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Nautilus, Vol. 33 No. 4 (Mar 1980)
Salve Regina University Digital Commons @ Salve Regina Student Newspapers Archives and Special Collections 3-1-1980 Nautilus, Vol. 33 No. 4 (Mar 1980) Salve Regina College Follow this and additional works at: https://digitalcommons.salve.edu/student-newspapers Recommended Citation Salve Regina College, "Nautilus, Vol. 33 No. 4 (Mar 1980)" (1980). Student Newspapers. 56. https://digitalcommons.salve.edu/student-newspapers/56 This Book is brought to you for free and open access by the Archives and Special Collections at Digital Commons @ Salve Regina. It has been accepted for inclusion in Student Newspapers by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. .- i.-.l., '; Vol. XXXIII, No 4 THE NEWPORT COLLEGE - SALVE REGINA March 1980 Students Anticipate A .Success/ ul Hugh Ward Shares Irish Folklore Newport County Special Olympics And Song With Salve Community by KATHLEEN BARRY their predecessors. This theme is by DEBBIE ELIASON Ireland, the Land of Lepre evident in the song, "Kevin Bar For about ten days last Febru chauns and shamrocks, or is it? ry." In it, a student was arrested ary, the world met, in the spirit The American, romanticized ver and tortured for refusing to in of peace, to compete in the Win sion of Ireland is in harsh contrast form officials about the plans of ter Olympics. On Saturday, April with reality. Northern Ireland, in his companions. 26th, frcm 10-2 p.m., through the particular, is presently in a sad Mr. Ward continued along this cooperation of Salve Regina Col state of dismay and has been for pathway, discussmg the many lege and the James L. -
Copyrighted Material
INDEX Academy of Music, 47, 48 appearance of, 29, 68, 215 afternoon tea, 342, 343 background and personal traits of, 4–5, Age of Innocence, The (Wharton), 95, 26–29, 31 140, 275 Bohemian party of, 400 Allard, Jules, 132, 158, 173, 260–261, 304, children of, 30, 99–104 306, 307–308, 323, 327, 329, 331 daughters’ marriages and, 75–78, Alva (yacht), 234–235, 236, 312 121–122, 170, 280 Ambassadress (yacht), 27, 30, 234 denunciation of vulgar displays by, Anthony, Susan B., 442 402, 425 archery, 74, 273, 334 diamond jewelry of, 61, 103, 227–229, aristocracy, 7, 36, 112–113, 118–119, 122– 369, 374, 425 123, 222, 224, 225, 378, 380–382, 443 dinner parties and, 350, 351, 354 marriages to, 382–390 European travel of, 377, 380 arrivistes. See nouveau riches four hundred and, 38, 47, 183 art collections, 10, 12, 26, 35, 37, 132, 133, houses of, 103, 135, 138, 157, 165–177, 257–258, 379 189, 368, 426, 427, 441, 450 Belmont, 95, 139 husband’s death and, 76, 77, 78, 170 Huntington, 181 last years and death of, 425–427, 453 as masculine pursuit, 88–91 Lehr and, 107, 109, 111 philanthropic donations of, 454 marriage of, 29, 30, 31, 234, 269 prevailing taste in, 88–89 McAllister and, 33–38, 52, 61, 104, 105, Stewart, 137–138 166, 300 Vanderbilt, 149–150, 288, 295 morning routine of, 68, 69–70 Whitney, 188, 189 as national legend, 177 Astor, Alice, 101, 427, 441, 442 Newport and, 157, 169, 171, Astor, Ava WillingCOPYRIGHTED (Mrs. -
Newport, Rhode Island As Ward Mcallister Found It
“The Glare and Glitter of that Fashionable Resort”: Newport, Rhode Island as Ward McAllister Found It By Emily Parrow A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History Liberty University Lynchburg, Virginia April 2021 ‘THE GLARE AND GLITTER OF THAT FASHIONABLE RESORT’: NEWPORT, RHODE ISLAND AS WARD MCALLISTER FOUND IT by Emily Parrow Liberty University APPROVED BY: David Snead, Ph.D., Committee Chair Michael Davis, Ph.D., Committee Member Table of Contents Introduction ......................................................................................................................................1 Chapter 1: The Southern Connection ............................................................................................17 Chapter 2: The European Connection ............................................................................................43 Chapter 3: The New York Connection and the Era of Formality ..................................................69 Chapter 4: The New York Connection and the Era of Frivolity ..................................................93 Conclusion ..................................................................................................................................130 1 Introduction “Who the devil is Ward McAllister?” The New York Sun posed to its readers in 1889, echoing “a question that has been asked more times of late than any other by reading men all over the country and even in this city.”1 The journalist observed, “In the -
