_id
stringlengths 77
96
| datasets_id
int32 0
1.38M
| wiki_id
stringlengths 2
9
| start_paragraph
int32 2
1.17k
| start_character
int32 0
70.3k
| end_paragraph
int32 4
1.18k
| end_character
int32 1
70.3k
| article_title
stringlengths 1
250
| section_title
stringlengths 0
1.12k
| passage_text
stringlengths 1
14k
|
|---|---|---|---|---|---|---|---|---|---|
{"datasets_id": 1947, "wiki_id": "Q333833", "sp": 46, "sc": 375, "ep": 46, "ec": 901} | 1,947 | Q333833 | 46 | 375 | 46 | 901 | Franco Frattini | Positions | EU. In the interview granted and published 2 November 2007 Frattini stressed that to respond to the security problem «... what is to be done is simple: you go to a nomad camp in Rome, for example on the Christopher Columbus, and to those who are there you ask" what's your life? ". If all year "I do not know", you take it and send it back to Romania. This is how the European directive works: simple and without escape. » The motion of censure, presented by the European left, was voted to a large extent: 306 yes, 86 no and |
{"datasets_id": 1947, "wiki_id": "Q333833", "sp": 46, "sc": 901, "ep": 46, "ec": 1619} | 1,947 | Q333833 | 46 | 901 | 46 | 1,619 | Franco Frattini | Positions | 37 abstentions.
In March 2009 Frattini condemned the Durban 2009 UN Conference against Racism, calling the final document as unacceptable, since it included anti-Israeli positions that emerged in the 2001 conference, which qualified Zionism as a form of racism.
Frattini later made declarations against multiculturalism,
but in favour of the administrative vote for regular migrants,
and pleaded for a common European policy on migration.
In November 2009 he called "suggestive" Roberto Castelli's proposal for a constitutional amendment to include a cross in the Italian flag: "For now we wish to defend the right to keep the crucifix in our [school] classes, later we'll see |
{"datasets_id": 1947, "wiki_id": "Q333833", "sp": 46, "sc": 1619, "ep": 46, "ec": 2275} | 1,947 | Q333833 | 46 | 1,619 | 46 | 2,275 | Franco Frattini | Positions | if we can do more ". "There are nine European countries that have the cross in their flag, it's an absolutely normal proposal".
On 22 October 2010 he declared to the Osservatore Romano that Judaism, Christianity and Islam should ally to fight atheism, which he defined, in the same interview, as a "perverse phenomenon" on a par with extremism . These statements raised criticisms of numerous commentators and members of UAAR, who requested his resignation. Frattini reiterated in 2017 that relativism is the third threat to Europe after religious extremism and militant secularism.
In November 2010 he defined the revelations of WikiLeaks |
{"datasets_id": 1947, "wiki_id": "Q333833", "sp": 46, "sc": 2275, "ep": 50, "ec": 68} | 1,947 | Q333833 | 46 | 2,275 | 50 | 68 | Franco Frattini | Positions & Honors | as "the 9/11 of world diplomacy" and said that Julian Assange "wants to destroy the world". Honors Frattini received Medaglia Teresiana at University of Pavia in 2008. |
{"datasets_id": 1948, "wiki_id": "Q5484563", "sp": 2, "sc": 0, "ep": 4, "ec": 197} | 1,948 | Q5484563 | 2 | 0 | 4 | 197 | Franco Lizzio | Franco Lizzio Franco Lizzio (born July 21, 1963) is an Italian sprint canoer who competed in the early 1990s. At the 1992 Summer Olympics in Barcelona, he was eliminated in the semifinals of the C-1 500 m event. |
|
{"datasets_id": 1949, "wiki_id": "Q5485137", "sp": 2, "sc": 0, "ep": 10, "ec": 242} | 1,949 | Q5485137 | 2 | 0 | 10 | 242 | Frank B. Wynn | Education & Professional life | Frank B. Wynn Education Wynn graduated from DePauw University in 1883. Two years later he graduated in medicine from the Miami Medical College of Ohio, following which he served one year as intern in the Good Samaritan Hospital in Cincinnati, a position he obtained after a competitive examination. In 1886, he was granted the degree of Master of Arts, also from DePauw University. Professional life After spending a few years studying and mountain climbing in Europe, Wynn returned to Indianapolis to set up his professional practice, giving emphasis to internal medicine, diagnosis, and pathology. Walters (2009) further stated that, "Since |
{"datasets_id": 1949, "wiki_id": "Q5485137", "sp": 10, "sc": 242, "ep": 10, "ec": 819} | 1,949 | Q5485137 | 10 | 242 | 10 | 819 | Frank B. Wynn | Professional life | that time his activities were so varied and of such value that no history of Indiana, covering the period from 1900 to the date of his death, can be fully and truthfully written without frequent mention of them." Wynn was selected as the first city sanitarian of Indianapolis and became identified with the Department of Pathology of the Medical College of Indiana. From 1895 until his death, for 27 years, he held the Chair of Medical Diagnosis in the Indiana School of Medicine. Wynn served as assistant physician in the Ohio Asylum for the Insane, at Dayton, Ohio from 1886 |
{"datasets_id": 1949, "wiki_id": "Q5485137", "sp": 10, "sc": 819, "ep": 10, "ec": 1468} | 1,949 | Q5485137 | 10 | 819 | 10 | 1,468 | Frank B. Wynn | Professional life | to 1888. At
the Ohio Asylum, Wynn came under the tutelage of Dr. Josiah Rogers and Dr. Sam Smith, distinguished neuropsychiatrists who would later head the American Psychiatric Association. Smith also later became the first chancellor of the Indiana University School of Medicine.
Wynn began his association with Dr. Henry H. Goddard while at the Ohio Asylum. Goddard was a specialist in mental conditions and is credited with coining the term "moron" to describe a level of feeble-mindedness, or an IQ score between 50 and 69. Dr. Goddard became world-famous for his introduction of IQ testing in America, and he had correspondence |
{"datasets_id": 1949, "wiki_id": "Q5485137", "sp": 10, "sc": 1468, "ep": 14, "ec": 381} | 1,949 | Q5485137 | 10 | 1,468 | 14 | 381 | Frank B. Wynn | Professional life & Conservationist | with Dr. Albert Einstein. A copy of one of the Einstein letters to Goddard is in the Archives of the History of American Psychology at the University of Akron, Ohio. Conservationist Wynn was a lover of nature, a member of the Indiana Audubon Society, and president of the Indiana Nature Study Club. He was also a member of the Committee to Collect Data on the Archeology of Indiana. Wynn fought for the environmental conservation long before it was a popular notion. He spent many of his summers hiking and climbing. He led parties on many of the first ascents of |
{"datasets_id": 1949, "wiki_id": "Q5485137", "sp": 14, "sc": 381, "ep": 18, "ec": 24} | 1,949 | Q5485137 | 14 | 381 | 18 | 24 | Frank B. Wynn | Conservationist & Mountain climbing history | several major peaks in Glacier National Park. In 1920 he was the first to climb Mount Cleveland, the highest peak in the park. President Woodrow Wilson ordered that Point Mountain be renamed Mount Wynn in recognition of Wynn's contribution to the state park system in the United States. Wynn conceived and proposed the idea of creating a state park in Indiana on site of the log cabin farm where Abraham Lincoln spent most of his boyhood years. The state park was made a national park by President John F. Kennedy in 1962. Mountain climbing history In his Climbers Guide to |
{"datasets_id": 1949, "wiki_id": "Q5485137", "sp": 18, "sc": 24, "ep": 18, "ec": 634} | 1,949 | Q5485137 | 18 | 24 | 18 | 634 | Frank B. Wynn | Mountain climbing history | Glacier National Park, J. Gordon Edwards (1995) records that Wynn led parties from the Nature Study Club of Indiana on ascents of several of the major peaks in the Park, such as Mt. Edward, Going-to-the-Sun Mountain, Mt. Gould, Chief Mountain, and Mt. Reynolds leaving thin metal boxes containing registers. Dr. David Walters (2009) found one of these boxes several hundred feet below the summit of Mount Cleveland, indicating the Wynn and his party made the first recorded summit of the highest mountain in Glacier National Park on August 12, 1920. Some time after Wynn's death on Mount Siyeh, Point Mountain |
{"datasets_id": 1949, "wiki_id": "Q5485137", "sp": 18, "sc": 634, "ep": 22, "ec": 61} | 1,949 | Q5485137 | 18 | 634 | 22 | 61 | Frank B. Wynn | Mountain climbing history & Death | was renamed Mount Wynn in his honor. Death Wynn died while climbing Mount Siyeh in Glacier Park in 1922. |
{"datasets_id": 1950, "wiki_id": "Q20090397", "sp": 2, "sc": 0, "ep": 6, "ec": 529} | 1,950 | Q20090397 | 2 | 0 | 6 | 529 | Frank Carter (American football) | Professional career | Frank Carter (American football) Professional career Carter played for the Duluth-Superior Lumberjacks of the Indoor Football League in 1999. He played for the Quad City Steamwheelers of the af2 from 2000 to 2001. He signed with the AFL's New Jersey Gladiators on November 16, 2001. Carter played for the team from 2002 to 2005, earning First Team All-Arena in 2005. He was signed by the Nashville Kats of the AFL on October 4, 2005. He played for the team during the 2006 season, earning All-Ironman Team recognition. Carter was traded to the Utah Blaze on October 11, 2006 for the |
{"datasets_id": 1950, "wiki_id": "Q20090397", "sp": 6, "sc": 529, "ep": 6, "ec": 732} | 1,950 | Q20090397 | 6 | 529 | 6 | 732 | Frank Carter (American football) | Professional career | rights to Tim McGill and Thal Woods, and played for the Blaze during the 2007 season. He signed with the San Jose SaberCats of the AFL on October 30, 2007 and played for the team during the 2008 season. |
{"datasets_id": 1951, "wiki_id": "Q1443200", "sp": 2, "sc": 0, "ep": 6, "ec": 569} | 1,951 | Q1443200 | 2 | 0 | 6 | 569 | Frank Ellsworth Doremus | Early life | Frank Ellsworth Doremus Early life Doremus was born in Venango County, Pennsylvania on August 31, 1865, the son of Sylvester and Sarah Peake Doremus. The Doremus family moved to Ovid, Michigan in 1866, and then to Portland, Michigan in 1872. Frank Doremus attended the public schools of Portland, Michigan and graduated from Detroit College of Law.
