National Register of Historic Places Inventory
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Boston Common and the Public Garden
WalkBoston and the Public Realm N 3 minute walk T MBTA Station As Massachusetts’ leading advocate for safe and 9 enjoyable walking environments, WalkBoston works w with local and state agencies to accommodate walkers | in all parts of the public realm: sidewalks, streets, bridges, shopping areas, plazas, trails and parks. By B a o working to make an increasingly safe and more s attractive pedestrian network, WalkBoston creates t l o more transportation choices and healthier, greener, n k more vibrant communities. Please volunteer and/or C join online at www.walkboston.org. o B The center of Boston’s public realm is Boston m Common and the Public Garden, where the pedestrian m o network is easily accessible on foot for more than o 300,000 Downtown, Beacon Hill and Back Bay workers, n & shoppers, visitors and residents. These walkways s are used by commuters, tourists, readers, thinkers, t h talkers, strollers and others during lunch, commutes, t e and on weekends. They are wonderful places to walk o P — you can find a new route every day. Sample walks: u b Boston Common Loops n l i • Perimeter/25 minute walk – Park St., Beacon St., c MacArthur, Boylston St. and Lafayette Malls. G • Central/15 minute walk – Lafayette, Railroad, a MacArthur Malls and Mayor’s Walk. r d • Bandstand/15 minute walk – Parade Ground Path, e Beacon St. Mall and Long Path. n Public Garden Loops • Perimeter/15 minute walk – Boylston, Charles, Beacon and Arlington Paths. • Swans and Ducklings/8 minute walk – Lagoon Paths. Public Garden & Boston Common • Mid-park/10 minute walk – Mayor’s, Haffenreffer Walks. -
Geographical List of Public Sculpture-1
GEOGRAPHICAL LIST OF SELECTED PERMANENTLY DISPLAYED MAJOR WORKS BY DANIEL CHESTER FRENCH ♦ The following works have been included: Publicly accessible sculpture in parks, public gardens, squares, cemeteries Sculpture that is part of a building’s architecture, or is featured on the exterior of a building, or on the accessible grounds of a building State City Specific Location Title of Work Date CALIFORNIA San Francisco Golden Gate Park, Intersection of John F. THOMAS STARR KING, bronze statue 1888-92 Kennedy and Music Concourse Drives DC Washington Gallaudet College, Kendall Green THOMAS GALLAUDET MEMORIAL; bronze 1885-89 group DC Washington President’s Park, (“The Ellipse”), Executive *FRANCIS DAVIS MILLET AND MAJOR 1912-13 Avenue and Ellipse Drive, at northwest ARCHIBALD BUTT MEMORIAL, marble junction fountain reliefs DC Washington Dupont Circle *ADMIRAL SAMUEL FRANCIS DUPONT 1917-21 MEMORIAL (SEA, WIND and SKY), marble fountain reliefs DC Washington Lincoln Memorial, Lincoln Memorial Circle *ABRAHAM LINCOLN, marble statue 1911-22 NW DC Washington President’s Park South *FIRST DIVISION MEMORIAL (VICTORY), 1921-24 bronze statue GEORGIA Atlanta Norfolk Southern Corporation Plaza, 1200 *SAMUEL SPENCER, bronze statue 1909-10 Peachtree Street NE GEORGIA Savannah Chippewa Square GOVERNOR JAMES EDWARD 1907-10 OGLETHORPE, bronze statue ILLINOIS Chicago Garfield Park Conservatory INDIAN CORN (WOMAN AND BULL), bronze 1893? group !1 State City Specific Location Title of Work Date ILLINOIS Chicago Washington Park, 51st Street and Dr. GENERAL GEORGE WASHINGTON, bronze 1903-04 Martin Luther King Jr. Drive, equestrian replica ILLINOIS Chicago Jackson Park THE REPUBLIC, gilded bronze statue 1915-18 ILLINOIS Chicago East Erie Street Victory (First Division Memorial); bronze 1921-24 reproduction ILLINOIS Danville In front of Federal Courthouse on Vermilion DANVILLE, ILLINOIS FOUNTAIN, by Paul 1913-15 Street Manship designed by D.C. -
Off the High Horse: Human-Animal Relations on Public Monuments
