#project: 1830’s

[poetryincostume]

1830’s underpinnings, 2021

Handworked linen chemise, cotton twill hand-corded transitional corset, cotton corded petticoat, two tucked cotton petticoats, organdie pleated petticoat.

With matching hand-corded cotton twill facemask

#project: the name twin #project: 1830’s #early Victorian #underpinnings #corset #petticoats #chemise #historical sewing #historical dress #historical costume #costume #extant projects: 2021 #poetry in costume #and a facemask bc this was a lockdown project #the most useless photos but for some reason I really enjoy them #some day I’ll take proper pictures of these #the vibes - one could almost call them spooky

[fatehbaz]

Scientific knowledge and technology played a significant role in the expansion of colonial rule in India and the consequent incorporation of the Indian sub-continent into the [commercialized, imperial] world-system [...]. The colonization of nature, territory and people in British India led to a mutually constitutive interplay [...].

By the time the East India Company managed to establish a foothold in Bengal in 1757, [...] [a]fter the acquisition of the formal rights to collect revenues in the states of Bengal, Bihar and Orissa, the issue of obtaining accurate information about the extent of the produce, the population and other social statistics assumed significance. The detailed scientific surveys [...] were possible due to the large number of amateur scientists employed by the Company. Over time, these surveys played a major role in the transformation of a trading company into a colonial state [...] and the incorporation of India into the modern world-system. [...]

---

Considered the founder of British geography, James Rennell arrived in India in 1760 barely three years after the decisive battle of Plassey. Rennell’s cartographic skills caught the attention of the governor of Bengal presidency, who was ‘anxious to inaugurate some system for correcting and revising the geography of Bengal’ [...]. Rennell’s mapping out in great detail the area under the Company was indispensable for the rationalization of the extraction of surplus, administrative strategies and techniques of control. [...] In 1777 he left for England, and two years later he published the Bengal Atlas that led to his election to the Royal Society. [...] With reference to the ‘science wars’, [...] Rennell’s work was also incorporated in the key text[s] of the time, C. Lyell’s Principles of Geology (1830) [...] [and] the work of [...] Humboldt and Carl Ritter. Rennell’s surveys contributed to the organized [...] surveys [across wider regions of India] that followed after the defeat of Tipu Sultan of Mysore in 1799. [...] [Mysore's] sustained resistance to British power had a major impact on the general consciousness in Britain. [...]

Thomas de Quincey extolled the virtues of the ‘British bulldog’ against [...] the tyrannical ‘Bengal tiger’ [...]. The scientific knowledge that emerged as a consequence of the surveys of Mysore contributed [...] to the consolidation of administrative power [...]. The key figures associated with the surveys [included] Colin Mackenzie [...]. Mackenzie’s ethnographic notes contributed to imperial perceptions of the [...] [people of South Asia] and the grid of anthropological knowledge through which administrative power was deployed. [...]

---

Nature, culture and colonial power were inextricably implicated in the production of scientific knowledge and of colonial society. [...] The establishment the Public Works Department in 1854 provided fresh impetus for the deployment of science and technology in grappling with problems precipitated by colonial rule. Declining revenues for the Company focused attention on gigantic irrigation and other public works projects. [...]

The irrigation projects were expanded to include the railways (1849), the telegraph (1852), and the postal system (1850). Together, they represented the largest state-sponsored enterprise undertaken anywhere at that time. Lord Dalhousie, under whose tenure these projects were inaugurated, declared the railways, the telegraph and the postal system as the ‘three great engines of social improvement’.

His predecessor William Bentinck had already termed the railways ‘the great engine of moral improvement’ in a country ‘cursed from one end to the other by the vice, the ignorance, [...] the barbarous and cruel customs that have been the growth of ages under every description of Asian misrule’ [...]. Later observers were to wax ever more eloquent on the role of the railways in the modernization of India. For W. A. Rogers of the Indian Civil Service, railways ‘are opening the eyes of the people … they teach them that speed attained is time, and therefore money, saved or made’ (Adas1989: 226). The importance of a network of railways, connecting the cotton plantations of the Deccan region to the ports became significant especially during the 'cotton famine' of 1846 [...].

---

Almost immediately after Dalhousie left India, secure in the belief that the double engines of moral improvement and legitimacy were at work, the rebellion of 1857 put an end to such expectations. The rebellion was partly triggered in response to the wide-ranging transformations [...] triggered off by the introduction of [these] new [colonial infrastructures] [...].

In the end, the rebellion was violently suppressed by the very technologies that had precipitated it in the first place. [...]