In 1882, Doremus began work at the Portland Observer, then moved on to take charge of the Pewamo Plain Dealer and established the Portland Review in 1885, editing it until 1899.
Doremus married Libby Hatley in 1890. The couple had one |
{"datasets_id": 1951, "wiki_id": "Q1443200", "sp": 6, "sc": 569, "ep": 10, "ec": 592} | 1,951 | Q1443200 | 6 | 569 | 10 | 592 | Frank Ellsworth Doremus | Early life & Politics | child, Robert. Politics Doremus was postmaster of Portland from 1895 to 1899. He was elected township clerk in 1888 and re-elected in 1889. In 1890, Doremus was elected to the Michigan House of Representatives from Ionia County's 1st District serving from 1890 to 1892.
He was admitted to the bar and commenced practice in Detroit in 1899. He was assistant corporation counsel of Detroit from 1903 to 1907 and city comptroller 1907-1910.
In 1910, Doremus defeated incumbent Republican Edwin C. Denby to be elected as a Democrat from Michigan's 1st congressional district to the Sixty-second and |
{"datasets_id": 1951, "wiki_id": "Q1443200", "sp": 10, "sc": 592, "ep": 10, "ec": 1196} | 1,951 | Q1443200 | 10 | 592 | 10 | 1,196 | Frank Ellsworth Doremus | Politics | to the four succeeding Congresses, serving from March 4, 1911 to March 3, 1921, and was elected chair of the Democratic Congressional Campaign Committee in 1913. He was a delegate to Democratic National Convention from Michigan in 1916 and 1920. He served as mayor of Detroit in 1923, defeating former Detroit Police Commissioner Dr. James W. Inches in the general election, until he resigned the following year due to ill-health.
He resumed the practice of law in Fowlerville, Michigan. Frank Ellsworth Doremus died in Howell, Michigan and was interred in Roseland Park, Berkley, Michigan. |
{"datasets_id": 1952, "wiki_id": "Q5488823", "sp": 2, "sc": 0, "ep": 10, "ec": 195} | 1,952 | Q5488823 | 2 | 0 | 10 | 195 | Frank Osmond | Background & International honours | Frank Osmond Background Frank Osmond was born in Newport, Monmouthshire, Wales. International honours Frank Osmond represented Great Britain (RL) while at Swinton in non-Test matches on the 1950 Great Britain Lions tour of Australasia, and won 14 caps for Wales (RL) in 1948–1951 while at Swinton. |
{"datasets_id": 1953, "wiki_id": "Q5487950", "sp": 2, "sc": 0, "ep": 6, "ec": 564} | 1,953 | Q5487950 | 2 | 0 | 6 | 564 | Frank Rogers (politician) | Early life and career | Frank Rogers (politician) Early life and career Rogers was born 27 December 1933. He was raised in St Joseph's Orphanage in Takapuna. He lied about his age to leave school early and gained employment as an apprentice carpenter. He earned a small wage which went almost entirely on rent, not even leaving enough for tram tickets to and from work.
In 1965 he set up his own construction firm which employed 60 people at its peak, but the firm closed in 1979 after construction demand fell following the 1973–75 recession. He became an executive member of the Master Builders Association.
Rogers was |
{"datasets_id": 1953, "wiki_id": "Q5487950", "sp": 6, "sc": 564, "ep": 10, "ec": 300} | 1,953 | Q5487950 | 6 | 564 | 10 | 300 | Frank Rogers (politician) | Early life and career & Death | an active sports enthusiast. He played third-grade rugby and played representative rugby league for Richmond. He also enjoyed running, tramping, deerstalking and skydiving. He was also the President of the Auckland Lions Club and President of the Auckland Caledonian Dancing Society. Death Rogers died on 25 April 1980 in Whangarei hospital several days after having a stroke after stopping to help two people who survived a car crash in Northland. He was survived by his wife, son and daughter.
Following his death Fred Gerbic was elected to replace him in the ensuing by-election. |
{"datasets_id": 1954, "wiki_id": "Q5490445", "sp": 2, "sc": 0, "ep": 10, "ec": 293} | 1,954 | Q5490445 | 2 | 0 | 10 | 293 | Frank Wittenoom | Early life & Career | Frank Wittenoom Early life Frank Wittenoom was born in York, Western Australia in 1855. He was the grandson of John Burdett Wittenoom, one of the first chaplains in the Swan River Colony. His brother was Sir Edward Charles (Horne) Wittenoom, a member of the Western Australian Legislative Council for 34 years. Career He took up farming in Western Australia. Additionally, he was the first European to explore much of the Murchison, Gascoyne and Pilbara areas of the north-west of Western Australia.
He built a Queen Anne style house in Perth, called "The Terraces", in the late 1890s and extended it in |
{"datasets_id": 1954, "wiki_id": "Q5490445", "sp": 10, "sc": 293, "ep": 14, "ec": 193} | 1,954 | Q5490445 | 10 | 293 | 14 | 193 | Frank Wittenoom | Career & Death and legacy | 1900. In 1987, the house was classified by the National Trust of Australia and has been added to the State Register of Heritage Places. Death and legacy Wittenoom never married. He died in Perth, Western Australia, aged 83. The town of Wittenoom, Western Australia was named after him by Lang Hancock, with whom he shared a nearby pastoral lease. |
{"datasets_id": 1955, "wiki_id": "Q15504460", "sp": 2, "sc": 0, "ep": 6, "ec": 566} | 1,955 | Q15504460 | 2 | 0 | 6 | 566 | Frankie Crocker | Early soul radio | Frankie Crocker Early soul radio According to popeducation.org, Francis "Frankie" Edward Crocker began his career in Buffalo at the AM Soul powerhouse WUFO (also the home to future greats Gerry Bledsoe, Eddie O'Jay, Herb Hamlett, Gary Byrd and Chucky T) before moving to Manhattan, where he first worked for Soul station WWRL and later top-40 WMCA in 1969. He then worked for WBLS-FM as program director, taking that station to the top of the ratings during the late 1970s and pioneering the radio format now known as urban contemporary. He sometimes called himself the "Chief Rocker", and he was as |
{"datasets_id": 1955, "wiki_id": "Q15504460", "sp": 6, "sc": 566, "ep": 10, "ec": 466} | 1,955 | Q15504460 | 6 | 566 | 10 | 466 | Frankie Crocker | Early soul radio & "Moody's Mood for Love" | well known for his boastful on-air patter as for his off-air flamboyance. "Moody's Mood for Love" When Studio 54 was at the height of its popularity, Crocker rode in through the front entrance on a white stallion. In the studio, before he left for the day, Crocker would light a candle and invite female listeners to enjoy a candlelight bath with him. He signed off the air each night to the tune "Moody's Mood For Love" by vocalese crooner King Pleasure. Crocker, a native of Buffalo, coined the phrase "urban contemporary" in the 1970s, a label for the eclectic |
{"datasets_id": 1955, "wiki_id": "Q15504460", "sp": 10, "sc": 466, "ep": 10, "ec": 1064} | 1,955 | Q15504460 | 10 | 466 | 10 | 1,064 | Frankie Crocker | "Moody's Mood for Love" | mix of songs that he played.
He'd been the program director at WWRL-AM and felt held back by what he considered to be the narrow perspective of the station.
He quit and was twice re-hired by the station management; He knew how to attract attention, the chairman of Inner City Broadcasting, Hal Jackson was the owner of WBLS and once said, We called him Hollywood.
