-American center throughout the century. A massive exodus of Jews from Eastern Europe from the 1880s to World War I led to approximately two million Jewish immigrants settling in New York; most lived for a time on the Lower East Side, establishing their own cultural and religious institutions there.

 

Beginning in the 1850s-60s, the vicinity of 14th Street and Union Square developed into a center of musical and theatrical culture. The Academy of Music , East 14th Street and Irving Place, an opera house with the worldís largest seating capacity at the time, quickly became the center of musical and social life in New York, presenting such notable performers as Adelina Patti , and events such as the grand ball in honor of the Prince of Wales in the autumn of 1860. The building burned down in 1866, and was replaced by a new Academy of Music . Irving Hall , a ballroom, concert, and lecture hall annex to the Academy, served as the home of the New York Philharmonic in 1861-63. The Steinway piano company opened Steinway Hall , a combination showroom and recital hall at 109 East 14th Street, which for many years was the foremost concert hall in the country . By the mid-1860s, a number of legitimate theaters were also opening in the vicinity of Union Square, which during the last quarter of the nineteenth century became the center of New York theater. These included Wallack's Theater , 728 Broadway at 13th Street, the most prestigious dramatic theater in the country during this period; the Union Square Theater , an adjunct of the former Union Place Hotel; Chickering Hall , Fifth Avenue and 18th Street; and Amberg Theater , 11 Irving Place . The Germania Theater, which along with the Amberg catered to a specifically German clientele, was located in Tammany Hall in 1874-81, in Wallackís Theater in 1881-82, and until 1902 in the former Church of St. Ann, East 8th Street near Broadway. Union Square, after the Civil War, became the traditional site for workersí, union, and political protests and rallies.

 

As wealthier residents moved northward in the 1850s, their single-family residences were converted into multiple dwellings or boardinghouses, as well as other uses, such as clubs or community cultural institutions. For instance, the former Ralph and Ann E. Van Wyck Mead House at 110 Second Avenue in 1874 became the Isaac T. Hopper Home of the Womenís Prison Association, and, of the Federal style houses on the westernmost block of St. Markís Place: No. 29 became the Harmonie Club, a German-Jewish singing club ; Nos. 19-21 housed another German musical club, the Arion Singing Society , and these buildings, along with No. 23, became Arlington Hall, a ballroom-community center in 1887. Most of the remaining houses were demolished for denser development with French flats and tenements between 1874 and 1902.

 

Hastening the change in the residential character of this section of the Lower East Side after mid-century were a wide variety of major cultural, religious, commercial, and educational institutions, including the Astor Place Opera House , Astor and Lafayette Places; Astor Library , 425 Lafayette Street; Bible House , home of the American Bible Society and other religious organizations, Astor Place and Third Avenue; and Cooper Union , Astor Place and Third Avenue. The New York Free Circulating Library, Ottendorfer Branch, and German Dispensary , 135 and 137 Second Avenue, among others, catered to the German community. Assembly halls such as Webster Hall and Annex , 119-125 East 11th Street, became important neighborhood social centers. The Third Avenue elevated railroad opened in 1878.

 

The Aschenbroedel Verein

 

A social and benevolent association composed almost exclusively of German-American professional orchestral musicians, the Aschenbroedel Verein was founded informally in 1860, with its name, ìCinderella Society,î supposedly a play on the last name of one of its members , August Asche. After initially meeting at Schneiderís Hall, 371 Broome Street, by 1866 the group had grown large enough with some 300 members for it to acquire a building on East 4th Street. The Aschenbroedel Verein became one of the leading German organizations in Kleindeutschland on the Lower East Side, and counted as members many of the most important musicians in the city, including conductors Carl Bergmann, Theodore Thomas, and Walter Damrosch, as well as all of the members of the Theodore Thomas Orchestra and most of the members of the New York Philharmonic. According to Groveís Dictionary of Music and Musicians in 1880, this was also ìthe headquartersî of the New York Philharmonic Society, though the Philharmonicís Minutes books illustrate that this was one of several locations in the neighborhood where its directorsí and business meetings were held, between 1873 and 1888. Howard Shanet, in Philharmonic: A History of New Yorkís Orchestra , stated that the Aschenbroedel Verein was the first organization in New York to advance the unionization of musicians, as early as 1860, an effort that culminated later with the formation of the Musical Mutual Protective Union. Shanet called Aschenbroedel ìat once a cultural, a benevolent, a social, and a labor association.î He further emphasized the total domination of the symphonic world in New York by the German community, with nearly all of the Philharmonic men of German birth or parentage by 1892. The Aschenbroedel Vereinís motto was ìFreundschaft, Geselligkeit, Befoerderung der Kunstî .

 

By 1870, there were an estimated 64 German musical societies within New York City, and a number of them were located in the vicinity, either in converted structures or purpose-built ones. These included the Arion Singing Society ; Liederkranz , 31-35 East 4th Street; and Beethoven Maennerchor , located in a hall built in 1870 at 210-214 East 5th Street. In addition, Turnverein Halle , 66-68 East 4th Street, was built just down the block from the Aschenbroedel Verein.

 

In 1873, the Aschenbroedel Verein, under president George Matzka , constructed this purpose-built structure, clad in brick and four stories , at an estimated cost of $24,000. Construction began in June and was completed in October. The architect was August H. Blankenstein , who was born in Germany and immigrated to the U.S. in 1860. Active from 1872 to 1899, he designed tenement, flats, and factory buildings for a mostly German clientele, as well as the addition to the Centre Market Armory , Grand and Centre Streets; work on the 55th Regiment, 23rd Regiment, and First Cavalry 22nd Regiment Armories ; and St. Josephís R.C. Orphan Asylum School , Avenue A and 90th Street. A 1894 lawsuit indicated that Blankenstein had been a partner of architect Henry Herter prior to 1886 . Blankenstein was also listed as an architect in an 1890 directory in Buffalo, N.Y.

 

The Times reported on November 7, 1873, that the Aschenbroedel Verein had ìinaugurated its new club-house... last night, by an entertainment of music and social festivities.î Considered ìone of the most commodious German clubhouses in the city,î its amenities included a restaurant, a library, a billiard room, and a bowling alley in the basement. Among activities conducted here were meetings of the Ancient Lodge of Perfection in 1873, and the 1876 funeral of Philharmonic conductor and Aschenbroedel Verein member Carl Bergmann. For unknown reasons, the building was listed for sale in 1882, but the Aschenbroedel Verein remained here until it sold the building in September 1891. The society, then having some 700 members, moved in November 1892 into a new clubhouse at 144 East 86th Street in Yorkville.

 

The Gesangverein Schillerbund and Schillerbund Halle

 

In June 1892, the Aschenbroedel Verein Building was acquired by the Gesangverein Schillerbund , one of the cityís leading and oldest German singing societies. Founded in 1850 and named after the poet Johann Christoph Friedrich von Schiller , the Schillerbund had been meeting since 1872 in Turnverein Halle. The purchase price of its new building was $1.00, subject to $37,500 in mortgages held by the Bachmann Brewing Co. of Clifton, Staten Island. This structure was altered between September and October 1892 by the architectural firm of [Frederick William] Kurtzer & [Richard O.L.] Rohl. Interestingly, Kurtzer was a member of the Beethoven Maennerchor. In partnership from about 1888 until 1901, Kurtzer & Rohl specialized in tenements and flats buildings for a largely German clientele; examples of its work include Nos. 95 Bedford Street and 285 West 4th Street , located within the Greenwich Village Historic District, and No. 121 East 10th Street , located within the St. Markís Historic District. The firm was also responsible for the First German Reformed Church , 351 East 68th Street, and its Sunday School . Richard O.L. Rohl , an immigrant from Prussia in 1880, maintained an independent practice from 1902 until around 1919. No. 391 West Street , located within the Weehawken Street Historic District, was his first independent commission, and he also designed the double tenement buildings at Nos. 35-39 Christopher Street , located within the Greenwich Village Historic District. Frederick William Kurtzer , emigrated from Germany around 1870. He worked independently in 1901-02, then became a partner in Kurtzer & Rentz in 1903-06, with Charles Rentz, Jr. , an architect who was born in New York City of German descent. Rentz was extraordinarily prolific in the design of flats and tenement buildings in the 1880s, but is best known for the design of Webster Hall and Annex . Kurtzer continued to practice in Manhattan and the Bronx until around 1925.

 

The Dept. of Buildings 1892 alteration application for the Gesangverein Schillerbund Building, as well as the dockets, only listed $1,200 in work, involving interior partition alterations in the basement and second story. In an article on the buildingís opening in November 1892, however, the New York Times indicated that it had been ìalmost entirely rebuilt and refitted,î and that ìthe building cost in all about $45,000. ... On the ground floor are fine bowling alleys, the kitchen and restaurant. The second floor is used for assembly and meeting rooms, the third for lodge rooms, and the top of the house is occupied by the tenant.î The 1892 tax assessment for the property increased by more than 25 percent, and the structure was later described in the Times as ìone of the best Maennerchor clubhouses in that section of this city.î The design of the main facade, altered at this time with the addition of cast-iron ornament, combines elements of the German Renaissance Revival and neo-Grec styles with folk motifs , and features a variety of pedimented lintels, quoins, fraktur-like incising, three composersí busts over the second-story windows, and a prominent cornice with a large broken pediment.

 

A Schillerbund Fair was held here December 10-20, 1892. By 1895, the membership of the Schillerbund was around 400, and the hall, managed by Gustav Schunemann, reportedly enjoyed ìmuch popularity among the merrymakers of that neighborhood.î In November 1896, however, the Gesangverein Schillerbund sold the property and moved to Yorkville . This building was purchased for $40,195 by the Bachmann Brewing Co., holder of the mortgage. The company was founded by the German-born Frederick Bachmann , who had immigrated to New York in 1859, and worked at the Lion Brewery in Manhattan, prior to moving to Staten Island, where he was employed by the Schmidt Brewery and Gabriel Meyer Brewery, becoming the co-owner with David Meyer until it was destroyed by fire in 1881. As indicated by Charles L. Sachs in Made on Staten Island, ìThe successful breweries were not just efficient manufacturing enterprises. To market and distribute their products the breweries acquired real estate holdings and developed close ties with the restaurant, recreation, and tourism businesses. The major breweries owned, operated, and rented saloons, taverns, beer gardens, hotels, and even resort complexes.î

 

This building became a rental assembly hall, and there are references in newspapers calling it ìSchillerbund Halleî as late as 1901. A sampling of meetings and events held here included: pattern makers ; Eastern Star chapter of the Order of Chosen Friends ; New York branch of the Amalgamated Society of Engineers ; New York Engineers & Machinists Society ; New York Engineersí Protective Association ; and Poles celebrating the 1863 insurrection .

 

Krywaczyís Hall, Saenger Hall, and McKinley Hall

 

The building continued to be used as a public rental hall and social center, under three different names, and like such sites as Webster Hall , was a venue for organizational meetings and political and union functions, particularly for the working-class and immigrant population of the Lower East Side. As opined by historian Kathy Peiss:

 

For the working-class population packed into small tenement apartments, large halls that could be rented for dances, weddings, mass meetings, and other gatherings were a requirement of social life. The number of public halls in Manhattan rose substantially in a short period; business directories listed 130 halls in 1895 and 195 in 1910, an increase of 50 percent. While some of these, like Carnegie Hall, were cultural spaces of the privileged, most were located in working-class districts. The largest East Side halls... were always in great demand.

 

In a September 12, 1901, New York Times announcement of a meeting here of the Polish community to denounce Leon Czolgosz, an anarchist who had shot President William McKinley on September 6, the location was referred to as ìKrywaczyís Hallî . John Krywacsy was listed in directories as a liquor dealer on Forsyth Street. City directories in 1901-03, as well as the 1903 Brooklyn Daily Eagle Almanac, called this ìSaenger Hall.î The Bachmann Brewing Co. leased the property in April 1903 to Max Sapiro and Ike Lifschitz. Sapiro was listed in the 1910 Census as a Polish/Austrian-born cafÈ proprietor, though he was not listed in directories in connection with this property, while Issac Lifshitz was Russian-born according to the 1900 Census, and was listed in directories in this building in 1903-05 operating a saloon. Among groups meeting here were the Heinrich Heine lodge , Smoking Pipe Makersí Union , and East Side Restaurant Keepers . Apparently in commemoration of the assassinated President, the name of the building was changed to ìMcKinley Hallî by 1904. Organizations that met here included the formation of the New-York Rent Payersí Protective Association , Lady Lining Makers , and Cloth Hat and Cap Makers of North America . Frederick Bachmann was judged to be incompetent in July 1904 ; in November 1904, Bachmannís trustees transferred this property to Combined Securities Co., which held an auction in January 1905. The auction advertisement listed ìBowling alleys in cellar. Store, meeting, lodge, music rooms, and apartments above.î After passing through several owners, the building was acquired in February 1906 by Malka Marder; the wife of Benjamin Marder, a cloak contractor in the 1910 Census, both were Polish/Austrian-born.

 

The Newsboysí Athletic Club

 

In September 1905, the three upper stories of the former McKinley Hall were leased for use as the Newsboysí Athletic Club, founded by Jack Sullivan , known as the ìKing of the Newsboys,î a former newsboy and prizefighter who then sold papers to newsboys. The Club had a gymnasium and showers, a reading/classroom, and a lodging room for over fifty boys. The club depended on donations from New Yorkís society ñ one benefit, held in March 1907 at the Academy of Music, was directed by impresarios George M. Cohan and Sam Harris. By May 1911, with the expiration of its lease, the Club, by that time serving some 2,000 newsboys, purchased the former home of the New-York Historical Society at Second Avenue and 11th Street. The basement and storefront of the Newsboysí Athletic Club building had been leased for use as a laundry in 1905-07 to Paul C. Port , and from 1908 to March 1912 to the New System Napkin, Towel Supply & Steam Laundry Co., until legal action against the company was taken by the Marders.

 

Floral Garden Hall

 

Malka Marder sold the building in February 1913, and it was purchased the following month by Sarah Hirsch, the wife of Charles Hirsch, proprietor of the Manhattan Lyceum at 66-68 East 4th Street; both Hirsches were born in Romania. Operated as Floral Garden Hall, it was altered into a dance hall on the ground story, with meeting and banquet rooms above. Among the many events held here were: the annual convention of the Federation of Rumanian Jews of America ; Brotherhood Welfare Association gathering on behalf of New Yorkís hoboes ; Women Dressmakersí Association and Journeymen Barbersí League strike meetings ; a planned meeting of the Anti-Militarist League, which resulted in a riot after the owner reneged on the use of the hall ; Sheet Metal Workersí meetings ; garment workers strike meetings ; Messenger Boysí Union strike headquarters ; and Branch No. 578, Arbeiter Ring of the Socialist Party, and Sholom Aleichem Lodge of the Jewish National Workersí Alliance of America . In 1916, the ground story was altered for a storefront, incorporating 1892 cast-iron pilasters . The property was foreclosed in January 1919 and sold at auction.

 

Standard Provision Co./ Hygrade Food Products Corp.

 

After 45 years of use as a social and meeting hall, the former Aschenbroedel Verein Building for the next four decades served as meatpacking plant. The property was purchased in February 1919 by the Standard Provision Co. at 102 Rivington Street. A Dept. of Buildings application indicated that the building would be used for meatpacking, with storage in the basement, shipping and receiving on the ground story, a meat provisions and drying factory on the second story, and offices on the third story. In December 1927, Standard Provision was acquired through a merger of nine wholesale provisions companies by the Hygrade Food Products Corp. , 152 Broadway. The Washington Post called this ìthe first consolidation of delicatessen food properties ever effected.î According to a notice in the New York Times, the constituent companies

 

manufacture and sell frankfurters, bolognas, salamis, smoked and cured tongues, spiced, pickled and corned beef and various other ready-to-serve meat products. The companies are among the most important serving New York and Philadelphia. Their success individually and collectively has established an enviable record in the industry. Their products are sold to over 5,000 customers, including delicatessen stores, chain stores, drug stores, meat markets, clubs, grocers, hotels, restaurants, steamship and railroad companies, etc., throughout the United States and in foreign countries.

 

City directories over the years variously listed divisions of the corporation here: Hebrew National Food Products ; Carmel Kosher Provision Co. ; and Hod Carmel Kosher Provision Co. . Hygrade sold this property in February 1960.

 

20th-Century History of the East Village

 

After a period of decline, Greenwich Village was becoming known, prior to World War I, for its historic and picturesque qualities, its affordable housing, and the diversity of its population and social and political ideas. Many artists and writers, as well as tourists, were attracted to the Village. By the 1910s, property owners and merchants attempted to improve the Villageís economy and rehabilitate its physical condition, with ìshrewd realtors beg[inning] to amass their holdings of dilapidated housing.î These various factors and the increased desirability of the Village to upper-middle-class professionals lead to a real estate boom ñ ìrents increased during the 1920s by 140 percent and in some cases by as much as 300 percent.î

 

After World War II, the ethnic make-up of the Lower East Side changed again, becoming dominated by Latin American immigrants, especially those from Puerto Rico. Their immigration was encouraged by the government as a source of cheap labor, particularly for the garment trades, hotels, and small manufacturing. The community named itself Loisaida to symbolize the second generation Hispanic roots that had developed in the context of the African-American and Latino movements for social and economic justice, equality, and identity. The residential and cultural desirability of the neighborhood that came to be known as the ìEast Villageî increased with the removal of the Third Avenue El in 1955. As indicated by Terry Miller,

 

the psychological barrier that had marked the eastern boundary of Greenwich Village was gone. Blocks that once had no prestige were suddenly seen as intriguing, and apartments here were less costly than those in Greenwich Village. ... As artists and writers moved east, the blocks from St. Markís Place to Tenth Street were the first to hint that the Lower East Side was being transformed. Realtors began marketing the area as ìVillage East,î and by 1961 as the ìEast Village,î a name that stuck.

 

From World War I to the 1940s, Second Avenue between East 14th and Houston Streets had been considered the heart of New Yorkís Jewish community, known as the ìYiddish Rialtoî for its role as the worldís center of Yiddish theater. As Yiddish theater declined, the East Village gave rise in the 1950s to ìOff-Broadwayî theater, including the Phoenix Theater in the former Louis N. Jaffe Art Theater building , 181-189 Second Avenue; the Tempo Playhouse and Pyramid, Key, Bowery, New Bowery, and Bridge Theaters in the former Hamilton-Holly House, 4 St. Marks Place; and the Orpheum Theater , 126 Second Avenue. An ìoff-Off-Broadwayî theater also emerged in the late 1950s, characterized by the small size of the venues and total avoidance of commercialism and its pressures. Joe Cinoís Caffe Cino , 31 Cornelia Street, is generally recognized as the first, and other significant early off-Off-Broadway theaters were Judson Memorial Church under Rev. Al Carmines; Ellen Stewartís CafÈ La Mama/ La Mama Experimental Theatre Club , 321 East 9th Street ; and Theater Genesis in St. Marks in the Bowery Church under Michael Allen and Ralph Cook. Off-Off Broadway theater coincided with the emergence of gay theater in New York.

 

In the 1950s, the East Village also became home to a number of key Beat Generation writers, including Allen Ginsberg, William Burroughs, Norman Mailer, and W.H. Auden, and was renowned for its protest art and politics, galleries, poetry and coffee houses, bookstores, clubs, with a ìcountercultureî scene centered on St. Markís Place.

 

Rodale Press, Inc.

 

The 74 East 4th Street building was purchased in February 1960 by Rodale Press, Inc., of Emmaus, Pa. Jerome Irving Rodale was a New York accountant who, with a brother, in 1923 founded Rodale Mfg. Co., which made commercial and residential electrical connectors. After relocating the firm to Emmaus, Rodale became interested in organic farming. Rodale Press began publishing Organic Farming & Gardening and Prevention , a magazine devoted to nutrition and personal health, and later, other magazines and health books. In order to promote his concepts, he was also a playwright and theatrical producer. Rodale apparently originally intended to use No. 74 as a theater ñ the Times listed building plans as such in 1960; instead, Rodale in 1962 purchased No. 64 East 4th Street with the intention to ìconvert it into an intimate playhouse, theatre workshop and acting school.î A directory in 1963 listed Rodale Press and the Rodale Theater at 62 East 4th Street, and Rodale Mfg. Co. at No. 60. Rodale sold the property in September 1967.

 

La Mama Experimental Theatre Club

 

In November 1967, the former Aschenbroedel Verein Building was acquired by the La Mama Experimental Theatre Club, an off-Off-Broadway theater company that had been founded in 1961 by Ellen Stewart. After her arrival in New York in 1950, Ms. Stewart worked in retail clothing and fashion, becoming a freelance designer. She opened a basement CafÈ La Mama at 321 East 9th Street in 1961, intended as a combination boutique and theater, the latter partly inspired by the experience of a brother who was an aspiring playwright. The cafÈís first play in July 1962 was Tennessee Williamsí ìOne Arm,î and later that year Stewart put on the first American production of a Harold Pinter play, ìThe Room.î She was forced, however, to move several times: to 82 Second Avenue in 1963, after being closed by the Dept. of Buildings due to a zoning violation; and to a loft at 122 Second Avenue in 1964, after being closed twice by the Police, Fire, Licenses, and Health Departments. In March 1964, the company was renamed the La Mama Experimental Theatre Club, and Stewart was acclaimed during its first European tour in 1965. An Actorsí Equity crackdown in 1966 on coffee houses and theater workshops nearly ended the company, but the union relented in recognition of the importance in New York of experimental theater . By 1967, the Times called Ms. Stewart ìthe most active producer in New York City,î with a new American play every two weeks. Her abiding philosophy has been that La Mama is ìdedicated to the playwright and all forms of theater.î She notes that ìI started La Mama so there would be a place where a playwright could write, see and learn. Why should a new playwright be regarded on the same terms as an experienced playwright the very first time out ñ which is what most professional criticism does?î She has personally selected and invited these playwrights, who then act as their own producer, with La Mama considered an attractive venue due to its lack of censorship.

 

La Mama received major Ford and Rockefeller Foundations grants in 1967, allowing the purchase and renovation of the 74 East 4th Street building, which was then ìin ruins.î In June 1968, its Second Avenue theater closed, with plays temporarily produced at 9 St. Markís Place, while renovations occurred on East 4th Street. The current La Mama Experimental Theatre Club opened in March 1969, with repertory and ensemble theaters on the first and second stories, rehearsal space on the third story, and Stewartís apartment on the top story. The first two productions inaugurating the theaters were the musical ìCaution: A Love Story,î by Tom Eyen and Bruce Kirle, based on the story of the Duke and Duchess of Windsor, and Julie Bovassoís ìGloria and Esperanza.î The first-story theater was renovated in 1972. A National Endowment for the Arts grant in 1974 allowed for the expansion into an Annex at 66-68 East 4th Street .