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FOUNDERS AND FUNDERS: Institutional Expansion and the Emergence of the American Cultural Capital 1840-1940 Valerie Paley Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Valerie Paley All rights reserved ABSTRACT Founders and Funders: Institutional Expansion and the Emergence of the American Cultural Capital 1840-1940 Valerie Paley The pattern of American institution building through private funding began in metropolises of all sizes soon after the nation’s founding. But by 1840, Manhattan’s geographical location and great natural harbor had made it America’s preeminent commercial and communications center and the undisputed capital of finance. Thus, as the largest and richest city in the United States, unsurprisingly, some of the most ambitious cultural institutions would rise there, and would lead the way in the creation of a distinctly American model of high culture. This dissertation describes New York City’s cultural transformation between 1840 and 1940, and focuses on three of its enduring monuments, the New York Public Library, the Metropolitan Museum of Art, and the Metropolitan Opera. It seeks to demonstrate how trustees and financial supporters drove the foundational ideas, day-to-day operations, and self- conceptions of the organizations, even as their institutional agendas enhanced and galvanized the inherently boosterish spirit of the Empire City. Many board members were animated by the dual impulses of charity and obligation, and by their own lofty edifying ambitions for their philanthropies, their metropolis, and their country. Others also combined their cultural interests with more vain desires for social status. -
GREENWICH VILLAGE HISTORIC DISTRICT EXTENSION Designation Report
GREENWICH VILLAGE HISTORIC DISTRICT EXTENSION Designation Report New York City Landmarks Preservation Commission May 2, 2006 Cover photograph: Washington Street, East Side, Christopher Street to West 10th Street, Land- marks Preservation Commission, John Barrington Bayley, 1964 Greenwich Village Historic District Extension Designation Report Report researched and written by Jay Shockley Edited by Mary Beth Betts, Director of Research Architectural Features and Alterations sections in building entries by Cynthia Danza Photographs by Carl Forster and Jenny Staley Map by Kenneth Reid and Kerri Kirvin Commissioners Robert B. Tierney, Chairman Pablo E. Vengoechea, Vice-Chairman Stephen Byrns Thomas K. Pike Joan Gerber Elizabeth Ryan Roberta B. Gratz Jan Hird Pokorny Christopher Moore Vicki Match Suna Richard M. Olcott Ronda Wist, Executive Director Mark Silberman, Counsel Sarah Carroll, Director of Preservation Acknowledgments The research by Regina M. Kellerman, executive director of the Greenwich Village Society for Historic Preservation, which culminated in the publication The Architecture of the Greenwich Village Waterfront (1989), formed a basis for the initial construction history of the building entries. TABLE OF CONTENTS Greenwich Village Historic District Extension Map Boundaries …………………………………………………………………..………. 7 Testimony at Public Hearing …………………………………………………..……. 7 Summary …………………………………………………………………….….…… 8 History and Development of the Greenwich Village Historic District Extension ...... 10 Appendices Chronology …………………………………………………………….……. -
Riverside Drive – West End Historic District Extension I
Cover Photograph: 330 to 346 West 84th Street (Joseph H. Taft, 1888-89) Christopher D. Brazee, 2012 RIVERSIDE-WEST END HISTORIC DISTRICT EXTENSION I Designation Report Essay researched and written by Marianne S. Percival Building Profiles and Architects’ Appendix by Theresa C. Noonan and Marianne S. Percival Additional Research Jay Shockley Edited by Mary Beth Betts, Director of Research Photographs by Christopher D. Brazee Map by Jennifer L. Most Commissioners Robert B. Tierney, chair Pablo E. Vengoechea, Vice-Chair Frederick Bland Christopher Moore Diana Chapin Margery Perlmutter Michael Devonshire Elizabeth Ryan Joan Gerner Roberta Washington Michael Goldblum Kate Daly, Executive Director Mark Silberman, Counsel Sarah Carroll, Director of Preservation TABLE OF CONTENTS RIVERSIDE-WEST END HISTORIC DISTRICT EXTENSION I MAP ................. facing page 1 TESTIMONY AT THE PUBLIC HEARING .................................................................................1 RIVERSIDE-WEST END HISTORIC DISTRICT EXTENSION I BOUNDARY .......................1 SUMMARY .....................................................................................................................................3 HISTORIC AND DEVELOPMENT OF RIVERSIDE-WEST END HISTORIC DISTRICT EXTENSION I .................................................................................................................................4 Early History of the Upper West Side .................................................................................4 Late 19th Century Development -