By 1979 he was shuttling between the west and east coast, with programming duties at KUTE in L.A. which featured R&B before a format change instituted there and on the east coast at WBLS which he called "Disco |
{"datasets_id": 1955, "wiki_id": "Q15504460", "sp": 10, "sc": 1064, "ep": 10, "ec": 1680} | 1,955 | Q15504460 | 10 | 1,064 | 10 | 1,680 | Frankie Crocker | "Moody's Mood for Love" | and More", relying on his expertise at 'finding the music'. Speaking to Radio Report magazine, an industry periodical, Crocker said,There is nothing I won't play if I hear it and like it and feel it will go for my market.
WBLS-FM broke Blondie, Madonna, Shannon, D Train, all Arthur Baker records, The System, Colonel Abrams, Alicia Myers and supermodel Grace Jones. He made, "Love is the Message" by MFSB NYC's unofficial anthem on the radio. WBLS airplay made "Ain't No Stoppin Us Now" by McFadden and Whitehead a favorite cookout, church, wedding and graduation song. "The Magnificent Seven" by the Clash |
{"datasets_id": 1955, "wiki_id": "Q15504460", "sp": 10, "sc": 1680, "ep": 14, "ec": 309} | 1,955 | Q15504460 | 10 | 1,680 | 14 | 309 | Frankie Crocker | "Moody's Mood for Love" & TV and film career | became a hot song in the Black Community. He gave America exposure to an obscure genre called "Reggae" and a little known Jamaican rocker named Bob Marley. Fatback Band frontman Bill Curtis credited Crocker with breaking the group in New York. TV and film career Crocker was the master of ceremonies of shows at the Apollo Theater in Harlem and was one of the first VJs on VH-1, the cable music video channel, in addition to hosting the TV series Solid Gold and NBC's Friday Night Videos. As an actor, Crocker appeared in five films, including Cleopatra Jones (1973), Five |
{"datasets_id": 1955, "wiki_id": "Q15504460", "sp": 14, "sc": 309, "ep": 18, "ec": 83} | 1,955 | Q15504460 | 14 | 309 | 18 | 83 | Frankie Crocker | TV and film career & Controversies | on the Black Hand Side (1973), and Darktown Strutters (Get Down and Boogie) (1975).
He is credited with introducing as many as 30 new artists to the mainstream, including Manu Dibango's "Soul Makossa" to American audiences. While both Gary Byrd and Herb Hamlett were influenced by Crocker, it is only Hamlett who always attributes his success to his mentor in Buffalo, Frankie Crocker.
Frankie Crocker was inducted into the Buffalo Broadcasting Hall of Fame in 2000, and the New York State Broadcasters Association Hall of Fame in 2005. Controversies Crocker was indicted in a 1976 payola investigation which was later overturned. The |
{"datasets_id": 1955, "wiki_id": "Q15504460", "sp": 18, "sc": 83, "ep": 22, "ec": 42} | 1,955 | Q15504460 | 18 | 83 | 22 | 42 | Frankie Crocker | Controversies & Death | station dropped him, and he moved to L.A., returning to school. He was charged in 1983 with hitting Penthouse Pet Carmela Pope; the charges were later dropped. He also was mentioned as a paramour of, and suspect in the murder of, young Hollywood starlet Christa Helm. After the payola charges were overturned he returned to New York radio in 1979 as DJ and Program Director on WBLS-FM at the end of the disco era. His career in radio ended by 1985, moving to MTV as a VJ on cable channel VH-1. Death In October 2000, Crocker went into a Miami |
{"datasets_id": 1955, "wiki_id": "Q15504460", "sp": 22, "sc": 42, "ep": 22, "ec": 480} | 1,955 | Q15504460 | 22 | 42 | 22 | 480 | Frankie Crocker | Death | area hospital for several weeks. He was diagnosed with pancreatic cancer, and kept the illness a secret from his friends and even from his mother. He died on October 21, 2000. His friend and former boss Bob Law, a onetime program director of WWRL, said of Crocker, "He encompassed all of the urban sophistication. He appreciated the culture, the whole urban experience, and he wove it together. That's missing now, even in black radio". |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 2, "sc": 0, "ep": 6, "ec": 592} | 1,956 | Q5491738 | 2 | 0 | 6 | 592 | Franklin Park Zoo | History | Franklin Park Zoo History Frederick Law Olmsted, the original landscape designer of Franklin Park, created plans for a future zoological garden. This plan, however, was to be a naturalistic area for native animals, rather than a traditional zoo. The Franklin Park Zoo officially opened to the public on October 4, 1912 (although most sources say 1913). According to plans by Arthur A. Shurtleff, the new zoo represented a major departure from Olmsted's original plans, and included more exotic animals. However, Shurtleff's design for the zoo was modest and was intended to be in harmony with key elements of the plan, |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 6, "sc": 592, "ep": 6, "ec": 1188} | 1,956 | Q5491738 | 6 | 592 | 6 | 1,188 | Franklin Park Zoo | History | such as a half-mile long grassy mall called "the Greeting", which began at Peabody Circle. The zoo was managed by the Boston Parks Department, was free to all, and extremely popular. An estimated two-million people visited the zoo in 1920.
Unfortunately, the zoo fell into disrepair starting around the time of the Depression and through World War II. In 1958, the Metropolitan District Commission (MDC) took control of the Franklin Park Zoo. The MDC put up fences and gates and started charging admission to the zoo, and areas of the zoo that were difficult to take care of, such as the |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 6, "sc": 1188, "ep": 6, "ec": 1832} | 1,956 | Q5491738 | 6 | 1,188 | 6 | 1,832 | Franklin Park Zoo | History | elephant house and the Bear Dens in Long Crouch Woods, were separated from the zoo property and left to deteriorate. Soon afterward, the zoo received its first professionally trained zoologist to serve as its director, Walter D. Stone. An animal hospital, administrative buildings, and the Children's Zoo (opened in 1962) were also added. In 1970, the Boston Zoological Society assumed some, but not all, management of the zoo, while the state continued to provide funding for the facility.
In 1973, a new $24 million master plan, which would "recommend replacing 'the Greeting' with new zoo exhibits", was formulated to revitalize and |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 6, "sc": 1832, "ep": 6, "ec": 2475} | 1,956 | Q5491738 | 6 | 1,832 | 6 | 2,475 | Franklin Park Zoo | History | expand the facility, and included several new domed pavilions, stressing an African theme. Construction began in 1978, but the process was prolonged due to inadequate funding and political complications.
On July 1, 1984, after extensive renovations, the 3-acre (1.2 ha) Children's Zoo was reopened; around this time it became the zoo's most popular exhibit. After eleven years of construction at a cost of $26 million, the new African Tropical Forest Pavilion opened on September 9, 1989. The zoo was finally accredited by the American Association of Zoological Parks and Aquariums (AAZPA) in 1990. At the time, it was the only zoo in |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 6, "sc": 2475, "ep": 6, "ec": 3110} | 1,956 | Q5491738 | 6 | 2,475 | 6 | 3,110 | Franklin Park Zoo | History | the nation to be run by a state government (besides the Stone Zoo). After accreditation, the zoo's attendance jumped to 200,000. The number of visitors, however, would continue to fluctuate over the next few years.
In 1991, Franklin Park Zoo's management was handed over to the Commonwealth Zoological Corporation (renamed Zoo New England in July 1997). This private, non-profit corporation also took over management of the Stone Zoo, which would reopen in June 1992 after being closed for 18 months due to state budget cuts. In the late 1990s, many new exhibits were built, including Bongo Congo (1997), Outback Trail (1998), |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 6, "sc": 3110, "ep": 10, "ec": 219} | 1,956 | Q5491738 | 6 | 3,110 | 10 | 219 | Franklin Park Zoo | History & Exhibits | and Butterfly Landing (1998). Also at this time, the zoo faced many problems, including multiple budget cuts and dwindling attendance. The zoo is now doing well financially and continues to grow, due to the kindness of many supporters.
The 2011 movie Zookeeper, starring Kevin James, was filmed at the zoo in 2009, and was screened at the zoo on June 28, 2011 as a charity event. Exhibits The zoo contains more than 220 species of animals and includes the following main exhibit areas.
