The Hudson River Day Line Building in Albany

The visitor arriving at Albany, the capital of the Empire State, might be forgiven for presuming the riparian French gothic mock-chateau he first views is the most important building in town.

Built as the headquarters of the Delaware & Hudson, a canal company founded in 1823 that successfully transitioned into the railways, the chateau now houses the administration of the State University of New York. (Indeed, the Chancellor once had a suitably grandiose apartment in the southern tower.) That building, with its pinnacle topped by Halve Maen weathervane, is worthy of examination in its own right.

But next to this towering edifice is an altogether smaller charming little holdout: the ticket office of the Hudson River Day Line.

In the nineteenth century the Hudson River Valley was often known as “America’s Rhineland” and travel up and down the river was not just for business but also for the aesthetic-spiritual searching that inspired the Hudson River School of painters.

The Day Line’s origins date to 1826 when its founder Abraham van Santvoord began work as an agent for the New York Steam Navigation Company. Van Santvoord’s company merged with others under his son Alfred’s guidance in 1879 to form the Day Line. (more…)

The 1957 Intervarsity Match

Flicking through the argiewe the other day I stumbled upon this little report from Johannesburg’s Sunday Express of 26 May 1957 describing the displays of disrepute at the annual Intervarsity match, when the University of Cape Town takes on Stellenbosch.

At Stellenbosch many students made the intervarsity match the occasion for a grand drinking spree. A number of them became drunk and disorderly; and here are some of the results of their liquor intake:

• A Cape Town student was hit on the head with a bottle, and was taken to hospital to have a gaping wound stitched.
• Another student was escorted from the pavi­lion by the police.
• A constable was hit by a bottle, thrown by a student.
• Flying bottles narrowly missed a number of other policemen.
• Although no damage was done, cardboard darts were thrown in the direction of the Prime Minister, to the accompaniment of insulting jeers.
• The pennant on a Cabinet Minister’s car was stolen.
• The chauffeur of the Governor-General’s car hid his pennant (which cost £7.10.0) in case it too disappeared.
• One Cape Town student was found lying drunk among the coloured spectators.

According to a police official, many drunk students armed with bottles of liquor, turned up for the match. So bad was it that he eventually told the gate­ keepers not to allow them in. A policeman was obliged to stand guard over Ministerial cars.

I’m pleased to say the Sunday Express revealed that “the worst offenders were the Cape Town students”, not the Maties. “Bottles of whisky, vodka, wine and champagne were much in evidence on [the UCT] stands.”

While the Salon bleu in Quebec’s parliament used to be green, the Salon rouge has kept its lordly colour. Conservative Quebec was the last of the Canadian provinces to abolish its unelected upper house which faced the chop in 1968, that year so beloved of duty-shirkers and ne’er-do-wells.

Thirty-three years earlier, the Salon rouge was the scene of a more regal ceremony: the official installation of the Scots writer and statesman John Buchan as Governor General of Canada. Being a Presbyterian with an in-built (but in his case only occasional) tendency to dourness, Buchan wanted to go as an ordinary commoner but the King of Canada insisted on a peerage for his viceregal representative in the dominion.

Thus it was Lord Tweedsmuir who arrived in Quebec in 1935 and was installed as Governor General in the Salon rouge on All Souls’ Day of that year. Above, the Prime Minister William Lyon Mackenzie King gives an address after the swearing-in.

Buchan proved an influential Governor General and helped set the tone of Canada’s monarchy in the aftermath of the 1931 Statue of Westminster that recognised the distinct nature of the Commonwealth realms. He also orchestrated the King’s successful 1939 trip across Canada — which also featured the King and Queen holding court in the Salon rouge of Quebec’s Parliament.

By the time of his death in post in 1940, John Buchan had become His Excellency The Right Honourable The Lord Tweedsmuir GCMG GCVO CH PC. Not a bad end to a good innings.

