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350_1 | The Bryant Park Studios is 10 stories tall with several mezzanine levels. The lowest two stories of the facade are clad in rusticated blocks of terracotta, while the other stories have pink brick with terracotta and stone decoration. The brickwork of the facade contains both broad and narrow bays, and the northern side facing 40th Street contains large studio windows facing Bryant Park. The Cafe des Beaux-Arts once operated at the ground story and basement. The upper stories had forty units, the largest of which was Anderson's own double-story penthouse. Since the late 20th century, the former studios have served mostly as offices and showrooms, and the lower stories have contained storefronts. |
350_2 | The Bryant Park Studios was developed by Anderson, who leased the building to another company in 1920. Anderson lived in his penthouse until his death in 1940, after which his family sold the building. By the late 20th century, the building was converted for office use. The Bryant Park Studios was designated a city landmark by the New York City Landmarks Preservation Commission (LPC) in 1988. The building has been owned since 1980 by the Mountain Development Corporation, which restored the building in the late 1980s and the 2000s.
Site
The Bryant Park Studios is at the southeast corner of 40th Street and Sixth Avenue (Avenue of the Americas) in the Midtown Manhattan neighborhood of New York City. It overlooks the southwestern corner of Bryant Park. The building occupies a rectangular land lot with an area of and a frontage of along 40th Street and on Sixth Avenue. |
350_3 | The Bryant Park Studios is one of several structures on 40th Street between Fifth and Sixth Avenues, which forms the southern end of Bryant Park. On the same block are the American Radiator Building, Engineering Societies' Building, Engineers' Club Building, The Bryant, and 452 Fifth Avenue to the east, as well as the Haskins & Sells Building to the southeast and Bryant Park Studios to the west. Other nearby places include the New York Public Library Main Branch across 40th Street to the northeast, as well as 7 Bryant Park and the Springs Mills Building to the west. Immediately outside the Bryant Park Studios is an entrance to the New York City Subway's 42nd Street–Bryant Park/Fifth Avenue station, which is served by the . |
350_4 | The site had historically been occupied by the Hotel Royal, which burned down in the late 19th century. The site was assembled from four lots that collectively cost $3,200 in 1900 (). The surrounding block of 40th Street had contained brownstone row houses through the 1920s, before they were replaced by several other multi-story structures. |
350_5 | Design
The Bryant Park Studios building was designed by Charles A. Rich in the Beaux-Arts Gothic style. It was developed by Abraham Archibald Anderson, a prominent watercolor artist in the late 19th and early 20th centuries. The building was popularly known as the Beaux Arts Building after the Café des Beaux Arts on the ground floor. Robinson & Wallace were the general contractors. The Bryant Park Studios contains ten full stories. It is tall and has its main roof at above ground. A two-story mansard roof on the building's western section dates to a 1923 renovation. The building is New York City's oldest surviving high-rise studio building that was purposely designed for artists. |
350_6 | Facade
The facade is made of pink brick, stone, and terracotta. When the Bryant Park Studios were built, the facade was visible on all sides, though subsequent development obscured the south and east elevations. The north elevation facing 40th Street, as well as the west elevation on Sixth Avenue, remain visible and are both divided into three horizontal sections: a base, midsection, and upper section. The 40th Street elevation is divided vertically into five bays. The building has wide studio windows on 40th Street, which generally measure . The Sixth Avenue elevation is generally arranged as a central bay flanked by two end bays.
Base |
350_7 | The first two stories are made of rusticated terracotta, which is carved to look like rusticated stone. The three center bays on 40th Street contain double-height archways. The center archway serves as the building's main entrance and contains a plate-glass door, above which is a keystone with a cartouche. The remainder of the ground story on 40th Street and Sixth Avenue contains signs and storefronts. The Sixth Avenue elevation has had a storefront since the building's opening, but the storefront was redesigned at some point in the 20th century. |
350_8 | At the second story on 40th Street, the center arches have decorative mullions. Above these arches are heavy stone brackets, which support a balcony with carved foliate motifs and swags. Within the center bay on Sixth Avenue, there are three narrow arched windows with volutes above them. The outermost bays on both elevations have segmental arches. A simple cornice runs above most of the second story, except at the center arches on 40th Street. |
350_9 | Midsection
The third story is a transitional story with alternating bands of pink brick and terracotta. On 40th Street, the central bay has two narrow windows. The other four bays on that elevation have wide studio windows, which are separated horizontally by terracotta bands and contain broad square-headed lintels. The windows' keystones are volutes, and the third story on 40th Street is capped by a narrow stone cornice. A simpler arrangement appears on Sixth Avenue; the outermost bays are broad square-headed openings, which flank three narrower windows. Above these openings are splayed lintels, as well as volutes serving as keystones. |
350_10 | The fourth through eighth stories are clad with pink brick and have terracotta and stone ornamentation. On the 40th Street elevation, most windows are full-height; the center bay has two narrow windows, while the remaining bays have a large studio window. All bays, except the center one, have a balcony at the fourth story. The outermost bays are flanked by continuous brick piers from the fourth to eighth stories, with a volute above the sixth story and a balcony at the seventh. The three middle bays are arranged differently. At the fourth and fifth stories, the center bay's windows are topped by volutes, and the second-outermost bays have double-height stone frames topped by pediments. At the sixth through eighth stories, the three middle bays have full-height recessed windows, each with volutes and splayed lintels above them. A window sill connects the three middle bays at the sixth story. On the eighth story, all openings contain segmental arches. |
350_11 | The midsection on Sixth Avenue contains seven rows of windows. The fourth and fifth stories correspond to those on 40th Street, The outermost bays have double-height stone frames topped by pediments, while the center bay has three windows, each with volutes and splayed lintels above them. The sixth through eighth stories contain five offset duplex levels, with mezzanines above the sixth and eighth stories. The windows are arranged in a 1-5-1 configuration, with one sash window in each of the outer bays and five in the center bay. There are generally splayed lintels and volutes above each window, except for those above the eighth mezzanine level. On both elevations, there is a large overhanging cornice just below the ninth story, supported by large brackets and modillions. |
350_12 | Upper stories
At the ninth floor, there is a balcony and a metal balustrade above the cornice. On 40th Street, the outermost bays are flanked by continuous brick piers, as with the midsection, and contain windows flanking small doorways. Between these is a recessed set of windows, with two large windows flanking two narrow windows. These windows are separated by wide pilasters, above which are decorative capitals. On Sixth Avenue, the ninth-story windows are rectangular and contain volutes and splayed lintels above them. There is a mezzanine above the ninth story on Sixth Avenue, which has plain openings. Two of the center windows on the ninth mezzanine have been combined into a modern-style opening. |
350_13 | The tenth story contains a recessed bank of windows on 40th Street. When the building was completed, it had an angled skylight at the center and antefixes to the west and east. A mansard roof on the western side was built in 1923, and the antefixes were removed. A brick chimney is at the north end of the mansard, while a brick dormer is at the south end. The skylight itself, illuminating Anderson's penthouse, was subsequently covered with paint outside and tar inside.
Features
Ground floor and basement
The ground floor and basement originally housed the Cafe des Beaux Arts, which had a kitchen and a ratskeller, or German beer hall, in the basement. The restaurant featured a women's-only bar, which in the early 20th century was still relatively uncommon. , the ground-floor space was occupied by a branch of bakery chain Ole & Steen, which also had a mezzanine above the ground floor. |
350_14 | The building's basement has a "Vault Museum", as well as the New York City office of Mountain Development Corporation. The "museum" contains artifacts from the Bryant Park Studios' former tenants, such as art, letters, and pictures. It is open to the public but is not highly publicized, and visitors must request a tour in advance via email. In 2019, the building's superintendent David Seeve gave tours to two or three people every month; the visitors typically study art or history, or they may have read the landmark-designation plaque on the facade. The "Vault Museum" includes such items as the cafe's original tiling, an antique fireplace on the ninth floor, and a letter Irving Penn wrote to Mia Fonssagrives-Solow that was lodged in the mail chute for several decades.