---

All text above by: Zaheer Baber. "Colonizing nature: scientific knowledge, colonial power and the incorporation of India into the modern world-system". British Journal of Sociology 52(1), pages 37-58. April 2001. [Bold emphasis and some paragraph breaks/contractions added by me. Presented here for commentary, teaching, criticism purposes.]

[telekinetictrait]

"I will dip my pen in my own blood if I choose!" (Vendetta; or, the Story of One Forgotten – Marie Corelli, 1886)

i'm not going to lie to you all. this is my least favorite decade of the 1800s... lets get this over with.

also, yes, i know that i used @vintagesimstress's 1799 winter wear, but it reminded me a lot of this tea dress dated from the 1880s, and i wanted to use it! also also, yeah this is the second post today. i haven't burned out on this project yet but lord knows.

so, the 1880s. you see bustles a lot in this decade, as well as a lot of hats over updos. hair was typically pulled into an updo due to the prevalence of high necklines. not fun fact: many bird species became endangered in the 1880s and 1890s due to the demand for feathers for hats. sleeves stayed close to the arms, but would begin to puff as the decade went on. the bustle hit it's peak in the middle of the decade, much like hoops did in the 1860s. as the bustle shrunk, the hemline of the skirt began to widen into the bell shape that is most associated with the late victorian years.

1800-1809 / 1810-1819 / 1820-1829 / 1830-1839 / 1840-1849 / 1850-1859 / 1860-1869 / 1870-1879

cc links under the cut!

see my resources page for genetics

ianthe : linzlu's fancy bonnet / sylvanes' satin and lace bustle dress (tsr download)

ibis : stephanine-sims' sapphire hair / marysims' ida blouse / simverses' aas bustle skirt conversion / zouyou's parasol

idalia : simverses' lily hat conversion / buzzardly28's 1880s hair #2 / lollaleeloosstuff's bustle dress / dancemachinetrait's lavinia gloves

ihintza : the-melancholy-maiden's middle part 19th century snood / chere-indolente's la cueillette des pommes blouse + skirt

ilse : vintagesimstress's 1799 winter wear / dancemachinetrait's lavinia gloves

imogen : kismet-sims' oh cecilia updo / elfdor's patricia ballgown + gloves

irene : elfdor's lady hat v2 (simsfinds download) / hiddenmoonsims4things' victorian town dress

isidore : chere-indolente's la cueillette des pommes cap / saurusness's ruby hair / linzlu's 1880s dress (download here)

ivette : blogsimplesimmer's maria updo / chere-indolente's la mousme blouse + skirt

izolda : the-melancholy-maiden's late victorian hair + hat / emythegamer's charlotte dress

thank you to @linzlu @stephanine-sims @ms-marysims @simverses @buzzardly28 @dancemachinetrait @the-melancholy-maiden @chere-indolente @vintagesimstress @kismet-sims @elfdor @hiddenmoonsims4things @saurusness @blogsimplesimmer and @emy-the-gamer

#my sims #sims 4 lookbook #ts4 lookbook #sims 4 historical lookbook #ts4 historical lookbook #sims 4 victorian #sims 4 victorian lookbook #ts4 victorian lookbook #223 years #historical #victorian #1880s

[eldritchboop]

The Witchcraft and Magic Collection

The Lost Book Project is charging $13 for this collection. If you've found this useful, please consider donating to the Internet Archive or Global Grey Ebooks instead.

Other roundups here

Aradia, Or The Gospel Of The Witches (1899)

Magus – A Complete System of Occult Philosophy Book 1 (1801)

The Book Of Ceremonial Magic by A.E. Waite (1913)

Key of Solomon The King (1622)

Malleus Maleficarum (1487)

The Black Pullet (1700's)

Daemonologie by King James I (1597)

Manual of Occultism (1914)

Divine Pymander (1657)

Golden Chain of Homer (1723)

Monas Hieroglyphica by John Dee (1564)

Encyclopedia of Ancient and Forbidden Secrets (1898)

The Book of Hallowe'en by Ruth Edna Kelley (1919) The Kybalion - a study of the hermetic philosophy of ancient Egypt and Greece (1908)

Book of Black Magic by Edward Arthur Waite (1910)

Alchemy - Ancient and Modern by H. Stanley Redgrove (1922) Alchemy – Rediscovered and Restored (1914) Ancient Pagan and Modern Christian Symbolism (1922) Anima astrologiæ; or, A guide for astrologers (1886) Architecture, Mysticism and Myth (1892) Astral Worship (1895) Astrology – Its Technics and Ethics (1917) The Book of Aquarius: Alchemy and the Philosophers' Stone (Unknown)

Comte de Gabalis (1914)