Leach (centre) on being made cadet captain at the Royal Australian Naval College in 1944

A delightful episode is relayed in the Daily Telegraph’s obituary of the late Vice-Admiral David Leach of the Royal Australian Navy.

Leach was the last RAN Chief of Naval Staff to have served in the Second World War but the incident in question dates from the 1950s when he was at the gunnery school in Whale Island in Portsmouth Harbour here in England:

In 1955 he was the course officer for a class of sub-lieutenants who decided to have some fun on their last morning parade, on April 1, by bringing a circus elephant on to the island. The duty officer, warned of the elephant’s approach by the bridge sentry, thought that his leg was being pulled and gave the order to let the pachyderm proceed.

Subsequently the class marched on to the parade ground with the elephant in their midst, surmounted by a mahout dressed as a sub-lieutenant. The beast, being well-trained, picked up the band’s marching step nicely, but Captain “Bunjey” Rutherford, the saluting officer in command of Whale Island, was not amused.

Leach had not been party to the April Fool’s joke, but later that morning, when he took the class results to the captain, he had placed Sub-Lieutenant L E Fant at the top. Rutherford was still not amused, demanding “Fant? Fant? Who’s this feller, Fant?” When the news reached the Admiralty, the Second Sea Lord took a personal interest and called Rutherford to announce, somewhat unkindly: “This is a trunk call.”

R.I.P.

Ralph Adams Cram’s First-World-War Plan for Redrawing Borders

Ralph Adams Cram was not just one of the most influential American architects of the first half of the twentieth century: he was a rounded intellectual who expressed his thinking in fiction, essays, and books in addition to the buildings he designed.

Cram (and arguably even more his business partner Goodhue) had a gift for bringing the medieval to life in a way that was neither archaic nor anachronistic but instead conveyed the gothic (and other styles) as living, organic traditions into which it was perfectly legitimate for moderns to dwell, dabble, and imbibe.

His literary efforts include strange works of fiction admired by Lovecraft and political writings inviting America to become a monarchy. These have value, but it’s entirely justifiable that Cram is best known for his architectural contributions.

All the same, amidst the clamours of the First World War this architect of buildings played the architect of peoples and sketched out his idea of what Europe after the war — presuming the defeat of the Central Powers — would look like.

In A Plan for the Settlement of Middle Europe: Partition Without Annexation, Cram set out his model for the territorial redivision of central and eastern Europe “to anticipate an ending consonant with righteousness, and to consider what must be done… forever to prevent this sort of thing happening again”.

Cram, who provided a map as a general guide, predicted the return of Alsace-Lorraine to France, Schleswig-Holstein to Denmark, the Trentino and Trieste to Italy, much of Transylvania to Romania, Posen to a restored Poland, and Silesia divided in three.

Fundamental to the architect’s thinking was that “neither Germany, Austria-Hungary, nor Turkey can be permitted to exist as integral or even potential empires”. Austria and Hungary would be split and Germany needed to be partitioned (not, as some later plans had it, annexed). (more…)

The patroonship of Rensselaerswyck was erected in 1630 giving its patroon, Kiliaen van Rensselaer, feudal powers over a large parcel of land on the banks of the Hudson River. Despite exercising a strong influence on the growth and development of New Netherland and the Hudson Valley, Kiliaen never actually stepped foot in the new world but kept close control of his domain from across the ocean in Amsterdam.

Jan Baptist was Kiliaen’s second surviving son, and served as director at the ‘colony’ as it was often known from 1652 to 1658. He commissioned Evert Duyckinck to make this painted-glass window displaying his coat of arms in 1656 and gave it to the Dutch Reformed Church in Beverwyck (today’s Albany).

While the congregation still exists — and celebrated its 375th anniversary in 2017 — the original church was demolished in 1805 and the window moved to the Van Rensselaer Manor House which itself survived til 1890 before facing the wrecking ball. The window was preserved and was left to the Metropolitan Museum of Art through the 1951 bequest of Mrs J. Insley Blair and while well documented it does not appear to be on display at the moment.