 

Today, La Mama, the oldest off-Off-Broadway theater in New York City, is widely considered the most influential and has been called ìthe most prolific of all the off off-Broadway stages,î to date having produced an estimated 1,900 plays in New York City, and countless more around the world. La Mama has received more than sixty Obie Awards for Off-Broadway theater , as well as dozens of Drama Desk, Bessie, and Villager Awards. Ellen Stewart, recognized as a pioneering African-American theater impresario, was the recipient of a MacArthur Fellowship Award and MacArthur Fellows Award , and was inducted into the Theatre Hall of Fame . Though commercial theater has not been its focus, a number of La Mama plays achieved success on Broadway, including ìGodspellî and ìTorch Song Trilogy,î and its resident director, Tom OíHorgan, later produced the influential hit ìHair.î Among the notable playwrights associated with La Mama have been Jean-Claude van Itallie, Paul Foster, Ruth Yorck, Tom Eyen, Julie Bovasso, David Starkweather, Sam Shepard, Lanford Wilson, Harvey Fierstein, William Hoffman, Adrienne Kennedy, Charles Ludlam, and Terence McNally; eminent directors have included OíHorgan, Joseph Chaiken, Andrei Serban, Wilford Leach, John Vacarro, Marshall Mason, and Meredith Monk; and performers of note have included Bill Irwin, Billy Crystal, Nick Nolte, Danny De Vito, Bette Midler, and Estelle Getty.

 

Description

 

The four-story and three-bay, red brick-clad Aschenbroedel Verein Building was originally built in 1873; the front facade was altered in 1892 with the addition of cast-iron ornament that combines elements of the German Renaissance Revival and neo-Grec styles with folk motifs.

 

Ground Story: Four 1892 cast-iron pilasters survive, which are fluted at the base, paneled above, and ornamented with incised blocks that are surmounted by bosses and inverted hearts. The iron entablature once supported by the pilasters has been removed ; the story is terminated by a painted stone stringcourse. Alterations dating from 1969 include: the central metal-and-glass entrance doors , which are surmounted by a wooden panel and sign; brick infill between and above the pilasters; announcement board on the east side of the facade; and two light fixtures placed above the entrance.

 

Second through Fourth Stories: The upper stories are flanked by vermiculated cast-iron quoins . All windows have cast-iron surrounds, ornamented with hearts on the sides and incised motifs on the sills, and are linked together and to the quoins by panels with fraktur-like incising. Many of the moldings once located above the hearts on the windows are missing. The second-story windows are double-height, are capped by round-arched pediments ornamented with three composersí busts, and have six-over-six double-hung wood sash . The third story windows have segmental broken-scroll pediments and six-over-six double-hung wood sash . The central fourth-story window is capped by a pediment, while the outer windows have entablatures . The prominent metal cornice has stylized modillions ornamented with hearts , rods, and incised ends and is surmounted by a large molded, broken pediment, ornamented at the ends by sunbursts.

 

Western Facade: This facade, currently visible above the first story, has keyed returns of the front facadeís quoins, and a portion of red brick facing; the rest of the facade is unarticulated and parged.

 

Eastern Facade: Attached to the eastern side of the building [and not on the designated Landmark Site] is a tan brick wall, constructed as part of a light court for No. 63-65 Second Avenue .

 

- From the 2009 NYCLPC Landmark Designation Report

Former Ralphs 5200 Stockdale Hwy Bakersfield, CA. Was sold to Save Mart with 2 other locations in Bakersfield but they never reopened this location. Currently subdivided with Sports chalet on the left but the right side is vacant but was Fresh & Easy

Built in 1886-1887, this Richardsonian Romanesque Revival-style mansion was designed by Henry Hobson Richardson for John J. Glessner, a machinery manufacturing industrialist, and his family, whom owned the Warder, Bushnell & Glessner Company, which later became the International Harvester Company. The house was owned and occupied by the Glessner family until 1936, during which time it witnessed the transformation of the surrounding neighborhood from a desirable and wealthy residential enclave full of some of Chicago’s wealthiest families into an industrialized district full of new factories and warehouses sprouting up among the decaying, subdivided, and crumbling victorian mansions, now home to a much less affluent population, a radical change from the state of the neighborhood when the house was constructed. After the death of Glessner in 1936, the mansion was deeded to the American Institute of Architects, whom refused the offer to care for the large and aging house. The house was then donated in 1937 to the Armour Institute, now the Illinois Institute of Technology (IIT). In 1945, the university rented the house to the Lithographic Technical Foundation, which installed large printing presses inside the house, and occupied the structure for over two decades. In 1963, the house was vacated by the Lithographic Technical Foundation, which moved its operations to Pittsburgh, and was narrowly saved from demolition when it was purchased from the Illinois Institute of Technology by a group of historic preservation advocates known as the Chicago Architecture Foundation in 1966. The house was subsequently restored and reopened as a museum in 1971.

 

The house was the last and most significant residential commission of Richardson’s career, with Richardson dying during the house’s construction at the age of 48. The house is notable for its solid and largely opaque facades facing the surrounding streets, creating a fortress-like quality, which contrasts with its translucent and more open facades facing the central courtyard. The precedent for this arrangement can be found in ancient Roman villas and Chinese Siheyuan houses, which often featured opaque facades towards the public rights-of-way next to them with small, minimal openings, with most of the spatial connection to exterior space being found in the central courtyards of these dwellings, with rooms being far more open to the courtyards than to the exterior, quite a departure from traditional European-American architecture. The exteiror of the house also takes precedent from Medieval architecture, especially the Romanesque movement of the early-to-mid-middle ages, which featured heavy masonry walls that required small window openings by necessity, though by the time the Glessner house and other Richardsonian Romanesque Revival-style buildings were designed with more modern structural methods, the utility of small window openings for structural support was no longer a requirement, instead, being utilized to create a sense of privacy and substantiality for a building.

 

The house features a rusticated sandstone exterior and wraps around a courtyard in the center that is open to the south side of the house, with the exterior facade facing the courtyard being clad in red brick with rusticated stone trim. The house features a side-gable roof with gable parapets, which is clad in red slate, with hipped dormers, multiple stone and brick chimneys, box gutters with copper downspouts, and conical roofs atop the towers. The exterior facade features small window openings with one-over-one double-hung windows, many of which on the second floor feature stone pillars with decorative capitals between the individual windows when arranged in groups, and some of which are so narrow as to be more readily classified as arrow slit openings, rather than as full-width window openings. The front door is demarcated by an arched transom beneath large voussoirs, and is flanked by ground-floor windows with a grid of nine openings on the exterior, which screen the wider and taller window bays behind them, with a carriageway on the south side of the Prairie Avenue facade that features a garage door. On the 18th Street facade, there is a recessed entry porch with a door turned perpendicular to the street, which opens to the street through a large archway beneath several large voussoirs, above which is a balcony with a small rectilinear opening, to the west of which is an attached rear carriage house with a double wooden carriage door, a small entrance door, and a rooftop cupola. The facades facing the courtyard feature larger window openings with stone sills and lintels, three semi-circular towers with conical roofs, with the courtyard feautring a large grassy lawn and paved walkways, which is enclosed on the south side by a brick wall that originally comprised the side facade of an adjacent house. Inside, the house features original woodwork, coffered ceilings, wooden floors, doors, fireplaces, wooden paneling, staircases, balustrades, plaster, and tile. The house has been furnished with period-appropriate items, as well as wallpaper, drapes, carpets and rugs, and were meticulously restored in the late 20th Century. Many antiques and works of art, significant items in their own right, were donated to the museum by the descendants of John J. Glessner to be returned to their original places within the house.

 

The house was listed on the National Register of Historic Places and as a Chicago Landmark in 1970, and is a contributing structure in the Prairie Avenue District, listed on the National Register of Historic Places in 1972. In 1976, the house was listed as a National Historic Landmark, owing to its major historical and architectural significance. In 1994, the nonprofit Glessner House Museum was established as an independent organization to serve as stewards of the house and manage the operations of the museum. The fully restored house today serves as a historic house museum, allowing visitors to experience one of the most significant surviving 19th Century mansions not only in Chicago or Illinois, but in the United States.

home made subdivision painting tool in flash with mona lisa as model

Highbridge, The Bronx

 

Summary

 

The Union Reformed Church of Highbridge in the South Bronx was constructed in 1887-88 to the design of Alfred E. Barlow, a little-known architect who began his career in suburban residences. Highbridgeville (later known as Highbridge) developed along the high ridge of land along the Harlem River located to the south and east of High Bridge (1838-48, John B. Jervis, engineer), part of the Croton Aqueduct system that brought New York City its first adequate water supply. The village was initially populated with the workers (mostly Irish) who built the aqueduct, bridge, and also the railroad along the river. A Protestant “Union Sunday-School of Highbridgeville” was established in 1860, and a chapel was built in 1866 on Highbridge (later Ogden) Avenue.

 

After 1874, the church became affiliated with the Reformed Church of America, and became known as the Union Reformed Church of Highbridge. As the congregation grew, a larger building was needed. The significant firm of D.C. Weeks & Son was the builder. Built of random-coursed, rockfaced gneiss ashlar with red sandstone trim, the church is one story with a taller square bell tower at the southwest corner. The Ogden Avenue facade has a steeply-pitched gable and three round-arched windows with voussoirs, connected to the tower by a tourelle, and both side elevations have buttresses and round-arched windows with leaded stained glass.

 

The eastern (altar) end contains a leaded stained-glass rose window (1889) manufactured by the Tiffany Glass Co., with a geometric design composed of seven circular motifs. The Union Reformed Church of Highbridge (now Highbridge Community Church), one of the Bronx’s significant 19th-century religious structures, is also one of the finest surviving churches in New York City in the Richardsonian Romanesque style, named after one of the greatest American architects, Henry Hobson Richardson (1838-1886). It is particularly unusual within New York as a more informal, suburban example of the style.

 

DESCRIPTION AND ANALYSIS

 

Union Reformed Church of Highbridge

 

Highbridgeville (later known as Highbridge) in the South Bronx developed on the high ridge of land along the Harlem River located to the east of High Bridge (1838-48, John B. Jervis, engineer), which was constructed as part of the Croton Aqueduct system that brought New York City its first adequate fresh water supply. The village was initially settled by the workers who built the Croton Aqueduct and High Bridge, as well as the railroad along the river. Almost entirely Irish originally, these workers were followed later by other European and Jewish immigrants. The Bronx shore of the Harlem River began to be subdivided in the later 19th century for building lots along the main thoroughfare, Highbridge Avenue. It was re-named Ogden Avenue in 1876, in honor of William B. Ogden (1805-1877), the first mayor of Chicago and first president of the Union Pacific Railroad, who after his retirement owned a Highbridge estate called “Villa Boscobel.” Initially, there were few neighborhood amenities and but one small district school; this was replaced by Public School 91 (1889, George W. Debevoise), 1257 Ogden Avenue.

 

As no church was located within several miles of Highbridgeville, the area’s Protestants organized a religious congregation in October 1860, which was led by William Newton Clark and incorporated in 1864. The “Union Sunday-School of Highbridgeville” held classes in various neighborhood buildings until funds were donated to purchase property and to construct a chapel on Highbridge Avenue. After its completion in 1866, it became the religious center of the community with regular Sunday School meetings. In order to establish a formal church, the congregation called a meeting in June 1874 to vote on a specific Protestant denomination. The Reformed Church of America was chosen and, after official recognition, the church became known as the Union Reformed Church of Highbridge. From 1870 to 1884, the church was served by the pastor of the Mott Haven Reformed Church, Rev. Hasbroek DuBois. After 1884, with the installation of its own minister, Daniel Hoffman Martin, the membership of the church grew rapidly and a larger building was needed. Additional property was purchased, the old chapel was moved to the east, and a new church edifice constructed between December 1887 and its dedication in December 1888, at a contracted cost of $18,000. The rockfaced gneiss church, measuring 43 by 70 feet, was designed by Alfred E. Barlow in the Richardsonian Romanesque style, then at the height of its popularity. The New York Times called it a “new and picturesque home.” D.C. Weeks & Son was the builder. This significant firm, established in 1840 by DeWitt Clinton Weeks and including his son, Francis

 

M. Weeks, as a partner in the 1860s, was responsible for the construction of numerous mansions, churches, institutions, and office buildings in New York and elsewhere, including St. Thomas Church (1865, Richard M. Upjohn; demolished), Fifth Avenue and West 53rd Street; the first American Museum of Natural History (1874-77, Calvert Vaux and Jacob Wrey Mould; demolished); World (Pulitzer) Building (1888-90, George B. Post; demolished), Park Row and Frankfort Street; Biltmore, the George W. Vanderbilt Estate (1888-95, Richard Morris Hunt), Asheville, North Carolina; and Morton F. Plant Residence (1903-05, Robert W. Gibson), 651 Fifth Avenue.

 

The Richardsonian Romanesque style was named after one of America’s greatest architects, Henry Hobson Richardson (1838-1886), who created an American interpretation of the Romanesque based on French and Italian prototypes. His Trinity Church (1873-77), Boston, as well as his many libraries and other buildings, firmly established Richardson’s professional reputation and launched the popularity and influence of the style. Following Richardson’s precedent, many architects employed it in the 1880s and 90s for a wide variety of building types, ranging from mansions to courthouses, university structures, and railroad stations, and including many notable churches. The style was characterized by its appearance of massiveness and such features as rockfaced masonry, round-arched fenestration, and steeply pitched roofs with towers and dormers. The noted architectural critic Montgomery Schuyler expressed the opinion in 1903 that “the Romanesque, in the Richardsonian version of it, gave a more rational promise in church building than in almost any other of the phases... there is very much to be said in favor of Romanesque as the most suitable style for church architecture.”

 

The Union Reformed Church of Highbridge is one of the finest remaining examples of the style in New York City. The major features of the church, including the asymmetrical massing of the forms, the bell tower, the arched openings, and the rockfaced gneiss stonework accented by red sandstone, combine to create a masterful, skillfully articulated, and characteristic example of the Richardsonian Romanesque style. It is particularly unusual within New York City as a more informal, suburban example of the style. A contemporary example outside of New York is St. Mary’s-in-Tuxedo (1887-88, William A. Potter), Tuxedo Park. Only a few major, fully-urban examples of the style survive in Manhattan, including Holy Trinity (later St. Martin’s) Episcopal Church, Rectory, and Parish House (1887-89, Potter), 230 Lenox Avenue in Harlem; and St. Agnes Parish House (now part of Trinity School)(c. 1890-92, Potter), 121 West 71st Street.

 

In 1889, a leaded stained-glass rose window manufactured by the Tiffany Glass Co., with a geometric design composed of seven circular motifs, was installed in the rear (altar end) of the Union Reformed Church of Highbridge. Louis Comfort Tiffany (1848-1933), originally a painter and later a decorator, started working in stained-glass windows in the mid-1870s and established the Tiffany Glass Co. in 1885. The firm’s early work was largely in the development of ornamental stained glass for windows, which were notable for their brilliant colors and the varied textures within the glass. Robert Koch, in his study Louis C. Tiffany, Rebel in Glass (1982), noted that “the best Tiffany windows made prior to 1890 are generally those of purely decorative and geometric design. Examples of such ornamental use of glass may be seen in... the windows of the Union Reformed Church of Highbridge.” Koch further noted the increasing rarity of in situ Tiffany windows in New York, based on an 1893 listing of churches and public buildings in the U.S. containing Tiffany work – “since that time more than half of the churches in New York in which Tiffany had a hand in the decoration have been demolished.”

 

Alfred E. Barlow, Architect

 

Little is known of the background of architect Alfred E. Barlow (1855-1926), who was apparently born in Brooklyn, the son of English-born machinist John Barlow. His career, however, strongly parallels that of fellow architect William Augustus Bates. Barlow was first listed in New York and Brooklyn directories as an architect in 1877, thereafter with an office in Manhattan and residence in Brooklyn. Bates and Barlow were two of the founders (along with Thomas Hastings and Cass Gilbert, etc.) in 1879 of the Architectural Sketch Club, which became the Architectural League of New York the following year. A League publication in 1906 stated that “most of [the founders] were at that time in the employ of Herter Brothers,” one of the nation’s leading interior decoration firms. Bates (1853-1922), the son of a New Jersey lumber merchant, was born in Michigan, educated in Cleveland, and entered Herter Brothers as a draftsman in 1872, where he remained until around 1881, working on one of the most noteworthy commissions of the day -- the decoration of William H. Vanderbilt’s twin mansions (1879-82, Trench & Snook; demolished), Fifth Avenue and West 51st Street. Bates established his own architectural practice in 1882, which specialized in country estates, resort buildings, and suburban houses. He was one of the leading (if lesser known) East Coast proponents of the Queen Anne style (closely influenced by English architect Richard Norman Shaw), as well as the Shingle style. Both Bates and Barlow contributed designs to William T. Comstock’s publication American Cottages (1883), and numerous of Bates’s designs around the country were published in contemporary architectural periodicals, as were some of Barlow’s, including “Astonfield” (1882), a Queen Anne style country estate for Samuel Rhodes. Bates designed Wentworth Hall and Cottages (1881-89), a large resort complex in the White Mountains at Jackson, New Hampshire, as well as the Wentworth residence (1891-92); and at least five houses (1888-99) in the exclusive enclave of Tuxedo Park, New York. The wealthy pharmaceutical businessman and real estate developer William Van Duzer Lawrence (who founded Sarah Lawrence College in 1926), a friend of Bates from Michigan, hired him in 1890 as lead architect for the planned suburban community of Lawrence Park in Bronxville, New York. Bates moved here by 1893, and worked in the community until his death in 1922, including as a partner in the firm of Bates & [Kenneth G.] How after 1910. Bates’s houses (at least 35 of which are extant) were mostly in variants of the Shingle style.

 

The exact nature of the collaboration between Barlow and Bates is unknown, although they shared the same office address from 1885 until 1910, and an architectural directory listed them as “Barlow & Bates” in 1892. It is probable that Barlow performed work for Bates. They were also associated architects for the Mission Revival style Hotel Gramatan (1905; demolished) in Lawrence Park (which became Bates’s residence). New York’s Great Industries in 1884 had described Barlow as a partner in the firm of Charles W. Romeyn & Co., along with Arthur Jay Stever, working on projects such as Alfred Corning Clark’s enormous Dakota Stables building (1883; demolished) at Broadway and West 75th Street. There are not many known independent commissions of Alfred E. Barlow, though a few of them were prominent. He designed five rowhouses (1887) at 15-23 West 120th Street; the Ivy Club remodeling (1887; demolished), Princeton University; the Berkeley Lyceum (1887-88; demolished), 21 West 44th Street, a theater for amateur players; the Union Reformed Church of Highbridge (1887-88); the medieval chateau-inspired Samuel R. Smith Infirmary (1888-90), 101 Stanley Avenue, Staten Island; a stable/loft building (1891) at 19 Vestry Street; a neo-Federal style town house (1904) at 868 Lexington Avenue; and a store-and-loft building (1907) at 49 West 45th Street. In 1910, Barlow was living in Red Bank, New Jersey, he declared bankruptcy in 1916, he had moved by 1920 to Long Island City, and died in St. Petersburg, Florida.

 

Later History of the Church A large stone parsonage was constructed nearby in 1890, which remained in use until 1925

 

– it was sold and moved down the block, extant today at No. 49 West 167th Street. Due to the growth of the congregation, utilitarian additions were made to the rear of the church (apparently in 1901 and 1913). Rev. Daniel G. Verway served as the pastor for thirty years, until 1946. The old chapel building was demolished for an ambitious educational building (Walter J. Campbell, architect) planned with quarters for the pastor and sexton and administrative offices – it was never completed and only a utilitarian two-story, brick-clad Sunday School building was constructed in 1924 at the eastern end of the church property (this structure and the easternmost 50 feet of the lot are excluded from this designation).

 

The 19th-century character of Highbridge, composed mostly of small homes, changed greatly with the construction of large apartment buildings in the 20th century, spurred in part by the Jerome Avenue elevated railroad in 1918 and the subway (with a stop at the Grand Concourse and 161st Street) in 1933. The Art Deco style Noonan Plaza Apartments (1931, Horace Ginsberg and Marvin Fine), bordering the church’s property to the south, is one of the premiere complexes in the neighborhood. After World War II, the southwest Bronx, including Highbridge and the area of the Grand Concourse, began to suffer a severe decline. The rapid de-industrialization of the city, increasing suburbanization, heavy-handed urban renewal policies, disinvestment by area landlords, and the redlining of much of the Bronx by local banks all contributed to the economic downturn of the area. The owners of Noonan Plaza defaulted in 1976, and during the 1970s, many apartment buildings were abandoned by their owners and were set on fire, and the neighborhood suffered a catalogue of ills until it began to stabilize in the 1980s. The demographic composition of the Highbridge neighborhood also underwent substantial changes. The area’s residents, largely of European Jewish extraction, began to move to suburban areas, and the west Bronx became a diverse urban community as African-Americans and Latin Americans settled here. By the 1980s, the neighborhood began to experience renewal, as seen by the rehabilitation of Noonan Plaza in 1980-82 for federally subsidized apartments. The former Union Reformed Church of Highbridge, now Highbridge Community Church (sharing its building with Emmanuel Presbyterian Church) stands as a poignant reminder of the earlier history of the Highbridge neighborhood, and is one of the most distinctive churches in the Bronx and New York City.

 

Description

 

Built of random-coursed, rockfaced gneiss ashlar with red sandstone trim, the Union Reformed Church of Highbridge is a one-story structure with a taller square bell tower at the southwest corner. The wide, steeply-pitched roof (originally covered by slate shingles, now asphalt shingles) terminates at the eastern end in a polygonal louvered cupola with a tall conical roof. West (Ogden Avenue) Facade: The west facade, rising from a stone foundation/retaining wall with a stone watertable, consists of the main body of the church with a steeply-pitched gable and three round-arched windows with voussoirs, connected to the bell tower by a tourelle with a conical roof (capped by roofing tiles) and a pierced parapet wall. The base of the tourelle was originally columnar, but was re-built battered. The three windows have geometric-patterned leaded stained glass (covered by plexiglass panels). The gable, tourelle, and tower are pierced by slit windows. A utility meter is attached to the base of the church.