The Tropical Forest (known as the African Tropical Forest from 1989 to 1997), a 3-acre (1.2 ha) building roofed by |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 10, "sc": 219, "ep": 10, "ec": 917} | 1,956 | Q5491738 | 10 | 219 | 10 | 917 | Franklin Park Zoo | Exhibits | a huge Teflon-coated cloth dome. The building mimics the animals' natural environment with streams, moats, faux-rock structures, hidden fences and barriers, and free-flight birds. The exhibit includes gorillas, bats, dwarf crocodiles, ocelots, ring-tailed lemurs, capybaras, pottos, Baird's tapirs, vultures, de brazza’s monkey, cotton-top tamarin and two pygmy hippopotamus. This exhibit was included in the zoo's 1973 master plan, and was originally intended to house only African tropical species; however, more South American and Asian tropical animals began being displayed in the Tropical Forest by the late 1990s. One gorilla named Little Joe escaped his enclosure several times in 2003. He |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 10, "sc": 917, "ep": 10, "ec": 1566} | 1,956 | Q5491738 | 10 | 917 | 10 | 1,566 | Franklin Park Zoo | Exhibits | was later separated from the gorilla family, but later returned in 2007. Also in 2007, the zoo's gorilla exhibit was reopened after extensive renovations. As of 2011, a male giant anteater named Jockamo resides in the former warthog enclosure. In fall 2019, A wildlife trade exhibit showcasing artifacts will be displayed in the tropical forest public areas.
Serengeti Crossing (known as Bongo Congo from 1997 to c. 2003), a 4-acre (1.6 ha) grasslands exhibit with ostriches, Grant's zebras, warthogs, crested porcupines and white-bearded wildebeests. The exhibit first opened in 1997, making it one of the first new exhibits to open at the |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 10, "sc": 1566, "ep": 10, "ec": 2146} | 1,956 | Q5491738 | 10 | 1,566 | 10 | 2,146 | Franklin Park Zoo | Exhibits | zoo since the opening of the African Tropical Forest in 1989. Reconfigured to 1.25 acres in 2018, adding a new path and entry garden. The observation decks that once overlooked this exhibit have been removed. A new warthog boar has been brought in for female Kanunu to mate with.
Kalahari Kingdom, a large Africa themed area housing two male African lion brothers. Visitors can view them through a replica of a land rover "crashed" into the exhibit, glass, or from over a moat. The opening of this exhibit in 1997 marked the first time lions had been exhibited at the zoo |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 10, "sc": 2146, "ep": 10, "ec": 2804} | 1,956 | Q5491738 | 10 | 2,146 | 10 | 2,804 | Franklin Park Zoo | Exhibits | since the old Lion House was closed in the early 1970s. Other animals included are sibling male white and female normal colored tiger red river hog, bongo, kori bustards, domestic bactrian camels and African spurred tortoises. A new, male Red River Hog was brought in for breeding purposes with the resident female River Hog.
Outback Trail, where visitors can view kangaroos, cockatoos, emus,and two North Island brown kiwis. This exhibit opened around 1998, the same year the Butterfly Landing exhibit first opened. A seasonal budgerigar aviary offers opportunities to feed and be amongst the budgerigar.
Giraffe Savannah, opened in 1999, |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 10, "sc": 2804, "ep": 10, "ec": 3450} | 1,956 | Q5491738 | 10 | 2,804 | 10 | 3,450 | Franklin Park Zoo | Exhibits | is a large area containing three Masai giraffes. Seasonally, a group of three, Grevy's zebras stallions can be found coexisting with them.
Bird's World, a large building with an Orient-themed exterior containing dozens of bird species in four different environments: swamp, rainforest, desert, and wetlands. Outside, there is a large flight cage for Andean condor aviary, and a waterfowl pond. A three-year old male Steller’s Sea Eagle named O-washi debuted May 2018. This building originally opened in 1912 (the same year the zoo itself opened to the public), and was renovated around the mid 1970s to exhibit birds in more naturalistic |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 10, "sc": 3450, "ep": 10, "ec": 4148} | 1,956 | Q5491738 | 10 | 3,450 | 10 | 4,148 | Franklin Park Zoo | Exhibits | environments. In late 2018 a storm damaged the Chilean Flamingo exhibit resulting in the flock being moved off-show at the Tropical Forest and the exhibit being removed. The former Chilean Flamingo exhibit is becoming an Asian-themed exhibit for White-naped Crane.
Butterfly Landing, a seasonal exhibit containing over 1,000 butterflies in free flight. This large outdoor "tent" also has streams and a waterfall surrounded by numerous plant species. The exhibit first opened in 1997.
'Nature’s Neighborhood' A Children's Zoo that is a three-acre complex which includes a new, walk through aviary with assorted birds, prairie dogs, red pandas, turtles, and reeve's muntjac 'Franklin |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 10, "sc": 4148, "ep": 10, "ec": 4734} | 1,956 | Q5491738 | 10 | 4,148 | 10 | 4,734 | Franklin Park Zoo | Exhibits | Farm A barn with paddocks for livestock and a interaction area for goats with various out buildings. Poitou Donkey, American Pony, Llama, Barn Owl, Chicken, Nigerian Dwarf Goat and Guinea Hog. In late summer 2019, Defaid Mynydd Duon went on exhibit.
There is also a spotted hyena exhibit, outside the Tropical Forest, that is not part of any major area. It first opened in 2014. Before, it housed an African wild dog. Also two exhibits, one for siberian crane and another for white-naped crane can be found in the same area. In 2017, Mandrill have left the collection and were |
{"datasets_id": 1956, "wiki_id": "Q5491738", "sp": 10, "sc": 4734, "ep": 10, "ec": 4766} | 1,956 | Q5491738 | 10 | 4,734 | 10 | 4,766 | Franklin Park Zoo | Exhibits | replaced by De brazza’s monkey. |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 2, "sc": 0, "ep": 6, "ec": 4} | 1,957 | Q5491759 | 2 | 0 | 6 | 4 | Franklin Place | The Tontine Crescent | Franklin Place Franklin Place, designed by Charles Bulfinch and built in Boston, Massachusetts in 1793-95, included a row of sixteen three-story brick townhouses that extended in a 480-foot curve, a small garden, and four double houses. Constructed early in Bulfinch's career, Franklin Place came after he had seen the possibilities of modern architecture in Europe and had determined to reshape his native city. It was the first important urban housing scheme undertaken in the United States, and the city's first row-house complex. However, years of decline and the push of industry into the area forced its demolition in 1858. The |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 6, "sc": 3, "ep": 8, "ec": 564} | 1,957 | Q5491759 | 6 | 3 | 8 | 564 | Franklin Place | The Tontine Crescent | Tontine Crescent The name "Tontine" derives from a financial scheme originated by Neapolitan banker Lorenzo de Tonti, which he introduced in France in the 17th century. Money for the enterprise was to be raised by selling shares of stock to the members of the public, who would later share in the profits from the sale of the homes. It is essentially an annuity, the shares passing on the death of each beneficiary to the surviving partner until all are held by a single shareholder, or being divided among surviving stockholders at the end of a stated period. Although this method |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 564, "ep": 8, "ec": 1204} | 1,957 | Q5491759 | 8 | 564 | 8 | 1,204 | Franklin Place | The Tontine Crescent | of financing was in rather wide use in Europe at the time, the Massachusetts General Court refused articles of incorporation and the project ultimately rested on Bulfinch's meager business talent.
On July 6, 1793, the Columbian Centinel carried the following notice:
The public are hereby informed that a plan is proposed for building a number of convenient, elegant HOUSES, in a central situation, and a scheme of tontine association. The proposals for subscription, and the plans of the Houses, may be seen at the office of Mr. JOHN MARSTON, State-Street." By the end of the month a sufficient number of subscriptions had |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 1204, "ep": 8, "ec": 1862} | 1,957 | Q5491759 | 8 | 1,204 | 8 | 1,862 | Franklin Place | The Tontine Crescent | been received to warrant the letting of contracts for "the framing, and the door-cases and window-frames of the proposed Tontine Building."
The cornerstone was laid on August 8, and the crescent was completed the following year.
Building began with less than 50% of the shares taken up and continued in a discouraging atmosphere created by the prolonged negotiations over the Jay Treaty. Bulfinch completed the project, including its complementary file of four double houses facing across the grass plot (17-24 Franklin Place), but in so doing sacrificed both his and his wife's fortunes. As events proved, the Crescent was far too ambitious |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 1862, "ep": 8, "ec": 2445} | 1,957 | Q5491759 | 8 | 1,862 | 8 | 2,445 | Franklin Place | The Tontine Crescent | an idea for either the man or the times, and he and his family were ruined by his determination to finish it at all costs. However, he was gratified "in knowing that not one of my creditors was materially injured, many were secured the full amount, and the deduction on the balance due to workmen did not exceed 10 PC on their entire bills."
Bulfinch's first attempt to introduce monumental town planning into Boston, the Crescent was an interesting failure, unlike any other building in America. In fact, not even London had a crescent at the time; the architect relied for |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 2445, "ep": 8, "ec": 3046} | 1,957 | Q5491759 | 8 | 2,445 | 8 | 3,046 | Franklin Place | The Tontine Crescent | his model primarily on examples he had seen in Bath—a memory reinforced by a folio of Bath pictures preserved in his library. The Crescent no doubt also owed something to the well-known plan Robert Adam devised for two half circles of connecting houses as an extension of London's Portland Place, as well as certain examples Bulfinch had seen in Paris. In architectural detail, the Crescent recalls the Adelphi Terrace, which Bulfinch knew both as a center of Neoclassical building in London and as the haunt of exiled Tory relatives and family friends. (Adelphi too was a financial disaster, and the |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 3046, "ep": 8, "ec": 3697} | 1,957 | Q5491759 | 8 | 3,046 | 8 | 3,697 | Franklin Place | The Tontine Crescent | Adam brothers saved their project only through a lottery and the sale of their art collections; Bulfinch lacked such resources.)