The patroonship itself was converted into a manorial lordship by the English authorities after they took over and survived until it was broken up amongst relatives after the death of Stephen van Rensselaer III in 1839.

This last great patroon had proved an indulgent lord and the efforts of his inheritors to claim uncollected back rents led to the 1839-1845 “Helderberg War” or “Anti-Rent War” of tenants revolting against the system. The great landholders, seeing the end was nigh, were convinced to sell up and in 1846 the state of New York adopted a new constitution abolishing feudal tenure. The era of patroonships and manors in the Hudson Valley had come to an end.

The colours of the Republic

by Karlheinz Weißmann — Junge Freiheit 18 February 2019
(slapdash unofficial totally unauthorised translation)

At the end of December 1918, Harry Graf Kessler noted confusedly in his diary that supporters of the [liberal republican] German Democratic Party (DDP) had marched through the centre of Berlin, with the “Greater German colours” black-red-gold and singing Der Wacht am Rhein.

In fact, the left-wing liberals were the only political group next to the Völkisch movement who had clung on to the black-red-gold. For both of them, it was about the ideal of an all-German state, including the Austrians. For the Liberals, it also represented the ideals of the revolution of 1848, while for the Völkisch there was the idea that black, red, and gold were the ancient Aryan colours.

During the period of downfall in 1918 it wasn’t the black-red-gold that mattered: it was the red of the socialists. Majority and Independent Social Democrats as well as the Communists all used it as a symbol. Red armbands, red cockades, and red flags marked the followers of the new republic, whose socialist underpinning was generally believed.

Black-red-gold as last option

By contrast, the old imperial colours of black-white-red almost disappeared. Significantly, the naval mutineers in Kiel had barely raised a hand to defend them. But the soldiers returning home from the front marched under black-white-red flags — which they had made themselves — and were received in the cities, even in Berlin, with black-white-red flags and decorations. The newly established Freikorps also deployed the old imperial colours, as did the cockade of the new Reichswehr whose ranks included many opposed to the republican order.

With this juxtaposition of revolutionary red and the black-white-red of tradition, black-red-gold — Schwarz-Rot-Gold — came as the last option. Some hoped that, on the one hand it would stand for moderation and against total upheaval, while on the other hand it suggested that defeat in the war did not spell the final downfall of the nation.

On 9 November 1918 an organ of the far right, the Alldeutschen Blätter, published an essay entitled “Black-Red-Gold”:

“The birth of Greater Germany is approaching! … Cheer the old black-red-golden colours! Decorate like Vienna your houses with the black-red-golden flags, bows, and bands and show all the world from Aachen and Königsberg to Bozen [Bolzano], Klagenfurt, and Laibach [Ljubljana] that we are a united people of brothers, in no distress of separation or peril.”

Symbol of treason

The 18 February 1919 decision of the State Committee of the Republic to adopt black-red-gold as provisional colours of the Reich was still supported by the expectation that a Greater German Republic would emerge. But the “Anschluss” of Austria was banned at the instigation of the victorious powers and in flagrant contradiction to the right of the self-determination of peoples. This resulted in the first serious discrediting of the black-red-gold.

The second was that black, red, and gold had been reputed to be a symbol of treason since the beginning of the war. A group of deserters and pacifists calling themselves the “Friends of the German Republic” — financed with French money and operating from Switzerland — used the colours for their cause as early as 1915, and as early as the spring of 1918 Entente aircraft distributed calls for desertion and revolution along the western front, marked with a black-red-gold stripe or border.

Almost certainly the majority of the population was relieved when, on instructions from the national government, the workers’ and soldiers’ councils adopted the black-red-gold [replacing the red of revolution] but passive acceptance was not enough to give the colour combination permanent support. This was particularly evident in the peculiar “flag compromise” presented by the government with the support of Majority Social Democrats, the Center Party, and part of the DDP during the deliberations of the National Assembly.