Dogma Et Rituel De La Haute Magie Part I (1896) Dogma Et Rituel De La Haute Magie Part II (1896) Fortune Telling By Cards by PRS Foli (1915) General Book of The Tarot (1920) Gleanings of a Mystic (1922) Hermetic Arcanum (1623) Illustrated Key to The Tarot (1916) Irish Witchcraft and Demonology (1913) Letters on Demonology and Witchcraft (1830) Magical Ritual of The Sanctum Regnum (1896)

Magic and Religion by Andrew Lang (1901)

Magic – White and Black, or The Science of Finate and Infinite Life (1900) Magus – A Complete System of Occult Philosophy Book 2 (1801) (Ed note: Both books because I love you <;3)

Mythology and Rites of The British Druids by Edward Davies (1809) Numbers - Their Occult Power and Mystic Virtues (1911) Occult Principles of Health and Healing (1919) Occult Sciences - Waite (1891) The Occult World (1883) Ophiolatreia - Serpent Worship (1889) Outline of Occult Science (1922) Pagan and Christian creeds - Their Origin and Meaning (1920) Records of Salem Witchcraft Copied From The Original (1864) Stonehenge - A Temple Restord To The British Druids by W. Stukeley (1740) The Book of Talismans, Amulets, and Zodiacal Gems by William Thomas Privitt (1922) The Cloud Upon The Sanctuary (1895) The Comte De St. Germain (1912) The Druid Path (1917)

The Tarot of the Bohemians - the most ancient book in the world for the exclusive use of initiates (1896) The Veil of Isis, or, Mysteries of the Druids (1861)

#witchblr #witchcraft resources #historic books #witchcraft #witchy

[renthony]

Anyway here's my reading list for my big film censorship project in case anyone's been wondering what I've been up to when I'm not being a stupid idiot cringey fandom blogger or whatever the jackasses think I am:

Vaudeville, Old and New: An Encyclopedia of Variety Performers in America, by Frank Cullen

Vaudeville and the Making of Modern Entertainment, 1890-1925, by David Monod

From Traveling Show to Vaudeville: Theatrical Spectacle in America, 1830-1910, edited by Robert M. Lewis

American Vaudeville as Ritual, by Albert F. McLean Jr.

American Vaudeville As Seen by its Contemporaries, edited by Charles W. Stein

Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville, by M. Alison Kibler

The New Humor in the Progressive Era: Americanization and the Vaudeville Comedian, by Rick DesRochers

Humor and Ethnic Stereotypes in Vaudeville and Burlesque, by Lawrence E. Mintz

"Vaudeville Indians" on Global Circuits, 1880s-1930s, by Christine Bold

The Original Blues: The Emergence of the blues in African American Vaudeville, by Lynn Abbott and Doug Seroff

Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era, by Brenda Dixon Gottschild

The Wizard of Menlo Park: How Thomas Alva Edison Invented the Modern World, by Randall Stross

Edison, by Edmund Morris

The Rise and Place of the Motion Picture, by Terry Ramsaye

The Romantic History of the Motion Picture: A Story of Facts More Fascinating than Fiction, by Terry Ramsaye (Photoplay Magazine)

Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company, by Charles Musser

The Kinetoscope: A British History, by Richard Brown, Barry Anthony, and Michael Harvey

The Man Who Made Movies: W.K.L. Dickson, by Paul Spehr

A Million and One Nights: A History of the Motion Picture, by Terry Ramsaye

Emergence of Cinema: The American Screen to 1907, by Charles Musser

Dancing for the Kinetograph: The Lakota Ghost Dance and the Silence of Early Cinema, by Michael Gaudio

The First Screen Kiss and "The Cry of Censorship," by Ralph S.J. Dengler

Archival Rediscovery and the Production of History: Solving the Mystery of Something Good - Negro Kiss (1898), by Allyson Nadia Field

Prizefighting and the Birth of Movie Censorship, by Barak Y. Orbach

A History of Sports Highlights: Replayed Plays from Edison to ESPN, by Raymond Gamache

A History of the Boxing Film, 1894-1915: Social Control and Social Reform in the Progressive Era, by Dan Streible

Fight Pictures: A History of Boxing and Early Cinema, by Dan Streible

The Boxing Film: A Cultural and Transmedia History, by Travis Vogan

Policing Sexuality: the Mann Act and the Making of the FBI, by Jessica R. Pliley

Screened Out: Playing Gay in Hollywood, from Edison to Stonewall, by Richard Barrios

The Ashgate Research Companion to Moral Panics, edited by Charles Krinsky

A Companion to Early Cinema, edited by Andre Gaudreault, Nicolas Dulac, and Santiago Hidalgo

The Silent Cinema Reader, edited by Lee Grieveson and Peter Kramer

The Harlot's Progress: Myth and Reality in European and American Film, 1900-1934, by Leslie Fishbein

Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, by Pearl Bowser, Jane Gaines, and Charles Musser

Banned in Kansas: Motion Picture Censorship, 1915-1966, by Gerald R. Butters, Jr.