Off the High Horse: Human-Animal Relations on Public Monuments This month, the suit concerning the removal of the equestrian statue of Robert E. Lee in Richmond, VA will proceed to trial. A different way to deal with a troubling monument is to place another one nearby to convey an opposing message, and several such corrective statues have appeared near Monument Avenue over the past twenty-five years. In this paper I explore two of these, focusing on the role of the horse. Although the spirited stallion in Kehinde Wiley’s “Rumors of War” (2019) stands in marked contrast to the emaciated beast of burden in Tessa Pullan’s “War Horse” (1997), I argue that both depictions have their roots in antiquity: the former in monumental art, the latter in literature. Thus Wiley’s sculpture adapts the tradition of the equestrian statue, popular in both Greece and Rome, using the animal to showcase the power and superiority of the human rider, while Pullan’s invites viewers to reach beyond the social constructs of friend and foe as well as boundaries of species between human and animal in a manner reminiscent of Homer. In an equestrian statue the horse serves multiple functions; from a practical perspective, it elevates the honoree to a point of greater visibility, while on a more symbolic level it can illustrate characteristics of the rider. In the statue of Marcus Aurelius from the Capitoline Hill, for example, both horse and rider assume a calm and balanced posture, while Wiley’s ensemble exaggerates the impetuous movement of his model, Moynihan’s equestrian statue of Stuart (1907), but also evokes more distant predecessors, from Mills’ groundbreaking depiction of Andrew Jackson (1853) all the way to the Alexander Mosaic and the cavalcade on the Parthenon freeze. -
THOLOS Spring 2018
VOLUME VOLUME 8 SPRING 2018 FEATURE: EVOLUTION OF WOMEN IN ART AT THE U.S. CAPITOL COOL TOOLS: BUMP CAPS PROFILE IN HISTORY: JOB W. ANGUS FEATURE: An in-depth look at the evolution of women in 6 art at the U.S. Capitol. In This Issue 15 1 ARCHITECT’S NOTEBOOK BEHIND THE SCENES: Learn more about how our 2 PROFILE IN HISTORY employees care for the historic Job W. Angus floors in the Senate. 6 FEATURE The Evolution of Women in Art at the U.S. Capitol 15 BEHIND THE SCENES Restoration and Care of Historic Marble Floors BY THE NUMBERS: 17 BY THE NUMBERS A look at the Capitol Visitor Center’s busiest season. Capitol Visitor Center 20 COOL TOOLS Making Heads Safer, 17 One Bump Cap at a Time COOL TOOLS: Read how this cool cap is keeping Capitol Building employees safer. COVER: A detailed view of the U.S. Capitol’s Statue of Freedom. 20 Photo illustration by Michael Dunn Photo by James Rosenthal ARCHITECT’S NOTEBOOK Finding Comfort In Balance t is human nature to try to find order and balance in and is topped off with intricate details of the entablature our surroundings. One of the ways I do this in my with its projecting cornice. own life is to be as organized as possible. My desk Architectural balance is also often achieved through Iis proof of this as it is always arranged neatly with symmetry. In the Main Reading Room, the art, decoration nothing out of place. This gives me a sense of ease so I and sculpture reinforce a sense of order by the strong can focus on other tasks at hand. -
Evening Star. (Washington, D.C.). 1937-01-20 [P 11]
Everything from honey bees to pioneer planes shown at Smithsonian. Memorials and statues erected to statesmen, Presidents, generals, and unknown decorate city-Zoo is popular. calv The interior is richly furnished and one may view the mosaics, depicting classical and other themes. There are maps and etchings and paintings to intrigue the visitor and one nmy profitably spend many hours in this citadel of information. The Government of the United States itself contributes to this collection, for near Union Station and City Post Offioe rises the Govern- ment Printing Office, where busy linotypes and humming presses tell of the widespread activity of the people's servants. The Bureau of En- graving and Printing, southeastward of the Washington Monument, is particularly Inter- esting to visitors, for there money is printed and stamps made. Not far from this bureau is the Tidal Basin, around the shores of which are the far-famed Japanese cherry trees that bloom in the Springtime and draw visitors galore Lovers of learning will find a kindred inter- est in the National Capital. Georgetown Uni- versity. conducted by the Jesuits, rears its spires skyward on the Palisades of the Potomac In that historic section of the city, for the Insti- tution was established in the early days of the Republic. The Convent of the Visitation, nearby, is another of the city’s oldest halts of learning. George Washington University, a co-educa- tiona! Institution, is located at Twenty-second and G streets, and is a rapidly growing center. Catholic University, at Brookland, in the North- east section, comprises a large number of build- ings, devoted to the interests of various orders In the church. -