According to this compromise, the black-red-gold was introduced as the national flag, while the merchant ensign was the old black, white, and red — albeit with a small black-red-gold flag infelicitously shoved in the canton. Interior Minister Eduard David’s rationale for the choice — that the old colours had been “party” rather than “national” colours — simply did not correspond to fact.

Symbol of Greater Germany

Closer to the truth was the justification that black, red, and gold were the symbols of a Greater Germany. Interior Minister David said:

“What dynastic Germany could not do, democracy must succeed in doing: achieving moral conquests beyond the frontier and, above all, among those who by blood and language belong to us. To win the Greater German unity must now be our goal, not through war and violence, but through the recruiting power of the new republican Germany, and let us fly forward in front of the black-and-red-gold banner!”

In any case, Article 3 of the Weimar Constitution, which entered into force on 11 August 1919, was far from providing a sound answer to the flag question of the young state. As constiutional scholar Ernst-Rudolf Huber wrote:

“This Weimar flag compromise became the cause of endless strife. If the constitutional function of state colours exists in their symbolic power to integrate the state’s unity, the state-sanctioned dualism of contrasting colours manifested in the Weimar flag compromise is a permanent element of disintegration. The flag compromise, with its juxtaposition of the old and new colours, did not diminish the problem of the colour change but rather aggravate it.”

Die fees van Sint Valentyn in die Kaap

(more…)

As a black Jewish Catholic, Claudia McNeil was pretty much everything the Ku Klux Klan hated. She was born to a black father and a part-Apache mother in Baltimore, Maryland but in her teenage years was adopted by a Jewish family in New York who instructed her in Judaism and taught her fluent Yiddish.

She married aged 19 but lost her husband in the Second World War and both her sons in the Korean War.

After training as a librarian, McNeil drifted into vaudeville theatre and nightclubs, eventually making her Broadway debut in 1953 as Tituba in The Crucible.

“The Jewish faith left an indelible stamp on her spirit,” Ebony magazine reported in 1960, “but she became a convert to Catholicism in 1952.” McNeil often reported that she stopped to pray before every evening’s performance.

Her most famous role was as the matriarch in A Raisin in the Sun in 1959, reprised in the 1961 film in both of which Sidney Poitier also starred.

Deeply appreciative of the gifts God gave her, McNeil was known never to turn down a chance to appear at charity benefit performances, especially for the NAACP and the American Jewish Congress.

Despite the losses she suffered in her life Claudia McNeil insisted “I have everything I’ve ever wanted from life.”

“I have more work than I can do. I have a nice, cheerful, comfortable home. I am solvent. Above all, I have strength, health, and peace of mind. I know where I’m going. I am an American citizen. I love my country. I pay my taxes and vote, and I intend to have a say in how my country is run.”

McNeil retired in 1983 and died ten years later.

Areas shaded in orange are the counties of New York with Dutch-influenced flags

Natives and outsiders alike are often surprised when it’s pointed out just quite how much New York continues to be influenced by its Dutch foundation to this day, even though Dutch rule ended in the seventeenth century.

Previously I explored a number of local or regional flags in the state of New York that show signs of Dutch influence: those of the cities of New York and Albany, the Boroughs of Manhattan, Brooklyn, the Bronx, and Queens, and the counties of Westchester, Nassau, and Orange.

I’ve since found a few more counties to add to our survey of Dutch flags in the Empire State.

Dutchess County

One of the original counties of New York established in 1683, Dutchess retains the archaic spelling of Mary of Modena’s title while she was Duchess of York. Appropriately for a county that was until very recently largely agricultural, the county seal depicts a sheaf and plough, and sits on the county’s flag with its horizontal tricolour of orange, white, and blue.

Ulster County

Across the Hudson from Dutchess County is Ulster, another of New York’s first counties. Its handsome seal features an early farmer wielding a sickle in front of a sheaf and a farmhouse, with the year of the county’s erection proudly included. The Dutch had begun to trade here as early as 1614, and the village of Wiltwijck was given municipal status by Peter Stuyvesant in 1663. Wiltwijck became Kingston in 1669 and remains a very handsome town today.