Black and White and Blue: Adult Cinema From the Victorian Age to the VCR

Complicated Women: Sex and Power in Pre-Code Hollywood, by Mick Lasalle

Dangerous Men: Pre-Code Hollywood and the Birth of the Modern Man, by Mick Lasalle

Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, by Thomas Doherty

Forbidden Hollywood: The Pre-Code Era (1930-1934), When Sin Ruled the Movies, by Mark A. Vieira

Sin in Soft Focus: Pre-Code Hollywood, by Mark A. Vieira

Hollywood's Censor: Joseph I. Breen & the Production Code Administration, by Thomas Doherty

The Dame in the Kimono: Hollywood, Censorship, and the Production Code, by Leonard J. Leff and Jerold L. Simmons

Moral House-Cleaning in Hollywood: What's it All About? An Open Letter to Mr. Will Hays, by James R. Quirk (Photoplay Magazine)

Will H. Hays - A Real Leader: A Word Portrait of the Man Selected to Head the Motion Picture Industry, by Meredith Nicholson (Photoplay Magazine)

Ignorance: An Obnoxiously Moral morality Play, Suggested by "Experience," by Agnes Smith (Photoplay Magazine)

Close-Ups: Editorial Expression and Timely Comment (Photoplay Magazine)

Children, Cinema & Censorship: From Dracula to the Dead End Kids, by Sarah J. Smith

Freedom of the Screen: Legal Challenges to State Film Censorship, 1915-1981, by Laura Wittern-Keller

Picturing Indians: Native Americans in Film, 1941-1960, by Liza Black

America on Film: Representing Race, Class, Gender and Sexuality at the Movies, by Harry M. Benshoff and Sean Griffin

White: Essays on Race and culture, by Richard Dyer

Black American Cinema, edited by Manthia Diawara

Colorization: One Hundred Years of Black Films in a White World, by Wil Haygood

Hollywood's Indian: the Portrayal of the Native American in Film, edited by Peter C. Rollins and John E. O'Connor

Wiping the War Paint Off the Lens: Native American Film and Video, by Beverly R. Singer

Celluloid Indians: Native Americans and Film, by Jacquelyn Kilpatrick

Native Americans on Film: Conversations, Teaching, and Theory, edited by M. Elise Marubbio and Eric L. Buffalohead

Framing Blackness: The African American Image in Film, by Ed Guerrero

Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, by Donald Bogle

Hollywood Black: the Stars, the Films, the Filmmakers, by Donald Bogle

White Screens, Black Images: Hollywood From the Dark Side, by James Snead

Latino Images in Film: Stereotypes, Subversion, and Resistance, by Charles Ramirez Berg

Reel Inequality: Hollywood Actors and Racism, by Nancy Wang Yuen

Visions of the East: Orientalism in Film, edited by Matthew Bernstein and Gaylyn Studlar

The Hollywood Jim Crow: the Racial Politics of the Movie Industry, by Maryann Erigha

America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, by Daniel Eagan

Movie-Made America: A Cultural History of American Movies, by Robert Sklar

Of Kisses and Ellipses: The Long Adolescence of American Movies, by Linda Williams

Banned in the Media: A Reference Guide to Censorship in the Press, Motion Pictures, Broadcasting, and the Internet, by Herbert N. Foerstel

Censoring Hollywood: Sex and Violence in Film and on the Cutting Room Floor, by Aubrey Malone

Hollywood v. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry, by Jon Lewis

Not in Front of the Children: "Indecency," Censorship, and the Innocence of Youth, by Marjorie Heins

Degradation: What the History of Obscenity Tells Us About Hate Speech, by Kevin W. Saunders

Censoring Sex: A Historical Journey Through American Media, by John E. Semonche

Dirty Words & Filthy Pictures: Film and the First Amendment, by Jeremy Geltzer

Flaming Classics: Queering the Film Canon, by Alexander Doty

Masculine Interests: Homoerotics in Hollywood Film, by Robert Lang

Monsters in the Closet: Homosexuality and the Horror Film, by Harry M. Benshoff

New Queer Cinema: A Critical Reader, edited by Michele Aaron

New Queer Cinema: The Director's Cut, by B. Ruby Rich

Now You See It: Studies on Lesbian and Gay Film, by Richard Dyer

Gays & Film, edited by Richard Dyer

Screening the Sexes: Homosexuality in the Movies, by Parker Tyler

Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture, edited by Corey K. Creekmur and Alexander Doty