 

The peak of the gable bears an historic ornamental wrought-iron cross. Tower: A cornerstone at the base of the tower bears the date “1888.” Each face of the top section of the tower (which contains an 1866 bell, from the earlier chapel) has large corner columns above a stone molding, two round sandstone arches (originally with louvers, many of which survive) supported by sandstone colonnettes, surmounted by a checkerboard-patterned spandrel and a corbelled stone cornice. The eaves are bracketed. The pyramidal roof of the tower was originally covered with slate shingles (now asphalt shingles); the base of the original ornamental weathervane is extant. South Facade: The main entrance is in the base of the tower, approached by three bluestone steps. The round-arched surround consists of a compound-molded sandstone arch, surmounted by rockfaced sandstone voussoirs, and supported by triple rockfaced sandstone columns with molded capitals, edged by quoins. There are non-historic wooden double doors.

 

The wooden tympanum is ornamented by carved foliation surrounding a circle. A small Gothic lantern hangs above the entrance. The main body of the church has stone buttresses alternating with round-arched windows with leaded stained glass (covered by metal-mesh grilles) and voussoirs. The east end flares out into a polygonal wing capped by a peaked polygonal roof that joins the main gable roof; a stone chimney rises from the juncture with this wing. There is a non-historic metal door in the basement at this end. North Facade: The north entrance, at the western end, is located in a pedimented portico, supported by bracketed stone piers, with grey slate shingle facing and a peaked roof. The round-arched entrance surround consists of a sandstone tympanum surmounted by double rows of rockfaced sandstone voussoirs, supported by triple rockfaced sandstone columns with molded capitals. The spandrel has stone corbels supporting a molded cornice. There are three bluestone steps and non-historic wooden double doors.

 

The main body of the church has stone buttresses alternating with round-arched windows with leaded stained glass (covered by metal-mesh grilles) and voussoirs. Two non-historic lanterns are placed next to the buttresses. The east end flares out into a polygonal wing capped by a peaked polygonal roof that joins the main gable roof. East Facade: The original east facade, clad in red brick, consists of the main central body of the church (now partly obscured) having a taller central pavilion with a hipped roof that rises to the polygonal louvered cupola, flanked by the polygonal wings. The central pavilion contains a Tiffany Glass Co. leaded stained-glass rose window (1889), composed of a geometric design with seven circular motifs (covered by a square metal-mesh grille). The southern polygonal wing has a paneled wooden door and a window (both covered with metal-mesh grilles). There are two utilitarian one-story additions (apparently 1901 and 1913), clad in brick (the northernmost is parged with concrete) and pierced by windows and a door.

 

Property Features: Along Ogden Avenue there is a stone post with non-historic wrought-iron gates, and an historic wrought-iron fence (with signage) atop the stone retaining wall to the north of church; and bluestone steps, stone posts, historic wrought-iron gates, and an historic wrought-iron fence atop the stone retaining wall to the south. On the south side are bluestone stairs (with iron railings) leading to the basement at the east end; bluestone stairs with cheek walls and wrought-iron railings leading to the entrance; a low rubble stone retaining wall bordering the lawn; and a flagstone and concrete walkway. On the north side are an asphalt driveway; a flagstone walkway by the church; and a yard. On the east side are an asphalt parking lot, yard, and a walkway.

 

- From the 2010 NYCLPC Landmark Designation Report

 

 

History of Terra Angelica (Smouse's MIll Road, Cumberland, Allegany County, Maryland, United States). Historic 1790 Homestead on the National Register of Historic Places.

 

This property was deeded to Peter Smouse in 1790 for his service in the Revolutionary War by William Paca, Governor of Maryland. The 650 acre tract was subdivided in the past for two school sites, Union Grove Campgrounds, a cemetery and numerous home sites. It now contains 247 acres and serves as a tree farm, wildlife management area and farmland.

 

In 1979 it became the first land put into conservation easement in Allegany County. The original home was a log house which burned in the early 1840’s. The present house was built about 1845 by John Jacob Smouse, a builder and son of Peter Smouse. It was named to the National Register of historic places in 1973.

 

The home served as a safe haven for the Underground Railroad during the Civil War. The slaves would travel up the C & O Canal from Virginia to Evitts Creek, and then up the Creek into Pennsylvania. The back of this property is 1/4 mile from the Mason Dixon line. The original site was a self-contained community with grist mill, blacksmith shop, school house, cemetery, church meeting area and homes. The Smouse Family inhabited the home until 1945 when it was bought by Alfred Windish and modernized with plumbing, heating, electricity and a three car garage with an apartment for his parents.

 

Dr. and Mrs. F.W. Miltenberger purchased the site in 1973 and upgraded the systems to the present condition. The Miltenbergers and their seven grown children have decided to open the property for public use so that others may appreciate the beauty of the area.

 

See their website for more information www.terra-angelica.com/

 

Saprolitized cataclastic rocks in the Paleozoic of North Carolina, USA.

 

These scrappy looking rocks are part of the Brevard Fault Zone in the Appalachians of eastern America. The Appalachians are broadly subdivided into three physiographic provinces: Valley & Ridge, Blue Ridge, and Piedmont. Extending from Alabama to Virginia, the Brevard Zone is at the boundary between the Blue Ridge and the Piedmont ("foothills" of the Appalachian Mountains) - the latter consists of structurally deformed metamorphic and igneous rocks. The eastern boundary of the Piedmont is the Fall Line, which marks the farthest west that flooded rivers extend. The character of rivers changes at the Fall Line as they flow eastward from Piedmont rocks to Coastal Plain rocks. To the west of the Piedmont is the Blue Ridge, a relatively narrow and topographically high zone of mountains. Rocks in the Blue Ridge are principally hard, Precambrian-aged, igneous and metamorphic rocks.

 

The Brevard Zone is thought to be an old fault zone that was active in the Late Paleozoic, when the Appalachian Mountains were forming. Some geologists interpret the Brevard Zone as a thrust fault, while others interpret it as a transform fault (strike-slip fault). Regardless, the Brevard Zone consists of cataclastic rocks, which are highly deformed fault zone rocks. Deep, long-term weathering has saprolitized these cataclastic rocks. Saprolite is a friable rock formed by intense weathering - much regolith (soil) in the Piedmont is actually saprolite (see: www.flickr.com/photos/jsjgeology/albums/72157672727177763 ).

 

The parent rocks of the Brevard Zone were probably Neoproterozoic- to Cambrian-aged, passive margin sedimentary rocks that were metamorphosed during the Paleozoic. Active fault movement in the Brevard Zone probably occurred during the Pennsylvanian, about 310 million years ago (Vauchez, 1987).

 

Locality: railroad cut below the Route 70 bridge at the town of Old Fort, McDowell County, western North Carolina, USA (35° 37’ 44.29" North latitude, 82° 11’ 12.31" West longitude)

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Reference cited:

 

Vauchez (1987) - Brevard Fault Zone, Southern Appalachians: a medium-angle, dextral, Alleghenian shear zone. Geology 15: 669-672.

 

Turpan (simplified Chinese: 吐鲁番; traditional Chinese: 吐魯番; pinyin: Tǔlǔfān; Uyghur: تۇرپان‎, ULY: Turpan, UYY: Turpan?), also known as Turfan or Tulufan, is a prefecture-level city located in the east of Xinjiang, People's Republic of China. It has an area of 69,324 square kilometres and a population of 570,000 (2003).

 

HISTORY

Turpan has long been the centre of a fertile oasis (with water provided by the karez canal system) and an important trade centre. It was historically located along the Silk Road, at which time it was adjacent to the kingdoms of Kroran and Yanqi. The name Turfan itself however was not used until the end of the Middle Ages - its use became widespread only in the post-Mongol period. The center of the region has shifted a number of times, from Yar-Khoto (Jiaohe, 10 km to the west of modern Turpan) to Qocho (Gaochang, 30 km to the southeast of Turpan), and to Turpan itself. Historically, many settlements in the region have been given a number of different names, some of which refer to more than one place – Turpan/Turfan/Tulufan is one such example. (Others include Loulan/Kroran/Korla, Jushi/Gushi, Gaochang/Qocho/Karakhoja, Hezhou, and Jiaohe/Yarkhoto.)

 

The peoples of the Kingdoms of Nearer and Further Jushi (the Turpan Oasis and the region to the north of the mountains near modern Jimasa), were closely related. It was originally one kingdom called Gushi, which the Chinese conquered in 107 BC. It was subdivided into two kingdoms by the Chinese in 60 BC. During the Han era the city changed hands several times between the Xiongnu and the Han, interspersed with short periods of independence.

 

After the fall of the Han dynasty in 220, the region was virtually independent but tributary to various dynasties. Until the 5th century AD, the capital of this kingdom was Jiaohe (modern Yarghul 16 kilometres west of Turpan).

 

From 487 to 541 AD, Turpan was an independent Kingdom ruled by a Turkic tribe known to the Chinese as the Tiele. The Rouran Khaganate defeated the Tiele and subjugated Turpan, but soon afterwards the Rouran were destroyed by the Göktürks.

 

TANG CONQUEST

The Tang dynasty had reconquered the Tarim Basin by the 7th century AD. During the 7th, 8th, and early 9th centuries the Tibetan Empire, the Tang Chinese, and Turks fought to conquer the Tarim Basin. Sogdians and Chinese engaged in extensive commercial activities with each other under Tang rule. The Sogdians were mostly Mazdaist at this time. Turpan, renamed Xizhou by the Tang after their armies conquered it in 640 AD, had a history of commerce and trade along the Silk Road already centuries old; it had many inns catering to merchants and other travelers, while numerous brothels are recorded in Kucha and Khotan. As a result of the Tang conquest, policies forcing minority group relocation and encouraging Han settlement led to Turpan's name in the Sogdian language becoming known as “Chinatown” or "Town of the Chinese".

 

In Astana, a contract written in Sogdian detailing the sale of a Sogdian girl to a Chinese man was discovered dated to 639 AD. Individual slaves were common among silk route houses; early documents recorded an increase in the selling of slaves in Turpan. Twenty-one 7th-century marriage contracts were found that showed, where one Sogdian spouse was present, for 18 of them their partner was a Sogdian. The only Sogdian men who married Chinese women were highly eminent officials. Several commercial interactions were recorded, for example a camel was sold priced at 14 silk bolts in 673, and a Chang'an native bought a girl age 11 for 40 silk bolts in 731 from a Sogdian merchant. Five men swore that the girl was never free before enslavement, since the Tang Code forbade commoners to be sold as slaves.

 

The Tang dynasty became weakened considerably due to the An Lushan Rebellion, and the Tibetans took the opportunity to expand into Gansu and the Western Regions. The Tibetans took control of Turfan in 792.

7th or 8th century old dumplings and wontons were found in Turfan.

 

UYGHUR RULE

In 803, the Uyghurs of the Uyghur Khaganate seized Turfan from the Tibetans. The Uyghur Khaganate however was destroyed by the Kirghiz and its capital Ordu-Baliq in Mongolia sacked in 840. The defeat resulted in the mass movement of the Uyghurs out of Mongolia and their dispersal into Gansu and Central Asia, and many joined other Uyghurs already present in Turfan. In the early twentieth century, a collection of some 900 Christian manuscripts dating to the ninth to the twelfth centuries was found at a monastery site at Turfan.

 

The Uyghurs established a Kingdom in the Turpan region with its capital in Gaochang or Kara-Khoja. The kingdom was known as the Uyghuria Idikut state or Kara-Khoja Kingdom that lasted from 856 to 1389 AD. The Uyghurs were Manichaean but later converted to Buddhism and funded the construction the cave temples in the Bezeklik Caves. The Uyghurs formed an alliance with the rulers of Dunhuang. The Uyghur state later became a vassal state of the Kara-Khitans, and then as a vassal of the Mongol Empire. This Kingdom was led by the Idikuts, or Saint Spiritual Rulers. The last Idikut left Turpan area in 1284 for Kumul, then Gansu to seek protection of Yuan Dynasty, but local Uyghur Buddhist rulers still held power until the invasion by the Moghul Hizir Khoja in 1389. The conversion of the local Buddhist population to Islam was completed nevertheless only in the second half of the 15th century.

 

After being converted to Islam, the descendants of the previously Buddhist Uyghurs in Turfan failed to retain memory of their ancestral legacy and falsely believed that the "infidel Kalmuks" (Dzungars) were the ones who built Buddhist monuments in their area.

 

15TH AND 16TH CENTURIES

As late as 1420, the Timurid envoy Ghiyāth al-dīn Naqqāsh, who passed through Turpan on the way from Herat to Beijing, reported that many of the city's residents were "infidels". He visited a "very large and beautiful" temple with a statue of Shakyamuni; in one of the versions of his account it was also claimed that many Turpanians "worshipped the cross".The Moghul ruler of Turpan Yunus Khan, also known as Ḥājjī `Ali, (ruled 1462–1478) unified Moghulistan (roughly corresponding to today's Eastern Xinjiang) under his authority in 1472. Around that time, a conflict with the Ming China started over the issues of tribute trade: Turpanians benefited from sending "tribute missions" to China, which allowed them to receive valuable gifts from the Ming emperors and to do plenty of trading on the side; the Chinese, however, felt that receiving and entertaining these missions was just too expensive. (Muslim envoys to the early Ming China were impressed by the lavish reception offered to them along their route through China, from Suzhou to Beijing, such as described by Ghiyāth al-dīn Naqqāsh in 1420–1421.

 

Yunus Khan was irritated by the restrictions on the frequency and size of Turpanian missions (no more than one mission in 5 years, with no more than 10 members) imposed by the Ming government in 1465, and by the Ming's refusal to bestow sufficiently luxurious gifts on his envoys (1469). Accordingly, in 1473 he went to war against China, and succeeded in capturing Hami in 1473 from the Oirat Mongol Henshen and holding it for a while, until Ali was repulsed by the Ming Dynasty into Turfan. He reoccupied Hami after Ming left. Henshen's Mongols recaptured Hami twice in 1482 and 1483, but the son of Ali, Ahmad Alaq, reconquered it in 1493 and captured the Hami leader and the resident of China in Hami (Hami was a vassal state to Ming). In response, the Ming Dynasty imposed an economic blockade on Turfan and kicked out all the Uyghurs from Gansu. It became so harsh for Turfan that Ahmed left. Ahmed's son Mansur succeeded him and took over Hami in 1517. These conflicts were called the Ming Turpan Border Wars.

 

Several times, after occupying Hami, Mansur tried to attack China in 1524 with 20,000 men, but was beaten by Chinese forces. The Turpan kingdom under Mansur, in alliance with Oirat Mongols, tried to raid Suzhou in Gansu in 1528, but were severely defeated by Ming Chinese forces and suffered heavy casualties. The Chinese refused to lift the economic blockade and restrictions that had led to the battles, and continued restricting Turpan's tribute and trade with China. Turfan also annexed Hami.

 

19TH CENTURY

Francis Younghusband visited Turpan in 1887 on his overland journey from Beijing to India. He said it consisted of two walled towns, a Chinese one with a population of no more than 5,000 and, about 1.6 km to the west, a Turk town of "probably" 12,000 to 15,000 inhabitants. The town (presumably the "Turk town") had four gateways, one for each of the cardinal directions, of solid brickwork and massive wooden doors plated with iron and covered by a semicircular bastion. The well-kept walls were of mud and about 10.7 m tall and 6 to 9 m thick, with loopholes at the top. There was a level space about 14 m wide outside the main walls surrounded by a musketry wall about 2.4 m high, with a ditch around it some 3.7 m deep and 6 m wide. There were drumtowers over the gateways, small square towers at the corners and two small square bastions between the corners and the gateways, "two to each front." Wheat, cotton, poppies, melons and grapes were grown in the surrounding fields.

 

Turpan grapes impressed other travelers to the region as well. The 19th-century Russian explorer Grigory Grumm-Grzhimaylo, thought the local raisins may be "the best in the world", and noted the buildings of a "perfectly peculiar design" used for drying them called chunche.

 

SUBDEVISIONS

Turpan directly controls 1 district and 2 counties.

 

GEOGRAPHY AND CLIMATE

Turpan is located about 150 km southeast of Ürümqi, Xinjiang's capital, in a mountain basin, on the northern side of the Turpan Depression, at an elevation of 30 m above sea level. Outside of Turpan is a small volcanic cone, the Turfan volcano, that is said to have erupted in 1120 as described in the Song Dynasty.

 

Turpan has a harsh, drastic, cold desert climate (Köppen BWk), with very hot and long summers, and very cold but short winters, and brief spring and autumn in between. Annual precipitation is very low, amounting to only 15.7 millimetres. The monthly 24-hour average temperature ranges from −7.6 °C in January to 32.2 °C in July; the annual mean is 14.4 °C. With monthly percent possible sunshine ranging from 48% in December to 75% in September, sunshine is abundant and the city receives 2,912 hours of bright sunshine annually. Temperature differences between summer and winter are oppressively large (over 50 °C). The warmest months often approach the stifling intensity of cities such as Phoenix or Las Vegas, while winters produce average lows that more closely resemble frigid Minneapolis.

 

Extremes have ranged from −28.9 °C to 48.1 °C, although a reading of 49.6 °C in July 1975 is regarded as dubious.

 

However, the very heat and dryness of the summer, when combined with the area's ancient system of irrigation, allows the countryside around Turpan to produce great quantities of high-quality fruit.

 

DEMOGRAPHY

According to the 2000 census, the city of Turpan had a population of 251,652 (population density 15.99 inh./km²).

 

TRANSPORT

Turpan is served by China National Highway 312. It is the junction for the Lanzhou-Xinjiang and the Southern Xinjiang Railways.

 

WIKIPEDIA

The Mary and David Burgher House at 63 William Street is a fine surviving example of a vernacular Greek Revival-style residence, built c.1844 in the Stapleton section of Staten Island. The most distinguished feature of the house is its monumental, two-story classical portico set below an over-hanging flared eave – a combination that is characteristic of Staten Island builders’ interpretation of the Greek Revival style. Other characteristics typical of the style include the eared-entrance enframement; the paneled wood door with a full transom and sidelights; six-over-six, double-hung windows with shutters; and vernacular Doric pillars.

 

The house was constructed in the mid-19th century, at a time when the residential development of the surrounding area of Stapleton was just getting underway. With its excellent ports, close proximity to Manhattan via ferry, and proximity to good roads, Stapleton developed as one of the earlier suburban neighborhoods on the island. Constructed for fisherman David Burgher, the house serves as a reminder of the importance of maritime commerce for Staten Island’s economy in the 1840s and 1850s, and of the role that the harbor played in the development of New York City. A relatively rare surviving example of a building type that was once prominent on Staten Island, 63 William Street recalls one of the borough’s most important mid-19th century building traditions.

 

Located to the southeast of Tompkinsville, the adjacent village of Stapleton was named in honor of the New York merchant William J. Staples, who with Minthorne Tompkins, son of Daniel D. Tompkins, purchased a large tract of land from the Vanderbilts on the East Shore at the foot of present-day Broad Street, as well as a number of other transactions for land along the east shore south of Tompkinsville.7 Staples and Tompkins had the land laid out into a village with streets and building lots. By 1836, when the village was named, it boasted several houses and a hotel. The following year the Seaman’s Retreat and Hospital Fund opened its imposing new Greek Revival hospital building to care for sick and disabled merchant sailors on a forty acre site at Bay Street and Vanderbilt Avenue. (The Main Building at Seaman’s Retreat, designed by builder Abraham Maybie, with additions of 1848, 1853, and 1911-12, and the Physician-in-Chief’s Residence of 1842 are designated New York City Landmarks.) Staples and Tompkins established steam ferry service to Manhattan and advertised their new development. Over the next twenty-years, Stapleton and Tompkinsville grew rapidly. Both had excellent ports with regular steam ferry service to Manhattan and were located on main roads making them ideal entrepots for the transhipment of goods.

History of the Site

 

In 1835, Daniel Van Duzer sold about 5 acres, located to the east of the Ward estate, to Lemuel Brewster8 of Manhattan. Brewster, a hatter, temperance advocate and philanthropist, purchased the property on speculation, subdivided it into lots, and entered into an agreement with local merchant William S. Root to manage and sell the properties.9 According to deed records, Brewster and his wife Eleanor held the property for a short time, selling off a number of the lots in the late 1830s. In 1839, Root bought himself out of the agreement with Brewster, purchasing 11 of the remaining lots from the 65-lot subdivision, including those numbered 41 and 42, the future site of 63 William Street.10 Root, the owner of a store in Tompkinsville, had mortgaged the purchase of the property and soon found that he was “indebted and liable in considerable amounts to various persons and companies.” The property was transferred to Manhattan attorney William M. Prichard, who had purchased “all the goods and debts of William S. Root.” Shortly after, Root and his wife, the former Maria Metcalfe relocated to Brooklyn in 1847, although their son George M. remained on the island, working as a civil engineer, surveyor and authority on land and water boundaries. It is likely that William Street got its name from Root.

 

On June 20, 1843, David Burgher of the town of Castleton, purchased four lots from Prichard, including the two lots that are now known as 63 William Street. Burgher had the house constructed shortly after, c. 1844, as it appears on Bloods’ 1845 Atlas of Staten Island.

 

David Burgher

 

Although both his father and grandfather were farmers, David Burgher, who is listed in the deed as a “mariner,” worked most of his life as a fisherman. His father John Burgher married Mary Kettletas, who was descended from early Staten Island residents, and had an extensive farm on the southeast shore of the island, around today’s Burgher Avenue. Mary’s father, Stephen Kettletas, also a farmer, had property nearby that of Nicholas Burgher, David’s grandfather.

 

A prominent resident of Stapleton, David Burgher (1815-1879) was appointed Deputy Sheriff in 1833 by Sheriff Lawrence Hillyer, who was also his uncle. A successful fisherman, Burgher held the distinction of catching the first shad of the season off Staten Island in the years 1866 and 1870.16 After the incorporation of the Village of Edgewater, Burgher was elected trustee of the second ward of the new village in 1867. David Burgher and his wife Mary lived in the house at 63 William Street for about five years, before selling it in 1849 to Thomas Taylor. Burgher had purchased additional property nearby several years earlier and constructed a new home around the corner on Brewster Street, where he lived for the remainder of his life. By 1874, in addition to two other parcels of land near his home in Stapleton, Burgher owned a dock and three buildings on Bay Street at the foot of Washington Street (now known as St. Julian Place.) Later in life, Burgher was the proprietor of a lumber yard on Bay Street. He died in August of 1879.