Studios |
350_15 | The Bryant Park Studios building was designed with 40 units in single-story simplex and double-story duplex layouts. The 24 duplex studios all faced north toward the large windows on 40th Street. The site was at the southern end of Bryant Park, so sunlight could illuminate the windows even if taller buildings were erected nearby. Each full story is typically spaced apart. Many of the studios were overlooked by balconies on their southern ends. In addition, several floors were initially designed in an open plan so tenants could choose how to subdivide the space. A sample residence was that of portrait artist H. Stanley Todd, who had a two-story studio with a wooden fireplace, a mezzanine with bedrooms overlooking the studios, and a hallway connecting to a kitchen and studio room. |
350_16 | The building was also designed with two electric elevators, as well as a frame lift for hoisting picture frames. The passenger elevators are small, with the larger cab measuring . There was a freight lift in the back. A dumbwaiter brought food from the basement to each story. |
350_17 | Anderson maintained his own suite on the top two stories until his death in 1940. The penthouse spanned the western part of the building, and it had various antique items such as Spanish tapestries. The penthouse foyer, on the ninth story, had a floor covered in terrazzo tiles. It led to a reception room with white-and-gold decoration, tapestries, and a carved fireplace. The ninth-story bedroom was designed with pink-and-white decoration, and the adjacent dining room had green-and-gold Gothic decoration. Connecting the stories was a stair with wood banister. The studio at the center of the tenth floor measured square and high, with oak-paneled walls and ceilings, an organ in the wall, a large ceiling arch from a Venetian church, and an onyx-and-crystal fireplace. One bathroom had a floor surface made of cobalt blue tile and walls with abalone shells. There was also a skylight made of stained glass as well as a greenhouse for vegetables. |
350_18 | History
Cooperative apartment housing in New York City became popular in the late 19th century because of overcrowded housing conditions in the city's dense urban areas. By the beginning of the 20th century, there were some housing cooperatives in the city that catered specifically to artists, including at 130 and 140 West 57th Street, as well as on 67th Street near Central Park. However, these were almost always fully occupied. The idea for the Bryant Park Studios in particular was devised by Abraham A. Anderson, an American who studied art in Paris during the late 19th century. He and his wife Elizabeth Milbank Anderson returned to the United States in the late 1890s, where they lived first in Manhattan and then in suburban Greenwich, Connecticut, after failing to find enough space in Manhattan.
1900s and 1910s |
350_19 | In early 1900, Elizabeth Anderson acquired a site at the southeast corner of Sixth Avenue and 40th Street. The site was not near the traditional studio district around 57th Street, but it did benefit from proximity to the upscale residential district on Fifth Avenue. The site directly abutted the Sixth Avenue Elevated line, which devalued the site somewhat. A. A. Anderson reflected: "My business friends said it was a foolish thing to erect so expensive a studio building in what was then the 'tenderloin district'. But I wanted the best, since it is usually the best or the poorest that pays." By March 1900, excavations had commenced on the plot. Rich filed the building plans with the New York City Department of Buildings that month. During construction, in early 1901, a workman was killed by an elevator. |
350_20 | Once the building had been completed, in May 1901, Elizabeth transferred the new building to her husband for $300,000. The Bryant Park Studios, as well as the Knox Building on 452 Fifth Avenue, were among the earliest major developments on the surrounding stretch of 40th Street, which still mostly consisted of low-rise residences. In October 1901, the Bustanoby brothers leased the ground-floor and basement restaurant space. The Cafe des Beaux Arts opened the following year at the building's base. The cafe quickly became popular among "many men and women of society", as it was described in a 1905 Town & Country magazine article. The Bryant Park Studios was itself known as the Beaux Arts Building by the 1910s. The Bryant Park Studios housed not only visual artists, photographers, and decorators, but also doctors and dentists. |
350_21 | Louis Bustanoby sued two of his brothers, Andre and Jacques, over control of the Cafe des Beaux Arts in 1909. Louis alleged his brothers were trying to oust him from management. Anderson unsuccessfully tried to broker a compromise between the brothers. The restaurant went into foreclosure in December 1911 and a creditor was designated for the property. Ultimately, Louis gained control of the restaurant in February 1912. The same year, the A. J. Robinson Company was hired to modify a portion of the building. Anderson used his apartment to entertain high-profile guests, such as the prince of Monaco, as well as meetings for the Hunters' Fraternity of America, of which Anderson was president.By 1919, the Bryant Park Studios was described as being "known far and near as one of the New York places of amusement". |
350_22 | 1920s and 1930s
Anderson leased the building in April 1920 to L. K. Schwartz & Co. for 42 years at a total price of $3.5 million. The company had intended to add four stories to the structure and convert it to office use. Schwartz controlled the Beaux-Arts Building and Studio Corporation, which significantly increased the rents for several artists. This led tenant J. C. Leyendecker to sue the company in November 1920 on behalf of the building's thirty-six tenants. A municipal judge found that the company could not pass on the cost of an "unfavorable lease" to tenants. The Cafe des Beaux Arts was not affected by the lease and continued to operate. In 1922, the cafe was damaged in a flood when an ancient spring leaked through the floor. Afterward, the cafe floor was capped. |
350_23 | The Cafe des Beaux Arts only occupied the eastern part of the ground-story storefront by 1923. The western portion, measuring , was leased that year to Joseph M. Nimhauser, who planned to alter the storefronts there. The same year, the mansard roof was added above the western portion of the building. The Sixth Avenue storefront was occupied by a barbershop for two decades. During Prohibition, the cafe was temporarily closed in March 1925 and banned from selling alcoholic beverages. Anderson still lived in his penthouse, having agreed in 1923 to lease the unit from his own tenant for $5,000 a year for five years. At the end of the five-year period in 1928, the Beaux-Arts Building Corporation tried to evict Anderson from his own apartment. Anderson unsuccessfully attempted to have the case heard in the New York Supreme Court rather than in the municipal court, but he won his lawsuit. The Beaux-Arts Club was shuttered for a year in late 1928 after violating Prohibition-related |
350_24 | restrictions on alcohol sales. |
350_25 | The Beaux-Arts Building and Studio Corporation surrendered its lease to Anderson in January 1930. Ownership of the building passed to Anderson's daughter Eleanor A. Campbell in 1934. The building was damaged by a fire in 1936, which started in painter Leon Gordon's studio and then burned out Louis Herzog's and Anderson's units. Because of the large amount of water used in fighting the fire, some of the ceilings were also damaged. Among the non-residential tenants of this time was dentist Rodrigues Ottolengui.