Schenectady County

The county of Schenectady is of later origin, 1809, and became industrialised in the latter half of the nineteenth century — the General Electric Company was founded here in 1892. Like Ulster and Dutchess, the county flag is just the seal displayed on an orange-white-blue tricolour.

The seal is a relatively boring depicting of crossed swords combined with the scales of justice, but on the flag it is depicted with a locomotive, canal boat, broomhead, and lightning bolt and atom.

by Andrew Cusack (Weekly Standard, 13 September 2010)

This book is the first major overview and exploration of the art of the clandestine Roman Catholic churches in the Netherlands. It is not a study of paintings so much as a history in which art is like the evidence in a detective story, or perhaps even the characters in a play. It might seem extraordinary that there was a place for large-scale Catholic art during the Dutch Republic: Pre-Reformation churches had been confiscated and were being used for Calvinist services, while priests offered the Mass secretly in makeshift accommodations. Eventually a bargain between Dutch Catholics and the civil authorities emerged, trading Catholic nonprovocation in exchange for private toleration of the practice of the faith. Catholics began to purchase properties which, for all outward appearances, maintained the look of ordinary residences but whose interiors were transformed into resplendent chapels and churches.

Xander van Eck provides verbal portraits (often accompanied by contemporaneous painted ones) of several of the important clerics of the Dutch church during this period: Sasbout Vosmeer, the Delft priest influenced by St. Charles Borromeo; Philippus Rovenus, the vicar-apostolic who placed greater emphasis on clandestine parishes having specially dedicated churches, even while they kept an outward unecclesiastical appearance; and Leonardus Marius, the priest who promoted devotion to the 14th-century Eucharistic “Miracle of Amsterdam.” Marius was of such prominence that, after his death, shopkeepers rented out places on their awnings for punters to view his funeral procession. Van Eck includes a handful of amusing asides, such as the expulsion of the Jesuits from the Netherlands as a result of their constant discord with the secular clergy. Mass continued to be offered at the Jesuit church of De Krijtberg in Amsterdam “in the profoundest secrecy” — thus creating a clandestine church within a clandestine church!

The role of the clergy in sustaining the Dutch Church is unsurprising, but it is instructive to learn how instrumental laity were to keeping alive the light of Catholic faith in the Netherlands at the time. Clandestine churches relied on the generosity of Catholic families. Prominent families often provided their own kin as consecrated virgins who brought large dowries into the church, or as priests with suitable inheritances to maintain or endow clandestine parishes. The clandestine church of ’t Hart in Amsterdam, built by the merchant Jan Hartman for his son studying for the priesthood, is still open today as the Amstelkring Museum and Chapel of “Our Lord in the Attic.”

While van Eck explores the extent to which Dutch art from the period followed European norms, an emphasis on the particularity of the art of the clandestine church is to be expected. The sheer volume of art produced during this period — for just three Amsterdam churches alone there were 16 altarpieces — is partly explained by the phenomenon of “rotating altarpieces.” The paintings above the altar would be changed according to the feast or season — a practice sometimes seen in Flanders or parts of Germany but never nearly so widespread as in the Netherlands proper.

Constrained as clandestine churches were on the narrow plots typical of Dutch cities, there was no room for side chapels that might include the large funerary monuments prominent families would construct. This left altarpieces as the most convenient way for munificent Catholics to provide art for their churches: Rotating the altarpieces provided a handy way of displaying numerous commissions rather than just the donation of whoever had been generous most recently, and the themes of these commissions tended to vary in appropriateness to different feasts and seasons.

Some found fault with this method: Jean-Baptiste Descamps, visiting Antwerp in 1769, complained that the most interesting altarpieces were not permanently displayed and were more likely to be damaged in the process of being moved so often.