 

The Design of the Burgher House

 

The house was likely built around 1844, shortly after David Burgher purchased the property on William Street. Its most prominent feature is its full-width, two-story porch set under the flared eave of the main roof. Although not a feature commonly found on Greek Revival houses throughout the country, this type of overhang was commonly found on vernacular Staten Island buildings of the period. The flared projecting spring or bell-cast eave was widely used on Staten Island from the late seventeenth century on and became so firmly embedded in the Staten Island building tradition that, when older architectural styles were supplanted by the newly fashionable Greek Revival, the form was carried over and incorporated into the new style of building.

 

Though the spring eave is commonly referred to as “Dutch Colonial,” its origins have not been conclusively traced. Different historians have attributed the source of this feature to Flemish, French, or Dutch immigrants; additionally, both French Canadians and local, lower Hudson River Valley settlers have been credited with the development of the extended flared eave.25 The depth of the overhangs found on early American buildings varies from slight to several feet, the larger of which were often supported by columns as a porch. Most historians agree, however, that the use of this roof feature (incorporated into a front and/or rear porch) was limited to the lower Hudson River Valley, the southernmost areas of Dutch influence, including the area around present day New York City and adjacent New Jersey,26 which is possibly the source of its misinterpreted Dutch origin.

 

The earliest surviving instance of a spring eave on Staten Island is the one employed for the Billopp House (c.1676, a designated NYC Landmark), at the southern tip of Staten Island. Constructed in a manner very similar to that employed in France, it has a relatively slight flare since the curved strips extend little more than a foot beyond the wall. Used with both gable and gambrel roofs, the spring eave on Staten Island and elsewhere in the New Netherland area, evolved into a deeper overhang over the course of the 18th and early 19th centuries. Supported on forward posts, it eventually formed a single story, often facade-wide, covered porch for the principal elevation While the spring eave may originally have served a practical purpose by protecting the wall construction beneath it, the great popularity and enduring use of the form on Staten Island should probably be ascribed to its aesthetic appeal.

 

Its appearance on the mid-19th century Burgher House testifies to the persistence of the spring eave in Staten Island vernacular architecture. Combined with a two-story Greek Revival style portico, the Burgher House’s spring eave illustrates one of the most striking of the responses made by local builders to the hugely popular Greek Revival style. The full-width porch with its two-stories, endows a relatively modestly-scaled building with a striking profile and an imposing presence. Former local historian Loring McMillan called this use of the spring eave in combination with the Greek Revival style unique to Staten Island, with no examples found elsewhere.

 

The introduction of the Greek Revival style to Staten Island coincided with the Island’s transition, initiated by the introduction of regular steam ferry service, from a sparsely settled, largely agricultural community to a location selected for several major institutions and large-scale planned suburban developments. Much of the new development was designed for a class of people new to Staten Island – wealthy New York City merchants who were aware of the latest architectural styles. Beginning in the 1820s and proliferating in the 1830s, knowledgeable versions of the fashionable Greek Revival style were employed for both residential and institutional designs.31 In the 1840s and 1850s the Greek Revival was supplanted for such commissions by more picturesque styles, including the Gothic Revival and the Italianate, but in those same decades the Greek Revival was discovered by local Island builders, and it was only then that the style blossomed fully in vernacular residential versions built by the hundreds from one end of the island to the other.

 

While most of Staten Island’s vernacular Greek Revival dwellings employ a simplified version of the style, it is clearly evident that the columned facades of the island’s high style residences built in the 1830s had a significant impact on local builders and on some of their patrons – an increasing more affluent segment of the citizenry that had, by the 1840s, been sensitized to the expressive implications of the style. They too sought out the Greek Revival style for their homes as a way to identify themselves as important members of their communities. Although there were exceptions, local builders did not, on the whole, attempt to duplicate the columned facade in either of its two principal manifestations on the island – the projecting pedimented portico fronting a wider cubic block, as seen in the Minard Lafever­influenced design for the Caleb Ward House (c.1835, Seth Greer, a designated NYC Landmark), or the temple-fronted, gable-end-to-the-street residences built in New Brighton during the 1830.32

 

What local builders did instead was apply a traditional deep spring eave to a standard earlier 19th century residential design – a longitudinally sited, two-story house of three or five bays. The spring eave was carried on giant forward supports (both coffered piers and the classical orders were used) to form a facade-wide quadristyle or hexastyle porch. A porch floor at the second-story level was sometimes introduced. Dozens of residences employing this combination of Greek Revival style porticoes and spring eaves were built in all sections of the island. The spring-eave-covered, quadristyle Greek Revival Doric portico of the Burgher House is obviously part of this vernacular tradition.

 

Supported by four, vernacular Doric pillars, the spring-eave portico of the Burgher House endows the relatively shallow structure with a sense of a grand scale that exceeds its actual dimensions, framing the three-bay facade and creating an imposing effect. Although never found in Greek or Roman prototypes, square columns were commonly used on both vernacular and high-style Greek Revival buildings in the United States. Another notable element of the design is the heavy entablature below the extended eave, which returns around the sides of the porch. At the first floor, the elaborate entry enframement is typical of the Greek Revival style. Constructed of carved wood, the eared enframement surrounds a typical entry, composed of a paneled wood door, a full-width, multi-light transom and sidelights. Also common to the Greek Revival style, the building retains its clapboard siding and historic six-over-six, double-hung wood windows with shutters and simple wood surrounds, which are typically less elaborate than the doorways.

 

Later Residents

 

Also related to the maritime industry, English immigrants Thomas Taylor and his wife Mary, who purchased the house in 1849, were the next residents of the house at 63 William Street. Listed as a “sea captain” in the 1860 census records, Thomas Taylor‘s household contained his wife, a son and an Irish immigrant who preformed “general house work.” By 1870, Taylor had relocated to the Finger Lake region of central New York State and was working as a farmer, although he maintained ownership of the 63 William Street until 1882. According to map records, the house was occupied in the mid-1870s by attorney George Rathbun.

 

The next residents of the house appear to be the family of Robert T. Bradford.36 A New-York­born cigar maker, Bradford lived there with his wife, several daughters, two sons and a servant. By 1882, when Minnie D. Bradford purchased the house from Thomas Taylor, she was already living in the area with her parents and siblings. Minnie, who is listed in the 1880 census as having the occupation of “picture colorer,” married paper industry tycoon Frederick Bertuch38 c.1884. The 1886 directory shows her father Robert Bradford still living at 6 William Street (the number was later changed to 63), while her husband Frederick Bertuch (and presumably she) was living around the corner at 39 Van Duzer Street. Born in Germany, Frederick Bertuch immigrated to the United States in 1880 and operated a pulp importing business with his father in Manhattan. The firm of Frederick Bertuch & Co. became quite successful, and Bertuch amassed a sizeable fortune. Directories show that Minnie and Frederick Bertuch were living at 63 William Street by 1888.

 

According to later owner Conrad Fingado, the 63 William Street house underwent extensive renovations during the Bertuch ownership. Among the exterior alterations that occurred around the turn of the 20th century were the installation of full-height parlor floor windows (replacing shorter, six-over-six double-hung windows and wood panels); stained-glass panels replacing clear glass in the sidelights at the front entry; shutters at the windows; and the construction of the dormer at the front roof. Other interior alterations that occurred at the time include the installation of parquet flooring at the parlor floor; plaster medallions at the ceilings; and tiles around the fireplace. (The interior of the house is not part of this designation).

 

In 1908, Frederick Bertuch purchased a rowhouse at 858 West End Avenue (Schneider and Herter, 1892-93, a designated New York City Landmark), where he and his wife lived for the remainder of their lives. (The Bertuches also owned a home in Babylon, Long Island.) Frederick Bertuch & Co. was dissolved and Bertuch retired from business in 1912, however, he remained a special partner in the successor firm founded by his former partner Johannes Andersen, J. Andersen & Company. Bertuch died in 1922, leaving the bulk of his estate to his widow, and made generous donations to charitable and educational entities. Among the many charitable donations outlined in Bertuch’s will were: $50,000 each to Lenox Hill Hospital, the Children’s Aid Society, the New York Society for the Prevention of Cruelty to Children, and the Cooper Union, and $100,000 to Columbia University. Minnie D. Bertuch died six years later in 1928.

 

Upon the Bertuch’s move to Manhattan, Minnie’s sister Ida S. Fitzpatrick and her two sons occupied the home. Ida Bradford had married William Fitzpatrick in 1887, but was widowed by 1900. By the time Ida Fitzpatrick purchased the house from her sister in 1919, her older son William was married, while her younger son Frank (F.J.) lived with and supported his widowed mother. Directories list the Fitzpatricks as residents of 63 William Street until the mid-1930s. After her death, Ida Fitzpatrick’s daughter-in-law Dorothy Fitzpatrick, who was living in Washington D.C. at the time, sold the house in 1950 to Michael Towstik Jr. Although he did not live there, Towstik retained ownership of the house for almost thirty years.

 

Later residents of the house include Conrad Fingado and Margot Nordenholt, who owned the property from 1978 until 2000. A restoration carpenter, Fingado was on the staff of Historic Richmondtown in the 1970s, while his wife operated a family-owned import-export business. During their ownership, the house underwent extensive renovation, including the removal of asbestos siding, the scraping and painting of the clapboards, exterior restoration of front porch, and the reconstruction of the rear ell on a similar footprint to the existing addition. Since 2000, 63 William Street has been owned by Robert and Rosemary McCormick.

 

Later History of the Neighborhood

 

In the mid-19th century, after the construction of 63 William Street, Stapleton and Tompkinsville grew rapidly due their excellent ports, transportation facilities and the presence of two important public institutions, the Seaman’s Retreat and the Quarantine Hospital. The villages continued to prosper during the Civil War as shipyards in both areas, as well as Port Richmond, worked busily to meet the demand for military vessels and commercial ships. Stapleton also was blessed with natural resources (artesian springs and cool caverns) that began to attract industry (notably breweries) to the area.44 The large number of German-owned businesses in Stapleton, especially the breweries, which required skilled knowledge of brewing techniques, brought many German-born workers to the area and Stapleton quickly became the most important village on Staten Island’s east shore and one of the northeast region’s principal German enclaves.

 

By 1870, Stapleton, Clifton, and a portion of Tompkinsville had been consolidated into the incorporated Village of Edgewater.45 Stapleton was the political center of Edgewater, its business center, and a major transportation hub. The area continued to prosper residentially following the integration of ferry and train service, and Staten Island’s 1898 consolidation into the City of New York. The neighborhood’s close proximity to the newly created Borough Center at St. George, an important road terminus and port for the ferry to Manhattan, helped maintain its status as an important “suburb,” a status which it maintains today.

 

Helping to further fuel the area’s residential growth, Staten Island’s waterfront industrial base grew during World War I as industries, particularly the shipyards, expanded due to government contracts. Waterfront activity continued as part of a municipal pier construction project along the east shore of Staten Island from Tompkinsville to Clifton during the 1920s. Constructed under the terms of Mayor John Hylan and Dock Commissioner Murray Hulbert, the project was part of an extensive waterfront improvement plan intended to meet the anticipated shipping needs of New York City. The project was later termed “Hylan’s Folly” due to the large capital expenditure of funds which were not regenerated as many of the piers sat vacant for a number of years. In 1983, much of the Stapleton waterfront was chosen to be used as a homeport for the United States Navy. After years of debate about the base’s impact on the community, the partially constructed homeport project was shut down in 1995. Most recently, New York City Council approved a plan to redevelop the site for residential, commercial and recreational use, however the work has not yet commenced.

 

Description

 

The Burgher House is located on a large, 50 by 100 foot lot at the northeast corner of William and Brewster streets. The rectangular lot is lined by wood picket fence along the south with a gate near the front entry. There is a chain-link fence at the Brewster Street facade and another chain-link along the eastern edge of the property. The lot most likely contains a privy and cistern as the building was constructed before public water and sewers were available. A paved bluestone path leads from the William Street gate to the basement-level entry and turns at a right angle to access a flight of steps that lead to the main entry. The steps, which extend to the west parallel with the porch, are constructed of a composite material, set on a common brick base. The staircase has grey-painted treads and off-white­painted risers, and features a zig-zag-style wooden railing and off-white-painted, square wood newel posts. There is a small, wood-framed garage and gravel parking area at the rear.

 

The two-and-a-half-story plus basement, wood-framed house is constructed on a dark-purple­painted, stuccoed brick basement and features a small, one-and-a-half-story ell at the rear, both of which have wood clapboard siding painted off-white. The eaves-front, asphalt-shingled, gable roof features an extended flared eave and wide cornice at the front facade, which is supported by four, square, vernacular Doric pillars creating a double height portico that also extends below to the basement of the building. The tetra-style porch frames the fenestration of the three-bay, south-facing, front facade. The at-grade, basement level of the building has a wood-paneled door with a wooden storm door in the first bay and six-over-six, double-hung wood windows with wood storm windows in the second and third bays.

 

The basement level porch floor is paved with brick. The main entry, located in the first bay of the first floor, features a wood paneled door; full, multi-light stained-glass transom; and sidelights set on wood panels surrounded by a carved wood eared enframement. The second and third bays have full-height, one-over­one, double-hung wood windows with carved wood surrounds, dark-purple-painted shutters and wood storm windows. There is a small light fixture above and a wood storm door at the entry. The porch features a wooden deck and wooden zig-zag-style railing at both floors. The second floor features a multi-light, wood paneled door with wood storm door in the first bay, and six-over-six, double-hung wood windows with carved wood surrounds and wood storm windows in the second and third bays. All three openings at the second floor have dark-purple-painted shutters. An asphalt-shingled, gable-roofed dormer projects from the center of the roof. It features two, one-over-one, double-hung wood windows and fish-scale wood shingles at the front facade and solid wood paneling at the sides. A red-painted brick chimney, with two flue caps and an antenna, extends above the gable at the eastern end of the main roof, and there is a weather vane atop the dormer roof.

 

The east-facing, side facade has two window openings at each floor, basement, first, second and attic. There are six-over-six, double-hung wood windows in both openings at the basement and in the second bays at the first and second floors. These windows have wood storm windows at the basement and first floor and aluminum storm windows at the second floor. The first bay of the first floor features a tall, one-over-one, double-hung wood window, similar in height to those found at the front facade. There are one-over-one, double-hung windows in the first bay at the second floor (wood with a wood storm window) and both bays at the attic (aluminum), which replace the historic multi-light windows. All windows on this facade feature simplified, carved wood surrounds. There is a leader at the southeast corner of the facade and air conditioner brackets below the second bay at the attic.

The west-facing, side facade has one, six-over-six, double-hung wood window at each the basement, first, and second floors and two, six-over-one, double-hung wood windows at the attic, all with simplified, carved wood surrounds and wood storm windows. A utility meter, telephone box, conduit, wires, and a spigot are attached the building at this facade.

 

The rear facade of the building has a one-and-a-half-story plus basement ell, built on a dark­purple-painted, stuccoed brick foundation, that extends from the western half of the building. The western and northern facades of the addition each have two, six-over-six, double-hung wood windows at the basement level. There is one, six-over-six, double-hung wood window at the first floor of the addition’s western side and two, six-over-six, double-hung wood windows at the second floor. All ell windows have wood storm windows. The rear facade of the addition has no window openings above the basement level, but features a small exhaust vent. A satellite dish extends from the building’s western facade at the junction of the main building and ell. A brick chimney and antenna extend from the roof of the ell. At the east side of main building’s rear facade, there is a deck with a square-wooden post and baluster railing at the first floor. The basement level under the deck, which is painted dark-purple like the rest of the foundation, features three, off-white-painted wood paneled doors at its north facade. There are leaders at the northwest corner of the main house and northeast corner of the ell.

 

There is a small, gable-front garage at the rear of the house, which is accessed from Brewster Street by a gravel-paved driveway that is set slightly above the rear yard behind a stacked bluestone wall. The garage has off-white-painted composite siding at its west, north and east facades, an asphalt-shingled roof, and paired wooden doors. There is a small, shed-roofed addition to the garage, which features board and batten siding and narrower, paired wooden doors on its west facade. The south facade of the garage addition, which also has board and batten siding, has a multi-light window and multi-light, paneled wood door. Both the garage and its addition have dark dark-purple painted trim. A wooden backboard and basketball hoop are attached to the garage at its front gable, and there is a vent at the roof.

 

- From the 2010 NYCLPC Landmark Designation Report

Located in what now is the heart of the Garden District, between Washington, Sixth, Prytania, and Coliseum streets, Lafayette Cemetery No. 1 is the oldest of the seven municipal, city-operated cemeteries in New Orleans. It is a non-segregated, non-denominational cemetery. There are immigrants from over 25 different countries and natives of 26 states as identified on the closure tablets.

 

The developers commissioned City surveyor Benjamin Buisson to develop a plan. The plan, dated March 5, 1832, subdivided the area between First Street and Toledano. The cemetery was laid out with two center aisles, a cruciform (cross) pattern, lined with trees giving it a park or garden-like appearance, and divided the cemetery into four sections. The intersecting avenues were built to accommodate funeral processions and originally paved with shells.

 

The cemetery was named for the City of Lafayette, which was annexed to the City of New Orleans as the Fourth District. The area of New Orleans that once was the city of Lafayette consists of two designated historical districts, the Irish Channel and the Garden District. The residents of the Irish Channel were first-generation immigrants many from Ireland and Germany, the two largest groups of immigrants to settle in New Orleans in the two decades before the Civil War. It was known as a working-class poor neighborhood, a rough and tough riverfront area. The Garden District, on the other hand, represented the new wealth of immigrants from Great Britain and the North who came and made their fortunes as cotton factors, brokers, and merchants after the Louisiana Purchase. They are often called “Southern Yankees.”

 

In the cemetery, there are almost 500 wall vaults on Washington Avenue which have been sealed. Only a few of the plaques are engraved.

 

In Lafayette Cemetery No. 1, there are society tombs for several volunteer fireman organizations (now extinct), the Independent Order of Odd Fellows, German Presbyterian Community, Home For Destitute Orphan Boys, Poydras Orphans Home, YMCA, and the New Orleans Home for Incurables.

 

Individual family tombs in Lafayette Cemetery No. 1 feature Judge Ferguson of the Plessy vs. Ferguson “separate-but-equal” case. Also buried in the cemetery is Brigadier General Harry T. Hays who led the 1st Louisiana Brigade. The Brunie family, buried here, were notable jazz musicians who were associated with Papa Laine and the New Orleans Rhythm Kings.

 

Perhaps the most famous residents of Lafayette Cemetery No. 1 are fictional. The tomb for the Mayfair witches, created by Anne Rice, in The Witching Hour, fits a combination of the Lafayette and Jefferson fireman tombs. Rice also staged a jazz funeral where she rode in a glass enclosed coffin down the aisle of Lafayette Cemetery No. 1 to introduce her book Memnoch the Devil. The vampire Lestat’s tomb, made from Styrofoam for the movie, Interview with a Vampire, was possibly modeled from the cast iron tomb. Many other movies have been filmed in the cemetery, including Double Jeopardy in 1999 and Dracula 2000 in 2000. Other filming has taken place in the cemetery, such as music videos by acts such as LeAnn Rimes and the New Kids on the Block.

 

There are about 1,100 family tombs and more than 7,000 people buried in Lafayette I, a single city block.

Badian is a 3rd class municipality in the province of Cebu, Philippines. According to the 2010 census, it has a population of 37,699 people. The Municipality of Badian is located 97.6 km southwest of Cebu City. It is bounded on the north by the municipality of Moalboal; on the south by the municipality of Alegria; on the east by the municipalities of Dalaguete and Argao; and on the west by Tanon Strait.

Badian is administratively subdivided into 29 barangays.

Alawijao Balhaan Banhigan Basak Basiao Bato Bugas Calangcang Candiis Dagatan Dobdob

Ginablan Lambug Malbago Malhiao Manduyong Matutinao Patong Poblacion Sanlagan

Santicon Sohoton Sulsugan Talayong Taytay Tigbao Tiguib Tubod Zaragosa

The Kawasan Falls is a three-layered waterfall series located in the Municipality of Badian, Cebu, which has become a huge attraction with foreign and local tourists throughout the years. The first waterfall is the largest and highest of the three falls, while the two falls uphill are smaller.

Kawasan Falls is located in Barangay Matutinao in Badian, Cebu. To get to Badian from Cebu City you can take a bus at the South Bus Terminal for a three hour ride that will directly take you to Badian. From there, you can take a tricycle that will take you to Barangay Matutinao.

If you are taking a private vehicle, drive past the Municipality of Carcar, and upon reaching the Municipality of Badian through the picturesque mountain road, then drive to Matutinao village. You can always ask for directions from people along the way if it is your first time to go to Kawasan Falls, so you won’t get lost.

When you reach the main road leading to Kawasan Falls, there is a main entrance to the waterfalls area and an entrance fee of 10 peso’s per person. From there, you start on a 20 to 30 minute walk on a trail that will lead you to the first waterfall.

You will then have to trek a further 10 to 15 minutes uphill to get to the second waterfall, and another 15 minute trek to the third waterfalls. There is a resort with restaurant at the area of the first waterfalls. There are small cottages and tables for rent at 300 peso’s each table as at September 2012 ( on top of the menu prices ) and several rooms for rent for those who want to stay overnight. A popular attraction is a bamboo raft ride leading to a shower under the cool falling waters of the first and second waterfall.

The Mactan International Airport is located in Mactan, Cebu; it is served by major airlines like Cebu Pacific Air and Philippine Airlines. You can also fly from Metro Manila to Cebu. There are many domestic flights and sometimes it is economical because many airlines offer a cheaper airfare. Check also for any available promo. If you arrived earlier in Cebu, you can leave straight to Badian providing you already arranged your accommodation there before your arrival or you can stay for a night in Cebu City and have your trip to Badian the next day.

Your choices to come from Cebu City to Badian are: from the airport you can take a taxi to South Bus Terminal look for Ceres Bus Liner via Barili, you can also take Librando Trans. There are buses leaving Cebu City to Badian every 30 minutes or one hour. It will take 2-3 hours or more bus travel to reach Badian from Cebu City depending on the number of stops. You can also hire a taxi at the airport or at the city to Badian, it is more comfortable and faster. Make sure the driver knows where Badian is. The fare is about Php 1500.00 - Php 3000.00 and be prepare for some bartering and some hidden costs

The capital barangay of Badian town is Poblacion. It is located in the centre of the town. This is where the local high school is located called Badian National High School ( BNHS ) is one of the two high schools in the town of Badian. This is also the largest of the two and many students from the neighbouring town just like Moalboal, Alcantara and Ronda come to study in this high school. The lower educational facility in Badian is the Badian Central Elementary School where all the younger children go to school for the simple fact that it is completely free and the only elementary school and the biggest one in town. One more very important institution that is located in Poblacion is the Town Hospital where everyone from every other barangay goes to in the time of sickness.