Out Takes: Essays on Queer Theory and Film, edited by Ellis Hanson

Queer Images: a History of Gay and Lesbian Film in America, by Harry M. Benshoff and Sean Griffin

The Lavender Screen: the Gay and Lesbian Films, Their Stars, Makers, Characters, & Critics, by Boze Hadleigh

The Celluloid Closet: Homosexuality in the Movies, by Vito Russo

Tinker Belles and Evil Queens: the Walt Disney Company From the Inside Out, by Sean Griffin

The Encyclopedia of Censorship, by Jonathon Green

#I'm so fucking tired #original post

[rosesutherlandwrites]

Things I know about writing historical that I didn’t really get until recently: writing in times and places you have already learned loads about through osmosis (for me that’s Nova Scotia—and the early 1830’s, thanks Les Mis fandom?) is a lot easier than leaping a project set somewhere and when you don’t already feel in your guts (southern Auvergne, 1760’s)

It’s much harder to latch onto the rhythm and flavour of a place you only lived in for two months, while doing a hard core internship, without realizing you would one day want to set a novel there, the research and imaginative leaps involved are REAL

#am drafting #am researching #the book with the beast #beastie WIP

[roach-the-villain]

I made social media accounts for sharing my journey fixing up an old Victorian house I bought for $100

If anyone would like to help fund this restoration project or if you could share this and get it out there I’d appreciate it.

This house is about 170 years old give or take a decade, truthfully it’s estimated to have been built between the 1830’s-1850’s. I want to see her make it to see 200 and many more years to come.

Historical homes and architecture; the restoration and preservation of historical homes are some of my passions. Historic homes being a particular special interest. This is my lifelong dream.

All donations will go towards the restoration and preservation of this beautiful historic Victorian home. The roof and foundation need repaired and the electrical needs to be updated (it’s still on knob and tube!). Anything extra will go toward redoing the bathrooms and kitchen which were already gutted before I purchased this house, as well as rebuilding the collapsed back porch. The back porch hasn’t collapsed because of any structural or foundational issues (all foundation issues are in the front corner of the house exclusively), it’s just collapsed due to wood rot.

Here are the links for anyone interested in following this journey.

#history #historic architecture #historic preservation #historical #historical house #historic house #historic home #fixer upper #house #houses #historic houses #victorian #victorian home #victorian house #victorian history #house repair #house renovation #house restoration #home renovation #home restoration #budget house #home repair #house remodeling #special interest #boost #fundraising #queer #actually autistic #actually disabled #actually adhd

[jepsolell]

🏋️‍♂️Von Klenze’s power in Munich - 📌If we want to know one of the best exponents in empire era in Bavaria, for sure it is located the New Wing of the Residenz in Munich’s Max-Joseph-Platz. Here, the architect Leo von Klenze revealed all his creativity, creating a parallel palace connected to the neoclassic, rococó, baroque and renaissance wings of this great massive palatial complex. Designed in 1826 and finished in 1830, the King’s and Queen’s apartments are the answer of a new status of a dukedom that became kingdom. Great halls were created to impress, receive and delight visitors and courtiers (in the absence of monarchs all the people could visit them!). This project is so similar to the Russian ones he developed for St. Petersburg palaces. Here I show you the Queen’s salon, with Pompeian decorations and a furniture set designed by von Klenze’s himself. Destroyed during WWII, all the wing was re-built in the 80’s. @schloesserverwaltung.bayern - #palace #interiors #neoclassic #royal #admagazine #architecture #antiques #palacio (en Munich Residenz) https://www.instagram.com/p/CmFFB_sozJ1/?igshid=NGJjMDIxMWI=

#palace #interiors #neoclassic #royal #admagazine #architecture #antiques #palacio

[uwmspeccoll]

Wood Engraving Wednesday

FRITZ EICHENBERG

German-American illustrator and wood engraver Fritz Eichenberg (1901-1990) arrived in America from Nazi Germany in 1933, settling with his family in New York City. By 1937 he was commissioned by Limited Editions Club (LEC) founder George Macy to illustrate Dostoevsky’s Crime and Punishment, which would become the first American illustrated edition of Dostoevsky’s great classic when it was published in 1938. This would begin a working relationship with LEC that lasted until the end of Eichenberg’s life. He worked on many LEC projects. but that first commission established him as a kind of visual interpreter of Russian literature, and he would go on to illustrate many works by Russian authors for LEC, including Pushkin, Turgenev, Tolstoy, and other titles by Dostoevsky. 

