Square Pergola With Canopy
SQUARE PERGOLA WITH CANOPY : WINDOWS XP WINDOW BLINDS : CHINESE CANOPY BEDS
Square Pergola With Canopy
- Pergola is the second studio album by Johan, released in 2001, five years after their debut album Johan. Both albums were released on the record label Excelsior Recordings. The album was well received by the press. On May 6, 2002, the album was released with a different cover in Germany.
- arbor: a framework that supports climbing plants; “the arbor provided a shady resting place in the park”
- An archway in a garden or park consisting of a framework covered with trained climbing or trailing plants
- A pergola is a garden feature forming a shaded walk or passageway of pillars that support cross-beams and a sturdy open lattice, upon which woody vines are trained.
- Having or in the form of two right angles
- Having the shape or approximate shape of a cube
- having four equal sides and four right angles or forming a right angle; “a square peg in a round hole”; “a square corner”
- Having the shape or approximate shape of a square
- squarely: in a straight direct way; “looked him squarely in the eye”; “ran square into me”
- make square; “Square the circle”; “square the wood with a file”
- cover with a canopy
- Cover or provide with a canopy
- the umbrellalike part of a parachute that fills with air
- the transparent covering of an aircraft cockpit
square pergola with canopy – 10 X
American Seamen's Friend Society Sailors' Home and Institute
The American Seamen’s Friend Society Sailors’ Home and Institute was constructed in 1907-08 to the handsome neo-Classical style design of architect William A. Boring. He was formerly a partner in Boring & [Edward L.] Tilton, most noted as the firm that won the 1897 competition for new buildings at the U.S. Immigration Station on Ellis Island. The American Seamen’s Friend Society (ASFS), established in New York City in 1828, was one of a number of nineteenth-century religious organizations concerned with improving the social and moral welfare of seamen throughout the U.S. and abroad. ASFS, which had operated a Sailors’ Home near the East River docks from 1837 to 1903, purchased a lot in 1905 in Greenwich Village amidst the busiest section of the by then more active Hudson River waterfront. Half of the cost of the Sailors’ Home and Institute was paid for by a grant from Olivia Sage, one of the world’s wealthiest and most important philanthropic women.
The five-story (plus basement and partial sixth story) building, clad in brick and cast stone on its principal facades, is distinctively embellished with a polygonal comer tower, entrance portico, and nautical ornament. Called by the New York Times "the largest institution of its kind in the world," it was operated as a hotel with numerous amenities for seamen of the commercial merchant marine, as well as a home for indigent sailors, and was intended as an alternative to the waterfront "dives" and sailors’ boardinghouses. After the luxury liner Titanic sank in 1912, surviving crew members received care here. In 1930-31, ASFS joined with the Young Men’s Christian and Seamen’s Christian Associations in building a new Seamen’s House at 550 West 20th Street.
The American Seamen’s Friend Society Sailors’ Home and Institute building then became the Seamen’s Relief Center annex, which provided free beds and meals to destitute seamen during the Depression and World War n. The property was officially conveyed in 1944 to the YMCA, which removed a beacon from the tower in 1946, symbolically signaling the end of its institutional history. Since then it has been a residential and transient hotel. The building stands out along the Hudson River waterfront as a significant reminder of the era when the Port of New York was one of the world’s busiest and half a million seamen docked in the city each year.
American Seamen’s Friend Society
The American Seamen’s Friend Society (ASFS), formally established in New York City in May 1828, was one of a number of nineteenth-century religious organizations concerned with improving the social and moral welfare of seamen throughout the United States and abroad. It was part of the broader American evangelical reform movement, whose followers and organizations also distributed bibles and tracts, funded missionaries, and advocated temperance and abolition of slavery. In American seaport towns, the perceived vices of sailors in waterfront sections were seen as threats to the general moral order. ASFS was also genuinely concerned with the physical well-being of sailors, who were generally poor and exploited working-class men with specific job-related problems and needs.
The roots of ASFS were in the Brick Presbyterian Church; members began holding prayer meetings in 1816 on Water Street that were attended by large numbers of sailors, suggesting a need for an interdenominational church especially for them. The Marine Bible Society (1817) and the Society for Promoting the Gospel Among Seamen in the Port of New York (1818) supported the building of the first Mariners Church (1820), located on Roosevelt Street near the East River. Rev. John Truair of that church, who was also the founder of The Mariner’s Magazine, called for a meeting in 1825 to plan for a national nonsectarian seamen’s welfare association. The Hon. Smith Thompson, a Justice of the U.S. Supreme Court and a former Secretary of the Navy,2 was the first president of ASFS and Rev. Joshua Leavitt, a leading reformer and editor,3 was the first general agent. Most of its trustees were from the U.S. Navy and from other American port cities. ASFS was incorporated in 1833.