6. Historic and Cultural Resources
East Midtown Rezoning and Related Actions FEIS 6. Historic and Cultural Resources 6.1 INTRODUCTION The CEQR Technical Manual identifies historic resources as districts, buildings, structures, sites, and objects of historical, aesthetic, cultural, and archaeological importance. This includes designated New York City Landmarks (NYCL); properties calendared for consideration as landmarks by the New York City Landmarks Preservation Commission (LPC); properties listed in the State/National Registers of Historic Places (S/NR) or contained within a district listed in or formally determined eligible for S/NR listing; and, properties designated by the New York State Historic Preservation Office (SHPO) within the Office of Parks, Recreation and Historic Preservation (OPRHP) as eligible for listing on the S/NR; National Historic Landmarks (NHL), and properties not identified by one of the programs or agencies listed above, but that meet their eligibility requirements. An assessment of historic/archaeological resources is usually needed for projects that are located adjacent to listed or eligible historic or landmark structures or within historic districts, or projects that require in- ground disturbance, unless such disturbance occurs in an area that has already been excavated. As discussed in this chapter, the proposed rezoning area (project area) does not encompass any blocks located within either LPC-designated historic districts or S/NR-listed historic districts. However, there are numerous individual landmarks, designated resources, and eligible resources located within and adjacent to the proposed rezoning area. Therefore, it is necessary to assess the potential impacts of the Proposed Action on historic architectural resources. According to CEQR Technical Manual guidelines, impacts on historic resources are considered on those sites affected by the Proposed Action within the project area and in the area surrounding the project area. -
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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T he C onceptio n O f A C ountry R esidence : Shelburne H ouse, 1887-1900 by Erica Huyler Donnis A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture Spring 1998 Copyright 1998 Erica Huyler Donnis All Rights Reserved Reproduced with permission of the copyright owner. -
From Medici to Bourbon: the Formulation of Taste and the Evolution of a Vanderbilt Style
FROM MEDICI TO BOURBON: THE FORMULATION OF TASTE AND THE EVOLUTION OF A VANDERBILT STYLE Introduction With the 1877 demise of Commodore Cornelius Vanderbilt (1794-1877), America’s richest man and majority owner of the New York Central Railroad, unrivalled prosperity seemed assured for his posterity. Almost ninety million of his approximately one hundred million dollar fortune was bequeathed to his favourite business partner and eldest son, William Henry Vanderbilt (1821-1885). 1 The Vanderbilt family name enters the realm of art history with this wealthy second generation’s rapid compilation of what was widely hailed as ‘the most complete collection of works in the world representing the best modern artists of France’ housed in one of New York’s first palatial mansions.2 The third generation is remembered as builders of progressively more opulent family homes. ‘What with the six or seven great New York houses of the Vanderbilt family, and their still larger number of country estates, it could be plausibly argued that among them they have invested as much money in the erection of dwellings as any of the royal families of Europe, the Bourbons excepted.’ 3 That today the name of Vanderbilt survives not through association with any fine or decorative arts collection but almost solely through the architectural vestiges of these family homes, bears witness to lost 1 In modern terms estimated at in excess of $96 billion. ‘Forbes 400’ Forbes Magazine , October 12, 1998. p.368. 2 A. Croffut, The Vanderbilts and Their Fortune , New York, 1886, p. 163. 3 Herbert Croly and Harry W.