Shown here are Eichenberg’s wood-engraved illustrations for the 1971 LEC production of Leo Tolstoy’s early semi-autobiographical work Childhood, Boyhood, Youth, designed by Joseph Blumenthal and printed at the Press of A. Colish in Mt. Vernon, N.Y. in an edition of 1500 copies signed by the artist. Of his work on this edition, Eichenberg writes:

It is a difficult task for the illustrator, demanding action and exciting dramatis personae. The book almost calls for documentary treatment, but unfortunately . . . authentic source material of the early 1830′s is scarce. So imagination must take over and flesh out visually the highlights. . . of that period. . . .  soon the characters emerge, taking their places on my little stage, a small piece of boxwood. . . . At the end the young man dreams of the future in a spring meadow: he sees the floating image of a girl, nothing quite sharply focused, so the graver must take over to give those mellow scenes incisiveness and depth. And, as usual, the boxwood obligingly cooperates.  -- The Wood and the Graver, The Work of Fritz Eichenberg (Imprint Society, 1977).

View more posts on the work of Fritz Eichenberg.

View other posts on productions of the Limited Editions Club.

View more posts with wood engravings!

#Wood Engraving Wednesday #wood engravings #wood engravers #Fritz Eichenberg #Limited Editions Club #Leo Tolstoy #Childhood Boyhood Youth #Joseph Blumenthal #Press of A. Colish #George Macy #fine press books #illustrated books

[midsummerdolls]

I have been tackling a lot of doll-related things today, and one thing I am trying to do is make Sau Jing a samfu circa the 1830’s-1850’s. Unfortunately it is hard to find good resources for that specific era, but I am doing my best. Additionally, I am going to have to make my own pattern for this, and I am notoriously bad at pattern making. This will be a fun project 😅

#I have wanted Sau Jing to have one for a while. but it was a daunting project #Today I start drafting the general design. and then i will start patterning and making a mock up

[mariasmemo]

Vestal Street Updates

Vestal Street has seen a bevy of activity of late.  In January, we began the renovation of the Maria Mitchell Vestal Street Observatory’s (MMO) Seminar Room addition – as it has been referred to since it was built in 1987.  When it was created, the point was for it to serve as meeting, lecture, work space on three floors for the Astronomy Department – in particular the National Science Foundation Research Experiences for Undergraduate (NSF REU) interns we have each summer, visiting astronomers, and the astronomy staff.  Believe it or not, it was the first time the Observatory had a bathroom!  And, it connected to what we refer to as the Astronomer’s Cottage (ca. 1830 and purchased for the MMA in 1922) so that staff could move between the house and the Observatory without going outside – convenient!  

With a gift from board member and Mitchell family descendant, Richard Wolfe, we have been able to renovate this space, bringing it up to date and adding HVAC, an accessible bathroom and kitchenette, three office spaces, a seminar/meeting area, and space for intern workspaces.  Lighting and interiors are being improved as this is written and we hope to have the space ready by June 1, 2024.  A special thank you goes to John Wise, another Board member, who has been working with the MMA to make sure this renovation happens in a short timeframe.

The work here dovetails nicely with the conservation of the historic observatory to which the Seminar Room is connected.  The historic MMO, built in 1908 with a 1922 addition, has seen exterior conservation work over the last several years with support from the Community Preservation Act and the M. S. Worthington Foundation.  This fall, we will move inside with more grant funding which will allow us to conserve the historic interiors and install a proper HVAC system to protect the historic fabric and historic astronomical equipment and papers.  We will restore the floor in the Astronomical Study from 1922 – it’s hidden under wall-to-wall carpet and 1950s tile but it’s still there – and allow us to conserved the historic plaster and all of the original varnished woodwork.  Stay tuned on this project. 

JNLF

#Nantucket #Maria Mitchell #Nantucket Maria Mitchell Association #Vestal Street #historic observatory #Vestal Street Observatory #Maria Mitchell Vestal Street Observatory #Community Preservation Act

[ultraheydudemestuff]

Cleveland Centre Historic District

James and Riverbed Sts.

Cleveland, OH

The Cleveland Centre Historic District is a historic district in Cleveland, Ohio, that is roughly bounded by James and Riverbed Sts. and the Cuyahoga River and is listed on the National Register of Historic Places.  It includes the neighborhood of Center Street from the Fall Street junction with the Detroit-Superior High Level Bridge.