1940s to 1970s |
350_26 | Anderson died at his apartment in April 1940, and his funeral was held in his studio. The ground-floor and basement storefront at the corner with Sixth Avenue was leased in 1942 by Nedick's Stores Inc. That September, his daughter Eleanor transferred the building to the 80 West Fortieth Street Corporation. In 1943, the Greenwich Savings Bank acquired the building at auction on a bid of $425,000. Greenwich Savings Bank sold the building the next year to a client of the E. M. Simon Company. At the time, it was appraised at $515,000. |
350_27 | Anderson's old penthouse was rented in 1959 by the artist Dorothy Hart Drew. For several years, Drew was involved in a dispute with the owner about whether her residence could be considered a commercial space; she ultimately won that case. Drew continued to occupy the penthouse with her sister through the early 1990s. In the 1960s, the Bryant Park Studios were owned by Max Cohen, who died in 1968. By the 1970s, the building was being occupied by designers and garment companies. These included fashion designer Liz Claiborne, who founded Liz Claiborne Direct Brands in 1976 and occupied three stories before moving out during 1978. Fashion designer Donna Karan also had space in the building. |
350_28 | 1980s to present
L. Robert Lieb, of the New Jersey-based Mountain Development Corporation, bought the building in 1980. In the mid-1980s, Mountain Development subsidiary 80 West 40th Street Associates cleaned the facade and renovated the interior walls, dropped ceilings, lighting, and elevators. At the time, the building was fully occupied and had four retail tenants, as well as office tenants. The New York City Landmarks Preservation Commission held hearings in 1985 to determine whether to designate the building as a landmark. Stephen E. Gottlieb, speaking for the American Institute of Architects' New York chapter, said: "This is not your average Beaux Arts building [...] nor is it your average loft building." The LPC designated the building as a New York City landmark on December 13, 1988. |
350_29 | With residential tenants' leases expiring, Lieb started to renovate the building in the late 1980s so he could rent the space to fashion firms. As part of the project, the lobby's ceiling was restored, the window frames were repaired, and exterior air conditioners were removed. In addition, the facade was cleaned. The renovations cost $4.5 million. After designer Gordon Henderson opened a showroom in the building, ten firms followed. Though the owners offered low rents of , four of the Bryant Park Studios' ten floors remained empty until about 1992, when the nearby Bryant Park was renovated. Within a year, Mountain Development wrote seven leases covering nearly all of the vacant space, and asking rents had increased to . By 2002, the building was almost entirely composed of showrooms, but it was described in The New York Times as having "cheap-looking storefronts and roll-down gates". |
350_30 | At the beginning of the 21st century, the building was fully occupied, with law, financial, and technology companies all using the space. The building was renovated in 2008. By 2013, the Bryant Park Studios was charging rents of , a premium rate compared to the average rent of for the neighborhood. Michael Seeve of Mountain Development, who coordinated day-to-day tenant operations, said his company sought to attract tenants working in similar industries. Tenants included Alice + Olivia within the ground story as well as fashion firms on upper stories. In 2019, Danish bakery chain Ole & Steen opened a restaurant space on the ground floor and adjoining mezzanine. |
350_31 | Residents
The Bryant Park Studios' residents have included:
Elizabeth Gowdy Baker, painter
William Haskell Coffin, painter
Jo Davidson, sculptor
Barry Faulkner, painter
Harrison Fisher, illustrator
Emil Fuchs, painter and sculptor
John La Gatta, illustrator
Leon Gordon, painter
Fernand Léger, painter
J. C. Leyendecker, illustrator
Gari Melchers, painter
Irving Penn, photographer
Frank H. Schwarz, painter
Harrington Mann, portrait artist
Kurt Seligmann, painter and engraver
Edward Steichen, photographer
Bert Stern, photographer
Florine Stettheimer, painter
See also
List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets
References
Notes
Citations
Sources
External links
Mountain Development website |
350_32 | 1901 establishments in New York City
Bryant Park buildings
Midtown Manhattan
New York City Designated Landmarks in Manhattan
Office buildings in Manhattan
Office buildings completed in 1901
Residential buildings completed in 1901
Sixth Avenue |
351_0 | The following is an alphabetical list of political families in the United States whose last name begins with N.
The Nareys
Harry E. Narey (1885–1962), Attorney of Dickinson County, Iowa 1914–20; delegate to the Iowa Republican Convention 1916 1920 1924 1928 1932 1936 1940 1944 1948 1952 1956 1960; Attorney of Spirit Lake, Iowa 1918–43; Chairman of the Dickinson County, Iowa Republican Committee 1918–43; U.S. Representative from Iowa 1942–43; Iowa District Court Judge 1944–59. Father of Peter B. Narey.
Peter B. Narey (1920–2008), Iowa Republican Committeeman 1971. Son of Harry E. Narey. |
351_1 | The Neelys
Matthew M. Neely (1874–1958), Mayor of Fairmont, West Virginia 1908–10; U.S. Representative from West Virginia 1913–21 1945–47; U.S. Senator from West Virginia 1923–29 1931–41 1949–58; candidate for U.S. Senate from West Virginia 1942; delegate to the Democratic National Convention 1932 1936 1940 1944 1952 1956; Governor of West Virginia 1941–45. Grandfather of Richard Neely.
Richard Neely (born 1941), West Virginia House Delegate 1971–72, Judge of the West Virginia Supreme Court of Appeals 1973–95. Grandson of Matthew M. Neely. |
351_2 | The Nelsons
Roger Nelson (1759–1815), Maryland House Delegate 1795 1801–02, Maryland State Senator 1803–04, U.S. Representative from Maryland 1804–10, Justice in Maryland. Father of John Nelson.
John Nelson (1791–1860), U.S. Representative from Maryland 1821–23, Maryland State Senator 1826–29 1830, U.S. Chargé d'Affaires to Two Sicilies 1831–32, Attorney General of the United States 1843–45, acting U.S. Secretary of State 1844. Son of Roger Nelson.
The Nelsons of Maine
John E. Nelson (1874–1955), U.S. Representative from Maine 1922–33. Father of Charles P. Nelson.
Charles P. Nelson (1907–1962), delegate to the Republican National Convention 1936, Mayor of Augusta, Maine 1947–48; U.S. Representative from Maine 1949–57. Son of John E. Nelson. |
351_3 | The Nelsons of Virginia
Thomas Nelson, Jr. (1738–1789), member of the Virginia Colony House of Burgesses 1774, delegate to the Virginia Colony Convention 1774, Delegate to the Continental Congress from Virginia 1775–77 1779, Governor of Virginia 1781. Father of Hugh Nelson.
Hugh Nelson (1768–1836), Virginia State Senator 1786–91, Virginia House Delegate 1805–09 1828–29, Judge of the Virginia General Court, U.S. Representative from Virginia 1811–23, U.S. Minister to Spain 1823–24. Son of Thomas Nelson, Jr.
The Nelsons and Norris
George W. Norris (1861–1944), District Court Judge in Nebraska 1896–1903, U.S. Representative from Nebraska 1903–13, U.S. Senator from Nebraska 1913–43. Grandfather of Harvey Frans Nelson, Jr.
Harvey Frans Nelson, Jr. (born 1924), U.S. Ambassador to Swaziland 1985–88. Grandson of George W. Norris. |
351_4 | The Nesses and Richardsons
Julius B. Ness (1916–1991), Associate Justice of South Carolina 1974–85, Chief Justice of South Carolina 1985–88.
Julius N. Richardson (born 1976), Judge of the United States Court of Appeals for the Fourth Circuit 2018–present. Grandson of Julius B. Ness.
The Neubergers
Richard L. Neuberger (1912–1960), Oregon State Representative 1941–42, Oregon State Senator 1949–54, U.S. Senator from Oregon 1955–60.
Maurine Neuberger (1907–2000), U.S. Senator from Oregon 1960–67. Wife of Richard L. Neuberger.
The Neumanns
Robert G. Neumann (1916–1999), U.S. Ambassador to Afghanistan 1966–73, U.S. Ambassador to Morocco 1973–76, U.S. Ambassador to Saudi Arabia 1981. Father of Ronald E. Neumann.
Ronald E. Neumann (born 1944), U.S. Ambassador to Algeria 1994–97, U.S. Ambassador to Bahrain 2001, U.S. Ambassador to Afghanistan 2005–07. Son of Robert G. Neumann. |
351_5 | The Nevilles
J. C. Neville (1815–1898), District Attorney of Brown County, Wisconsin; City Attorney of Green Bay, Wisconsin; Wisconsin State Assemblyman; Mayor of Green Bay, Wisconsin 1880. Father of Arthur C. Neville.
Arthur C. Neville (1850–1929), Mayor of Green Bay, Wisconsin 1888–89. Son of J. C. Neville.
NOTE: Arthur C. Neville was also great-nephew by marriage of U.S. President Martin Van Buren.
The News
John C. New (1831–1906), Indiana State Senator 1863, Chairman of the Indiana Republican Party 1880–82. Father of Harry S. New.
Harry S. New (1858–1937), delegate to the Republican National Convention 1896 1912 1920 1924, Indiana State Senator 1897–99, Republican National Committeeman 1900–12, Chairman of the Republican National Committee 1907–08, U.S. Senator from Indiana 1917–23, Postmaster General of the United States 1923–29. Son of John Chalfant New. |
351_6 | The Newberrys
John Stoughton Newberry (1826–1887), U.S. Representative from Michigan 1879–81. Father of Truman Handy Newberry.