The facility has been better than the past management they have more improvements to the hospitals than anything else which is the best thing they could have done because this is where most Badianganons run to in the time of need. This is also the location where the town church is located ~ the church of Santiago Apostol, which celebrates its Festival on the 25th of July every year. Together with the Feast of Santiago Apostle is the Banig Festival which was started about three years ago. Poblacion is also where the Municipal Hall is located in sitio sawang. Thus, I believe that the municipality should ought to have more funding's in the Hospital Facility more so that the roads that they are trying to fix every single year Poblacion has many sitios which is the little corners of Poblacion which is residential or commercial properties. Some of these sitios are; Syma, Walog, Sawang, Highway, and many more. This is the only urban place in Badian compared to any other barangays that surround the town. Poblacion is also the most populated barangay in all Badian. Which has 3854 population as of 2007 Census. Poblacion is where the marketplace is located. Thus, most of the trading is here. Many vendors from all over town will show up mostly on Saturdays and Sundays for the trading.

Former site of Gemco Department Store, this former department store, which included a supermarket and pharmacy under the Gemco banner was located in Huntington Beach California at 7212 Edinger and Goldenwest was subdivided into different retail stores. The Gemco chain was split up, sold off piece meal with several sites kept by Lucky Supermarket in 1986. This site was converted after 1986, when Lucky Supermarkets, owner of Gemco Department Stores decided to close down this chain. The main portion of the former Gemco was converted to a Lucky Supermarket with a Lucky Pharmacy. When Lucky Supermarkets took over the Savon Drug Store Chain, they converted their pharmacies into Savon Pharmacies. Another section of this former department store was converted into a Toys R Us Toy Store. When Albertsons took over Lucky Supermarkets in 1999, they converted this Lucky Savon Supermarket into an Albertsons Savon Supermaket. The lease now has expired, Albertsons decided not to renew it per staff, and this Albertsons is now scheduled to close on October 11, 2007. One of xx photos of this site. Photo taken on 09/20/2007 after 6 p.m.

Badian is a 3rd class municipality in the province of Cebu, Philippines. According to the 2010 census, it has a population of 37,699 people. The Municipality of Badian is located 97.6 km southwest of Cebu City. It is bounded on the north by the municipality of Moalboal; on the south by the municipality of Alegria; on the east by the municipalities of Dalaguete and Argao; and on the west by Tanon Strait.

Badian is administratively subdivided into 29 barangays.

Alawijao Balhaan Banhigan Basak Basiao Bato Bugas Calangcang Candiis Dagatan Dobdob

Ginablan Lambug Malbago Malhiao Manduyong Matutinao Patong Poblacion Sanlagan

Santicon Sohoton Sulsugan Talayong Taytay Tigbao Tiguib Tubod Zaragosa

The Kawasan Falls is a three-layered waterfall series located in the Municipality of Badian, Cebu, which has become a huge attraction with foreign and local tourists throughout the years. The first waterfall is the largest and highest of the three falls, while the two falls uphill are smaller.

Kawasan Falls is located in Barangay Matutinao in Badian, Cebu. To get to Badian from Cebu City you can take a bus at the South Bus Terminal for a three hour ride that will directly take you to Badian. From there, you can take a tricycle that will take you to Barangay Matutinao.

If you are taking a private vehicle, drive past the Municipality of Carcar, and upon reaching the Municipality of Badian through the picturesque mountain road, then drive to Matutinao village. You can always ask for directions from people along the way if it is your first time to go to Kawasan Falls, so you won’t get lost.

When you reach the main road leading to Kawasan Falls, there is a main entrance to the waterfalls area and an entrance fee of 10 peso’s per person. From there, you start on a 20 to 30 minute walk on a trail that will lead you to the first waterfall.

You will then have to trek a further 10 to 15 minutes uphill to get to the second waterfall, and another 15 minute trek to the third waterfalls. There is a resort with restaurant at the area of the first waterfalls. There are small cottages and tables for rent at 300 peso’s each table as at September 2012 ( on top of the menu prices ) and several rooms for rent for those who want to stay overnight. A popular attraction is a bamboo raft ride leading to a shower under the cool falling waters of the first and second waterfall.

The Mactan International Airport is located in Mactan, Cebu; it is served by major airlines like Cebu Pacific Air and Philippine Airlines. You can also fly from Metro Manila to Cebu. There are many domestic flights and sometimes it is economical because many airlines offer a cheaper airfare. Check also for any available promo. If you arrived earlier in Cebu, you can leave straight to Badian providing you already arranged your accommodation there before your arrival or you can stay for a night in Cebu City and have your trip to Badian the next day.

Your choices to come from Cebu City to Badian are: from the airport you can take a taxi to South Bus Terminal look for Ceres Bus Liner via Barili, you can also take Librando Trans. There are buses leaving Cebu City to Badian every 30 minutes or one hour. It will take 2-3 hours or more bus travel to reach Badian from Cebu City depending on the number of stops. You can also hire a taxi at the airport or at the city to Badian, it is more comfortable and faster. Make sure the driver knows where Badian is. The fare is about Php 1500.00 - Php 3000.00 and be prepare for some bartering and some hidden costs

The capital barangay of Badian town is Poblacion. It is located in the centre of the town. This is where the local high school is located called Badian National High School ( BNHS ) is one of the two high schools in the town of Badian. This is also the largest of the two and many students from the neighbouring town just like Moalboal, Alcantara and Ronda come to study in this high school. The lower educational facility in Badian is the Badian Central Elementary School where all the younger children go to school for the simple fact that it is completely free and the only elementary school and the biggest one in town. One more very important institution that is located in Poblacion is the Town Hospital where everyone from every other barangay goes to in the time of sickness.

The facility has been better than the past management they have more improvements to the hospitals than anything else which is the best thing they could have done because this is where most Badianganons run to in the time of need. This is also the location where the town church is located ~ the church of Santiago Apostol, which celebrates its Festival on the 25th of July every year. Together with the Feast of Santiago Apostle is the Banig Festival which was started about three years ago. Poblacion is also where the Municipal Hall is located in sitio sawang. Thus, I believe that the municipality should ought to have more funding's in the Hospital Facility more so that the roads that they are trying to fix every single year Poblacion has many sitios which is the little corners of Poblacion which is residential or commercial properties. Some of these sitios are; Syma, Walog, Sawang, Highway, and many more. This is the only urban place in Badian compared to any other barangays that surround the town. Poblacion is also the most populated barangay in all Badian. Which has 3854 population as of 2007 Census. Poblacion is where the marketplace is located. Thus, most of the trading is here. Many vendors from all over town will show up mostly on Saturdays and Sundays for the trading.

3 Riverside Drive, Upper West Side, Manhattan, New York City, New York, United States

 

The Kleeberg Residence, designed by noted architect C.P.H. Gilbert and constructed in 1896-98, is an elegant French Renaissance Revival style town house exhibiting a combination of Gothic and Renaissance details characteristic of the period of Francois I. It is located on a prominent site at the intersection of West 72nd Street and Riverside Drive, and is one of four grand town houses remaining at that corner. Built in accordance with restrictive covenants in an area long intended for high-quality residential development, it is an impressive town house designed for that area. Designed with an American basement plan, the KLeeberg Residence is faced in limestone and brick and displays a wealth of carved detail and an elaborately decorative roofline. Its striking design and appearance give the town house a grand presence at the gateway to Riverside Drive.

 

Development of the Upper West Side

 

The Upper West Side, known as Bloomingdale prior to its urbanization, remained largely undeveloped until the 1880s. In the early eighteenth century, Bloomingdale Road (which approximated the route of present-day Broadway) was opened through the rural area, and provided the northern route out of the city then concentrated at the southern tip of Manhattan Island.

 

The Upper West Side of Manhattan was included in the Randel Survey of 1811 (known as the Commissioners' Map) which established a uniform grid of broad avenues and narrow cross streets in Manhattan as far north as 155th Street. However, years elapsed before most streets on the Upper West Side were actually laid out, some as late as the 1870s and 1880s, and land was subdivided into building lots.

 

Improved public transportation contributed to the growth and sustained development of the Upper West Side. In 1864 the Eighth Avenue horse car line was extended to 84th Street; previously the only transit facility was a stage coach line along Bloomingdale Road (renamed the Boulevard and later Broadway in 1898). In 1879, the horse car lines on Eighth Avenue were replaced by street rail service up to 125th Street, and the Ninth Avenue (Columbus Avenue) Elevated Railroad was completed with stations at 72nd, 81st, 93rd, and 104th Streets.

 

Development of the West End (the area between the Boulevard and the Hudson River) began slowly, due, to a large degree, to the hesitation of would-be residents, but, by 1885 the area had emerged as the part of 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 real estate developers, including the West End and West Side Associations, ultimately stimulated the demand for houses in the West End. Real estate brochures and the local press drew attention to the territory west of the Boulevard, emphasizing the scenic quality of the setting and the availability of public transportation. The biggest boost to the development of the West End was the creation of Riverside Park and Drive (a designated New York City Scenic Landmark).

 

Riverside Drive and West 72nd Street

 

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 was presented by Parks Commissioner William R. Martin. He and his colleagues believed such a plan would initiate the flowering of the West Side by drawing residents to the area and by encouraging further real estate development and the extension of rapid transit lines. The purchase of the park site and initial plans were approved in 1866. The drive, as proposed at this time, was a straight 100 foot-wide road. Commissioners soon realized this plan was impractical due to the existing topography. In 1873 they hired Frederick law Olmsted (1822-1903), already distinguished by his role with Calvert Vaux (1824-95) in the successful design for Central Park, to propose an alternate design.

 

Olmsted's design for Riverside Park and Drive evoked simplicity and elegance. Considering the pre-existing topography, landscape, and views, he designed a drive that would wind around topographic features, would be comfortable for horses and pleasure driving, would provide shaded walks for pedestrians, and yet would give easy access to real estate bordering it on the east. Olmsted's plan was adopted by the Commissioners but the park was not executed under his supervision. Actually developed betwen 1875 and 1900 by designers including Calvert Vaux, Samuel Parsons (1845-1923), and Julius Munckwitz (1829-1902), Olmsted's original design was not adhered to in its entirety, with paths and plantings being added by the later designers. The Drive begins at West 72nd Street and today continues north to approximately 129th Street, where it is effectively terminated by the viaduct and the

 

Manhattanville fault. The Drive has a particularly strong character which derives from its curves that break with the regular street grid and its situation at the highest of the terraces of the Park overlooking the waterside setting.

 

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. Riverside Park and Drive fulfilled the 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. The Drive was characterized by Clarence True, a prolific Upper West Side architect/developer, as "the most ideal homesite in the western hemisphere - the Acropolis of the world's second city."

 

When, beginning in the mid-1880s, residential development commenced along Riverside Drive, grand mansions were the first type of dwelling constructed. As all New Yorkers could not afford freestanding mansions, town houses and rowhouses were also constructed on smaller lots. Clarence True was responsible for many of these rowhouses, establishing the character of much of the lower part of Riverside Drive. Examples of his work can be found in what are now the West End Collegiate and Riverside Drive-West 80th- 81st Street Historic Districts. From the turn of the century through the 1930s, apartment buildings were constructed along the Drive, many of these replacing previously built rowhouses, institutional buildings, or mansions.

 

Originally part of the Harsen Estate, West 72nd Street was subdivided into 500 lots identified for residential use (due to restrictive covenants), and developed into a fashionable street. Its generous width (100 feet) and proximity to entrances to Central Park and Riverside Park gave this street advantages over others nearby. As early as 1866, West 72nd Street fell under the jurisdiction of the Central Park Commissioners; its landscaping was planned and maintained by park employees, while commercial traffic was severely limited. The convenience of the 72nd Street stop on the elevated transit line also fueled early development.

 

Construction on West 72nd Street began in 1880 opposite Central Park with the construction of the Dakota (Henry J. Hardenbergh, a designated New York City landmark), an early luxury apartment house. After further real estate speculation, numerous rowhouses were constructed along the length of the street, mostly in the later 1880s and '90s. The opening of the IRT subway station at West 72nd Street and Broadway in 1904 and changing socioeconomic conditions of the early twentieth century eventually altered the character of West 72nd Street. Many of the rowhouses were replaced by apartment buildings in the 1910s and '20s. Other rowhouses, mostly concentrated between Columbus and West End Avenues, were altered for commercial use at their first and/or second stories. The town houses located at the intersection of Riverside Drive and West 72nd Street are examples of buildings which survived the later phases of apartment building construction and commercial redevelopment.

 

The city block bounded by Riverside Drive on the west and 72nd Street on the south originally lay partly within the Richard Somarindyck farm and partly within the farm of Jacob Harsen. The property was acquired in 1867 by Gustavus A. Sacchi who began to convey the property in the same year. The intersection of Riverside Drive and West 72nd Street is an unusual one in Manhattan. The northeast corner at 72nd Street gently curves northward, creating an inviting gateway to Riverside Park and Drive. The building lots at this intersection were re-configured between 1891 and 1896 so that the lot frontages could follow the curve of the corner. (Previously an orthogonal lot system was overlaid on the irregular site.) This arrangement lends an air of distinction to the buildings constructed on these lots and draws the attention of the passer-by.

 

The Design of the KLeeberg Residence

 

Restrictive Covenants In 1896, Philip KLeeberg acquired lot 1 of Block 1184 from John S. Sutphen, Sr., who once owned the entire blockfront of Riverside Drive between West 72nd and 73rd Streets and who lived at 160 West 72nd Street. At that time there was a restriction on the property which originated in two separate covenants, the first between Gustavus A. Sacchi and Sutphen in 1867, and the second between Sacchi and Sarah H. Wood in the same year. Sutphen acquired most of Wood's property in 1868. Two separate covenants were involved because of a change in the configuration of the lots in this area. Originally arranged orthogonally and later reconfigured to follow the curve of the corner, the new lots along the blockfront extend through the land of Sutphen's 1867 purchase (bordering Riverside Drive) and into that of his 1868 purchase (just to the east of the earlier purchase). (See Map #2.) The restriction in these transactions governed the type of building which could be constructed along this blockfront and required that any building erected within forty feet of the front of the lot be built of stone or brick, and its roof be slate or metal. The 1867 deeds also dictated a lengthy list of prohibited uses and building types, including: slaughterhouses, nail factories, breweries, livery stables, carpenter's shops, sugar refineries, menageries, "or any other manufactory, trade, business, or calling which may be in anywise dangerous, noxious, or offensive to the neighboring inhabitants...." This "covenant against nuisances" was to "run with the land" and was "binding upon all the future owners."

 

Another covenant affected residences to be constructed nearby the KLeeberg Residence. This later covenant between John S. Sutphen, Sr. and Lydia S.F. Prentiss (who owned the adjacent lot at No. 1 Riverside Drive, see The Prentiss Residence Designation Report), dated May 4, 1899, indicated that other lots still belonging to Sutphen along this blockfront (those north of lot 1, and lots 2, 3, and 4) would be conveyed with a restriction which required that only single-family residences could be built there and that any house erected would conform in its building lines and substantial features to a plan drawn by C.P.H. Gilbert. By the time of this later conveyance, Sutphen had already sold the property at 3 Riverside Drive (lot 1) to the KLeebergs. Because Sutphen previously owned this lot, and because the house was designed by Gilbert, it is likely that its sale was contingent upon a restriction similar to that drawn in 1899. The fact that Gilbert was chosen as the architect of these other residences suggests that, at the time of the initial plan, it was arranged that the subsequent owners would commission him for their residences. The fact that this stipulation was not included in the deed itself suggests that Sutphen was personally acquainted with each of the subsequent owners and was able to influence their choice of architect. By upholding the 1867/1868 covenants and by establishing further restrictions on his holdings, Sutphen endeavored to create a high quality neighborhood "which would induce wealthy and select families to purchase and live there and would secure the future character and the occupancy of the residences to be erected thereon." The KLeebergs were one such family and in following the restrictions took an active part in establishing the quality of the area.

 

The Owners — Philip and Maria KLeeberg Philip and Maria KLeeberg occupied their new residence at No. 3 Riverside Drive in 1898, having moved from East 73rd Street. In later years Mr. KLeeberg, a merchant in laces with offices at 85 Mercer Street, lived at other Upper West Side addresses. At the turn of the century he worked in the oil business and was listed as a broker and a vice-president. Later, KLeeberg invented a calculating machine which was used extensively in England. In 1916 he became president of the National Calculator Company with offices at 100 Broadway, a position which required numerous trans-Atlantic voyages.

 

Little is known of Maria KLeeberg beyond the circumstances of her death. Mrs. KLeeberg committed suicide in 1903 by drinking carbolic acid in her Riverside Drive home. Remarks drawn from her obituary reveal some of the circumstances in which she lived. The article confirms that the KLeebergs were of a high social status. Mr. KLeeberg was described as a "millionaire," and was noted to have said that his wife "had everything that she could desire." Entertaining guests and promenading along Riverside Drive were some of the fashionable activities the couple enjoyed. Their residence was described as "handsome," "elegantly furnished, and one of the "finest mansions on the drive."

 

The Plan Construction of the KLeeberg Residence began on November 14, 1896, and was completed on June 30, 1898.° The builder was Harvey Murdock, who often worked with Gilbert. Murdock was active in Manhattan and Brooklyn and specialized in private residences, many of which can be found on Manhattan's Upper West Side. His work was described as being of a uniformly high standard in workmanship and materials.

 

The American basement plan of the KLeeberg Residence was probably typical of other Gilbert-designed town houses in the area. The American basement plan gained popularity with its grand entrance vestibule (entered from a low stoop at ground level) leading to a reception room, and its more private second floor which allowed for elegant entertaining. The KLeeberg residence took advantage of its parkside setting by providing outdoor spaces like the fourth-story balcony which leads to a loggia at the side elevation. The KLeeberg Residence was large and commodious and its design fulfilled the high expectations which developers had for the neighborhood. It is interesting to note that Clarence True, in his 1899 prospectus for the homes he was building on Riverside Drive, included a view of the recently- completed KLeeberg Residence as an example of the high-quality hones constructed there. Its inclusion in this prospectus is unusual because it is the only structure not designed by True' s office to be illustrated, suggesting that Gilbert's peers admired his work for the KLeebergs.

 

Site The KLeeberg residence was designed to take advantage of its

 

curving site along Riverside Drive. The irregular shape of the lot, and its wide frontage of thirty-seven feet allowed a portion of the structure to be set back from the main building line, creating a recessed area that permits sunlight to reach the side elevation. The generous size of the building, its abundance of detail, and its situation on the site produce a striking presence and enhance the fluid transition of 72nd Street to Riverside Drive.

 

Style C.P.H Gilbert's design for the KLeeberg Residence was influenced by early French Renaissance architecture. Architecture in France in the sixteenth century began to combine features of Renaissance design with the more traditional designs of the Gothic period. Typically, Renaissance details were applied to designs whose form, structure, and composition remained basically Gothic. The figure who launched the campaign to introduce Renaissance design to traditional French architecture was Francois I who reigned from 1515 to 1547. By introducing to France Italian artists and craftsmen, including Leonardo Da Vinci, and by inaugurating numerous building projects, including the chateaux at Blois, Fountainebleau, and Chambord, Francois I introduced the elements of Renaissance Italy to Gothic France. The combination of styles in these buildings is typified by massive, steeply pitched roof forms; lively roof lines with numerous gables, turrets, chimneys, and dormer windows; and classical detailing such as pilasters executed with the intricacy of Gothic ornament, and round — or "basket-handle" — arches at window and door openings.

 

In the mid-nineteenth century a revival of the early French Renaissance style of architecture occurred in France. It was during this period that the American architect Richard Morris Hunt (1827-1895) was studying at the Ecole des Beaux-Arts in Paris. Influenced by the revival, Hunt returned to the United States where he embarked on a successful architectural practice. In his designs of the 1890s, Hunt revealed the strength of the influence of French Renaissance architecture on his works. Mansions such as Ogden Goelet's Ochre Court (Newport, Rhode Island, 1888-91) and the George W. Vanderbilt mansion, named Biltmore (1895, North Carolina), are examples of his work in this style (although the larger, sprawling country residences are usually referred to as "Chateauesque" in style).

 

Hunt's French-inspired work motivated a small group of New York City architects to design in a similar manner for other wealthy and socially prominent clients. Among these architects were George B. Post, Lamb & Rich, McKim, Mead & White, Henry J. Hardenbergh, Kimball & Thompson, and C.P.H. Gilbert. Gilbert designed many town houses and rowhouses in this French Renaissance Revival, or Francois I, style on the Upper West Side of Manhattan, several of which can be found in what is now the West End- Collegiate Historic District. Steeply pitched roofs, elaborate dormers, and richly carved ornament were combined in his designs, much as they were at the time of Francois I. However, Gilbert's use of the style is distinctive in that it uses classical massing and reduced scale appropriate to an urban setting.

 

C.P.H. Gilbert (1861-1952)

 

Although he was the architect of a great many opulent residences for New York's leading families, Charles Pierrepont H. Gilbert remains a relatively unknown figure today. Born in New York City in 1861, he attended Columbia University and the Ecole des Beaux-Arts in Paris. In 1883, Gilbert established a brief partnership in New York City with George Kramer Thompson, and in the late 1880s he designed several Romanesque Revival style buildings located within what is now the Kirk Slope Historic District in Brooklyn.

 

Daring the late 1890s, Gilbert began to receive commissions from prominent members of New York society. One such expromission resulted in the Isaac D. Fletcher Mansion which still dominates the corner of 79th Street and Fifth Avenue (1897-99, in the Metropolitan Museum Historic District). This project brought considerable attention to Gilbert's ability to design imaginative and fanciful compositions, his command of historical detail, and his provision of generous and elegant interiors. The Francois I style of the mansion, based on early French Renaissance architecture, was perhaps Gilbert's hallmark. He adapted the profuse ornamentation of this style on a more modest scale to rowhouse groups on the Upper West Side. Gilbert was equally comfortable, like so many architects of his generation, designing in a variety of other styles according to the tastes of his wealthy clients. With equal success he used a Beaux-Arts idiom in the design of the J.R. Delamar Mansion at 233 Madison Avenue (1902-05, a designated New York City Landmark) and created a refined and subtly detailed neo-Italian Renaissance style mansion for Otto Kahn at 1 East 91st Street (now Convent of the Sacred Heart, 1913-18, in association with the English architect J. Armstrong Stenhouse, a designated New York City Landmark). Many of his clients also commissioned him to build their country houses, such as "Pembroke," the DeLamar home on Long Island. In addition to working for wealthy clients, Gilbert often worked with the builder/developer Harvey Murdock in the production of speculatively built rowhouses. Gilbert's stylistically diversified designs — united by the Beaux-Arts approach to composition and planning and a concern for finely worked stone — are well-represented in what are now the Upper East Side and Riverside-West End Historic Districts.