     As the Ohio-Erie Canal, built between 1828 and 1832, was nearing completion, many in Cleveland caught "canal fever" and began to believe that their town was so strategically situated on the Great Lakes and along the new canal that it was destined to become an important world trade center. One man who invested in that belief was James S. Clarke, the former Sheriff of Cuyahoga County and, in the decade of the 1830s, one of the biggest real estate speculators in Cleveland. He platted a development on what was then known as Case's Point in1833 called "Cleveland Centre," which featured streets named after foreign countries—British, French, German, China and Russia—radiating from a hub called Gravity Place  The development proposal for Case's Point in the Flats was intended one day to become the center of all Cleveland business and trade.

     Cleveland Centre, which was annexed to Cleveland in 1835, did not become a center of international trade and business. Instead, it was the Cleveland, Columbus and Cincinnati Railroad (CC&C), rather than international trade merchants, that arrived in Cleveland Centre.  The arrival of railroads here and elsewhere in Cleveland in this era coincided with the city's early industrial development, and in the years that followed a number of industrial buildings went up at Cleveland Centre, on or near the tracks of the railroad.  The name "Cleveland Centre" itself lost its cachet sometime in the late nineteenth century as the place became better known as just part of the industrial Flats.

     When Cleveland experienced de-industrialization in the mid-twentieth century, Cleveland Centre, like the rest of the Flats, languished for several decades as a place of mostly closed factories and empty warehouses. That began to turn around in the decade of the 1970s when the Flats experienced rebirth as a city entertainment district. Cleveland Centre was not, in the early years of this rebirth, home to many of the entertainment venues, which tended to locate to the north, closer to the lake. However, in the early twenty-first century, a number of acres in the southern part of the Centre, formerly owned by the CC&C Railroad and its successors, were re-purposed for recreational use and became home to the Commodore's Club Marina, the Cleveland Rowing Foundation, and Cleveland Metroparks' Rivergate Park, which featured a skatepark and a riverside restaurant called Merwin's Wharf.

     In late 2013, Canalway Partners worked with the Downtown Cleveland Alliance and Historic Warehouse District to contribute funds to a study that led to the creation of the Cleveland Centre National Register Historic District, located in Downtown Cleveland’s Flats. This designation promotes development by opening funding opportunities through historic tax credits and easements.  The historic district was added to the National Register of Historic Places on January 22, 2014.  In December 2014, the first project in the Cleveland Centre received just over $209,000 in State Historic Tax Credits. The project at 1736 Columbus Road will become offices for the architecture firm Fabo Enterprises, Inc.  With Cleveland Centre becoming a trendy place once again, Dan Rothenfeld, a local artist, taking it all in proposed in 2016 that historic markers be placed there and that the original radial streets and hub at Gravity Place be lighted so that both on the ground and from the air people could remember and commemorate this early era attempt to build an international trade center in the Flats.

[cici-betterscrewco]

Helical Piles: An Emerging Two Century Old Deep Foundation Solution

Helical piles have been used for almost 200 years. Invented by Alexander Mitchell in the United Kingdom in the 1830's, spiral piles were originally designed to support marine structures like lighthouses and ships in the sea.

At the end of the 1800's and the beginning of 1900, hundreds of lighthouses were built on spiral piles along the east coast of North America – remarkably, some of them still stand today.

There are very few projects in which land conditions are more demanding than those in the sea. Recognizing that helical piles were performing well in such a challenging environment, the engineering community in the late 1800's began to use helical piles instead.

In the early 1900’s nearly all deep foundation options required a lot of labour to install and helical piles were no exception.

A variant of the screw pile did appear, known today as the ground anchor. The utility sector was expanding rapidly and needed anchored wire to support the lateral supports of the poles. Screw piles are known for their compressive and tensile strength. Utilities find that if they greatly increase the pitch of the screw, they become easier to install. Compared with screw pile, the ability of ground anchors to support compression load is greatly reduced, because the engineering community found that ground anchors are easy to self-propel under compression.

Fast forward to 2023 and screw piles have grown exponentially across markets over the past decade. It has been used and validated millions of times in North America and around the world.

Screw Piles manufactured by Better Screw Co., provide a reliable and economical foundation solution for any project, large or small. Regardless of whether you are a resident or a business builder, a contractor or an engineer, our screw pile is suitable for a wide range of applications and soil conditions. Our company has more than 10 years of experience in the production of high quality steel products. We have created a helical pile, which is both durable and easily installed, which is an ideal choice for any building or infrastructure project.

[lemongrad]

1830's dress was finished, worn, and well-received! After I tackle some smaller projects I've been putting off, I think I'll start an early edwardian shirtwaist/skirt combo.

or a 1920's evening gown

or a napoleonic-era british navy uniform??