This innovative project for a new and fashionable residential district south of the central business district was located in an undeveloped, unpromising bit of fields and marshlands between Milk Street and Summer Street that consisted in part of a quagmire that Joseph Barrell—Bulfinch's former employer, who had a house on Summer Street—had partially drained and converted into a fish pond in his garden. Its western edge intersected today's Hawley Street, and on the east it ended near Federal Street. Until the |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 3697, "ep": 8, "ec": 4360} | 1,957 | Q5491759 | 8 | 3,697 | 8 | 4,360 | Franklin Place | The Tontine Crescent | American Revolution, Boston still had enough space in most locations to accommodate single dwellings with small gardens. However, as land values began to rise, many newer dwellings began to be built with their narrow ends to the street and their entrances on the side. With his long row of attached houses, Bulfinch gambled that wealthy individuals would not mind living in relatively cramped quarters. Knowing that most wealthy Londoners living in garden squares also had country estates, he believed perhaps that potential residents of Franklin Place would also have summer homes with large gardens elsewhere.
Thomas Pemberton described the Crescent at |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 4360, "ep": 8, "ec": 4982} | 1,957 | Q5491759 | 8 | 4,360 | 8 | 4,982 | Franklin Place | The Tontine Crescent | the time of completion as "a range of sixteen well built and handsome dwelling houses, extending four hundred and eighty feet in length ... The general appearance is simple and uniform." As Bulfinch's elevation shows, the chief feature was a central pavilion, slightly higher than the Crescent's wings, with a large arch that spanned a passageway passing entirely through the structure, an attic story and two secondary pavilions projecting 6' forward from the middle section. The form was suggested by Queen's Square in Bath, constructed more than half a century earlier by John Wood, the Elder; the arch, with Palladian |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 4982, "ep": 8, "ec": 5646} | 1,957 | Q5491759 | 8 | 4,982 | 8 | 5,646 | Franklin Place | The Tontine Crescent | window, was probably taken from the Market in High Street, Bristol, traditionally attributed to Wood also. However, in style the Tontine Crescent was Neoclassical rather than Neo-Palladian, and its main architectural distinction, three ranges of pilasters rising two stories above an architectural basement, is taken from the Adelphi. Moreover, the structure contained all the Neoclassical elements of the new Federal style: attenuated pilasters on the central pavilion and two end pavilions that projected forward several feet, swag panels, and delicate fanlights and lunettes. The plan, which featured two large rooms (about 18' x 18') on each floor offset by a |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 5646, "ep": 8, "ec": 6296} | 1,957 | Q5491759 | 8 | 5,646 | 8 | 6,296 | Franklin Place | The Tontine Crescent | hallway with main and service staircases, was traditional with London row-house builders since the 17th century. Indeed, the Neoclassical façade of the Adam brothers' Royal Society of Arts building in London was another inspiration for the central building. The houses' brick exterior walls were painted gray to simulate masonry and the architectural detail, apparently all of wood, was painted white. Delicate decorative devices were present on the handsome three-floor houses, each 27' wide, but ornament was so restrained that there were no frames around the windows. The identical doorways were spaced two to a porch. Each floor consisted of two |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 6296, "ep": 8, "ec": 6950} | 1,957 | Q5491759 | 8 | 6,296 | 8 | 6,950 | Franklin Place | The Tontine Crescent | large rooms, described by Massachusetts Magazine as "spacious and lofty", with a hallway on one side containing both the main and service stairways.
Once finished, the Crescent received unanimous praise from contemporaries. Asher Benjamin claimed it "gave the first impulse to good taste; and to architecture, in this part of the country." Massachusetts Magazine called the style "the most improved of modern elegance" and was especially impressed by the spacious rooms and the attention given to household conveniences: "Each house will have annexed to it a pump, rain water cistern, wood house, and a stable, and a back avenue will communicate |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 6950, "ep": 8, "ec": 7574} | 1,957 | Q5491759 | 8 | 6,950 | 8 | 7,574 | Franklin Place | The Tontine Crescent | to all the stables." Bulfinch was also praised for presenting the large room behind the Palladian window above the arch to the Boston Library Society and the attic above to the newly founded Massachusetts Historical Society, which at the time was lodged in the northwest corner of Faneuil Hall's attic. (Granted, Bulfinch and his partners did realize it might be difficult to find buyers for the two pavilion rooms, potentially unsuitable for residences.) The Library Society remained there until the building's demolition in 1858, when the city paid it $12,000 for its room, while the Historical Society stayed until 1833, |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 8, "sc": 7574, "ep": 12, "ec": 530} | 1,957 | Q5491759 | 8 | 7,574 | 12 | 530 | Franklin Place | The Tontine Crescent & 17-24 Franklin Place | moving next to the King's Chapel burying ground because of cramping and fear of fire. 17-24 Franklin Place The four double houses in Franklin Place substituted for the northern half of what was planned as a double crescent separated by an oval of grass. This solution, although less aesthetically successful, was dictated by difficulties in acquiring sufficient land adjoining the estate of Thomas Barrell for the execution of the original scheme. It is also evident that Bulfinch's approaching financial ruin precluded the construction of anything so costly as the projected northern crescent. As it was, the architect was hopelessly in |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 12, "sc": 530, "ep": 12, "ec": 1105} | 1,957 | Q5491759 | 12 | 530 | 12 | 1,105 | Franklin Place | 17-24 Franklin Place | debt when he began building on the north side of Franklin Place, probably in December 1794. The earliest reference to the project is in Pemberton's description of the recently completed Crescent: "The opposite side is intended to be built in a straight line, and in a varied style of building." On October 15, 1795, the eastern half of one of the buildings, Number 22, was sold to John McLean for $8,000, and it is presumed the range of four brick double houses was completed shortly thereafter. The entire property, including the houses in the Crescent and the four double |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 12, "sc": 1105, "ep": 12, "ec": 1713} | 1,957 | Q5491759 | 12 | 1,105 | 12 | 1,713 | Franklin Place | 17-24 Franklin Place | ones in Franklin Place, was assessed in the Direct Tax of 1798 at something over $125,000. By that time, five years after the beginning of construction on Franklin Place, all twenty-four properties had been sold and were occupied by the families of prominent businessmen and men of letters.
As the site plan made for the Historic American Buildings Survey shows, the axis of the Crescent and the double houses opposite was along the line of Arch Street with the Franklin Urn serving as a focus. The four double houses were of the same architectural proportions, although the middle pair was somewhat |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 12, "sc": 1713, "ep": 12, "ec": 2327} | 1,957 | Q5491759 | 12 | 1,713 | 12 | 2,327 | Franklin Place | 17-24 Franklin Place | larger in area. The end houses were placed obliquely to the middle ones and thus corresponded to the east and west pavilions of the Crescent; the slight angle helped keep the street openings as wide as possible. The houses on both sides of the street had identical fanlight entrance doors, and despite Pemberton's prediction of variety in architectural treatment, the double houses were quite similar to the opposing Crescent. The major stylistic differences were Bulfinch's exclusive use of swag panels in the Crescent and recessed brick arches in the houses across the way. No floor plan has been discovered but |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 12, "sc": 2327, "ep": 16, "ec": 144} | 1,957 | Q5491759 | 12 | 2,327 | 16 | 144 | Franklin Place | 17-24 Franklin Place & Other characteristics | it is presumed the double houses had the traditional arrangement of two rooms on either side of a transverse hallway divided, as in the Crescent, by main and service staircases. The two center units were much larger than the pairs at the ends and included tiny fenced-in front gardens. The row faced south on the enclosed grass plot and was considered at the time the most modern and pleasant range of houses in Boston. Other characteristics Between the Crescent and the double houses was a wrought-iron-fenced semi-oval grass plot 40' wide at its center and about 280' long, with shade |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 16, "sc": 144, "ep": 16, "ec": 737} | 1,957 | Q5491759 | 16 | 144 | 16 | 737 | Franklin Place | Other characteristics | trees; it was at the heart of the city's first garden square. In 1795, Bulfinch placed a large Neoclassical urn (similar to one executed by Robert Adam) and pedestal in the square's center; he had purchased these in Bath and brought them home from his Grand Tour of 1785-87. Soon after 1858, the urn, which served as a memorial to the late Benjamin Franklin, was moved together with the pedestal to Bulfinch's grave in Mount Auburn Cemetery. While much smaller than its London counterparts, the garden was important for recreation, and its shape echoed that of the surrounding buildings. Also |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 16, "sc": 737, "ep": 16, "ec": 1352} | 1,957 | Q5491759 | 16 | 737 | 16 | 1,352 | Franklin Place | Other characteristics | unlike in London, where gated streets allowed entry only to residents, access to the garden was not restricted and it could be enjoyed by visitors to the Library and Historical Societies, as well as by theater- and church-goers. As Massachusetts Magazine observed in 1794, the garden "will contribute to the ornament of the buildings, and be useful in promoting a change and circulation of air."