 

Gilbert's attention to detail and his flexibility in matters of style made him one of New York's most productive architects of the turn of the century. In his later years he retired to his home in Pelham Manor, New York. Gilbert was a Fellow of the American Institute of Architects and a member of the Architectural League.

 

Description

 

The five-story KLeeberg Residence, designed with an American basement plan, is faced in limestone and brick and exhibits a wealth of detail. The main part of the building has a three-story, four-sided proj ecting bay constructed out to the building line. A single, southern bay is recessed from the face of the building above the first story.

 

The one-story base of the residence is faced in limestone. Four window openings, originally fronted by iron grilles, are defined by carved vine moldings and have simple sills. The windows have one-over-one double-hung wood sash. The southernmost bay contains an elaborate entrance reached by a low stoop. The original double doors have been replaced. A basket- handle, or elliptical, molded arch with carved vines is flanked by stylized pilasters whose lower halves are filled with foliate carving and whose upper halves terminate in pinnacles. Putti and gargoyles support the projecting elements. Carved wreaths with ribbons and central shields occupy the spandrels, above which is found a frieze of shells. A paneled balustrade with scrolls and a shield is placed above and is topped by a carved shell with pinnacles. Metal grilles new flank this central ornament. The low stoop has a northern wall with carved detail consisting of scrolls, vines, and balusters.

 

A molded stringcourse separates the ground story from those above. A molding at the second-story sill line is supported by putti heads with wings. The projecting bay is elaborately decorated at the second and third stories. Windows of the second story have transoms and carved vines define all window openings. The spandrels between are filled with carved shields and shells. Second-story windows have single-pane sash; third-story windows have one-over-one double-hung sash.

 

Tall, faceted pilasters divide the windows of the projecting bay. A cornice decorated with shields and shells interspersed with gargoyles at capital level surmounts the third-story windows. A balustrade with shields marks the fourth-story balcony atop the projecting bay. Recessed from the balustrade are three windows grouped in a round-edged enframement and flanked by Corinthian pilasters filled with ornament and topped by putti.

 

The uppermost story of the residence is dominated by an elaborate gabled dormer with curved sides and an arched top encompassing a single window with a molded enframement. Pinnacles, scrolls, scallops, and putti decorate the dormer, which is set into a pitched tile roof with copper trim. A carved balustrade below sill level continues to the side elevation. Quoins are found at the fourth and fifth stories.

 

The recessed, southernmost bay of the front facade is less detailed than the main elevation. Windows have simple sills and moldings. The second-story window has an iron grille at the transom. The detailing of the fourth-story balustrade continues at the face of the wall, as does that of the story above. The dormer here is smaller in scale, has a molded frame, an arched top, and flanking pilasters, and is faced in copper.

 

The south-facing side elevation is blank at the second and third stories. At the fourth story square Corinthian pillars, whose panels are filled with floral carving, support a roof overhang which forms a loggia. Three pillars are placed at the west; one at the east. A balustrade continues from the front balcony. An opening is found on the south wall, one small window is found on the west wall. Above, a gabled dormer matches that of the front, although some detail is missing.

 

A low wall, in line with the front of the stoop, originally enclosed the areaway in front of the curved bay. Openings in this wall allowed access to the areaway and cellar. The wall has been removed, cellar windows closed in, and cellar entrance reworked. With the construction of buildings at No. 2 and No. 4 Riverside Drive, the southern stoop wall, the chimney at the northern elevation, and part of the extended parapet of the southern gable were lost.

 

Subsequent History

 

Philip Kleeberg conveyed the property at No. 3 Riverside Drive to his wife, Maria, on May 26, 1898, approximately one month before construction of the residence was completed. After Maria's death in 1903 the property was transferred to her son, Gordon S.P. Kleeberg, who sold the property in 1908. In 1915 the property was acquired by Dr. William Knipe who used the residence as a sanitarium. In 1916 ffery Tier Sutphen and Angie M. Booth, a neighbor living at No. 4 Riverside Drive, filed a suit in Supreme Court against Knipe's Twilight Sleep Sanitarium. Sutphen and Booth claimed that the use of the property as a sanitarium was prohibited by the so-called "nuisance covenant" of 1868, and they believed the sanitarium to be "a menace to the peace and quiet of the neighborhood,' and "obnoxious and offensive to the neighboring landowners." Ultimately, the Appellate Division of the Supreme Court decided that Knipe's use of the structure as a sanitarium did not violate the covenant, and therefore did not disturb the quality of the neighborhood. The building was still used as a private dwelling in the late 1930s. Gordon Kleeberg regained the property in 1943 and held it until his death in 1947. By 1950 it had been converted to a multiple dwelling and currently has the status of a two-family dwelling.

 

- From the 1991 NYCLPC Landmark Designation Report

Part of the Lunch in a Box bento set offered on Menu for Hope 5 hunger charity, open for entries until December 24, 2008. Full details here.

 

Two tier-tier bento sets (one with watertight lid and flaps, the other with a less secure lid but including an elastic bento belt), two lunch bags with drawstrings, and a matching 300ml thermos with drawstring cloth carrying bag.

Badian is a 3rd class municipality in the province of Cebu, Philippines. According to the 2010 census, it has a population of 37,699 people. The Municipality of Badian is located 97.6 km southwest of Cebu City. It is bounded on the north by the municipality of Moalboal; on the south by the municipality of Alegria; on the east by the municipalities of Dalaguete and Argao; and on the west by Tanon Strait.

Badian is administratively subdivided into 29 barangays.

Alawijao Balhaan Banhigan Basak Basiao Bato Bugas Calangcang Candiis Dagatan Dobdob

Ginablan Lambug Malbago Malhiao Manduyong Matutinao Patong Poblacion Sanlagan

Santicon Sohoton Sulsugan Talayong Taytay Tigbao Tiguib Tubod Zaragosa

The Kawasan Falls is a three-layered waterfall series located in the Municipality of Badian, Cebu, which has become a huge attraction with foreign and local tourists throughout the years. The first waterfall is the largest and highest of the three falls, while the two falls uphill are smaller.

Kawasan Falls is located in Barangay Matutinao in Badian, Cebu. To get to Badian from Cebu City you can take a bus at the South Bus Terminal for a three hour ride that will directly take you to Badian. From there, you can take a tricycle that will take you to Barangay Matutinao.

If you are taking a private vehicle, drive past the Municipality of Carcar, and upon reaching the Municipality of Badian through the picturesque mountain road, then drive to Matutinao village. You can always ask for directions from people along the way if it is your first time to go to Kawasan Falls, so you won’t get lost.

When you reach the main road leading to Kawasan Falls, there is a main entrance to the waterfalls area and an entrance fee of 10 peso’s per person. From there, you start on a 20 to 30 minute walk on a trail that will lead you to the first waterfall.

You will then have to trek a further 10 to 15 minutes uphill to get to the second waterfall, and another 15 minute trek to the third waterfalls. There is a resort with restaurant at the area of the first waterfalls. There are small cottages and tables for rent at 300 peso’s each table as at September 2012 ( on top of the menu prices ) and several rooms for rent for those who want to stay overnight. A popular attraction is a bamboo raft ride leading to a shower under the cool falling waters of the first and second waterfall.

The Mactan International Airport is located in Mactan, Cebu; it is served by major airlines like Cebu Pacific Air and Philippine Airlines. You can also fly from Metro Manila to Cebu. There are many domestic flights and sometimes it is economical because many airlines offer a cheaper airfare. Check also for any available promo. If you arrived earlier in Cebu, you can leave straight to Badian providing you already arranged your accommodation there before your arrival or you can stay for a night in Cebu City and have your trip to Badian the next day.

Your choices to come from Cebu City to Badian are: from the airport you can take a taxi to South Bus Terminal look for Ceres Bus Liner via Barili, you can also take Librando Trans. There are buses leaving Cebu City to Badian every 30 minutes or one hour. It will take 2-3 hours or more bus travel to reach Badian from Cebu City depending on the number of stops. You can also hire a taxi at the airport or at the city to Badian, it is more comfortable and faster. Make sure the driver knows where Badian is. The fare is about Php 1500.00 - Php 3000.00 and be prepare for some bartering and some hidden costs

The capital barangay of Badian town is Poblacion. It is located in the centre of the town. This is where the local high school is located called Badian National High School ( BNHS ) is one of the two high schools in the town of Badian. This is also the largest of the two and many students from the neighbouring town just like Moalboal, Alcantara and Ronda come to study in this high school. The lower educational facility in Badian is the Badian Central Elementary School where all the younger children go to school for the simple fact that it is completely free and the only elementary school and the biggest one in town. One more very important institution that is located in Poblacion is the Town Hospital where everyone from every other barangay goes to in the time of sickness.

The facility has been better than the past management they have more improvements to the hospitals than anything else which is the best thing they could have done because this is where most Badianganons run to in the time of need. This is also the location where the town church is located ~ the church of Santiago Apostol, which celebrates its Festival on the 25th of July every year. Together with the Feast of Santiago Apostle is the Banig Festival which was started about three years ago. Poblacion is also where the Municipal Hall is located in sitio sawang. Thus, I believe that the municipality should ought to have more funding's in the Hospital Facility more so that the roads that they are trying to fix every single year Poblacion has many sitios which is the little corners of Poblacion which is residential or commercial properties. Some of these sitios are; Syma, Walog, Sawang, Highway, and many more. This is the only urban place in Badian compared to any other barangays that surround the town. Poblacion is also the most populated barangay in all Badian. Which has 3854 population as of 2007 Census. Poblacion is where the marketplace is located. Thus, most of the trading is here. Many vendors from all over town will show up mostly on Saturdays and Sundays for the trading.

Turpan (simplified Chinese: 吐鲁番; traditional Chinese: 吐魯番; pinyin: Tǔlǔfān; Uyghur: تۇرپان‎, ULY: Turpan, UYY: Turpan?), also known as Turfan or Tulufan, is a prefecture-level city located in the east of Xinjiang, People's Republic of China. It has an area of 69,324 square kilometres and a population of 570,000 (2003).

 

HISTORY

Turpan has long been the centre of a fertile oasis (with water provided by the karez canal system) and an important trade centre. It was historically located along the Silk Road, at which time it was adjacent to the kingdoms of Kroran and Yanqi. The name Turfan itself however was not used until the end of the Middle Ages - its use became widespread only in the post-Mongol period. The center of the region has shifted a number of times, from Yar-Khoto (Jiaohe, 10 km to the west of modern Turpan) to Qocho (Gaochang, 30 km to the southeast of Turpan), and to Turpan itself. Historically, many settlements in the region have been given a number of different names, some of which refer to more than one place – Turpan/Turfan/Tulufan is one such example. (Others include Loulan/Kroran/Korla, Jushi/Gushi, Gaochang/Qocho/Karakhoja, Hezhou, and Jiaohe/Yarkhoto.)

 

The peoples of the Kingdoms of Nearer and Further Jushi (the Turpan Oasis and the region to the north of the mountains near modern Jimasa), were closely related. It was originally one kingdom called Gushi, which the Chinese conquered in 107 BC. It was subdivided into two kingdoms by the Chinese in 60 BC. During the Han era the city changed hands several times between the Xiongnu and the Han, interspersed with short periods of independence.

 

After the fall of the Han dynasty in 220, the region was virtually independent but tributary to various dynasties. Until the 5th century AD, the capital of this kingdom was Jiaohe (modern Yarghul 16 kilometres west of Turpan).

 

From 487 to 541 AD, Turpan was an independent Kingdom ruled by a Turkic tribe known to the Chinese as the Tiele. The Rouran Khaganate defeated the Tiele and subjugated Turpan, but soon afterwards the Rouran were destroyed by the Göktürks.

 

TANG CONQUEST

The Tang dynasty had reconquered the Tarim Basin by the 7th century AD. During the 7th, 8th, and early 9th centuries the Tibetan Empire, the Tang Chinese, and Turks fought to conquer the Tarim Basin. Sogdians and Chinese engaged in extensive commercial activities with each other under Tang rule. The Sogdians were mostly Mazdaist at this time. Turpan, renamed Xizhou by the Tang after their armies conquered it in 640 AD, had a history of commerce and trade along the Silk Road already centuries old; it had many inns catering to merchants and other travelers, while numerous brothels are recorded in Kucha and Khotan. As a result of the Tang conquest, policies forcing minority group relocation and encouraging Han settlement led to Turpan's name in the Sogdian language becoming known as “Chinatown” or "Town of the Chinese".

 

In Astana, a contract written in Sogdian detailing the sale of a Sogdian girl to a Chinese man was discovered dated to 639 AD. Individual slaves were common among silk route houses; early documents recorded an increase in the selling of slaves in Turpan. Twenty-one 7th-century marriage contracts were found that showed, where one Sogdian spouse was present, for 18 of them their partner was a Sogdian. The only Sogdian men who married Chinese women were highly eminent officials. Several commercial interactions were recorded, for example a camel was sold priced at 14 silk bolts in 673, and a Chang'an native bought a girl age 11 for 40 silk bolts in 731 from a Sogdian merchant. Five men swore that the girl was never free before enslavement, since the Tang Code forbade commoners to be sold as slaves.

 

The Tang dynasty became weakened considerably due to the An Lushan Rebellion, and the Tibetans took the opportunity to expand into Gansu and the Western Regions. The Tibetans took control of Turfan in 792.

7th or 8th century old dumplings and wontons were found in Turfan.

 

UYGHUR RULE

In 803, the Uyghurs of the Uyghur Khaganate seized Turfan from the Tibetans. The Uyghur Khaganate however was destroyed by the Kirghiz and its capital Ordu-Baliq in Mongolia sacked in 840. The defeat resulted in the mass movement of the Uyghurs out of Mongolia and their dispersal into Gansu and Central Asia, and many joined other Uyghurs already present in Turfan. In the early twentieth century, a collection of some 900 Christian manuscripts dating to the ninth to the twelfth centuries was found at a monastery site at Turfan.

 

The Uyghurs established a Kingdom in the Turpan region with its capital in Gaochang or Kara-Khoja. The kingdom was known as the Uyghuria Idikut state or Kara-Khoja Kingdom that lasted from 856 to 1389 AD. The Uyghurs were Manichaean but later converted to Buddhism and funded the construction the cave temples in the Bezeklik Caves. The Uyghurs formed an alliance with the rulers of Dunhuang. The Uyghur state later became a vassal state of the Kara-Khitans, and then as a vassal of the Mongol Empire. This Kingdom was led by the Idikuts, or Saint Spiritual Rulers. The last Idikut left Turpan area in 1284 for Kumul, then Gansu to seek protection of Yuan Dynasty, but local Uyghur Buddhist rulers still held power until the invasion by the Moghul Hizir Khoja in 1389. The conversion of the local Buddhist population to Islam was completed nevertheless only in the second half of the 15th century.

 

After being converted to Islam, the descendants of the previously Buddhist Uyghurs in Turfan failed to retain memory of their ancestral legacy and falsely believed that the "infidel Kalmuks" (Dzungars) were the ones who built Buddhist monuments in their area.

 

15TH AND 16TH CENTURIES

As late as 1420, the Timurid envoy Ghiyāth al-dīn Naqqāsh, who passed through Turpan on the way from Herat to Beijing, reported that many of the city's residents were "infidels". He visited a "very large and beautiful" temple with a statue of Shakyamuni; in one of the versions of his account it was also claimed that many Turpanians "worshipped the cross".The Moghul ruler of Turpan Yunus Khan, also known as Ḥājjī `Ali, (ruled 1462–1478) unified Moghulistan (roughly corresponding to today's Eastern Xinjiang) under his authority in 1472. Around that time, a conflict with the Ming China started over the issues of tribute trade: Turpanians benefited from sending "tribute missions" to China, which allowed them to receive valuable gifts from the Ming emperors and to do plenty of trading on the side; the Chinese, however, felt that receiving and entertaining these missions was just too expensive. (Muslim envoys to the early Ming China were impressed by the lavish reception offered to them along their route through China, from Suzhou to Beijing, such as described by Ghiyāth al-dīn Naqqāsh in 1420–1421.

 

Yunus Khan was irritated by the restrictions on the frequency and size of Turpanian missions (no more than one mission in 5 years, with no more than 10 members) imposed by the Ming government in 1465, and by the Ming's refusal to bestow sufficiently luxurious gifts on his envoys (1469). Accordingly, in 1473 he went to war against China, and succeeded in capturing Hami in 1473 from the Oirat Mongol Henshen and holding it for a while, until Ali was repulsed by the Ming Dynasty into Turfan. He reoccupied Hami after Ming left. Henshen's Mongols recaptured Hami twice in 1482 and 1483, but the son of Ali, Ahmad Alaq, reconquered it in 1493 and captured the Hami leader and the resident of China in Hami (Hami was a vassal state to Ming). In response, the Ming Dynasty imposed an economic blockade on Turfan and kicked out all the Uyghurs from Gansu. It became so harsh for Turfan that Ahmed left. Ahmed's son Mansur succeeded him and took over Hami in 1517. These conflicts were called the Ming Turpan Border Wars.

 

Several times, after occupying Hami, Mansur tried to attack China in 1524 with 20,000 men, but was beaten by Chinese forces. The Turpan kingdom under Mansur, in alliance with Oirat Mongols, tried to raid Suzhou in Gansu in 1528, but were severely defeated by Ming Chinese forces and suffered heavy casualties. The Chinese refused to lift the economic blockade and restrictions that had led to the battles, and continued restricting Turpan's tribute and trade with China. Turfan also annexed Hami.

 

19TH CENTURY

Francis Younghusband visited Turpan in 1887 on his overland journey from Beijing to India. He said it consisted of two walled towns, a Chinese one with a population of no more than 5,000 and, about 1.6 km to the west, a Turk town of "probably" 12,000 to 15,000 inhabitants. The town (presumably the "Turk town") had four gateways, one for each of the cardinal directions, of solid brickwork and massive wooden doors plated with iron and covered by a semicircular bastion. The well-kept walls were of mud and about 10.7 m tall and 6 to 9 m thick, with loopholes at the top. There was a level space about 14 m wide outside the main walls surrounded by a musketry wall about 2.4 m high, with a ditch around it some 3.7 m deep and 6 m wide. There were drumtowers over the gateways, small square towers at the corners and two small square bastions between the corners and the gateways, "two to each front." Wheat, cotton, poppies, melons and grapes were grown in the surrounding fields.

 

Turpan grapes impressed other travelers to the region as well. The 19th-century Russian explorer Grigory Grumm-Grzhimaylo, thought the local raisins may be "the best in the world", and noted the buildings of a "perfectly peculiar design" used for drying them called chunche.

 

SUBDEVISIONS

Turpan directly controls 1 district and 2 counties.

 

GEOGRAPHY AND CLIMATE

Turpan is located about 150 km southeast of Ürümqi, Xinjiang's capital, in a mountain basin, on the northern side of the Turpan Depression, at an elevation of 30 m above sea level. Outside of Turpan is a small volcanic cone, the Turfan volcano, that is said to have erupted in 1120 as described in the Song Dynasty.

 

Turpan has a harsh, drastic, cold desert climate (Köppen BWk), with very hot and long summers, and very cold but short winters, and brief spring and autumn in between. Annual precipitation is very low, amounting to only 15.7 millimetres. The monthly 24-hour average temperature ranges from −7.6 °C in January to 32.2 °C in July; the annual mean is 14.4 °C. With monthly percent possible sunshine ranging from 48% in December to 75% in September, sunshine is abundant and the city receives 2,912 hours of bright sunshine annually. Temperature differences between summer and winter are oppressively large (over 50 °C). The warmest months often approach the stifling intensity of cities such as Phoenix or Las Vegas, while winters produce average lows that more closely resemble frigid Minneapolis.

 

Extremes have ranged from −28.9 °C to 48.1 °C, although a reading of 49.6 °C in July 1975 is regarded as dubious.

 

However, the very heat and dryness of the summer, when combined with the area's ancient system of irrigation, allows the countryside around Turpan to produce great quantities of high-quality fruit.

 

DEMOGRAPHY

According to the 2000 census, the city of Turpan had a population of 251,652 (population density 15.99 inh./km²).

 

TRANSPORT

Turpan is served by China National Highway 312. It is the junction for the Lanzhou-Xinjiang and the Southern Xinjiang Railways.

 

WIKIPEDIA

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

 

The 254 West 102nd Street House is one of an intact group of four residences designed by the architectural firm of Schneider & Herter and built by the firm of Schneider & Company as a speculative venture. The rowhouse group is the sole surviving exairple of a type of site planning used on several comer plots along West End Avenue in the early 1890s where a group of houses facing the Avenue featured a prominent comer house and an additional house which was built facing the side street behind the Avenue-facing houses, of which 254 West 102nd Street is one of the few remaining examples. The group of residences was built in 1892-93 during the first period of intense residential development for the comfortable professional class along the northern portion of West End Avenue where the suburban qualities of landscaped streets, the views of the Hudson River, and the amenities of nearby Riverside Park created a desirable residential area.

 

The quality and distinctiveness of the Queen Anne/Romanesque Revival style design of the house reflects the desire for individuality in the appearance of houses within rowhouse groups and is representative of the eclectical ly-styled residential architecture of West End Avenue dating from the 1890s. No. 254 West 102nd Street is distinguished by ornament characteristic of the mannerist aesthetic of the firm of Schneider & Herter, the juxtaposition of contrasting textures of rough, smooth-faced, and carved brcwnstone, and the emphasis on a lively roof line punctuated by a pedimented parapet and carved panel.

 

Development of the Upper West Side

 

Despite its long history beginning soon after the colonial Dutch settlement, the Upper West Side, known as Blocntingdale 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 Bloomirtgdale 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 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.

 

The city grew rapidly northward during the nineteenth century, but it was not until after Central Park (a designated New York City Scenic Landmark) was laid out in 1857 that development began around the perimeter of the Park, setting off the first wave of real estate speculation on the Upper West Side. Improved public transportation to the area contributed to the growth and sustained development of the Upper West Side. By 1880 the horse car line on Eighth Avenue had been replaced by street rail service up to 125th Street and the Elevated Railway on Ninth Avenue (renamed Columbus Avenue in 1890) had been completed.

 

However, the biggest boost to the development of the West End (the area west of Broadway) was the creation, between 1876 and 1900, of Riverside Drive and Park (a designated New York City Scenic Landmark) located north of 72nd Street along the Hudson River. The presence of the park and drive, designed by Frederick Law Olmsted, was an important factor in making this area desirable for high-quality residential development.