#I'll add pictures of the dress eventually #the shirtwaist and skirt are the most feasible projects tbh #Id like to have some menswear on hand and the 1800's royal navy uniforms are sharp as hell but I've never done tailoring #yes it is 100% because of master and commander #i would also like some eveningwear though and the 1920s would suit my already bob-cut hair #mood

[mytangents]

"Don't do.....anything!"

The author in this writing, Jamaica Kincaid, whose work I will comment about is a Harvard professor who teaches about African Studies, equal rights, social commentary, and things of that nature. In her writing called, "Girl", Kincaid paints a picture of how life was for a young Black women living in slavery in the 1830's in British Antigua. The author seems to be speaking to everyone but mostly to the young women of today.

The antagonist or speaker in this story is assumedly the young women's mother or caretaker of some sort. We read of the demands she has for the girl, from the exact way to sweeping a floor, ironing her fathers pants to how to smile, where to eat fruit, and how to sing at church....and I thought that boss I used to have was a micromanager! This is like the Law of Moses on steroids.

This speaker must have been brought up in the same manner or had some sort of terrible incidents to happen to her because she's clearly projecting. We could assume that she is just wanting to protect her daughter, but it does seem pretty harsh. I'm not a female but I'd have to say I don't think a girl should be raised in this manner. She'll be afraid of everything and anyone and that is not the greatest outcome!

This particular essay mentions the social implications of young ladies who were in slavery in the mid 1800's. If the girl didn't act a certain way, she'd be construed a certain way. The girls mother brings up the fact that the girl would be looked at as a slut if she doesn't perform these items in exactness. The way one could read this work is that there was such a fear for girls in slavery to end up in a bad way, so if they were raised properly they'd survive by staying out of the limelight. The story sheds light on the unequal balance of gender roles that were experienced in those days and probably presently. The young women is instructed on how to accurately take care and look after the male of the household. This was a pretty poignant portrayal of what times were like, but worse, how times are now and how in some parts of the world, times haven't changed that much.

[ctrl-xt]

Balanescu Quartet - The Model (Kraftwerk Cover) from Costanza Tarabella on Vimeo.

Balanescu Quartet - The Model (Kraftwerk Cover) from the 1992 release album Possessed is the copyrighted property of its owner(s). Homage to Eadweard Muybridge. No copyright infringement intended.

From Wikipedia, the free encyclopedia Eadweard Muybridge (/ˌɛdwərd ˈmaɪbrɪdʒ/; 9 April 1830 – 8 May 1904, born Edward James Muggeridge) was an English photographer known for his pioneering work in photographic studies of motion, and early work in motion-picture projection. He adopted the first name "Eadweard" as the original Anglo-Saxon form of "Edward", and the surname "Muybridge", believing it to be similarly archaic.[1]

Born in Kingston upon Thames, England, at the age of 20 he emigrated to the United States as a bookseller, first to New York City, then to San Francisco. In 1860, he planned a return trip to Europe, but suffered serious head injuries en route in a stagecoach crash in Texas.[2][3] He spent the next few years recuperating in Kingston upon Thames, where he took up professional photography, learned the wet-plate collodion process, and secured at least two British patents for his inventions.[2] He returned to San Francisco in 1867, a man with a markedly changed personality. In 1868, he exhibited large photographs of Yosemite Valley, and began selling popular stereographs of his work.

In 1874, Muybridge shot and killed Major Harry Larkyns, his wife's lover, but was acquitted, in a controversial jury trial, on the grounds of justifiable homicide.[4] In 1875, he travelled for more than a year in Central America on a photographic expedition.

Today, Muybridge is best known for his pioneering chronophotography of animal locomotion between 1878 and 1886, which used multiple cameras to capture the different positions in a stride; and for his zoopraxiscope, a device for projecting painted motion pictures from glass discs that predated the flexible perforated film strip used in cinematography.[5] From 1883 to 1886, he entered a very productive period at the University of Pennsylvania in Philadelphia, producing over 100,000 images of animals and humans in motion, occasionally capturing what the human eye could not distinguish as separate moments in time.

In his later years, Muybridge gave many public lectures and demonstrations of his photography and early motion picture sequences, travelling frequently in England and Europe to publicise his work in cities such as London and Paris.[6] He also edited and published compilations of his work (some of which are still in print today), which greatly influenced visual artists and the developing fields of scientific and industrial photography. He retired to his native England permanently in 1894. In 1904, the year of his death, the Kingston Museum opened in his hometown, and continues to house a substantial collection of his works in a dedicated gallery.