Also as part of the complex were included Boston Theater (1793), the first theater built in Boston, placed at the northeast end of the square, and Holy Cross Church (begun 1800), the city's first Roman Catholic |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 16, "sc": 1352, "ep": 16, "ec": 1994} | 1,957 | Q5491759 | 16 | 1,352 | 16 | 1,994 | Franklin Place | Other characteristics | church, directly opposite the theater at the southeast end. These additional amenities for residents recalled what St Albans had done for St. James's Square, and were a bold move, considering that Puritan Boston had banned theatrical performances until December 1793 and had displayed religious intolerance throughout its history.
What the social life in Franklin Place was like is suggested by two paintings, now held by the Museum of Fine Arts: Henry Sargent's The Dinner Party (ca. 1821) and The Tea Party (ca. 1824). These probably represent actual parties that took place in Sargent's home at 10 Franklin Place, on the Crescent. |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 16, "sc": 1994, "ep": 16, "ec": 2625} | 1,957 | Q5491759 | 16 | 1,994 | 16 | 2,625 | Franklin Place | Other characteristics | Based on Bulfinch's plan, the two rooms depicted in The Tea Party must have been adjoining parlors, most likely on the second floor above the first-floor dining room. The graceful archway connecting the two rooms in the picture is a Neoclassical architectural detail used by Bulfinch to relate the interior of the house to the Palladian window on the Crescent's central building. Despite the rooms' long, narrow configuration, lavish entertainment could still take place, in part because the high ceilings made the rooms seem larger. Bulfinch's drawing of the Crescent suggests that the first- and second-floor windows were of the |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 16, "sc": 2625, "ep": 16, "ec": 3268} | 1,957 | Q5491759 | 16 | 2,625 | 16 | 3,268 | Franklin Place | Other characteristics | same height; this is consistent with the interiors shown in the painting and contrasts with London terraces of the period, where the second-floor parlor windows were usually taller. The furnishings that Sargent depicts represent contemporary high-style Boston interiors, in most respects similar to what could be found in London. The dining room in The Dinner Party is quite masculine, with mahogany furniture and large portraits suitable to the gathering of gentlemen, the two parlors or drawing rooms shown in The Tea Party are lighter in feeling, more feminine, and ornamented with many French and Italian decorative objects. The women are |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 16, "sc": 3268, "ep": 20, "ec": 528} | 1,957 | Q5491759 | 16 | 3,268 | 20 | 528 | Franklin Place | Other characteristics & Demolition and legacy | adorned with the latest and most expensive fashions of the day—column-like Empire gowns with accompanying shawls. Demolition and legacy Notable residents of Franklin Place included John and Judith Sargent Murray, Abby May, James Perkins, merchant and principal donor to the Boston Athenaeum's first building, William Tudor, Jr., founder of Monthly Anthology and the North American Review, and his literary associate Dr. John S. J. Gardiner, rector of Trinity Church. Two women owned houses: Abigail Howard, a founder of the Boston Library Society, and Elizabeth Amory. While wealthy merchants and prominent men of letters inhabited both the Crescent and the houses |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 20, "sc": 528, "ep": 20, "ec": 1110} | 1,957 | Q5491759 | 20 | 528 | 20 | 1,110 | Franklin Place | Demolition and legacy | across the street, it was the free-standing houses that became the most fashionable, even though they were more expensive and the side yards were very narrow; Bostonians had a deep-seated preference for even the narrow yards of semi-detached houses as opposed to the block of connected houses, two walls in each of which had to be windowless. The pattern held true in the late 19th and early 20th centuries: except for a few houses in the Back Bay, Bostonians at every class level utterly rejected the connected town house block and instead turned back to some version of the 18th- |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 20, "sc": 1110, "ep": 20, "ec": 1786} | 1,957 | Q5491759 | 20 | 1,110 | 20 | 1,786 | Franklin Place | Demolition and legacy | and early 19th-century ideal of the garden lot and free-standing town house.
Shortly after the Crescent's completion, the newly widened Arch Street was extended through the center archway, and other connecting streets were opened to the south and east. The addition of these new streets reflected the growth of the downtown business area immediately surrounding the complex; this long-lasting push by businesses into the area would eventually doom Bulfinch's buildings. After about thirty years, when the Mount Vernon Proprietors were developing an exclusive residential neighborhood on Mount Vernon just to the west of Beacon Hill that was beginning to lure affluent |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 20, "sc": 1786, "ep": 20, "ec": 2462} | 1,957 | Q5491759 | 20 | 1,786 | 20 | 2,462 | Franklin Place | Demolition and legacy | residents farther from the central business district, middle-class residents began to move in. The single-family dwellings were soon converted into boarding houses. The new residents were less concerned with the neighborhood's overall appearance, as seen from late photographs that show the garden overcrowded with small shrubs planted randomly among the trees, and a wood picket fence replacing the original iron posts and chains. Oliver Wendell Holmes, Sr. noted these changes in The Autocrat of the Breakfast-Table, published in 1858 just as demolition was underway: "There were the shrubs and flowers in the Franklin-Place front-yards or borders; Commerce is just putting |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 20, "sc": 2462, "ep": 20, "ec": 3093} | 1,957 | Q5491759 | 20 | 2,462 | 20 | 3,093 | Franklin Place | Demolition and legacy | his granite foot upon them."
The Tontine Crescent and the other houses in Franklin Place were acquired by the city "for the public convenience" and razed in 1858 to make way for blocks of large stone stores and granite warehouses in Franklin Street. These buildings, along with a single elm remaining from the garden (plus three empty circular pits that once held trees), were destroyed in the Great Boston Fire of 1872. The graceful curve and unusual width of Franklin Street today below Hawley Street are reflections of the Crescent's ground plan. Architectural descendants include the Sears Crescent near today's Boston |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 20, "sc": 3093, "ep": 20, "ec": 3731} | 1,957 | Q5491759 | 20 | 3,093 | 20 | 3,731 | Franklin Place | Demolition and legacy | City Hall and the façade of the Kirstein Business Branch of the Boston Public Library (built 1929-30), which replicates the entire central portion of the Tontine. Despite residents' general aversion to connected structures, hundreds of brick row houses in the area draw inspiration from the Bulfinch structure, including Worcester and Chester Squares in the South End; West Hill Place and Charles River Square on Beacon Hill; a set of fifteen attached brick and half-timbered town houses on Elm Hill Avenue in Roxbury Highlands originally called Harris Wood Crescent; and a block of fifteen red-brick connected houses on Beacon Street in |
{"datasets_id": 1957, "wiki_id": "Q5491759", "sp": 20, "sc": 3731, "ep": 20, "ec": 4237} | 1,957 | Q5491759 | 20 | 3,731 | 20 | 4,237 | Franklin Place | Demolition and legacy | Brookline, built in 1907.
An economic downturn meant that subscriptions came too slowly to meet bills, and Bulfinch went bankrupt in January 1796, turning from a comfortable situation as a gentleman concerned with architecture to a laborious life of architectural practice and public service. Financial troubles continued to plague him, such that he spent July 1811 in debtors' prison, but the Crescent and Franklin Place helped transform Boston from an 18th-century town into a 19th-century city. |
{"datasets_id": 1958, "wiki_id": "Q569503", "sp": 2, "sc": 0, "ep": 6, "ec": 551} | 1,958 | Q569503 | 2 | 0 | 6 | 551 | Franz Graf von Wimpffen | Military career | Franz Graf von Wimpffen Military career Franz von Wimpffen was born in Prague on 2 April 1797, the son of Karl Franz Eduard von Wimpffen (1776–1842), who served as Chief of the Austrian General Staff from 1824 to 1830, and Victoria von Anhalt-Bernburg-Schaumburg . He was the owner of Kainberg, Reitenau and Eichberg castles and estates in Austria and, as a Roman Catholic, was a Knight of the Sovereign Military Order of Malta. He was commissioned Unterleutnant in October 1813 and served as an artillery officer during the last three years of the Napoleonic Wars, in the German campaign of |
{"datasets_id": 1958, "wiki_id": "Q569503", "sp": 6, "sc": 551, "ep": 6, "ec": 1173} | 1,958 | Q569503 | 6 | 551 | 6 | 1,173 | Franz Graf von Wimpffen | Military career | 1813, the French campaign of 1814, and the Neapolitan War in 1815.