United States Capitol VISITOR Guide WELCOME to the U.S
United States Capitol VISITOR GUide WELCOME TO THE U.S. CAPITOL our visit to the GUIDED TOURS OF THE U.S. CAPITOL historic U.S. Guided tours of the U.S. Capitol begin at the Orientation Theaters on Capitol begins the lower level of the Capitol Visitor Center. “Out of Many, One,” Yas you enter the Capitol a 13-minute film, illustrates how this country established a new form Visitor Center. With of government; highlights the vital role that Congress plays in the its soaring spaces and daily lives of Americans; and introduces you to the building that skylight views of the houses the U.S. Congress. Capitol Dome, the Tours are free and are offered Capitol Visitor Center throughout the day between welcomes you on a 8:30 a.m. – 3:30 p.m., Monday – journey of discovery. The Saturday. Tour passes are required. U.S. Capitol is home to the U.S. Congress and its The Apotheosis of George Washington Advance Passes: Tours may two legislative bodies, the be booked in advance online at U.S. House of Representatives and the U.S. Senate. Through www.visitthecapitol.gov, through films, exhibits, and tours, you will learn about how Congress the offices of your Senators or works, how this magnificent building was built, and how Representative, or through the citizens can participate in this extraordinary experiment called Office of Visitor Services by representative democracy. calling 202.226.8000. The U.S. Capitol stands as a monument to the American people. Same-Day Passes: A limited number of passes are available each It is where the issues facing the nation are considered, debated, day at the Information Desks in Emancipation Hall on the lower level and written into law. -
5989 Turcica 35 05 Berksoy
Funda BERKSOY 165 RUDOLF BELLING AND HIS CONTRIBUTION TO TURKISH SCULPTURE During the years following the World War I Rudolf Belling (1886- 1972), a pioneer of abstract sculpture, became one of the most celebrated artists in Germany (Fig.1). His fame was based primarily on works such as his Triad (1919) and Sculpture 23 (1923), in which he strove toward a synthesis of Russian revolutionary art with the current modernist trends. As a member of the Arbeitsrat für Kunst (Workers’ Council on Art) and a cofounder of the Novembergruppe, he also sought a closer relationship between sculpture and architecture, successfully collaborat- ing on many occasions with architects. In the German literature on mod- ern art of the period, Belling was highly praised and embraced as one of the spokesmen of the new art1. When the National Socialists came to power in 1933 and started their campaign against avant-garde art, like many other artists, Belling too sought refuge abroad∞; accepting an invitation from the Turkish govern- ment he left Berlin for Istanbul in 1937. When his professorship at the Kunstakademie (Berlin-Charlottenburg Academy of Art) was interrupted Funda BERKSOY is associate professor, Uludag University, Department of art history, Görükle Kampüsü, Bursa, Turkey. * Unless otherwise indicated, translations are mine. 1 Carl EINSTEIN, «∞Die Kunst des 20 Jahrhunderts∞», Propyläen Kunstgeschichte 16, Berlin, 2nd ed., 1928, p. 228-29∞; Paul Ortwin RAWE, Deutsche Bildnerkunst von Schadow bis zur Gegenwart, Berlin, 1929, p. 223-25. For a list of publications with state- ments by Belling, see J.A. SCHMOLL gen. EISENWERTH, Rudolf Belling, vol. -
United States Capitol VISITOR Guide WELCOME to the U.S
