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Centre Street, Chinatown
Designed by the architectural firm of Hoppin and Koen, the former New York City Police Headquarters building at 240 Centre Street was built between 1905 and 1909 and stands today as one of New York City's most important examples of the Edwardian Baroque style and of the.Beaux-Arts principles of design.
On May 6, 1905, Mayor George B. McClellan, amid the ceremony of a. police band and mounted, troops, wielded a silver trove! to lay the cornerstone of the building which was hailed by the press as the -most up-to-date of its kind in the world. - Since the establishment of the first police office at. City Hall in 1796 when "to facilitate the apprehension of criminals" an effort was made to supplement the traditional night watch, the New York Police Department had witnessed the uneasy growth of the nation's largest city. Between the date of the installation at City Kali and that of 'the inauguration of the new headquarters the population of the city had increased a remarkable fifty-six fold and this growth was to continue. The large numbers of people who loved into the city during the 19th century reflected every walk of life, and municipal services struggled to keep abreast with their needs. However, the high density of population in itself created problems.
Damaging riots during the 1830s prompted the passage of the Municipal Police Act of 1884 which abolished the antiquated watch system and established the police force as we know it today. Under this act the 17 wards of the city were divided into precincts complete with a station house, captain and a. sergeant. Although formal training of the police was not established for another ten years, they were, at this time, furnished with a manual explaining their duties and legal powers. The modern notion of the "public servant,,r however, was not wholly acceptable to the newly established Municipal Police who refuted to wear the proposed blue uniform which reminded them of a servant's livery.. A star-shaped "copper" badge, which gave rise to the colloquial term for a policeman, worn over the left breast, served to identify the early force.
Over the next 57 years the numerous changes in the structure or the department reflect the rapid increase of crime in the growing city, and the authorities' attempts to keep pace with this development. Following an effort to enlarge the territorial responsibilities of the force and to initiate state control of the system, a bill was finally adopted in 1901 which gave a single commissioner of police full responsibility for •administering the city's police organization.
Housing the growing Police Department was another problem. The first centralized headquarters for the department as has been noted was situated in City Hall, where the force was housed until 1862 when the Police Department built its own headquarters building at 300 Mulberry Street, A rather plain Italianate style building, "300 Mulberry" figured prominently in the city's history. Here the Detective Bureau originated the harsh line of questioning known as the "third degree," and here also politicians such as Ulysses S. Grant and Chester A. Arthur flocked to hear the results of the city's elections. However, by 1900 the Police Department had quadrupled in size, and larger, more modem quarters were clearly needed.
In 1903 the New York architectural firm of Francis L.V. Hoppin and Terence A. Koen produced a series of drawings :cr the new Police Headquarters which was to be located on a wedge-shaped site, bounded by Grand, Centre Market Place, Centre and Broome Streets, where ths old Centre Market had stood since 1817. In 1838 the market had housed in an imposing Greek Revival building designed by Thomas Thomas, a founder of the American Institute of Architects.
It is interesting to note that Thomas' design solution for this .restricted site was a long rectangular mass with a blind arcade on the ground floor supporting trabeation above. The entrance of the market was marked by a central pavilion topped by a cupola and the ends were rendered in a temple form -facing the side streets. Over half a century later Hoppin and Koen chose a design which was both a reflection of the earlier market building and cf the most contemporary taste in civil architecture.
Architectural publications abounded during this period and architects were well travelled. Nothing escaped the knowledgeable eyes of American architects like Hoppin and Koen.who kept price with such developments. This awareness was an important factor in their design for the Police Headquarters building.
Spread oat majestically along Centre Street, the main facade or the Police Headquarters building with its central pedimented pavilion topped by a dome and balanced by end pavilions of lesser importance, is a clear reflection cf Beaux-Arts or Classical composition. Hoppin stated quite frankly that the building was not intended to look like a policc station, but was inspired by the dignity of City Hall which Hoppin called "the handsomest building on Manhattan Island." 5 The basic form, which in addition to a central pavilion with dome includes end porticos at cross axis-to the ridge t: the main pcrtico, is also similar to that of the old Centre Market. Hoppin and Koen were consciously adapting their building to the rich architectural history of the area.
Sited like the traditional French hotel de ville within a confined urban space, the five.- story granite and limestone Police Headquarters building with its five-part composition incorporates a rusticated arcade which supports two main stories linked by monumental Corinthian pilasters. The windows of the second story are capped with pedimented hoods and those of the third story are outlined by a crosset architrave. A two-story attic is set back from the main facade and rises like a clerestory above the modillioned cornice and roof balustrade. The main focus of the facade is the central portico where monumental Corinthian columns rest on a three-part rusticated arcade adorned with decorative iron grilles and sconces by Harris H. Uris Iron Works.