On 5 October 1825 he married Maria Anna (Marianne) Cecilia Bernhardine Freiin von Eskeles, who converted from Judaism to Catholicism, in Hietzing, Austria. She was born at the Palais Eskeles, Vienna, Austria, on 2 March 1802, daughter of Bernhard von Eskeles and wife Caecilie (Zipperche) Itzig, from whom she inherited a fortune in stocks and bonds, and died in Munich, Bavaria, on 10 August 1862.
Promoted Generalmajor in 1838, he was given command of a brigade in Trieste. Von Wimpffen was made commander of a division of II Army Corps |
{"datasets_id": 1958, "wiki_id": "Q569503", "sp": 6, "sc": 1173, "ep": 6, "ec": 1839} | 1,958 | Q569503 | 6 | 1,173 | 6 | 1,839 | Franz Graf von Wimpffen | Military career | in Italy in 1846 with the rank of Feldmarschall-leutnant (Lieutenant-Field-Marshal in the Imperial and Royal Austrian Army). He distinguished himself in the 1848 campaign at Vicenza and Custoza. Later, in the Papal States he compelled by bombardment the surrender of Bologna and Ancona. In October 1849 von Wimpffen was named Civil and Military Governor of Trieste and Governor of the Küstenland (Coastal Lands), the region that included the Istrian Peninsula, with the rank of Feldzeugmeister (General of the Artillery in the Austrian Army).
Upon the resignation of Hans Birch Dahlerup in August 1851, von Wimpffen was named his successor as Oberkommandant |
{"datasets_id": 1958, "wiki_id": "Q569503", "sp": 6, "sc": 1839, "ep": 6, "ec": 2482} | 1,958 | Q569503 | 6 | 1,839 | 6 | 2,482 | Franz Graf von Wimpffen | Military career | der Marine ('High Commander of the Navy' or Provisional Commander-in-Chief of the Imperial and Royal Navy). During his tenure the development of the naval base of Pola was accelerated and the naval school at Fiume now Rijeka (Croatia) was converted into the Austrian Naval Academy.
In September 1854, von Wimpffen was dismissed as Oberkommandant der Marine by Emperor Franz Josef against the advice of his military advisers. Von Wimpffen instead took command of I Army Corps. He was succeeded as Head of the Navy by Archduke Ferdinand Maximilian of Austria, the younger brother of Franz Josef.
However well he had performed as |
{"datasets_id": 1958, "wiki_id": "Q569503", "sp": 6, "sc": 2482, "ep": 6, "ec": 3068} | 1,958 | Q569503 | 6 | 2,482 | 6 | 3,068 | Franz Graf von Wimpffen | Military career | Administrative Head of the Navy, von Wimpffen was known in military circles as "the General who had never won a battle". In the Second Italian War of Independence in 1859, after the defeat at Magenta on 4 June, he seconded the decision of Gyulai, the Austrian commander, to retreat across the Mincio to Mantua, leaving Milan and all of Lombardy to the Sardinians and French. Gyulai was dismissed on 16 June by Franz Josef, who assumed command of the field army with von Wimpffen in command of the Cavalry.
At Solferino (24 June 1859), von Wimpffen and his men fought valiantly, |
{"datasets_id": 1958, "wiki_id": "Q569503", "sp": 6, "sc": 3068, "ep": 6, "ec": 3674} | 1,958 | Q569503 | 6 | 3,068 | 6 | 3,674 | Franz Graf von Wimpffen | Military career | but the Austrians were defeated. The carnage of the battle was so severe that it was soon followed by an armistice and then peace negotiations.
In 1861 von Wimpffen was retired with the rank of Generalfeldzeugmeister (Field Marshal of the ordnance /Field Marshal of artillery in the Austrian Army) and became an Imperial and Royal Advisor to the Emperor of Austria.
He died on 26 November 1870 at Görz (now Gorizia), and was buried at the crypt of the Eichberg castle chapel, in Austria, together with his wife. Their son, Heinrich Emil Graf von Wimpffen, born 1 May 1827, succeeded him as |
{"datasets_id": 1958, "wiki_id": "Q569503", "sp": 6, "sc": 3674, "ep": 6, "ec": 4324} | 1,958 | Q569503 | 6 | 3,674 | 6 | 4,324 | Franz Graf von Wimpffen | Military career | head of the comital house. Their other son, Captain Viktor Agidius Christian Gustav Maximillian Graf von Wimpffen (Hietzing, Vienna, Austria, 24 July 1834 – Castello Battaglia, Italy, 22 May 1887), was sometime Corvette Captain of the Austro-Hungarian Navy, and Inspector-General of Telegraphs in Austria and married in Vevey, Switzerland, on 11 January 1860 Anasztázia (Anastasia) Barónin Sina de Hódos et Kizdia (Sina Palace, Vienna, Austria, 8 October 1838 – Sina Palace, Vienna, Austria, 24 February 1889, bur. Sina Mausoleum, Rappoltenkirchen, Gsoehl), of Hungarian, Romanian (Ghica family) and Georgian (Dadiani) descent, by whom he had issue. |
{"datasets_id": 1959, "wiki_id": "Q518949", "sp": 2, "sc": 0, "ep": 6, "ec": 594} | 1,959 | Q518949 | 2 | 0 | 6 | 594 | Fraxinus angustifolia | Description | Fraxinus angustifolia Description It is a medium-sized deciduous tree growing to 20–30 m tall with a trunk up to 1.5 m diameter. The bark is smooth and pale grey on young trees, becoming square-cracked and knobbly on old trees. The buds are pale brown, which readily distinguishes it from the related Fraxinus excelsior (black buds) even in winter. The leaves are in opposite pairs or whorls of three, pinnate, 15–25 cm long, with 3–13 leaflets; the leaflets being distinctively slender, 3–8 cm long and 1–1.5 cm broad. The flowers are produced in inflorescences which can be male, hermaphrodite or mixed male and hermaphrodite. |
{"datasets_id": 1959, "wiki_id": "Q518949", "sp": 6, "sc": 594, "ep": 14, "ec": 212} | 1,959 | Q518949 | 6 | 594 | 14 | 212 | Fraxinus angustifolia | Description & Uses & Weed potential | The male and hermaphrodite flowers occur on all individuals, i.e. all trees are functionally hermaphrodite. Flowering occurs in early spring. The fruit when fully formed is a samara 3–4 cm long, the seed 1.5–2 cm long with a pale brown wing 1.5–2 cm long. Uses In Sicily, it is cultivated as a source of a plant sap product called manna (see Fraxinus ornus). Weed potential Fraxinus angustifolia subsp. angustifolia has become a weed in many parts of Australia, where it is known as Desert Ash. It has been widely planted as a street and park tree, and has spread to native bushland and |
{"datasets_id": 1959, "wiki_id": "Q518949", "sp": 14, "sc": 212, "ep": 14, "ec": 331} | 1,959 | Q518949 | 14 | 212 | 14 | 331 | Fraxinus angustifolia | Weed potential | grasslands, as well as stream banks and drainage lines, out-competing native plants for moisture, light and nutrients. |
{"datasets_id": 1960, "wiki_id": "Q16637205", "sp": 2, "sc": 0, "ep": 10, "ec": 76} | 1,960 | Q16637205 | 2 | 0 | 10 | 76 | Freaky Deaky (film) | Plot & Production | Freaky Deaky (film) Plot Chris Mankowski worked in the bomb squad, but when he transferred out, he got caught up in an elaborate plot by former hippies, who have turned bomb making into a business. Production The film received $2.8 million in tax incentives from the state of Michigan. |
{"datasets_id": 1961, "wiki_id": "Q18911747", "sp": 2, "sc": 0, "ep": 8, "ec": 459} | 1,961 | Q18911747 | 2 | 0 | 8 | 459 | Fred Burden | History | Fred Burden Frederic Britten Burden (1852 – 30 January 1897) was a businessman and newspaper editor in the colony of South Australia. History Burden was born in England, the second son of Philip Henry Burden (ca.1823 – 3 March 1864), and emigrated to South Australia with his parents when a young child, sometime before 1854. His father was secretary for the Adelaide Advertiser, and headed its commercial section until his early death.
Fred Burden was educated at St. Peter's College, and worked at the warehouse of Whyte, Counsell, & Co. He then spent some years in England. His mother Mary |
{"datasets_id": 1961, "wiki_id": "Q18911747", "sp": 8, "sc": 459, "ep": 8, "ec": 1002} | 1,961 | Q18911747 | 8 | 459 | 8 | 1,002 | Fred Burden | History | remarried on 15 August 1865 to John H. Barrow (1817–1874), who adopted her children, and had a son of their own. Barrow had founded The Advertiser with C. H. Goode in July 1858, and served as editor until his death in 1874. Ownership of The Advertiser was then in the hands of the widow Barrow and Thomas King (1833–1886). In 1879 Mary retired in favor of her son Fred, then J. Langdon Bonython joined the firm, but retaining the business name of Barrow & King. In 1884 King sold out to his partners, and some years afterwards Burden sold his |
{"datasets_id": 1961, "wiki_id": "Q18911747", "sp": 8, "sc": 1002, "ep": 8, "ec": 1154} | 1,961 | Q18911747 | 8 | 1,002 | 8 | 1,154 | Fred Burden | History | share to Bonython and retired to Kent, then to "Congelow", Malvern, Worcestershire, where he died on 30 January 1897, leaving a widow and two children. |
{"datasets_id": 1962, "wiki_id": "Q18977966", "sp": 2, "sc": 0, "ep": 6, "ec": 645} | 1,962 | Q18977966 | 2 | 0 | 6 | 645 | Fred Eversley | Early career | Fred Eversley Early career Eversley was trained as an engineer; from 1963 until 1967 "he was a senior project engineer, instrumentation systems, at Wyle Laboratories, where he was responsible for supervising the design and construction of high-intensity acoustic and vibration test laboratories at NASA facilities."