United States Capitol VISITOR GUide WELCOME TO THE U.S. CAPITOL our visit to the GUIDED TOURS OF THE U.S. CAPITOL historic U.S. Guided tours of the U.S. Capitol begin at the Orientation Theaters on Capitol begins the lower level of the Capitol Visitor Center. “Out of Many, One,” Yas you enter the Capitol a 13-minute film, illustrates how this country established a new form Visitor Center. With of government; highlights the vital role that Congress plays in the its soaring spaces and daily lives of Americans; and introduces you to the building that skylight views of the houses the U.S. Congress. Capitol Dome, the Tours are free and are offered Capitol Visitor Center throughout the day between welcomes you on a 8:40 a.m. – 3:20 p.m., Monday – journey of discovery. The Saturday. Tour passes are required. U.S. Capitol is home to the U.S. Congress and its The Apotheosis of George Washington Advance Passes: Tours may two legislative bodies, the be booked in advance online at U.S. House of Representatives and the U.S. Senate. Through www.visitthecapitol.gov, through films, exhibits, and tours, you will learn about how Congress the offices of your Senators or works, how this magnificent building was built, and how Representative, or through the citizens can participate in this extraordinary experiment called Office of Visitor Services by representative democracy. calling 202.226.8000. The U.S. Capitol stands as a monument to the American people. Same-Day Passes: A limited number of passes are available each It is where the issues facing the nation are considered, debated, day at the Information Desks in Emancipation Hall on the lower level and written into law. -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Two Square Guys Mariè-Joseph-Paul-Yves-Roche-Gilbert du Motier, the Marquis de La Fayette, the French hero of the American Revolution, was honored with a public square named in his honor. Lafayette Square was used as a graveyard, a racetrack, a bivouac, a slave market and the site of many celebrations and political protests. Mills Statue of Jackson in Lafayette Square, Washington, D. C. But this is not the Lafayette Square in New Orleans, but the one in Washington, D. C. Once a part of the “pleasure grounds” of the Presidential Mansion, Thomas Jefferson separated this park area from the White House grounds in 1804 when he had Pennsylvania Avenue cut through. There is a statue of Lafayette in the square, but the most prominent statue (directly in the center) is the equestrian statue of Andrew Jackson by sculptor Clark Mills. On January 8, 1853 (after being cast in bronze less than a mile away), it was the first equestrian statue to be erected in the United States. And it is all too familiar to New Orleanians, for it is identical to the one in Jackson Square in the French Quarter. Jackson Square, at the heart of the new city laid out by Adrien de Pauger, was first known as Place d’Armes. Under the Spanish it was referred to as Plaza de Armas, and the Creole citizenry also called it Place Publique. The square witnessed the transfer of Louisiana from the French to the United States in 1803, and in 1825 the Marquis de Lafayette it was visited the historic square. -
National Register of Historic Places Registration Form
NPS Form 10-900 OM6 No. 10244018 (Rev. 1&90) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM This form is for use in nominating or requestmg determinations for individual properties and diAricu. See insrmctions in Haw to Complete the National Register of Historic Places Re~stratmnForm (National Reester Bulletin 16A) Complete each item by marking "x" in the appropriate box or by entering the information requmled If any item dws not apply to the property being documented, enter "NIA for "not applicable." For functions, architecNral classification, materials, and areas of significance, enm only caregories and subcategories from the insmctions. Place additional enmes and narrative ,terns on continuation sheets (NPS Fam lo-900a). Use a Npewiter, word prwessar, or computer, to complete all items. historic name: Virginia Washington Monument other nameslsite number: Washington Monument sculpture group, George Washington Equestrian Statue VDHR # 