Truman Handy Newberry (1864–1945), U.S. Secretary of the Navy 1908–09, U.S. Senator from Michigan 1919–22. Son of John Stoughton Newberry.
Carol Newberry Brooks, Michigan Republican Committeewoman. Daughter to Truman Handy Newberry.
The Newhouses
Irv Newhouse (1920–2001), Washington State Representative 1965–1980, Washington State Senator 1980–1999. Father of Dan Newhouse.
Dan Newhouse (born 1955), Washington State Representative 2003–2009, Director of the Washington State Department of Agriculture 2009–2013, U.S. Representative from Washington 2015–present. Son of Irv Newhouse. |
351_7 | The Newlands and Sharons
William Sharon (1821–1885), U.S. Senator from Nevada 1875–81. Father-in-law of Francis G. Newlands.
Francis G. Newlands (1848–1917), U.S. Representative from Nevada 1983–03, U.S. Senator from Nevada 1903–17, delegate to the Democratic National Convention 1916. Son-in-law of William Sharon.
The Newsoms
William Newsom (1934–2018), retired California appeals court judge and administrator of the Getty family trust
Gavin Newsom (born 1967), mayor of San Francisco and Lieutenant Governor of California, 40th Governor of California. |
351_8 | The Niblacks
William E. Niblack (1822–1893), Surveyor of Dubois County, Indiana; Indiana State Representative 1849–50 1862–63; Indiana State Senator 1850–53; Circuit Court Judge in Indiana 1854–59; U.S. Representative from Indiana 1857–61 1865–75; delegate to the Democratic National Convention 1864 1868 1876; Justice of the Indiana Supreme Court 1877–89. Cousin of Silas L. Niblack.
Silas L. Niblack (1825–1883), Probate Court Judge in Columbia County, Florida; U.S. Representative from Florida 1873; Florida State Senator 1879. Cousin of William E. Niblack.
Mason Jenks Niblack (1857–1926), Indiana State Representative 1897–1901 1915. Son of William E. Niblack. |
351_9 | The Nices
Harry Nice (1877–1941), candidate for Governor of Maryland 1919, delegate to the Republican National Convention 1920, Governor of Maryland 1935–39, candidate for Republican nomination for Vice President of the United States 1936, candidate for U.S. Senate from Maryland 1940. Uncle of Deeley K. Nice.
Deeley K. Nice (1910–1956), candidate for Mayor of Baltimore, Maryland 1947; delegate to the Republican National Convention 1948 1952; Judge of the Baltimore, Maryland Supreme Bench 1954–56. Nephew of Harry Nice.
Harry W. Nice III (born 1935), Maryland House Delegate 1967–70. Son of Deeley K. Nice. |
351_10 | The Nicholas, Carters, and Randolphs
Robert Carter I (1663–1732), acting Governor of Virginia 1726–27. Grandfather of Robert Carter Nicholas, Sr.
Robert Carter Nicholas, Sr. (1728/1729-1780), member of the Virginia House of Burgesses 1755–61 1766–75, Virginia Assemblyman 1776–79, Judge of the Virginia Court of Appeals. Grandson of Robert Carter I.
George Nicholas (c. 1754–1799), Attorney General of Kentucky, son of Robert Carter Nicholas Sr.
Wilson Cary Nicholas (1761–1820), Governor of Virginia, son of Robert Carter Nicholas Sr.
John Nicholas (1764–1819), congressman from Virginia, New York State Senator; son of Robert Carter Nicholas Sr.
Edmund Randolph (1753–1813), Delegate to the Continental Congress from Virginia 1779–82, Governor of Virginia 1786–88, Attorney General of the United States 1789–94, U.S. Secretary of State 1794–95. Son-in-law of Robert Carter Nicholas, Sr.. |
351_11 | Robert C. Nicholas (1793–1857), U.S. Senator from Louisiana 1836–41, Louisiana Secretary of State 1843–46. Son of George Nicholas
Robert C. Nicholas (1801–1854), New York Assembly 1828, 1829, 1830 and 1832; New York State Senate 1839–42; Son of John Nicholas
Peyton Randolph (governor) (1779–1828), Acting Governor of Virginia 1811–12; son of Edmund Randolph |
351_12 | The Niedringhaus
Frederick G. Niedringhaus (1837–1922), U.S. Representative from Missouri 1889–91. Father of Thomas Key Niedringhaus.
Thomas Key Niedringhaus (1860–1924), Republican National Committeeman 1912–16. Son of Frederick G. Niedringhaus.
Henry F. Niedringhaus (1864–1941), U.S. Representative from Missouri 1927–33. Nephew of Frederick G. Niedringhaus.
The Nielsons
Howard C. Nielson (1924–2020), Utah State Representative 1967–75, U.S. Representative from Utah 1983–91, Utah State Senator 1997–2001.
Howard C. Nielson Jr. (born 1968), Judge of the United States District Court for the District of Utah 2019–present. Son of Howard C. Nielson.
Jim Nielson, Utah State Representative. Son of Howard C. Nielson. |
351_13 | The Nixes
Robert N.C. Nix, Sr. (1898–1987), delegate to the Democratic National Convention 1956, U.S. Representative from Pennsylvania 1958–79. Father of Robert N.C. Nix, Jr.
Robert N.C. Nix, Jr. (1928–2003), Judge of the Philadelphia, Pennsylvania Court of Common Pleas 1967–71; Justice of the Pennsylvania Supreme Court 1971–84; Chief Justice of the Pennsylvania Supreme Court 1984–96. Son of Robert N.C. Nix, Sr. |
351_14 | The Nixons and Coxes
Richard Nixon (1913–1994), U.S. Representative from California 1947–50, U.S. Senator from California 1950–53, Vice President of the United States 1953–61, candidate for President of the United States, 1960, candidate for Governor of California, 1962, President of the United States 1969–74. Father-in-law of Edward F. Cox.
Edward F. Cox (born 1946), candidate for Republican nomination for the U.S. Senate, 2006, withdrew nomination. Son-in-law of Richard Nixon.
Christopher Nixon Cox (born 1979), candidate for Republican nomination for New York's 1st congressional district, 2010. Son of Edward F. Cox.
NOTE: Nixon's daughter, Julie, is granddaughter-in-law of U.S. President Dwight D. Eisenhower. |
351_15 | The Nobles
James Noble (1785–1831), Indiana Territory 1813–14, Indiana Territory Councilman 1815, Indiana Circuit Court Judge 1815, delegate to the Indiana Constitutional Convention 1816, Indiana State Representative 1816, U.S. Senator from Indiana 1816–31. Brother of Noah Noble and Benjamin Sedgwick Noble.
Noah Noble (1794–1844), Indiana State Representative 1825, Governor of Indiana 1831–37, candidate for U.S. Senate from Indiana 1836 1838. Brother of James Noble and Benjamin Sedgwick Noble.
Benjamin Sedgwick Noble (1809–1869), Indiana State Representative 1837–38. Brother of James Noble and Noah Noble.
Benjamin Sedgwick Noble (1805–1837), Indiana State Representative 1829–30 1831–32 1833–34. Son of James Noble. |
351_16 | The Nobles of Michigan
David A. Noble (1802–1876), Recorder of Monroe, Michigan 1838 1839 1844–50; Michigan State Representative 1847–48; Mayor of Monroe, Michigan 1852; Monroe, Michigan Alderman; Prosecuting Attorney of Monroe County, Michigan; Probate Court Judge in Monroe County, Michigan; U.S. Representative from Michigan 1853–55; delegate to the Democratic National Convention 1864. Father of Henry Shaw Noble and John Savage Noble.
Henry Shaw Noble, Mayor of Monroe, Michigan 1879–80 1883–84. Son of David A. Noble.
John Savage Noble, Probate Court Judge in Michigan. Son of David A. Noble.
The Noells
John William Noell (1816–1863), Clerk of Perry County, Missouri Circuit Court 1841–50; Missouri State Senator 1851–55; U.S. Representative from Missouri 1859–63. Father of Thomas E. Noell.