He attended Carnegie Institute of Technology in Pittsburgh. He moved to Venice, California, in 1964 where he became friends with several Los Angeles artists, and retired from engineering in 1967 to become an artist full-time. "Using plastic resin, he developed a formal sculptural language that reflected the West Coast style that came to be known |
{"datasets_id": 1962, "wiki_id": "Q18977966", "sp": 6, "sc": 645, "ep": 10, "ec": 438} | 1,962 | Q18977966 | 6 | 645 | 10 | 438 | Fred Eversley | Early career & Artworks | as 'finish fetish,' a seemingly more decorative approach to minimalism that appeared to take its cues from the synthetic materials and mechanized surfaces of hot rods, surfboards, and the aerospace industry." Artworks According to the Smithsonian American Art Museum, "His cast plastic sculptures employ polished surfaces and translucent colors that interact with the natural light. In this way, the artist makes what he calls 'kinetic art' that does not need mechanical movement or artificial effects. Eversley is inspired by energy in all its forms, and his work explores ways to capture and make use of the earth's natural resources."
According |
{"datasets_id": 1962, "wiki_id": "Q18977966", "sp": 10, "sc": 438, "ep": 10, "ec": 920} | 1,962 | Q18977966 | 10 | 438 | 10 | 920 | Fred Eversley | Artworks | to the Getty, "The highly translucent, reflective surfaces of these sculptures produced an optical experience at once elegant and mystical. Eversley continued using basic geometric forms to experiment with light refraction, and in the 1970s incorporated parabolic curves into his work that evoke mirrors or large lenses."
Eversley's work was featured at the Muscarelle Museum of Art in 2017 in an exhibition titled "Fred Eversley: Black, White, Gray and Transparent Color." |
{"datasets_id": 1963, "wiki_id": "Q20984448", "sp": 2, "sc": 0, "ep": 6, "ec": 573} | 1,963 | Q20984448 | 2 | 0 | 6 | 573 | Fred Gerlach | Career | Fred Gerlach Career In the early 1950s he sang in the Jewish Young Folksingers chorus conducted by Robert De Cormier. Gerlach was among the first folk artists to adopt the 12 string guitar as his medium. A friend of fellow folk musicians Ramblin' Jack Elliott, Woody Guthrie and Pete Seeger, his first album was even called Twelve-String Guitar. Its flagship song, "Gallows Pole", was heard and covered by Led Zeppelin guitarist Jimmy Page, saying:
I first heard it ('Gallows Pole') on an old Folkways LP by Fred Gerlach, a 12-string player who was, I believe, the first white to play |
{"datasets_id": 1963, "wiki_id": "Q20984448", "sp": 6, "sc": 573, "ep": 6, "ec": 1194} | 1,963 | Q20984448 | 6 | 573 | 6 | 1,194 | Fred Gerlach | Career | the instrument. I used his version as a basis and completely changed the arrangement
Gerlach was inspired to adopt the 12 string by his mentor and one-time roommate Lead Belly, a blues guitarist famous for using the instrument. At the time Gerlach became interested in the instrument, it was almost unknown. He later related:
I went into one of the largest musical instrument stores in the country, and the manager assured me that no such instrument existed. On another occasion a maker of fine 12-string lutes (nylon strings) pictured for me a nightmare of explosive force required to hold twelve steel |
{"datasets_id": 1963, "wiki_id": "Q20984448", "sp": 6, "sc": 1194, "ep": 6, "ec": 1793} | 1,963 | Q20984448 | 6 | 1,194 | 6 | 1,793 | Fred Gerlach | Career | strings in proper tension. He envisioned bits of guitar and guitarist flying asunder. I have combed New York City pawnshops and music stores and have received a variety of comments ranging' from 'Sorry, we're out of them now. Won't a six-string guitar do? to 'Have you got rocks in your head, buddy?' In fact, it took me about a year after I had first decided to play a twelve-string before I found one. It wasn't a concentrated search, but it nevertheless indicates the general unavailability of the instrument.
Because of the difficulty in finding 12 string guitars, Gerlach began to make |
{"datasets_id": 1963, "wiki_id": "Q20984448", "sp": 6, "sc": 1793, "ep": 6, "ec": 1933} | 1,963 | Q20984448 | 6 | 1,793 | 6 | 1,933 | Fred Gerlach | Career | his own, for himself and his peers. Pete Seeger, Leo Kottke, Dick Rosmini, and other name-brand folk musicians came to use his instruments. |
{"datasets_id": 1964, "wiki_id": "Q3086851", "sp": 2, "sc": 0, "ep": 6, "ec": 522} | 1,964 | Q3086851 | 2 | 0 | 6 | 522 | Fred Harman | Kansas City | Fred Harman Kansas City Fred Harman was the finest brush and ink artist of the Western genre. He was self taught and his eye for dramatic perspective, the authentic details he put into all of his work, is unmatched. Born Leslie Fred Harman, he worked as a pressman’s helper at The Kansas City Star, he came in contact with the newspaper's art staff. When he was 20 years old, he was employed at the Kansas City Film Ad Company, working with Walt Disney as an animator. Harman and Disney partnered to form their own company but went broke within a |
{"datasets_id": 1964, "wiki_id": "Q3086851", "sp": 6, "sc": 522, "ep": 6, "ec": 1132} | 1,964 | Q3086851 | 6 | 522 | 6 | 1,132 | Fred Harman | Kansas City | year. Harman then went back to Colorado. Harman's brother, Hugh Harman, was also an animator at Disney's Kansas City studio.
In the fall of 1924, Harman got a wire from an artist friend, Sam McConnell, about an illustrating job at Artcrafts Engraving Company. He took the first train he could get to St. Joseph, home of the Pony Express. In addition to his work as a catalog illustrator for Artcrafts (for the Olathe Boot Company, among other catalogs), Harmon created promotional art, book illustrations and film costume designs commemorating the Pony Express, and bought canvas and paint to create |
{"datasets_id": 1964, "wiki_id": "Q3086851", "sp": 6, "sc": 1132, "ep": 6, "ec": 1653} | 1,964 | Q3086851 | 6 | 1,132 | 6 | 1,653 | Fred Harman | Kansas City | his own paintings at home in his spare time. Artcrafts then was on the 5th floor of the Jenkins Music Building, and Fred met and married musician Lola Andrews, who worked on the first floor of the same building. The couple had a son on May 27, 1927, the day Lindbergh arrived in Paris. Harman did not have the money to pay the hospital bill for his son's birth, so his boss at Artcrafts, William Henry Guenther Sr., bought one of Harman's paintings (of a cowboy with red hair) for the exact amount needed to cover the |
{"datasets_id": 1964, "wiki_id": "Q3086851", "sp": 6, "sc": 1653, "ep": 10, "ec": 89} | 1,964 | Q3086851 | 6 | 1,653 | 10 | 89 | Fred Harman | Kansas City & Red Ryder | bill. The couple later moved to St. Paul, Minnesota, where Fred was a partner in an advertising agency for several years before it failed. He was employed in Iowa for a short time before moving his wife and son to Pagosa Springs, where they built a log cabin. In 1933, he moved to Los Angeles, where he edited, illustrated and published a Western magazine that collapsed after three issues. Although the Stendahl Art Gallery staged a show of his paintings, none sold. Red Ryder Harman self-syndicated his Bronc Peeler strip from 1934 to 1938, finding few takers as he |
{"datasets_id": 1964, "wiki_id": "Q3086851", "sp": 10, "sc": 89, "ep": 10, "ec": 698} | 1,964 | Q3086851 | 10 | 89 | 10 | 698 | Fred Harman | Red Ryder | visited various West Coast newspaper offices. When he visited New York in 1938, he met publisher and licensing guru Stephen Slesinger and found success. Stephen Slesinger was looking for an exceptional artist to draw Red Ryder and Fred Harman was a perfect match. He was a genuine cowboy who had the talent and the knowledge of the authentic details Slesinger sought. Harman worked with Slesinger for a year, with other artists in Slesinger's New York Studios before Red Ryder was ready to debut. Red Ryder was launched, with a year's full of pre-written storylines, a multi-pronged, licensing campaign and a |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.