The pediment is filled by an im-pres sive bas re!ief of the seal of New York City flanked by trailing rinceaux. Atop the sable sits an allegorical figure of Manhattan.
Although the rather flat surface of the main facade with its arcaded base and pedimented portico suggests a French classical approach to design, several important features are clearly interpreted in the Baroque manner. Two domed towers with narrow fenestration pierce the main cornice and tightly flank the central portico. Here caryatids and oeils de boeuf arc worked into the roofline composition. From the towers the eye is drawn to the crowning dome where cornices are pushed out by paired columns and pushed up by clocks set into oeils de boeuf. The end pavilions with their broken-bed pediments and Gibbs window surrounds are surmounted with low domes gilded and panelled in the Austrian rococo manner.
The classical portico facing 'Grand Street echoes that of the main facade while the Broome Street elevation with its elaborate porte cochere is conceived in the Baroque manner. Here, rising above the vermiculated stone entranceway, a single round-arched bay thrusts its way up past Corinthian columns and through the bed of the pediment. The rear of the building along Centre Market Street is a flat, almost two dimensional, reiteration of the main facade.
Built during a period which produced such venerable establishments as New Scotland Yard and the Criminal Courts, Old Bailey, the Police Headquarters building was designed to serve both a practical and symbolic end. Francis Hoppin stated clearly that the architect's intention was, "to impress both officer and prisoner.. .with the majesty of the law."
Borrowing inspiration from other public buildings like City Hail and from contemporary European design, the Headquarters building incorporated a new, official image for the nation's largest and most sophisticated police force. As the architectural focus of the bust lino community of Little Italy, the Headquarters building plays a vital role in the area, However, as one of the finest municipal examples of Edwardian Baroque architecture in New York City, former Police Headquarters Building serves as an important reminder of the police department's proud history.
- From the 1975 NYCLPC Landmark Designation Report
This image shows the three volumes, the container shell and the supplement.
Michel Auer Collectors Guide to Antique Cameras
In French and English
Includes:- 3 volumes, a price guide supplement and surround for keeping the three volumes in one place. Not paginated, but there must be at least 150 pages to each volume - each item is numbered though. Volume 3 holds the index, part of which is pictured below. The prices are clearly out of date, but this can still be used as a guage to value. The book's usefulness is as a wonderful dateing and reference for the collector.
The three volumes are split into many sections such as:
* Prehistory images - essentially early photographic images;
* Cameras , the largest section displays a huge variety of camera types including the more bizarre, such as revolver cameras, wristwatch cameras. lighters with cameras, in fact this section deals with a variety of photography equipment;
* Motion Picture
* Dagguerrean Equipment
* Box and Magazine (Detective)
* Folding Cameras
* Kodak Cameras
* 35mm cameras
* Miniature Cameras
* Cameras for Special Purpuses (sic)
* List of Leica Cameras
* Cameras in Disguise
* Jumelle and Rigid Body Cameras
* Reflex cameras
* Stereoscopic cameras
Check it out on ebid
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主婦之友 supplement for March 1933 (Showa 8).
主婦之友 = Shufu no tomo = "Housewife's friend"
If you can translate any of the text - please feel free to do so and let me know so I can add it - full translation credit will be given!
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Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
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With my D80 only taking 10-15 photos a day, I decided to head over to the local photo shop to see if I could find a loaner Nikon. The void of no classes plus no photography was just a little too much for me to bear (not that I'm at all complaining about being done). Though their D5000 was already rented out, they did have something a bit older that fit my needs.
Since this is my first foray into the film realm with an SLR, I'm really not sure how the photos will turn out. But I'm a little more than halfway into the roll and I must say, my 50mm 1.4 looks great through the viewfinder. Plus, it's a different feeling hitting the shutter release, knowing that there is no delete button. Going to develop my first roll later today--and the anticipation is killing me.
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主婦之友 supplement for April 1932 (Showa 7).
主婦之友 = Shufu no tomo = "Housewife's friend"
If you can translate any of the text - please feel free to do so and let me know so I can add it - full translation credit will be given!
We decided to pay a modest supplement and travel in the Pullman car Mary today on the Keighley and Worth Valley railway autumn spectacular. Jane is enjoying a bit of luxury for a supplement of £3-50 return. This car was in the Bournemouth Belle set on which I travelled in 1965.
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