Thomas E. Noell (1839–1863), U.S. Representative from Missouri 1865–67. Son of John William Noell. |
351_17 | The Nolans
John I. Nolan (1874–1922), U.S. Representative from California 1913–1922.
Mae Nolan (1886–1973), U.S. Representative from California 1923–1925. Wife of John I. Nolan.
The Norblads
A.W. Norblad (1881–1960), District Attorney of Delta County, Michigan; Attorney of Astoria, Oregon 1910–15; Oregon State Senator; candidate for U.S. Representative from Oregon 1922; Governor of Oregon 1929–31. Father of A. Walter Norblad.
A. Walter Norblad (1908–1964), Oregon State Representative 1935–37, delegate to the Republican National Convention 1940, U.S. Representative from Oregon 1946–64. Son of A.W. Norblad.
Albin W. Norblad (1939–2014), Municipal Court Judge in Oregon, Oregon Circuit Court Judge. Son of A. Walter Norblad.
The Noricks
James H. Norick, Mayor of Oklahoma City, Oklahoma 1959–63 1967–71. Father of Ron Norick.
Ron Norick, Mayor of Oklahoma City, Oklahoma 1987–98. Son of James H. Norick. |
351_18 | The Norrells
William F. Norrell (1896–1961), Arkansas State Senator 1930–38, U.S. Representative from Arkansas 1939–1961.
Catherine Dorris Norrell (1901–1981), U.S. Representative from Arkansas 1961–1963. Wife of William F. Norrell.
The Norrises
William Wiley Norris, III (1936-2016), lawyer in West Monroe, Louisiana, who served as city attorney and city and state court judge, with service from 1981 to 2002 on the Louisiana Court of Appeal for the Second Circuit. Brother of Dave Norris
Dave Norris (born 1942), the mayor of West Monroe, Louisiana, since 1978; holds the longest tenure of any in that position. Brother of Judge William Norris, III.
The Northams
Wescott Northam, Accomack County, Virginia Judge, Commonwealth's Attorney in Virginia. Father of Ralph Northam.
Ralph Northam (born 1959), Virginia State Senator 2008–2014, Lieutenant Governor of Virginia 2014–2018, Governor of Virginia 2018–present. Son of Wescott Northam. |
351_19 | The Nottses
Charles C. Nott (1827–1916), Judge of the Court of Claims 1865–96, Chief Justice of the Court of Claims 1896–1905.
Charles Cooper Nott Jr. (1869–1957), judge of the New York General Sessions Court 1913–39. Son of Charles C. Nott.
The Nungessers
William Aicklen "Billy" Nungesser (1929–2006), chairman of the Republican Party of Louisiana 1988–92
William Harold "Billy" Nungesser (born 1959), president of Plaquemines Parish, Louisiana 2007-2015, Lieutenant Governor of Louisiana 2016–present. Son of William Aicklen "Billy" Nungesser
The Nunns and Vinsons
Carl Vinson (1883–1981), Georgia State Representative 1910–14, U.S. Representative from Georgia 1914–65. Granduncle of Samuel A. Nunn, Jr.
Samuel A. Nunn, Jr. (born 1938), Georgia State Representative 1968–72, U.S. Senator from Georgia 1972–97. Grandnephew of Carl Vinson.
Michelle Nunn (born 1966) Democratic nominee for U. S. Senator from Georgia, 2014. Daughter of Sam Nunn. |
351_20 | The Nyes
Wallace G. Nye (1859–1926), Mayor of Minneapolis, Minnesota 1913–17. Uncle of Gerald Nye.
Gerald Nye (1892–1971), candidate for U.S. Representative from North Dakota 1924, U.S. Senator from North Dakota 1925–45, candidate for U.S. Senate from North Dakota 1946. Nephew of Wallace G. Nye.
References
N |
352_0 | David Macaulay (born 2 December 1946) is a British-born American illustrator and writer. His works include Cathedral (1973), The Way Things Work (1988) and The New Way Things Work (1998). His illustrations have been featured in nonfiction books combining text and illustrations explaining architecture, design and engineering, and he has written a number of children's fiction books. Macaulay was a 2006 recipient of a MacArthur Fellows Program award and received the Caldecott Medal in 1991 for Black and White (1990). |
352_1 | Biography
David Macaulay was born in Burton upon Trent and raised in Lancashire, England. At the age of eleven, Macaulay emigrated with his family to Bloomfield, New Jersey. He had an early fascination with how machines operated. He made models of machines and began drawing illustrations of them. After graduating from high school in Cumberland, Rhode Island, in 1964, he enrolled in the Rhode Island School of Design (RISD) where he received a bachelor's degree in architecture. After graduating he decided against pursuing a career in architecture. He spent his fifth year at RISD in the European Honors Program, studying in Rome. He then took jobs as an interior designer, a junior high school teacher, and a teacher at RISD before he began to create books.
Macaulay currently lives in Norwich, Vermont. |
352_2 | Literature |
352_3 | Macaulay is the author of several books on architecture and design. His first book, Cathedral (1973), was a history, extensively illustrated with pen-and-ink drawings, of the construction of a fictitious but representative Gothic cathedral. This was followed by a series of books of the same type: City (1974), on the construction of Verbonia, a fictitious but typical ancient Roman city; Pyramid (1975), a collection of diagrams and sketches illustrating the construction process of the pyramid monuments to the Egyptian Pharaohs; Castle (1977), on the construction of Aberwyvern castle, a fictitious but typical medieval castle; Mill (1983), on the evolution of New England mills; and Mosque (2003), which depicts the design and construction of an Ottoman-style masjid. The September 11 attacks motivated Macaulay to create Mosque to show how the traditions of major religions have more in common than they have dividing them. Cathedral, City, Pyramid, Castle, and Mill were later adapted into |
352_4 | documentaries produced by Unicorn Productions, each of which aired sporadically on PBS from 1983 to 1994. Other books in this series are Underground (1976), which describes the building foundations and support structures (like water and sewer pipes) that underlie a typical city intersection, and Unbuilding (1980), which describes the hypothetical dismantling of the Empire State Building in preparation for re-erection in the Middle East. |
352_5 | Macaulay is probably best known for the popular children's book The Way Things Work (1988, text by Neil Ardley). This was expanded and re-released as The New Way Things Work (1998) and The Way Things Work Now (2016). The Way Things Work is his most commercially successful series and served as the basis for a short-lived educational television program. |
352_6 | His books often display a whimsical humor. Illustrations in The Way Things Work depict cave people and woolly mammoths operating giant-sized versions of the devices he is explaining. Motel of the Mysteries, written in 1979 after the 1976–1979 exhibition of the Tutankhamun relics in the U.S., concerns the discovery by future archaeologists of an American motel and their ingenious interpretation of the building and its contents as a funerary and temple complex. Baaa is set after the human race has somehow gone extinct. Sheep discover artifacts of lost human civilization and attempt to rebuild it. However, the new sheep-inhabited world develops the same side effects of economic disparity, crime, and war. Macaulay considers concealing technology's inner mechanics as a growing problem for society, and aims to fight this trend with his work. |
352_7 | To research his book The Way We Work, Macaulay spent years talking and studying with doctors and researchers, attending medical procedures, and laboriously sketching and drawing. He worked with medical professionals like Lois Smith, a professor at Harvard University and researcher at Children's Hospital Boston, and medical writer Richard Walker to ensure the accuracy of both his words and his illustrations. Anne Gilroy, a clinical anatomist in the departments of surgery and cell biology at the University of Massachusetts Medical School, consulted on the book. She said of Macaulay, "His remarkable curiosity and meticulous research led him into some of the most complicated facets of the human body yet he tells this story with simplicity, ingenuity and humor." |
352_8 | Other works
A mural designed by Macaulay was painted on a wall adjacent to Interstate 95 in Providence, Rhode Island. It depicted statues of famous Rhode Island citizens like Moses Brown and General Ambrose Burnside with an energetic dog who had knocked over a statue while chasing after a pigeon. It was on display from 2013 but painted over in 2017 because the Rhode Island Department of Transportation could no longer repair it after constant graffiti tagging.