While the accomplishment and ingenuity of Dutch Catholics in keeping their faith during the Republic was striking, the ill-defined administrative structure of the persecuted church allowed conflicts between clerics to thrive, and doctrinal disputes emerged and festered. The disputes over Jansenism that swept over France and the Netherlands, for example, only exacerbated the administrative problems of the clandestine church. Like their Calvinist compatriots, the Jansenists tended to frown on indulgences, the veneration of saints, recital of the rosary, and private acts of worship, putting greater emphasis on the Scriptures and a more rigorous asceticism. As van Eck points out, this difference in emphasis was not exclusive to the Jansenists, but their novelty (and their heresy) was in preaching the exclusivity of their approach above all others.

Numerous vicars-apostolic had written to Rome arguing for the re-establishment of the episcopacy in the Netherlands to solve the disputes over authority, but their appeals fell on deaf ears. In 1723 a large portion of the Jansenist clergy reinstituted the episcopacy by electing an archbishop of Utrecht from their number — and were subsequently excommunicated, splitting the clandestine church and its clergy in two. (This excommunicated rump united with the opponents of papal infallibility in the following century to form a body that still calls itself the Old Catholic Church.)

When one looks at all this glorious art, not to mention the lives and pious ingenuity of the persecuted, it’s difficult not to feel a little poorer, considering the fruits of our churches in an ostensibly free era. Why does the church today commission painters who are either mediocre or trendy — or both? Artists like Hans Laagland and Leonard Porter show that good art — good liturgical art, even — is possible today, but commissions from the church for traditional artists are sadly few.

Image: Daniel Bizka

Few statues in Ireland are as dramatic as that of Edward Carson at Stormont. The unionist leader is depicted in amidst an oratorical flourish, doubtless in one of his speeches to mass meetings condemning home rule.

In the 1910s as the rebirth of an Irish parliament looked more likely, Carson took up the cause of fighting home rule on behalf of Ireland’s large Protestant minority who feared Catholic domination. When the anti-home rulers realised the cause was losing, they retreated from Irish unionism to Ulster unionism. If home rule was to be granted, Ulster must be exempted. In the end this meant home rule was granted to a parliament covering two-thirds of the Irish province of Ulster — six counties that would henceforth be known as Northern Ireland.

“His larger than life-size statue,” one historian wrote, “erected in his own lifetime in front of the Northern Ireland parliament at Stormont, symbolizes the widely held perception that Northern Ireland is Carson’s creation.”

This is of course the great irony, given that Edward Carson was a Dublin boy through and through. While instrumental in ensuring northeastern Ireland’s exemption from an Irish parliament, Carson actually had little to do with the entity thereby created. When offered the premiership of Northern Ireland he declined it on the grounds of having no real connection with the place.

Craig, not Carson, is the true father of Northern Ireland; he imbued the new statelet with a sense of bigotry and tribal hatred that Carson lacked. The Dubliner urged Ulster’s new leaders to treat the province’s Catholics well.

“We used to say that we could not trust an Irish parliament in Dublin to do justice to the Protestant minority,” Carson said. “Let us take care that that reproach can no longer be made against your parliament, and from the outset let them see that the Catholic minority have nothing to fear from a Protestant majority.”

Alas, it became apparent to Carson that discrimination and inequality were becoming in-built within Northern Ireland’s government, from the Parliament at Stormont down to the lowest forms of local government. He confided to a Catholic friend in London that rather than being an integral part of the United Kingdom, Northern Ireland was turning into “a second-class dominion”.

After partition Carson was created a British judge and accordingly ennobled. (Disappointingly the plaque on his Dublin birthplace next to Conradh na Gaeilge refers to him by the incorrect style of ‘Lord Edward Carson’.) He settled at Clever Court near Minster-in-Thanet, Kent, and never lived in his native Ireland again.

Nonetheless he was held in awe and reverence by the Protestant Unionists of Ulster, who commissioned the striking statue by Leonard Stanford Merrifield that stands in front of Parliament Buildings, Stormont — now home to the Northern Ireland Assembly. It was unveiled by Craig, by then ennobled as Lord Craigavon, while Carson was alive and present in July 1932, joined by a crowd of 40,000 well-wishers.