The goals of ASFS, as later stated, were "to improve the social, moral and religious condition of seamen; to protect them from imposition and fraud; to prevent them from becoming a curse to each other and the world; to rescue them from sin and its consequences, and to save their souls. … [and] to sanctify commerce, an interest and a power in the earth, second only to religion itself, and make it everywhere serve as the handmaid of Christianity."4 The leaders of ASFS further desired to "enlist the seamen of America and the world in the foreign mission enterprise."5 The major activities of ASFS to effect those goals were the "founding of chaplaincies, building of Bethels, i.e., seamen’s churches, … promoting a mental and moral culture
Loew's Paradise Theater
Located on the Grand Concourse south of Fordham Road, once a major theater center of the Bronx, the Loew’s Paradise Theater is the borough’s largest and most famous movie palace. Designed by theater architect John Eberson and opened in 1929, the 4000-seat Paradise was one 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. John Eberson, who created the "atmospheric theater" type, was one of America’s most prolific and influential theater designers, and the Paradise was among his most important commissions. With its Italian Baroque-inspired facade, typical of the romantic fantasies of the great movie palaces of the period, the Paradise delighted and served the people of the Bronx for over sixty years. Though alterations have been made, particularly to the storefronts, the Paradise exterior survives largely intact.
DESCRIPTION AND ANALYSIS
The American Movie Industry’ The first showing of a film of moving images to a paying theater audience took place in April of 1896, when Koster & Bial’s vaudeville theater in New York City included the short film "Thomas A. Edison’s Latest Marvel, The Vitascope" among its productions.* Such films soon became a regular part of vaudeville programs. By 1905 "nickelodeons" (so-called because of the five-cent admission charges) showing silent movies began to open in converted storefronts, and over the next decade the movies became a popular and inexpensive form of entertainment.
During World War I, America emerged as the dominant force in the motion picture industry, witnessing the formation of the Hollywood studios which became MGM, RKO, Warner Brothers, Universal and Twentieth Century Fox, and the production of such film extravaganzas as Cecil B. deMille’s Ten Cp/n/ngnJ/TM’nf.y, James Cruze’s Wagon (the first epic western), and in 1925, Mir, the greatest worldwide success that the industry had ever produced. A major breakthrough came in 1927 with 77^ Jazz JMtg^r, starring A1 Jolson in the first sound track movie. The slightly later introduction of Technicolor catapulted motion pictures into their golden age. Sumptuous movie palaces and countless more modest neighborhood movie theaters were built and numerous legitimate theaters were converted for viewing of the more than 500 films produced annually in America.
Flourishing throughout the Depression and war years, the reign of the motion picture industry faltered only in the early 1950s when it was undermined by the increasingly popular medium of television.
The American Movie Palace The American movie theater developed as an architectural type over the first four decades of this century. From the nickelodeons of the turn of the century, the theaters grew in size and lavishness during the 1910s, and emerged during the 1920s as movie palaces, a unique national institution. Designed to look like Parisian boudoirs, old Spanish towns, or Indian, Chinese, or Egyptian temples, the theaters oRen seated several thousand people, and offered vaudeville, organ recitals, orchestras, comedians, magicians, and a full-length feature film — all for twenty-five cents. Almost every town in the country had at least one movie theater; larger cities had large theaters downtown and smaller neighborhood houses scattered around the city. In New York, all the boroughs had major theaters as well as smaller neighborhood houses.
The movie palaces were built by a small group of people. Loew, Keith, Albee, Fox, Baiaban & Katz, all started as small-time exhibitors, and gradually emerged as entrepreneurs controlling hundreds of^-theaters each, in national circuits.^ Most movie palaces were designed by architects who specialized in the type including John Eberson, Rapp & Rapp, C. Howard Crane, Thomas Lamb, Walter Ahlschlager, B. Marcus Priteca, and G. Albert Lansburgh. Theaters called "The Rialto," "The Tivoli," "The Granada," "The Oriental," "The Paradise," and similarly suggestive names, were designed in styles reminiscent of Baroque Spain, ancient Egypt, Hindu India, the Far East, southern Italy, and occasionally Colonial New England.
The grand eclectic designs of the 1920s movie theaters and palaces gradually gave way in the 1930s to the modernistic motifs of the Art Deco and Art Modeme. Some were as large as the earlier palaces, including the grandest of them all, New York’s Radio City Music Hall of 1932, designed by the Associated Architects with Donald Deskey. During the 1930s, however, smaller theaters became the norm. The great age of movie palace building came to an end.
Loew’s Inc., founded by Marcus Loew early in the century, became the premiere movie theater chain in New York City and the Northeast, and one of the country’s largest, with theaters all across the co
square pergola with canopy
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