 

Development of the West End began slowly, due, to a large degree, to the hesitation of would-be residents, but by 1885 it 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 real estate developers, including the West End Association, founded in 1884 by the prominent developer, W.E.D. Stokes, ultimately stimulated the demand for houses in the West End. Real estate brochures and the local press drew attention to the area, emphasizing the scenic quality of the setting, the nearness of parks, and the availability of public transportation.

 

West End Avenue (formerly Eleventh Avenue) was opened in 1880 from 72nd Street to 106th street and was paved with asphalt by 1893. West End Association members set twenty-year restrictive covenants governing West End Avenue which closed the avenue to commercial traffic and initially limited development to single-family houses, thus enhancing the desirability of the residential area.

 

By 1890 the character of the avenue had emerged as completely residential and was promoted as a suburban-like setting with such amenities as grass plots and trees along the sidewalks. The absence of flats and apartment houses on the avenue provided the opportunity for various treatments of the comers with rowhouses and larger attached residences.

 

In the mid-1880s the most attractive areas for development along West End Avenue were located near the El stations and along the higher elevations of the hilly avenue. Construction of mid-size rowhouses, rather than the more grand type of mansions originally projected for West End Avenue, began in 1885 near 104th Street which was convenient to a Ninth Avenue El station and by 1895 the high plateau between West 99th and 104th Streets had been built up with three- and four-story rcMhouses.

 

The architectural tone of these private residences was set by the presence of costly mansions such as the W.F. Foster residence at 102th Street and Riverside Drive and the Bacon residence at 104th Street and Riverside Drive.

 

The Schneider & Company's Houses

 

The site at the northeast comer of West 102nd Street and West End Avenue appears to have been first sold for development purposes in 1881 and at that time an open-ended restrictive covenant was initiated which prevented the construction of a variety of commercial and industrial buildings.

 

The property changed hands several times before Hannah O'Brien filed plans in 1890 to build five three-story limestone-fronted houses designed by Andrew Spence; within a year O'Brien lost control of the property and this project was abandoned.

 

Two New York architects, Ernest W. Schneider and Henry Herter, along with two partners — John Fish, a previous client, and Eugene Schultz — acquired the property and soon after filed plans for the construction of a group of four residences.

 

The centerpiece of the group of three-story houses with raised basements is the comer house which has a cylindrical tower with an additional story and an entrance near the center of its long West 102nd Street facade. Beside this house facing West End Avenue are two narrow houses, nearly identical in design. Situated across the rear of the three West End Avenue houses, the 254 West 102nd Street house features a freestanding side facade.

 

The houses, built between May, 1892, and April, 1893, were appropriately finished on the interior with decorative mantels, hardwood trim, and horseshoe openings ornamented with fretwork dividing the music rocms from the parlors, as well as up-to-date plumbing and utility areas. The placement of the stairhall in the center of each house permitted large full-width front rooms on the upper floors.

 

The first house to be sold of the Schneider & Company rowhouse group, in 1893, was No. 856 West End Avenue. In 1895 the remaining houses were divided among the investors and Eugene Schultz acquired title to No. 254 West 102nd Street. In 1896 Schultz sold the property to Jeanette Hilgers who owned it for three years.

 

The Schneider & Company development venture is the sole surviving example of a site development pattern that emerged on West End Avenue in which large comer parcels were purchased for the construction of rowhouse

 

groups. By decreasing the depth of the avenue-facing houses, an additional house could be built on the plot facing the side street; the plan worked to the advantage of the developer who sought a maximum return on the expensive West End Avenue lots.

 

Slightly larger and more prestigious comer houses, with highly visible design features such as comer tcwers, were characteristic of this site development plan. The side street-facing house was small but wider than the narrow avenue-facing rcwhouses, twenty-eight feet wide and fifty feet deep, and had several windows in the side facade, including a bay window near the rear of the house.

 

This scheme was particularly favored in the early 1890s when the area between 99th and 104th streets was developed. Rcwhouse groups facing West End Avenue, with a side street-facing house (or houses) across the rear of these lots, were built at the southeast comers of West End Avenue and 99th, 100th, 102nd, and 103rd Streets; all of the groups except the Schneider & Company group have been demolished. The rcwhouse group at the southeast comer of 103rd Street and West End Avenue, designed by M.V.B. Ferdon in 1891, included five houses facing West End Avenue and one facing 103rd Street; only the house facing West 103rd Street remains standing. Another group of houses designed by M.V.B. Ferdon and built by Increase Grenell in 1892 at the northwest comer of West End Avenue and 104th Street (demolished) included a comer house very similar to the Schneider & Company house, featuring the entrance near the center of the 104th Street facade.

 

Picturesque Architecture on West End Avenue

 

Riring the intense period of rcwhouse development on the Upper West Side, from 1885 to 1900, residential design was dominated by a reaction to the conformity and homogeneity of older Italianate style brownstone rcwhouses found elsewhere in the city. The first wave of development along West End Avenue in the period between 1885 and 1895 produced a number of individually-designed houses and speculatively-built, yet distinctive, rowhouse groups which, along with houses in the West End as a whole, represent the culmination of single-family house construction in Manhattan.

 

Many of the most prominent architects working in New York City designed these residences, often for speculative developers who invested in the area. The residences designed for West End Avenue were characteristic of the picturesque eclecticism of late-nineteenth-century architecture, drawing from a wide variety of stylistic sources and expressing the desire of architects and clients for originality, variety, and novelty in residential architecture.

 

There was a movement away from smooth brownstone as a facing material and a new emphasis on the sculptural and textural qualities of surfaces, as well as on the mixture of colors and materials.

 

Unusual, picturesque house design on West End Avenue had been initiated by the construction of two groups of houses with a "Dutch" flavor in 1885-86, designed by Frederick B. White and McKim, Mead & White. Clarence True and other architects continued to design residences for West End Avenue in unusual and picturesque revival styles which were executed with a high-degree of artistic experimentation.

 

Strong rhythmic patterns, asymmetrical massing, and a lively streetscape were created by the profusion of bowfronts, bay and oriel windows, gables, turrets, chimneys, dormers, cornices, stoops, and ornamentation associated with the popular Queen Anne and Romanesque Revival styles as well as more exotic revival styles.

 

These rowhouses on West End Avenue, and throughout the Upper West Side, unlike their Italianate brownstone predecessors frcm earlier in the nineteenth century, were purposely designed to be distinguished from one another, while together forming visually coherent ensembles. Along West End Avenue in particular, there emerged a characteristic treatment in the design of rowhouse groups. A larger comer house served to terminate a row of houses or became the focal point in a rowhouse group that turned a comer; the design of these comer houses frequently included an entrance in the longer, street-facing facade, a curved comer bay and tcwer, and a lively roofline.

 

The houses designed by Schneider & Herter are representative of this picturesque design movement, and although based on the common hybrid of the Queen Anne ami Romanesque Revival styles they are enlivened by unusual carved ornament.

 

The treatment of each of the four houses individually within the easily recognizable group provided the architects with the opportunity to create variations on a theme. The high degree of modulation in the plane of the facades through the use of recessed entrances as well as projecting bay windows and balconies (which afforded views of the river and park) adds depth and grandeur to the rowhouse designs. Schneider & Herter explored the range of surface effects achievable frcm smooth-faced and rough-cut brownstone, and incorporated both geometric and figural carving of the material.

 

The repetition of several ornamental elements unites the houses, including paired stringcourses, gridded panels of rough-faced stone, chamfered window surrounds in the smooth-faced facades, sheet-metal panels at the roofline, and elements of the carved stone program. The two smaller West End Avenue houses are identical except for the shape and detailing of the window openings while the design of the 254 West 102nd Street house repeats elements of the entrance to the comer house, also on West 102nd Street.

 

The design of picturesque rcwhouses in New York was influenced by trends in the design of architectural ornament in the later nineteenth century, a time when ornament was treated by many architects as an opportunity for creative experimentation. European theorists such as Owen Jones, James K. Collings, and Christopher Dresser encouraged an abstract interpretation of vegetation executed with an emphasis on geometric!zed form and their publications influenced designers in the United States.

 

At the same time, technological change also influenced the design of ornament. The availability of steam-powered tools encouraged the use of bold, machine-cut ornament while the growing use of terra cotta prompted the design of intricate ornament that could be easily reproduced.

 

The popularity of several revival styles, and the inventive blending of these styles, encouraged the architect/designer to adopt an individualized aesthetic in the design or architectural ornament. This trend can be seen in the abstracted naturalistic ornament developed by such recognized American innovators as Frank Fumess and Louis H. Sullivan, as well as in the pioneering work of architects like Henry Hobson Richardson, who developed a highly personal style drawing on Romanesque sources. Many architects working in New York City also developed identifiable personal styles, such as Clarence True with his interpretation of the "Elizabethan Renaissance Revival" style.

 

Schneider & Herter developed a somewhat idiosyncratic and mannerist aesthetic characterized by a lack of reverence for the traditional placement of ornament, an unexpected combining of architectural styles, and asymmetry in the composition of facades and their detailing; these characteristics appear in the firm's early designs for tenements, rcwhouses and synagogues.

 

In the ornamental programs of several buildings, including the 254 West 102nd Street House, Schneider & Herter combined incised, machine-cut ornament with both abstracted naturalistic designs of the column capitals and romantic figurative carving which includes lion newel posts at the stoop (identical to those which once fronted the 854 and 856 West End Avenue houses) and a carved panel featuring a human head and wings that is framed by classically-inspired pediment above the roofline entablature.

 

An uncommon approach to the composition and placement of ornament appears in the design of the columns framing the entrance where balusters, with incised horizontal bands and necks at the bottom, are topped with capitals of unmatched abstracted designs.

 

The placement of the capitals at the height of the windcw transoms requires the insertion of a scored block above the capitals and the resulting compound vertical forms support an entablature suggested by a section of molding cut into the lintel above the columns; this door surround and the balcony above create an unconventional entrance portico.

 

Schneider & Herter

 

Ernest w. Schneider and Henry Herter began an architectural partnership in New York city around 1887; within a very short time they had a thriving business designing tenements, flats, and industrial buildings, primarily on the Lower East Side. Schneider & Herter worked repeatedly for a group of German-Jewish clients with ethnic backgrounds similar to theirs, the most prominent of whom were the real estate developers Jonas Weil and Bernard Mayer for whom the architects designed a number of multiple dwellings.

 

This association led to the firm's commission for the Park East Synagogue, 163 East 67th Street (1889-90, a designated New York City Landmark), which Weil financed and led as president of the congregation. Schneider & Herter also designed Congregation Kol Israel Arshi at 20-22 Forsyth Street (1892, now owned by the Hellenic Orthodox Community).

 

The firm of Schneider & Herter had acted as architect-developers prior to its venture on the Upper West Side, designing and building a pair of French flats at 731-735 East 5th Street in 1890-91 and a French flat at 233-35 Delancey Street in 1891-92; the firm began a warehouse project at 141 West Broadway in 1893. Schneider & Herter later erected a five-story apartment building at 79-81 Perry Street in 1895 (in addition to designing several other buildings now within the Greenwich Village Historic District) and a pair of flats buildings at 309 and 317 West 93rd Street in 1901-02 (within the Riverside-West End Historic District).

 

The West End Avenue-102nd Street project was a departure from Schneider & Herter's usual work designing multiple dwellings, and was among the firm's first projects on the Upper West Side. Many of the firm's more than 100 multiple dwellings in Manhattan no longer stand, but those remaining exhibit the firm's individualistic approach to the use of ornament and facade compositions often featuring round-arched windows characteristic of the Romanesque Revival style.

 

Description

 

This brownstone-fronted house with three stories above a raised basement completes the group built at the comer of West End Avenue and 102nd Street by Schneider & Company by enclosing the rear yards of the avenue-facing houses. The two-bay house has a projecting two-story angled bay at the west with a balcony above; stringcourses mark the horizontal divisions of the smooth brownstone facade.

 

A rock-faced brownstone stoop with carved newel posts with lion heads and an ornate cast-iron balustrade leads to the recessed parlor-story entry flanked by a pair of compound columns composed of incised cylindrical balusters and unmatched carved capitals topped by scored blocks; there is a small balustraded balcony above.

 

Chamfered surrounds enrich the top portions of the one-over-one double-hung wood windows which on the parlor story are topped with stained-glass transoms. The rock-faced brownstone gridded panels on the upper half of the third story and the voussoirs of the semi-elliptical-arched tripartite window with carved wood mullions add to the picturesque quality of the roofline which has a pedimented parapet with a carved panel depicting a head with wings extending from a low sheet-metal parapet with sunflower motifs immediately above the cornice.

 

A rock-faced pier, which supports the west end of the parlor story in front of the recessed basement facade that has similar piers between the windows, supports one end of the arched gateway (with a wrought-iron gate) leading to the rear yards of the rowhouse group. The western elevation, which faces the yard, is brick with simple window openings. A cast-iron angled bay window projects at the parlor story.

 

The entrance door is a modem replacement, and grilles have been added to the window adjacent to the door and the one above at the second story which opens onto the balcony; grilles identical to those on the adjacent comer house are found at the basement windows and under the stoop door. Cast-iron railings have been placed above the brownstone balcony balustrades.

 

- From the 1990 NYCLPC Landmark Designation Report

Kaufmann's downtown Pittsburgh store has been subdivided and has a Target and Burlington

Creator: Unidentified.

 

Description: Caption on photograph: A subdivided school at Silkstone, Queensland, with folding-door panels fitted with pictures.

 

View this image at the State Library of Queensland: hdl.handle.net/10462/deriv/197336

 

Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland

 

You are free to use this image without permission. Please attribute State Library of Queensland.

There are 1.3 million people living in poverty in Hong Kong. Over 100,000 these live in subdivided flats in "cage dwellings" or cubicle homes. The residents are the single elderly, new immigrants, low income families and people with mental and physical disabilities - the most vulnerable and needy groups in society. In April 2010, the AWA (American Women's Association, together with HKIS delivered donations of food and toiletries to the residents of this type of accommodation.

 

If you are interested in finding out more, take a look at the website of the Society for Community Organization (SoCo)

www.soco.org.hk/rights/rights_main_e.htm

[order] Anseriformes | [family] Anatidae | [latin] Anas acuta | [UK] Northern Pintail | [FR] Canard pilet | [DE] Spießente | [ES] Ánade Rabudo | [IT] Codone comune | [NL] Pijlstaart

 

spanwidth min.: 79 cm

spanwidth max.: 87 cm

size min.: 51 cm

size max.: 62 cm

Breeding

incubation min.: 22 days

incubation max.: 24 days

fledging min.: 40 days

fledging max.: 45 days

broods 1

eggs min.: 7

eggs max.: 10

  

Physical characteristics

 

Slightly bigger than a mallard, these long-necked and small-headed ducks fly with a curved back pointed wings and a tapering tail, making this the best way to distinguish them from other ducks. The drake Pintail is perhaps the most handsome of our ducks, the very epitome of grace and elegance. His most distinctive identification feature is the wavy white stripe extending up the side of his otherwise brown neck, but birds with their necks hidden can still be told by their white chests, grey bodies, black and yellow undertails and of course, the long spiky tails. The female Pintail lacks the colourful plumage and the tail spike but are still unmistakably elegant, with slender, almost swan-like necks, small plain heads and long slim grey bills. In flight the Pintail looks distinctively slender thanks mainly to their long necks and long pointed tails. In both male and female, it is the white trailing edge to the speculum which is most conspicuous.

Northern Pintails are wary, especially during their flightless stage in late summer, when they are highly secretive. They will forage on land, but find most of their food by dabbling in shallow, muddy water.

 

Habitat

 

Small lakes, rivers and shallow freshwater marshes, with dense vegetaion in open country. In winter on coastal lagoons of brackish waters.

 

Other details

 

Anas acuta is a widespread breeder in much of northern and parts of central Europe, which accounts for less than a quarter of its global breeding range. Its European breeding population is large (>320,000 pairs), but underwent a large decline between 1970-1990. Although it was stable or increased across much of its European range during 1990-2000, the stronghold population in Russia continued to decline, and the species underwent a moderate decline (>10%) overall.

This duck is breeding in northern Eurasia and North America. For practical reasons its populations of the European Union can be subdivided in two distinct sub-populations, separated by their wintering quarters. The first, totalling about 60000 individuals, is wintering in the Atlantic regions from Denmark to the British Isles and Aquitaine. The second population is estimated at 1200000 individuals. It winters around the Mediterranean and in West Africa. These two populations are not strictly separated and many birds are shifting from one to the other. Nevertheless this species is declining in western Europe, fluctuating in Central Europe and the Mediterranean.

Widespread and common throughout North America, Europe, and Asia, the Northern Pintail is probably one of the most numerous species of duck worldwide. Numbers in North America vary a great deal from year to year, although some surveys have recorded significant, long-term declines since the 1960s. Predators and farming operations destroy many thousands of Northern Pintail nests each year. Farming has also affected nesting habitat. Pintails appear to be responding to new conservation practices, however, including habitat restoration and tighter restrictions on hunting, and numbers seem to be increasing. If these practices are maintained, Northern Pintails should be able to maintain a healthy population in North America.

 

Feeding

 

Aquatic plants and crop vegetative, leaves, stems, roots and seeds. Many terrestrial and aquatic invertebrates, amphibians and some small fish in spring and summer. Feeds by dabbling, upending and head-dipping in shallow water. Sometimes grazes on dry land.

 

Conservation

 

This species has a large range, with an estimated global Extent of Occurrence of 10,000,000 km². It has a large global population estimated to be 6,100,000-7,500,000 individuals (Wetlands International 2002). Global population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]

 

Breeding

 

Pairing begins on the wintering grounds and continues through spring migration. Northern Pintails are among the earliest nesters, and arrive on the breeding grounds as soon as they are free of ice (egg laying from november-march) in single pairs or loose groups. The nest is located on dry ground in short vegetation. It is usually near water, but may be up to half a mile away from the nearest body of water. Pintail nests are often more exposed than other ducks' nests. The nest is a shallow depression, built by the female and made of grass, twigs, or leaves, lined with down. Incubation of the 6 to 10 eggs lasts from 21 to 25 days and is done by the female alone. The pair bond dissolves shortly after the female begins incubation, when the males gather in flocks to molt. Within a few hours of hatching, the young follow the female from the nest site. They can feed themselves, but the female continues to tend them until they fledge at 38 to 52 days. In the far north where continuous daylight allows for round-the-clock feeding, the young develop faster. Sexual maturity is reached after one year.

 

Migration

 

Highly migratory. Breeders from Iceland winter mainly Britain and Ireland. Breeding populations of north Russia east to north-west Siberia, Fenno-Scandia, and Baltic migrate south-west to winter in the Netherlands and British Isles, movement from former to latter in hard weather. Vast population breeding from Belarus and Russia east to West Siberia winter in Mediterranean and Black Sea areas, and probably West Africa. Major movements away from moult areas and breeding grounds mid-August to early September. Early passage through Europe in August, peak movements mid-September to November, males preceding females due to earlier moult. Further movements under weather influence at any time during winter. Departures from West Africa begin February, from west Europe late February or March; reach tundras late May. Major flyways tend to follow coasts, normally relatively small numbers inland central Europe.

 

Turpan (simplified Chinese: 吐鲁番; traditional Chinese: 吐魯番; pinyin: Tǔlǔfān; Uyghur: تۇرپان‎, ULY: Turpan, UYY: Turpan?), also known as Turfan or Tulufan, is a prefecture-level city located in the east of Xinjiang, People's Republic of China. It has an area of 69,324 square kilometres and a population of 570,000 (2003).

 

HISTORY

Turpan has long been the centre of a fertile oasis (with water provided by the karez canal system) and an important trade centre. It was historically located along the Silk Road, at which time it was adjacent to the kingdoms of Kroran and Yanqi. The name Turfan itself however was not used until the end of the Middle Ages - its use became widespread only in the post-Mongol period. The center of the region has shifted a number of times, from Yar-Khoto (Jiaohe, 10 km to the west of modern Turpan) to Qocho (Gaochang, 30 km to the southeast of Turpan), and to Turpan itself. Historically, many settlements in the region have been given a number of different names, some of which refer to more than one place – Turpan/Turfan/Tulufan is one such example. (Others include Loulan/Kroran/Korla, Jushi/Gushi, Gaochang/Qocho/Karakhoja, Hezhou, and Jiaohe/Yarkhoto.)

 

The peoples of the Kingdoms of Nearer and Further Jushi (the Turpan Oasis and the region to the north of the mountains near modern Jimasa), were closely related. It was originally one kingdom called Gushi, which the Chinese conquered in 107 BC. It was subdivided into two kingdoms by the Chinese in 60 BC. During the Han era the city changed hands several times between the Xiongnu and the Han, interspersed with short periods of independence.

 

After the fall of the Han dynasty in 220, the region was virtually independent but tributary to various dynasties. Until the 5th century AD, the capital of this kingdom was Jiaohe (modern Yarghul 16 kilometres west of Turpan).

 

From 487 to 541 AD, Turpan was an independent Kingdom ruled by a Turkic tribe known to the Chinese as the Tiele. The Rouran Khaganate defeated the Tiele and subjugated Turpan, but soon afterwards the Rouran were destroyed by the Göktürks.

 

TANG CONQUEST

The Tang dynasty had reconquered the Tarim Basin by the 7th century AD. During the 7th, 8th, and early 9th centuries the Tibetan Empire, the Tang Chinese, and Turks fought to conquer the Tarim Basin. Sogdians and Chinese engaged in extensive commercial activities with each other under Tang rule. The Sogdians were mostly Mazdaist at this time. Turpan, renamed Xizhou by the Tang after their armies conquered it in 640 AD, had a history of commerce and trade along the Silk Road already centuries old; it had many inns catering to merchants and other travelers, while numerous brothels are recorded in Kucha and Khotan. As a result of the Tang conquest, policies forcing minority group relocation and encouraging Han settlement led to Turpan's name in the Sogdian language becoming known as “Chinatown” or "Town of the Chinese".

 

In Astana, a contract written in Sogdian detailing the sale of a Sogdian girl to a Chinese man was discovered dated to 639 AD. Individual slaves were common among silk route houses; early documents recorded an increase in the selling of slaves in Turpan. Twenty-one 7th-century marriage contracts were found that showed, where one Sogdian spouse was present, for 18 of them their partner was a Sogdian. The only Sogdian men who married Chinese women were highly eminent officials. Several commercial interactions were recorded, for example a camel was sold priced at 14 silk bolts in 673, and a Chang'an native bought a girl age 11 for 40 silk bolts in 731 from a Sogdian merchant. Five men swore that the girl was never free before enslavement, since the Tang Code forbade commoners to be sold as slaves.