He has collaborated with the Center for Integrated Quantum Materials at Harvard University and the Boston Museum of Science to create illustrations for quantum materials. These aid in explaining visual information to researchers and a wider audience by establishing and using a consistent visual style. |
352_9 | Awards
Macaulay's awards include: the MacArthur Fellows Program award (2006); the Caldecott Medal, won for his book Black and White; the Boston Globe–Horn Book Award; the Christopher Award, an American Institute of Architects Medal; the Washington Children's Book Guild Nonfiction Award; the Deutscher Jugendliteraturpreis; the Dutch Silver Slate Pencil Award; and the Bradford Washburn Award, awarded by the Museum of Science in Boston to exemplary contributors to science. He was U.S. nominee for the biennial, international Hans Christian Andersen Award in 1984 and 2002. Macaulay was honored with delivering the May Hill Arbuthnot Honor Lecture in 2008 by the American Library Association. |
352_10 | Publications
Cathedral: The Story of its Construction (1973); winner of the 1975 Deutscher Jugendliteraturpreis for children's non-fiction; one of The New York Times ten Best Illustrated Books, 1973; Caldecott Honor Book (1974); Childrens Book Showcase title (1974)
City: A Story of Roman Planning and Construction (1974)
Pyramid (1975); winner of the 1976 Boston Globe-Horn Book Award, The Christopher Award and a The New York Times Outstanding Book of the Year, 1975
Underground (1976); a The New York Times Outstanding Book of the Year (1976)
Castle (1977); winner of the 1978 Caldecott Medal and the Boston Globe-Horn Book Awards.
Great Moments in Architecture (1978)
Motel of The Mysteries (1979)
Unbuilding (1980)
Help! Let Me Out! (1982, David Lord Porter (Author), David MacAulay (Illustrator))
Mill (1983)
Baaa (1985)
Why the Chicken Crossed the Road (1987) |
352_11 | The Way Things Work (1988), text by David Macaulay and Neil Ardley; winner of the 1989 Boston Globe-Horn Book Award, commended by the Association for Library Service to Children (ALSC) as a notable book, 1989
Black and White (1990); Caldecott Medal Winner (1991)
Ship (1994)
Shortcut (1995)
Rome Antics (1997)
The New Way Things Work (1998)
Pinball Science (1998) (CD-ROM video game)
Building the Book Cathedral (1999)
Building Big (2000)
Angelo (2002)
Mosque (2003)
The Way We Work (7 October 2008); Honor, 2009 Boston Globe-Horn Book Award
Built to Last (2010)
Jet Plane: How It Works (2012)
Castle: How It Works (2012)
Toilet: How It Works (2013)
Eye: How It Works (2013)
How Machines Work: Zoo Break! (2015)
The Way Things Work Now (2016)
Crossing on Time: Steam Engines, Fast Ships, and a Journey to the New World (2019)
Mammoth Science: The Big Ideas That Explain Our World, Tested by Mammoths (2020) |
352_12 | Artwork exhibitions
David Macaulay: The Art of Drawing Architecture. The National Building Museum. (June 2007 to May 2008)
Building Books: The Art of David Macaulay. The Currier Museum of Art. (2009)
Television
Castle (1983), PBS, host and narrator
Cathedral (1986), PBS, host and narrator
Pyramid (1988), PBS, host and narrator
Roman City (1994), PBS, host and narrator
Mill Times (2001), PBS, host and narrator
The Way Things Work (2001–2002), BBC, 26 episodes, animated and based on the book
References
External links
Official David Macaulay Website
A biography of David Macaulay at WGBH, Boston, MA
David Macaulay bio at the NCBLA
: "An Illustrated Journey through Rome" |
352_13 | 1946 births
20th-century American writers
21st-century American writers
American children's book illustrators
American children's writers
British children's book illustrators
Caldecott Medal winners
Children's non-fiction writers
English children's writers
English illustrators
Information graphic designers
Living people
MacArthur Fellows
National Humanities Medal recipients
People from Burton upon Trent
Rhode Island School of Design alumni
Rhode Island School of Design faculty
Writers from Lancashire
Writers from Rhode Island
Writers who illustrated their own writing |
353_0 | Inigo Jones (; 15 July 1573 – 21 June 1652) was the first significant architect in England and Wales in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings.
As the most notable architect in England and Wales, Jones was the first person to introduce the classical architecture of Rome and the Italian Renaissance to Britain. He left his mark on London by his design of single buildings, such as the Queen's House which is the first building in England designed in a pure classical style, and the Banqueting House, Whitehall, as well as the layout for Covent Garden square which became a model for future developments in the West End. He made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson.
Early life and career |
353_1 | Beyond the fact that he was born in Smithfield, London, into the Welsh-speaking family of Inigo Jones Snr., a Welsh cloth worker, and baptised at the church of St Bartholomew-the-Less, little is known about Jones's early years. He did not approach the architectural profession in the traditional way, namely either by rising up from a craft or through early exposure to the Office of Works, although there is evidence that Christopher Wren obtained information that recorded Jones as an apprentice joiner in St Paul's Churchyard. At some point before 1603, a rich patron (possibly the Earl of Pembroke or the Earl of Rutland) sent him to Italy to study drawing after being impressed by the quality of his sketches. From Italy he travelled to Denmark where he worked for Christian IV on the design of the palaces of Rosenborg and Frederiksborg. |
353_2 | Jones first became famous as a designer of costumes and stage settings, especially after he brought "masques" to the stage. Under the patronage of Queen Anne of Denmark (the consort of King James I), he is credited with introducing movable scenery and the proscenium arch to English theatre. Between 1605 and 1640, he was responsible for staging over 500 performances, collaborating with Ben Jonson for many years, despite a relationship fraught with competition and jealousy: the two had arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over a span of two decades.) Over 450 drawings for the scenery and costumes survive, demonstrating Jones's virtuosity as a draughtsman and his development between 1605 and 1609 from initially showing "no knowledge of Renaissance draughtsmanship" to exhibiting an "accomplished Italianate manner" and understanding of Italian set design, particularly that of Alfonso and |
353_3 | Giulio Parigi. This development suggests a second visit to Italy, circa 1606, influenced by the ambassador Henry Wotton. Jones learned to speak Italian fluently and there is evidence that he owned an Italian copy of Andrea Palladio's I quattro libri dell'architettura with marginalia that refer to Wotton. His architectural work was particularly influenced by Palladio. To a lesser extent, he also held to the architectural principles of the ancient Roman writer Vitruvius. |
353_4 | Jones's first recorded architectural design is for a monument to Frances, Lady Cotton, commissioned by Rowland Cotton, circa 1608–1611, at Norton-in-Hales, Shropshire showing early signs of his classical intentions. In July 1606, Jones made scenery for a masque at Theobalds for the Earl of Salisbury. In the following years, Jones made drawings for the Earl of Salisbury's New Exchange in the Strand, where work commenced in June 1608, and the central tower of St. Paul's Cathedral, displaying a similar practical architectural inexperience and immature handling of themes from sources including Palladio, Serlio and Sangallo. In 1609, having perhaps accompanied Salisbury's son and heir, Viscount Cranborne, around France, he appears as an architectural consultant at Hatfield House, making small modifications to the design as the project progressed, and in 1610, Jones was appointed Surveyor to Prince Henry. He devised the masques the Barriers and the Masque of Oberon for the Prince and was |
353_5 | possibly involved in some alterations to St James's Palace. |
353_6 | On 27 April 1613, Jones was appointed the position of Surveyor of the King's Works and shortly after, embarked on a tour of Italy with the Earl of Arundel, destined to become one of the most important patrons in the history of English art. On this trip, Jones was exposed to the architecture of Rome, Padua, Florence, Vicenza, Genoa and Venice among others. His surviving sketchbook shows his preoccupation with such artists as Parmigianino and Schiavone. He is also known to have met Vincenzo Scamozzi at this time. His annotated copy of Palladio's Quattro libri dell'architettura also demonstrates his close interest in classical architecture: Jones gave priority to Roman antiquity rather than observing the contemporary fashion in Italy. He was probably the first native born to study these Roman remains first hand and this was key to the new architecture Jones introduced in England and Wales. |
353_7 | Masques
Jones worked as a producer and architect for Masques from 1605 to 1640, but his most known work in this field came from his collaboration with poet and playwright Ben Jonson. Having worked together for fifteen years, the two debated and had disagreements about their line of work and about what was most integral in a masque. While Jonson argued that the most important aspect of a masque was the written word that the audience heard, Jones argued that the visual spectacle was the most important aspect, and that what the audience saw was more important. Jones also felt that the architect had just as much creative freedom and right as the writer or poet of the masque. In defence of this Jones stated that masques were "nothing but pictures with light and motion," making little to note of the words spoken. |
353_8 | Jones's work on masques with Jonson is credited to be one of the first instances of scenery introduced in theatre. In his masques, curtains were used and placed in between the stage and the audience, and that they were to be opened to introduce a scene. Jones was also known for using the stage and theatre space in its entirety, putting his actors throughout different parts of the theatre, such as placing them below the stage, or elevating them onto a higher platform. Jones settings on the stage also incorporated different uses of light, experimenting with coloured glasses, screens and oiled paper to create a softer source of light on the stage.