Carson died in 1935 and was given the rare honour of a state funeral. HMS Broke brought his Union-Jack-draped coffin back to Ireland — albeit to Belfast — and he was interred in the Anglican Cathedral of St Anne. Northern Ireland claimed him even in his final burial: soil from each of its six counties was scattered on his coffin when laid to rest in the tomb.

Still his statue stands at Stormont, gesturing stridently as if to challenge an entire province — a province he by his own description had little to do with. Calls for it to be removed emanate occasionally from typically boring quarters and have so far been rebuffed — wisely. Carson, unlike many of those who cherished his memory, was an honourable man, and it is a pity it took so long for the Protestants of Ulster to heed the advice of their confrère from Dublin.

As by now you are all well aware, today is the feast of Saint Nicholas, the patron-saint of New York. His patronship (patroonship?) over the Big Apple and the Empire State date to our Dutch forefathers of old – real founding fathers like Minuit, van Rensselaer, and Stuyvesant, not those troublesome Bostonians and Virginians who started all that revolution business.

Despite being Protestants of the most wicked and foul variety, the New Amsterdammers and Hudson Valley Dutch maintained their pious devotion to the Wonder-working Bishop of Myra and kept his feast with great solemnity.

After New Netherland came into the hands of the British (and was re-named after our last Catholic king) the holiday continued to be celebrated by the Dutch part of the population, and was greatly popularised in the early nineteenth century by the publication of a curious volume entitled A History of New York from the Beginning of the World to the End of the Dutch Dynasty which purported to be by one Diedrich Knickerbocker.

In fact it was by Washington Irving, the first American writer to make a living off his pen, who did much to popularise St Nicholas Day in New York as well as to revive the celebration of Christmas across the young United States.

While, aside from hearing Mass and curling up with a clay pipe and a volume of Irving (being obsessive, I have two complete sets) here are a few links that shed some light on New York’s heavenly protector.

Previously: Saint Nicholas (Index)

Before the age of the skyscrapers, New York’s church spires dominated the horizon and dwarfed their neighbours just like in the medieval towns and cities of the old world — as this photo from the 1900s shows.

Here St Patrick’s Cathedral holds court, with the St. Nicholas Collegiate Reformed Protestant Dutch Church poking up a few blocks down Fifth Avenue.

Slightly north on that same boulevard sits the grand renaissance palazzo of the University Club, with the spire of the Fifth Avenue Presbyterian Church poking up behind it.

This intriguing little island in New York Harbour has always held something of a fascination for me — viz. articles previous on the subject. Aside from its interesting history there is the matter of the complete lack of foresight in ending its military use as well as the failure to imagine a future use suitable to its history and, if the word is not hyperbole, majesty.

Gothamist recently featured a new peek inside some of the abandoned buildings on Governors Island, a mere selection of which are reproduced here. (more…)

(more…)

The recent election (such as it was) in Zimbabwe brought to mind the Nando’s television advert of Robert Mugabe and his old mates.

Gaddafi, Mao, Saddam, and Idi Amin all make an appearance, and even (somewhat incongruously) die ou krokodil, P.W. Botha.

A reminder that Russell Kirk once described the piano nobile of the Old State House in Hartford, Connecticut, as:

“perhaps the most finely proportioned rooms in all America”

Given the elegant restraint and classical detail of the old Senate chamber, it’s hard to disagree.

Pursuant to my post of John Bartlestone’s photographs of City Hall, I came across this photo the other day and it reminded me that this is still one of my favourite rooms in all New York. There’s something about that particular shade of green. I previously wrote about this suite of three rooms in 2006.

The above photo is by Ramin Talaie while below, in 2010, Mayor Bloomberg inspects a city flag being sent to a New Yorker serving in Afghanistan as reported by the Daily News.

The late & much-missed New York Sun also reported on the portraits hanging in City Hall in 2008.

Instagram: @andcusack

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