 

The Tang dynasty became weakened considerably due to the An Lushan Rebellion, and the Tibetans took the opportunity to expand into Gansu and the Western Regions. The Tibetans took control of Turfan in 792.

7th or 8th century old dumplings and wontons were found in Turfan.

 

UYGHUR RULE

In 803, the Uyghurs of the Uyghur Khaganate seized Turfan from the Tibetans. The Uyghur Khaganate however was destroyed by the Kirghiz and its capital Ordu-Baliq in Mongolia sacked in 840. The defeat resulted in the mass movement of the Uyghurs out of Mongolia and their dispersal into Gansu and Central Asia, and many joined other Uyghurs already present in Turfan. In the early twentieth century, a collection of some 900 Christian manuscripts dating to the ninth to the twelfth centuries was found at a monastery site at Turfan.

 

The Uyghurs established a Kingdom in the Turpan region with its capital in Gaochang or Kara-Khoja. The kingdom was known as the Uyghuria Idikut state or Kara-Khoja Kingdom that lasted from 856 to 1389 AD. The Uyghurs were Manichaean but later converted to Buddhism and funded the construction the cave temples in the Bezeklik Caves. The Uyghurs formed an alliance with the rulers of Dunhuang. The Uyghur state later became a vassal state of the Kara-Khitans, and then as a vassal of the Mongol Empire. This Kingdom was led by the Idikuts, or Saint Spiritual Rulers. The last Idikut left Turpan area in 1284 for Kumul, then Gansu to seek protection of Yuan Dynasty, but local Uyghur Buddhist rulers still held power until the invasion by the Moghul Hizir Khoja in 1389. The conversion of the local Buddhist population to Islam was completed nevertheless only in the second half of the 15th century.

 

After being converted to Islam, the descendants of the previously Buddhist Uyghurs in Turfan failed to retain memory of their ancestral legacy and falsely believed that the "infidel Kalmuks" (Dzungars) were the ones who built Buddhist monuments in their area.

 

15TH AND 16TH CENTURIES

As late as 1420, the Timurid envoy Ghiyāth al-dīn Naqqāsh, who passed through Turpan on the way from Herat to Beijing, reported that many of the city's residents were "infidels". He visited a "very large and beautiful" temple with a statue of Shakyamuni; in one of the versions of his account it was also claimed that many Turpanians "worshipped the cross".The Moghul ruler of Turpan Yunus Khan, also known as Ḥājjī `Ali, (ruled 1462–1478) unified Moghulistan (roughly corresponding to today's Eastern Xinjiang) under his authority in 1472. Around that time, a conflict with the Ming China started over the issues of tribute trade: Turpanians benefited from sending "tribute missions" to China, which allowed them to receive valuable gifts from the Ming emperors and to do plenty of trading on the side; the Chinese, however, felt that receiving and entertaining these missions was just too expensive. (Muslim envoys to the early Ming China were impressed by the lavish reception offered to them along their route through China, from Suzhou to Beijing, such as described by Ghiyāth al-dīn Naqqāsh in 1420–1421.

 

Yunus Khan was irritated by the restrictions on the frequency and size of Turpanian missions (no more than one mission in 5 years, with no more than 10 members) imposed by the Ming government in 1465, and by the Ming's refusal to bestow sufficiently luxurious gifts on his envoys (1469). Accordingly, in 1473 he went to war against China, and succeeded in capturing Hami in 1473 from the Oirat Mongol Henshen and holding it for a while, until Ali was repulsed by the Ming Dynasty into Turfan. He reoccupied Hami after Ming left. Henshen's Mongols recaptured Hami twice in 1482 and 1483, but the son of Ali, Ahmad Alaq, reconquered it in 1493 and captured the Hami leader and the resident of China in Hami (Hami was a vassal state to Ming). In response, the Ming Dynasty imposed an economic blockade on Turfan and kicked out all the Uyghurs from Gansu. It became so harsh for Turfan that Ahmed left. Ahmed's son Mansur succeeded him and took over Hami in 1517. These conflicts were called the Ming Turpan Border Wars.

 

Several times, after occupying Hami, Mansur tried to attack China in 1524 with 20,000 men, but was beaten by Chinese forces. The Turpan kingdom under Mansur, in alliance with Oirat Mongols, tried to raid Suzhou in Gansu in 1528, but were severely defeated by Ming Chinese forces and suffered heavy casualties. The Chinese refused to lift the economic blockade and restrictions that had led to the battles, and continued restricting Turpan's tribute and trade with China. Turfan also annexed Hami.

 

19TH CENTURY

Francis Younghusband visited Turpan in 1887 on his overland journey from Beijing to India. He said it consisted of two walled towns, a Chinese one with a population of no more than 5,000 and, about 1.6 km to the west, a Turk town of "probably" 12,000 to 15,000 inhabitants. The town (presumably the "Turk town") had four gateways, one for each of the cardinal directions, of solid brickwork and massive wooden doors plated with iron and covered by a semicircular bastion. The well-kept walls were of mud and about 10.7 m tall and 6 to 9 m thick, with loopholes at the top. There was a level space about 14 m wide outside the main walls surrounded by a musketry wall about 2.4 m high, with a ditch around it some 3.7 m deep and 6 m wide. There were drumtowers over the gateways, small square towers at the corners and two small square bastions between the corners and the gateways, "two to each front." Wheat, cotton, poppies, melons and grapes were grown in the surrounding fields.

 

Turpan grapes impressed other travelers to the region as well. The 19th-century Russian explorer Grigory Grumm-Grzhimaylo, thought the local raisins may be "the best in the world", and noted the buildings of a "perfectly peculiar design" used for drying them called chunche.

 

SUBDEVISIONS

Turpan directly controls 1 district and 2 counties.

 

GEOGRAPHY AND CLIMATE

Turpan is located about 150 km southeast of Ürümqi, Xinjiang's capital, in a mountain basin, on the northern side of the Turpan Depression, at an elevation of 30 m above sea level. Outside of Turpan is a small volcanic cone, the Turfan volcano, that is said to have erupted in 1120 as described in the Song Dynasty.

 

Turpan has a harsh, drastic, cold desert climate (Köppen BWk), with very hot and long summers, and very cold but short winters, and brief spring and autumn in between. Annual precipitation is very low, amounting to only 15.7 millimetres. The monthly 24-hour average temperature ranges from −7.6 °C in January to 32.2 °C in July; the annual mean is 14.4 °C. With monthly percent possible sunshine ranging from 48% in December to 75% in September, sunshine is abundant and the city receives 2,912 hours of bright sunshine annually. Temperature differences between summer and winter are oppressively large (over 50 °C). The warmest months often approach the stifling intensity of cities such as Phoenix or Las Vegas, while winters produce average lows that more closely resemble frigid Minneapolis.

 

Extremes have ranged from −28.9 °C to 48.1 °C, although a reading of 49.6 °C in July 1975 is regarded as dubious.

 

However, the very heat and dryness of the summer, when combined with the area's ancient system of irrigation, allows the countryside around Turpan to produce great quantities of high-quality fruit.

 

DEMOGRAPHY

According to the 2000 census, the city of Turpan had a population of 251,652 (population density 15.99 inh./km²).

 

TRANSPORT

Turpan is served by China National Highway 312. It is the junction for the Lanzhou-Xinjiang and the Southern Xinjiang Railways.

 

WIKIPEDIA

Tabernacle of Prayer, Jamaica Avenue, Jamaica, Queens, New York City, New York, United States

 

Located on Jamaica Avenue at Merrick Boulevard in Jamaica, the major commercial center of the borough of Queens and once a major theater center for Queens and Long Island, the Loew's Valencia is the borough's largest and most famous remaining movie palace. Designed by theater architect John Eberson and opened in 1929, the 3554-seat Valencia was the first of five so-called "Wonder Theaters" built for the New York-based Loew's chain of movie theaters to serve the major metropolitan population centers outside midtown Manhattan.

 

Eberson, who created the "atmospheric theater" type, was one of America's most prolific and influential theater designers, and the Valencia was among his most important commissions. Its romantic, brick and glazed terra-cotta facade was inspired by Spanish and Mexican architecture of the Baroque or "Churrigueresque" period, with detail including elaborate ornamental terra-cotta pilasters, cherubs' heads, half-shells, volutes, floral swags, curvilinear gables and decorative finials. The Valencia entertained the people of Queens for half a century. Since 1977, it has housed the Tabernacle of Prayer for All People, which has maintained the building's exterior almost completely intact.

 

Development of Jamaica

 

Jamaica, one of the oldest settlements within the boundaries of New York City, developed into the leading commercial and entertainment center of Queens County. The Dutch purchased land in Jamaica from the Jameco (also spelled Jemeco) Indians in 1655.

 

The following year, Governor Peter Stuyvesant granted a charter to the town, originally known as Rusdorp.

 

Following the transfer of power from the Dutch to the English in 1664, Rusdorp was renamed Jamaica, after the original Indian inhabitants of the region. Queens County (incorporating present-day Queens and Nassau Counties) was chartered in 1683.

 

The English established Jamaica as the governmental center of Queens County, with a court, county clerk's office, and parish church (Grace Church; the present structure, dating from 1861-62, is a designated New York Landmark). Outside the town center, Jamaica was largely an area of farm fields and grazing land for cattle. The rural village was officially incorporated by New York State in 1814.

 

Jamaica's central location in Queens County, and the extensive transportation network that developed in the town during the nineteenth century, resulted in the transformation of the community into the major commercial center for Queens County and much of eastern Long Island. It was the arrival of the railroads that began this transformation.

 

The roads and rail lines — connecting Jamaica with other sections of Queens County, with Brooklyn to the west, eastern Long Island, and ferries to New York City — had a tremendous impact. Jamaica's farmland was soon being subdivided into streets and building lots, and new homes were erected.

 

By the turn of the century, Jamaica's importance as a commercial area became evident in the impressive buildings appearing on Jamaica Avenue. After Jamaica was incorporated into the borough of Queens and became a part of New York City on January 1, 1898, additional transportation improvements brought increasing numbers of people. As a result, the population of Jamaica quadrupled between 1900 and 1920.

 

It was during the 1920s, when the major mass transit links were in place, and during a period when private automobile ownership was growing at an extraordinary rate, that Jamaica experienced its major expansion as a commercial and entertainment center.

 

By 1925, Jamaica Avenue between 160th Street and 168th Street had the highest assessed valuation in Queens County.

 

During the 1920s and early 1930s, many small-scale commercial buildings were erected in Jamaica, as well as several major office and commercial structures on Jamaica Avenue. In addition, Jamaica developed into a significant entertainment center.

 

By the mid-1930s, there were over sixty restaurants, bars, and clubs, ranging from small ethnic taverns to elegant restaurants. And there were at least eight movie theaters on or just off Jamaica Avenue, including the Carlton, Hillside,

 

Alden, Merrick, Jamaica, and Savoy, and, largest of all, the Valencia Theater, which opened in 1929.

 

Loew's Valencia Theater

 

The Valencia was one of four theaters originally planned by the Paramount-Publix chain for four major residential centers outside Midtown Manhattan. These included the Kings on Flatbush Avenue in the geographic center of Brooklyn, the Paradise in the Bronx at the commercial hub of the Grand Concourse near Fordham Road, and the Jersey in the heart of Jersey City. When Paramount-Publix looked for a central location for its Queens theater, the logical choice was the commercial center of Jamaica.

 

According to Paramount-Publix's initial plans, the architectural firm of Rapp & Rapp was to design the Kings and the Jersey, while John Eberson was to design the Valencia and the Paradise. Both firms had designed many theaters for Paramount-Publix, and for its predecessor, Balaban & Katz, in Chicago and the Midwest.

 

As a result of the 1925 agreement that kept Paramount from building more theaters in New York and Loew's from entering the Chicago market, the four Paramount theater projects passed to Loew's. Paramount, however, appears to have maintained an interest in the theaters, using them as New York outlets for Paramount pictures.

 

Loew's also added a fifth theater, the 175th Street, designed by the company's preferred theater architect, Thomas Lamb. Each of the theaters included a Morton "Wonder" organ, apparently the origin of the name "Wonder Theaters" that has since been applied collectively to the five houses. The five theaters, all of which survive in varying states of repair, were among the most lavish movie palaces ever built in the greater New York City area. The Valencia was the first of the five to open.

 

In 1926-27 builder R. Riccardo acquired a site at the intersection of Jamaica Avenue and Merrick Road and subdivided it, keeping the corner plot on which he built the six-story Riccardo Building, and selling the other half to the Famous Players-Lasky Corporation (Paramount). Riccardo's agreement with that company apparently included certain restrictions "to assure Jamaica of a beautiful theater." When Famous-Players-Lasky sold the property to Loew's, the property remained subject to those restrictions.22 Loew's filed plans for the Valencia Theater in 1927; construction, by the Thompson-Starrett Company, commenced in June 1928, and was completed in December. The Valencia opened for business on Saturday, January 12, 1929.

 

Erected at a cost exceeding two million dollars, seating approximately 3500, and one of the first theaters built with sound equipment for the new "talkies," the Valencia was meant to serve not just Jamaica, but all of Queens and the greater Long Island area, offering first-run sound pictures along with stage shows imported from the Capitol Theater on Broadway. It was described as "the first Me luxe' theatre on Long Island."

 

Its anticipated opening provoked enormous amounts of coverage in the Long Island Daily Press, a regional paper headquartered in Jamaica. Multiple-page coverage in that paper the day before opening included biographies of Marcus Loew and his successor Nicholas Schenck, and stories and photos of the stage show's stars. Once the theater opened, in keeping with its role as a theater drawing from a wide regional market, movies playing at the Valencia were not shown anywhere else in the vicinity, as far east as Bay Shore, Long Island.

 

The Valencia was designed as a large movie palace, with a narrow mid-block facade containing the entrance lobby on Jamaica Avenue, and the bulk of the theater with the auditorium, stage, and stagehouse behind, along Merrick Boulevard, not quite half the block towards 89th Avenue. For the 40-foot-wide Jamaica Avenue facade, Eberson created an elaborate architectural fantasy in brick and terra cotta, using elements from Spanish and Mexican churches of the Baroque, or "Churrigueresque," period.

 

The Churrigueresque style, named after the Spanish architect J.M. de Churriguera, was an eighteenth-century modification of the Italian Baroque, incorporating Moorish and Gothic decorative elements. The Spanish-influenced design fit the exotic-sounding name of the theater (Valencia), a combination found in other movie palaces of the period (e.g., the Granada Theater, Chicago; Levy & Klein, 1926). The Indiana Theater, in Indianapolis (Rubush & Hunter, 1927), has a facade similar to the Valencia's. Eberson used the style in his 1928 Majestic Theater in San Antonio, while elsewhere in Queens Thomas Lamb made use of the style at the RKO Keith's (1928).

 

The Spanish Baroque character of the Valencia's facade is created by the use of elaborate curving and twisted forms, spiral volutes, double columns adorned with florid patterns, and elaborate ornament including shells, wreaths, cherubim and foliate capitals. A series of curves and pinnacles is repeated three times: on the (original) marquee, at the surround of the main window opening, and again at the roofline. The Spanish motif is continued inside in the spectacular, atmospheric design of the lobby and auditorium.

 

The Valencia opened to much acclaim. Queensborough Magazine, published by the Chamber of Commerce of the Borough of Queens, considered the Valencia to be one of the "outstanding improvements" in the borough in 1928.30 William F. Hofmann, publisher of the Long Island Daily Press, wrote that the Valencia, "properly called the most beautiful theatre in the country," marked the climax of a "new era in the history of Jamaica," and "another milestone in the steady, healthy progress this community is making towards leadership in all fields of commercial endeavour."

 

The architectural magazine Architecture and Building wrote of the Valencia:

 

Having a seating capacity of 4,000, it compares favorably with the largest New York City houses and offers both motion picture and stage performances of the most elaborate character. The architectural treatment is a most elaborate development of Mexican Spanish ornament.

 

The Valencia as a Major Movie Palace

 

As part of the enormous chain of Loew's theaters, the Valencia was able to run a full program of vaudeville acts and a first-run feature sound film. The opening day's program on Saturday, January 12, 1929, which ran continuously from 11 a.m. until midnight, attracted an estimated 17,000 customers. Queens Borough President George U. Harvey gave an inaugural address.

 

The inaugural program featured MGM's sound film White Shadows in the South Seas. According to the Long Island Daily Press: the most up-to-date electrical effects for singing, talking and sound pictures which have been installed in the new theatre will be used in giving 'White Shadows' the sound effects that were to a great extent responsible for the extensive run on Broadway.

 

The stage show featured the revue "My Mantilla," brought in from the Capitol Theater on Broadway; a stage band directed by Walt Roesner; a symphony orchestra directed by Don Albert; and the following performers as described in the Long Island Daily Press:

 

Bob Nelson, well known musical comedy star, White & Manning, world famed comedy dancers, King & King, late features of 'Artists and Models,' and Gertrude Lang, soprano and late prima donna at 'Blossom Time,' Forrest Yarnell, baritone, and Livie Marracci, the fairest of all Italy and winner of the Internationa] beauty contest held at Galveston, Texas, last summer, who will appear in the grand finale supported by the 24 Chester Hale Girls.

 

The Valencia continued the movie and stage show formula for several decades. In the theater's first years, ticket prices ranged from 25 cents for orchestra and balcony seats on weekday mornings to 65 cents on Saturday, Sunday, and holiday evenings.

 

Broadway and other stars regularly graced its stage, including such famous performers as Ginger Rogers and Kate Smith. In the 1930s, the theater included as a regular Monday night feature, the winners of the Major Bowes' Amateur Hour.

 

After its stage show policy was discontinued, the Valencia stayed in use as a movie theater. In the 1950s, a new, larger "panoramic" screen was installed in the theater, along with "stereophonic" sound, making the Valencia the first theater in Queens to offer these effects.

 

Gerald F. Twohig, writing in the Long Island Press in 1974, called the Valencia "the Taj Mahal of Long Island movie houses." In his recollection, The Valencia wasn't just another movie house. It was the greatest of them all in those times when Queens in general and Jamaica in particular were big on movies. If you had a heavy date on Saturday night, you went to the Valencia. You proved you had class.

 

Later History

 

Following the end of World War II, with changing theater economics and the rise of television, a wave of theater alterations and demolitions began to claim large numbers of movie palaces across the country. In the 1960s, the management of many of the largest theaters, no longer able to attract audiences of several thousand, closed off whole seating sections.

 

Eventually, many were either subdivided into smaller theaters with accompanying loss of interior ornament, or demolished for reuse of their valuable large sites. In New York, most of the large Manhattan movie palaces disappeared, while those surviving in the other boroughs were either subdivided or abandoned and subsequently vandalized.

 

In 1976, rumors circulated that Loew's was considering closing the Valencia Theater. That threat brought an outcry from residents of Jamaica and Queens. Various plans for the theater's reuse were proposed — among others, the Greater Jamaica Development Corporation suggested its conversion into a cultural center, and a "permanent home for the Queens Symphony Orchestra."

 

In 1977 Loew's closed the Valencia Theater and donated it to the Tabernacle of Prayer for All People, a church congregation formerly located in Brooklyn. In an interview that year its pastor, Rev. Johnnie Washington, described the gift as "a miracle, a gift from God. A miracle at a time when miracles are not supposed to happen."

 

Rev. Washington admired the building's design:

It's like entering a fantasy world, isn't it? We decided to keep the atmosphere of the movie house. It's such a beautiful place— How could we ever replace what is already here? It has a beauty, an atmosphere that makes you feel you are at some place sacred.

 

The church undertook a major interior restoration, overseen by George Exarchou.

 

Today, the Tabernacle of Prayer for All People continues to use and care for the former Valencia, which remains very much a visible presence in the heart of downtown Jamaica.

 

Description

 

The former Loew's Valencia Theater building, located on the north side of Jamaica Avenue and the west side of Merrick Boulevard, extends along Jamaica for 39.4 feet and along Merrick for 210 feet. The building occupies an irregularly shaped lot, wrapping around a smaller building at the corner of the two streets.

 

The steel-framed structure has three elevations: a Jamaica Avenue entrance facade with an elaborate terra-cotta faced frontispiece; a long side wall on Merrick Boulevard with exit doors and a fire stairs; and a rear wall visible from the adjoining parking lot. These last two sections are faced in brick set in panels.

 

Jamaica Avenue facade;

 

Base: The first story contains a wide entrance to the lobby of the theater, with a centrally placed ticket booth projecting from the entrance doors to the property line. The booth is defined by eight slender but elaborately designed cast-metal columns rising to finials, with foliate screens at the top; a fret pattern adorns its base. The glass doors to either

side have decorative metal framing over them, with rectangular single glass panes above.

 

Framing the entrance at the property line, at either side, are twin metal volutes (the area below them is now enclosed by large announcement boards). The volutes support an overhead metal panel whose underside has foliate infill; its face is currently covered by a large sign. A large marquee projects above the base; it has been covered with protective materials.

 

The original marquee included stamped zinc ornamental designs, and a central sign spelling out "Loew's Valencia." There is decorative polychromatic tilework in the pavement in front of the doors.

 

Upper stories: The upper stories are designed in an extravagant Spanish Baroque style, with elaborate terra-cotta forms projecting from a yellow brick background. The brick background is composed of a slightly projecting diaper-pattern of brick headers, their crossing accented by colored tiles, superimposed over horizontal rows of stretchers.

 

The large central window opening has an elaborate terra-cotta surround and is flanked by heavily ornamented paired pilasters. The window has multi-light sash in three sections: a wide central section five-panes in width, flanked by narrower sections two panes in width.

 

Beneath the foliate capitals of the pilasters are small cherubs' heads, while the pilasters themselves are adorned with larger cherubs' heads, half-shells, volutes, and floral swags.

 

Directly above the window opening are spiral volutes supporting a curving gable form, surrounding a multi-pane sash, above which rises an elaborate terra-cotta infill including sphinxes and floral patterns. The infill is framed by another elaborate gable form, which mimics the massive curvilinear gable of the roofline above, accented by three crowning decorative finials.

 

To either side of the central window and its surround, at the lower level of the facade, is a single narrow lancet window; the brick section above rises to a lower roofline with a large decorative finial. A large, modern sign in the form of a cross, lettered with the name of the church, has been added to the facade; it projects out from the facade on metal supports.

 

- From the 1999 NYCLPC Landmark Designation Report