Jones is also known for introducing to English audiences moving scenery through what is called 'machina versatilis', helping to create motion among a stable scene without any noticeable Stagehands and of creating a representation of the ethereal. |
353_9 | These elements of stage design and of theatre production would later have influence beyond the English court, as those working in the public stage would take up these ideas and apply them to the early modern stage and for its larger audience.
Architecture |
353_10 | In September 1615, Jones was appointed Surveyor-General of the King's Works, marking the beginning of Jones's career in earnest. Fortunately, both James I and Charles I spent lavishly on their buildings, contrasting hugely with the economical court of Elizabeth I. As the King's Surveyor, Jones built some of his key buildings in London. In 1616, work began on the Queen's House, Greenwich, for James I's wife, Anne. With the foundations laid and the first storey built, work stopped suddenly when Anne died in 1619. Jones provided a design for the queen's funeral hearse or catafalque, but it was not implemented. Work at Greenwich resumed in 1629, this time for Charles I's Queen, Henrietta Maria. It was finished in 1635 as the first strictly classical building in England, employing ideas found in the architecture of Palladio and ancient Rome. This is Jones's earliest-surviving work. |
353_11 | Between 1619 and 1622, the Banqueting House in the Palace of Whitehall was built, a design derived from buildings by Scamozzi and Palladio, to which a ceiling painted by Peter Paul Rubens was added several years later. The Whitehall palace was one of several projects where Jones worked with his personal assistant and nephew by marriage John Webb.
The Queen's Chapel, St. James's Palace, was built between 1623 and 1627, for Charles I's Roman Catholic wife, Henrietta Maria. Parts of the design originate in the Pantheon of ancient Rome and Jones evidently intended the church to evoke the Roman temple. These buildings show the realisation of a mature architect with a confident grasp of classical principles and an intellectual understanding of how to implement them. |
353_12 | The other project in which Jones was involved is the design of Covent Garden square. He was commissioned by the Earl of Bedford to build a residential square, which he did along the lines of the Italian piazza of Livorno. It is the first regularly planned square in London. The Earl felt obliged to provide a church and he warned Jones that he wanted to economise. He told him to simply erect a "barn" and Jones's oft-quoted response was that his lordship would have "the finest barn in Europe". In the design of St Paul's, Jones faithfully adhered to Vitruvius's design for a Tuscan temple and it was the first wholly and authentically classical church built in England. The inside of St Paul's, Covent Garden was gutted by fire in 1795, but externally it remains much as Jones designed it and dominates the west side of the piazza. |
353_13 | Jones also designed the square of Lincoln's Inn Fields, and a house in the square, the Lindsey House built in 1640, is often attributed to Jones. Its design of a rusticated ground floor with giant pilasters above supporting the entablature and balustrade served as a model for other town houses in London such as John Nash's Regent's Park terraces, as well as in other English and Welsh towns such as Bath's Royal Crescent. |
353_14 | Another large project Jones undertook was the repair and remodelling of St Paul's Cathedral. Between the years of 1634 and 1642, Jones wrestled with the dilapidated Gothicism of Old St Paul's, casing it in classical masonry and totally redesigning the west front. Jones incorporated the giant scrolls from Vignola and della Porta's Church of the Gesù with a giant Corinthian portico, the largest of its type north of the Alps, but was destroyed in the Great Fire of London in 1666. Also around this time, circa 1638, Jones devised drawings completely redesigning the Palace of Whitehall, but the execution of these designs was frustrated by Charles I's financial and political difficulties. |
353_15 | More than 1000 buildings have been attributed to Jones but only a very small number of those are certain to be his work. According to architecture historian John Summerson, the modern concept of an architect's artistic responsibility for a building did not exist at that time, and Jones's role in many instances may be that of a civil servant in getting things done rather than as an architect. Jones's contribution to a building may also simply be verbal instructions to a mason or bricklayer and providing an Italian engraving or two as a guide, or the correction of drafts. In the 1630s, Jones was in high demand and, as Surveyor to the King, his services were only available to a very limited circle of people, so often projects were commissioned to other members of the Works. Stoke Bruerne Park in Northamptonshire was built by Sir Francis Crane, "receiving the assistance of Inigo Jones", between 1629 and 1635. Jones is also thought to have been involved in another country house, this time |
353_16 | in Wiltshire. Wilton House was renovated from about 1630 onwards, at times worked on by Jones, then passed on to Isaac de Caus when Jones was too busy with royal clients. He then returned in 1646 with his student, John Webb, to try and complete the project. Contemporary equivalent architects included Sir Balthazar Gerbier and Nicholas Stone. |
353_17 | One of Jones's design work was "double cube" room, and it was also the foundation stone of his status as the father of British architecture. Jones, as the pioneer in his era, had strong influence during their time. His revolutionary ideas even effect beyond the Court circle, and today, many scholars believe that he also started the golden age of British architecture. |
353_18 | Political and civic life
On 16 February 1621, in a by-election caused by the ejection of an existing member Sir John Leedes, Jones was elected M.P. in the Parliament of England for New Shoreham in west Sussex, a borough constituency controlled by the Earl of Arundel, and sat till the dissolution of that parliament in February 1622. He was named to a committee to improve lighting and increase seating in the House of Commons' chamber, resulting in a new gallery being erected in St Stephen's Chapel during the summer recess and was also responsible for a new ceiling put in the House of Lords chamber in 1623. He also served as a Justice of the Peace (J.P.) for the county of Middlesex and borough of Westminster from 1630 until at least 1640. He was made a freeman of the borough of Southampton in 1623 and in 1633 was offered, but declined, a knighthood by Charles I.
Later life |
353_19 | Jones's full-time career effectively ended with the outbreak of the English Civil War in 1642 and the seizure of the King's houses in 1643. Jones was captured at the third siege of Basing House in October 1645. Unfortunately, as one of the last great strongholds to the Cavaliers, the great mansion inside was destroyed by Cromwell's army and even the walls were broken into many pieces. His property was later returned to him (c. 1646) but Jones ended his days, unmarried, living in Somerset House. He was, however, closely involved in the design of Coleshill House, in Berkshire, for the Pratt family, which he visited with the young apprentice architect Roger Pratt, to fix a new site for the proposed mansion. He died on 21 June 1652 and was subsequently buried with his parents at St Benet Paul's Wharf, the Welsh church of the City of London. John Denham and then Christopher Wren followed him as King's Surveyor of Works. A monument dedicated to him in the church, ironically portraying St |
353_20 | Paul's Cathedral and other buildings, was destroyed in the Great Fire in 1666. |
353_21 | Legacy
He was an influence on a number of 18th-century architects, notably Lord Burlington and William Kent.
There is an Inigo Jones Road in Charlton, south east London (SE7), near Charlton House, some of whose features were allegedly designed by him.