127-0189 2. Location street & number Capitol Sauare not for publication city or town Richmond (Inde~endentCity) vicinity state Virginia code& county code 760 Zip 23219 3. StatelFederal Aeencv Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this (X) nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property (X) meets -does not meet the National Register Criteria. I recommend that this property be considered significant (X) nationally - on sheet for addition - - Signature of certifying 3ficial DL,/ Virginia De~artmentof Historic Resources State or Federal agency and bureu In my opinion, the property (X) meets -does not meet the National Register criteria. -
Andrew Jackson CCSS.RH.11-12.2
Teaching with Primary Sources Lesson Outline Grade Level: 11-12 Standard(s) or CCSS.ELA-LITERACY.RH.11-12.2 Objectives: Determine the central ideas or information of a primary or secondary source; provide an accurate summary that makes clear the relationships among the key details and ideas. Library of Congress or Morris Special Collections Resources: http://www.loc.gov/pictures/collection/app/item/2003689290 Topic Background: A patriotic print dedicated by the publisher to the "Defenders of the Union." At left, Union troops march toward the U.S. Capitol. An officer on a spirited white horse brings up the rear. In the left middle ground is Clark Mills's equestrian statue of Andrew Jackson. In the foreground a group of Union patriots, including women, children, soldiers, and sailors, gather round a flagpole on which an American flag has just been raised. Directly behind the flag is an equestrian statue of George Washington (also by Clark Mills). Soldiers, waving their hats and cheering, enter from the right, led by two drummer boys Excerpted from http://www.loc.gov/pictures/collection/app/item/2003689290 Source(s) Used: This painting was done in May 1861. It was published in American Public Prints. The painting is done by William Winner. Answer Key: 1. B 2. C Created as part of the Assessing with Primary Sources Project Teaching with Primary Sources @ Southern Illinois University Carbondale, IL Raising the Flag, 1861 1. Which sentence would be most important to understanding the central theme of this painting? CCSS.ELA-LITERACY.RH.11-12.2 A. This painting shows people trying to take down the United States in May, 1861. -
Study of the Quaternary Alloys in the Cast of the Equestrian Statue of Bartolomeo Colleoni by Andrea Del Verrocchio (Venice 1480) Availing of Edxrf Systems
9th International Conference on NDT of Art, Jerusalem Israel, 25-30 May 2008 For more papers of this publication click: www.ndt.net/search/docs.php3?MainSource=65 STUDY OF THE QUATERNARY ALLOYS IN THE CAST OF THE EQUESTRIAN STATUE OF BARTOLOMEO COLLEONI BY ANDREA DEL VERROCCHIO (VENICE 1480) AVAILING OF EDXRF SYSTEMS Lorenzo Morigi1, Stefano Ridolfi2 1 Giovanni e Lorenzo Morigi Restauratori, Bologna, Italy, E-mail: [email protected] 2 Ars Mensurae, Rome, Italy, E-mail: [email protected] ABSTRACT The Bronze equestrian statue of Bartolomeo Colleoni by Andrea del Verrocchio, cast between 1466 and 1490 by Alessandro Leopardi in Venice, is composed of several parts connected together availing of casts-on. The statue was analysed using a transportable EDXRF system in situ during the restoration of the monument, applied to 21 chosen areas, with the aim of characterising the alloys that compose the different parts of the statue. The areas to be measured were chosen so as to include every sub-section of the statue, therefore every part underwent at least one quantitative analysis. The metal used in the casts-on is a quaternary copper, tin, lead, zinc alloy, while the rest of the sculpture does not contain any trace of zinc, composed as it is of the classic ternary (copper, tin, lead) bronze alloy. Considering the amount of metal required to make the casts-on, the shapes into which they were moulded and, therefore, the economic cost of every single cast-on, the artist’s intention to exploit the strength of the copper alloys containing zinc to obtain sufficiently strong soldering between pairs of different casts is clear.