A bridge in Llanrwst, North Wales, named "Pont Fawr" is also known locally as "Pont Inigo Jones"—Inigo Jones's Bridge.
He is also said to be responsible for the Masonic Document called "The Inigo Jones Manuscript", from around 1607. A document of the Old Charges of Freemasonry.
List of architectural works |
353_22 | Design for the completion of the central tower, old St Paul's Cathedral, not executed (c. 1608)
Design for the New Exchange in the Strand, London, not executed (c.1608)
The Queen's House, Greenwich (1616–1619), work suspended on the death of Anne of Denmark completed (1630–1635) for Henrietta Maria of France
Design for the Star Chamber building, not executed (1617)
Gateway at Oatlands Palace (1617), now at Chiswick House
Gateway at Arundel House (1618), demolished
Banqueting House, Whitehall (1619–22)
Prince's Lodging, Newmarket for Henry Frederick, Prince of Wales (1619), demolished
The Queen's Chapel, St. James's Palace (1623–27), for Henrietta Maria of France
Fort Amsterdam (1625) – The Dutch East India Company asked Jones to design a stone fortification on the Hudson River, which he did, but the fort was built (by Cryn Fredericks) out of wood instead and was torn down in 1790.
The Cockpit Theatre, Palace of Whitehall (1629) demolished |
353_23 | Stoke Park Pavilions, Northamptonshire, attributed (c. 1629–35)
Somerset House Chapel (1630–35), demolished
Covent Garden, London, houses on the north and east side as well as St Paul's, Covent Garden on the west (1631–1637) only the church survives
Old St Paul's Cathedral, new west front and remodelling of the nave and transepts (1634–42) destroyed in the Great Fire of London
Wilton House, Wiltshire (1636–40) the interior burnt c.1647, rebuilt to the designs of John Webb (1648)
Sir Peter Killigrew's House, Blackfriars, London (1630s) not known if built
Palace of Whitehall, various schemes for the complete rebuilding of the palace (c. 1637–39)
Lord Maltravers's House, Lothbury, London (1638) if built destroyed in the Great Fire of London
Temple Bar, London, design for triumphal arch, not executed (1638) |
353_24 | Screen in Winchester Cathedral (c.1638), removed by the dean in 1820, and its central portion is now found in the Museum of Archaeology and Anthropology, Cambridge, incorporated into the building as an architectural feature.
Design for a row of house in Lothbury for Thomas Howard, 21st Earl of Arundel (c.1638), destroyed in the Great Fire of London
Lindsey House, Lincoln's Inn Fields now numbers 59 & 60, attributed (c. 1638–40)
Milton Manor House, Milton, Abingdon, Oxfordshire
Coleshill House, Berkshire (designed by Jones and executed by Roger Pratt) |
353_25 | Gallery of architectural works
See also
List of architects
Lists of people from London
In-I-Go Jones
References
Sources |
353_26 | Anderson, Christy, Inigo Jones and the Classical Tradition (Cambridge, 2007).
Chaney, Edward, The Evolution of the Grand Tour: Anglo-Italian Cultural Relations since the Renaissance, London, Routledge, 2000.
Chaney, Edward, 'Evelyn, Inigo Jones, and the Collector Earl of Arundel', John Evelyn and his Milieu, eds F. Harris and M. Hunter (The British Library, 2003).
Chaney, Edward, Inigo Jones's 'Roman Sketchbook''', 2 vols, London, The Roxburghe Club, 2006.
Chaney, Edward, "Roma Britannica and the Cultural Memory of Egypt: Lord Arundel and the Obelisk of Domitian", in Roma Britannica: Art Patronage and Cultural Exchange in Eighteenth-Century Rome, eds. D. Marshall, K. Wolfe and S. Russell, British School at Rome, 2011, pp. 147–70.
Chaney, Edward and Timothy Wilks, The Jacobean Grand Tour: Early Stuart Travellers in Europe (I.B. Tauris: London, 2014).
Colvin, Howard, "A Biographical Dictionary of British Architects: 1600 to 1840", 1954
Gotch, A J, "Inigo Jones", 1968. |
353_27 | Hart, Vaughan. Art and Magic in the Court of the Stuarts. London, Routledge, 1994.
Hart, Vaughan. ‘Imperial Seat or Ecumenical Temple? On Inigo Jones's use of ‘Decorum’ at St Paul's Cathedral’, Architectura, 1995, vol.25 no.2, pp. 194–213.
Hart, Vaughan, Inigo Jones: The Architect of Kings, London and New Haven, Yale University Press, 2011.
Hart, Vaughan, Tucker, Richard. ‘"Immaginacy set free": Aristotelian Ethics and Inigo Jones's Banqueting House at Whitehall’, RES: Journal of Anthropology and Aesthetics, vol.39, Spring 2002, pp. 151–67.
Hart, Vaughan, Tucker, Richard. ‘Ornament and the work of Inigo Jones’, Architectura, vol.32, Autumn 2002, pp. 36–52.
Leapman, Michael. Inigo: The Troubled Life of Inigo Jones, Architect of the English Renaissance. London, Headline Book Publishing, 2003.
Orgel, Stephen and Strong, Roy C., Inigo Jones: The Theatre of the Stuart Court, 1973 |
353_28 | Worsley, Giles, Inigo Jones and the European Classicist Tradition'', New Haven and London, Yale University Press, 2007. |
353_29 | External links
Biography of Inigo Jones, Royal Institute of British Architects.
Oxford Dictionary of National Biography
"An Early Drawing by Inigo Jones and a monument in Shropshire" The Burlington Magazine, Vol. 115, No. 843, June 1973
Inigo Jones at the National Portrait Gallery, London
Inigo Jones' Tulip Stairs, Queen's House, Greenwich, photo gallery at Atlas Obscura
H. Flitcroft, H. Hulsbergh, I. Cole, P. Fourdrinier, "The designs of Inigo Jones : consisting of plans and elevations for publick and private buildings", 1727
1573 births
1652 deaths
16th-century English architects
17th-century English architects
Architects from London
English people of Welsh descent
People from the City of London
Theatre in England |
354_0 | The Palm Center Business and Technology Center, commonly known as Palm Center, is a municipally-owned services complex in southeast Houston, Texas. It is from NRG Stadium and is in proximity to the Third Ward area.
As of 2011 the complex includes a former shopping center, which is one story tall, and the Park at Palm Center (PAPC). The complex is at the intersection of Martin Luther King Boulevard and Griggs Road. Tenants include small businesses, government agencies, and nonprofits.
History |
354_1 | Shopping center
It opened as the Palms Center in September 1955. Keiji Asakura, an architect, described it as "the first of its kind that we know today as a shopping center, which means you drive up park and shop." Oscar Holcombe and Sterling T. Hogan, Sr. had the shopping center built to serve White Houstonians living in newly developed neighborhoods in Southeast Houston that were not in proximity to the shopping places in Downtown Houston. Irving R. Klein & Associates had designed the center, Stanley Krenek and James Bishop served as the project architects, and Fisher Construction Company completed the structural framework; Holcombe and Hogan had selected Klein & Associates in 1954. The construction of Palm Center started after that of Gulfgate Mall, but Palm Center opened first. Hogan stated that market surveys at the time stated that the Griggs and South Park Boulevard area would have immense growth, so the developers chose this location. |
354_2 | At the time of opening there were 41 stores and 2,000 parking spots. Albert Thomas, a member of the U.S. House of Representatives, cut the ribbon to the facility. J.C. Penney, Oshman's, Walgreen’s, and Woolworth had stores at the time of opening. The library had opened around that time.
Collins Tuttle & Co., a real estate company headquartered in New York, purchased Palm Center from Holcombe and Hogan. In 1969 Helmsley-Spear acquired Palm Center.
The white neighborhoods quickly became majority black due to white flight in the 1970s. The neighborhoods' rapid changes harmed area retail businesses. Prior to the 1980s many tenants left Palms Center. J. R. Gonzales of the Houston Chronicle wrote "the center resembled a ghost town by the early 1980s." The J.C. Penney, the final tenant, closed in 1984. |
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