National World War II Memorial (Washington, D.C., U.S.A.)

Posted on 30 June, 2017 by Benjie Layug — Leave a reply

National World War II Memorial

The National World War II Memorial, an American memorial of national significance, sits on a 30,000 m²(7.4-acre) piece of land (two-thirds of which is landscaping and water) on the former site of the Rainbow Pool at the eastern end of the Reflecting Pool, between the Lincoln Memorial and the Washington Monument.

The granite pillars

The memorial is dedicated to those who served in the armed forces and as civilians during World War II. It consists of 56 5.2 m. (17 ft.) tall granite pillars, arranged in a semicircle, and a pair of small 13 m. (43-ft.) high memorial triumphal arches (crafted by Rock of Ages Corporation, the northern arch is inscribed with “Atlantic,” the southern one, “Pacific“), on opposite sides, surrounding a plaza and fountain.

The author with the Atlantic Arch in the background

Its design was based on Friedrich St. Florian‘s initial design, selected in 1997 during a nationwide design competition that drew 400 submissions from architects from around the country but altered during the review and approval process. On September 2001, ground was broken and the construction was managed by the General Services Administration.

The Pacific Arch

Opened on April 29, 2004, it was dedicated by President George W. Bush on May 29, 2004. On November 1, 2004, the memorial became a national park when authority over it was transferred to the National Park Service (under its National Mall and Memorial Parks group). As of 2009, more than 4.4 million people visit the memorial each year. In 2012, the memorial’s fountain was renovated.

The memorial’s fountain

Each of the 56 pillars, all consisting of oak (symbolizing military and industrial strength) laurel wreaths and wheat (symbolizing agricultural and breadbasket during the U.S. part in the war) laurel wreath. is inscribed with the name of one of the 48 U.S. states (as of 1945), as well as the District of Columbia, the Alaska Territory, Territory of Hawaii, the Commonwealth of the Philippines, Puerto Rico, Guam, American Samoa, and the U.S. Virgin Islands.

The pillar of the Commonwealth of the Philippines

The plaza is 102.97 m. (337 ft., 10 in.) long and 73.2 m. (240 ft., 2 in.) wide and is sunk 1.8 m. (6 ft.) below grade. It contains a pool that is 75.2 × 45 m. (246 ft., 9 in. by 147 ft., 8 in.). The memorial also includes two, inconspicuously located “Kilroy was here” engravings which acknowledges the significance of the symbol to American soldiers during World War II and how it represented their presence and protection wherever it was inscribed.

Excerpt from a speech by Pres. Harry S. Truman

Excerpt from Pres. Franklin D. Roosevelt’s speech

The lettering for the memorial was designed by the John Stevens Shop and most of the inscriptions were hand-carved in situ. Laran Bronze, in Chester, Pennsylvania, cast all the bronzes over the course of two and a half years.

Some of the inscriptions

The Battle of Midway

The baldacchinos of the Pacific and Atlantic Arches each have laurel wreaths suspended in the air, with 4 bronze eagles carrying it, all created by sculptor Raymond Kaskey. The stainless-steel armature that holds up the eagles and wreaths was designed at Laran, in part by sculptor James Peniston, and fabricated by Apex Piping of Newport, Delaware. The chandelier sculpture symbolizes the victory of the War with the Nation’s bird carrying a Grecian symbol of victory but with an American adaptation of oak laurel wreaths to symbolize strength.

Seal using the World War II Victory Medal design

On approaching the semicircle from the east, I walked along one of two walls (right side wall and left side wall) with 24 bronze bas-relief panels (also created by sculptor Raymond Kaskey) that depict wartime scenes of combat and the home front. The scenes, as I approached on the left (toward the Pacific Arch), begin with soon-to-be servicemen getting their physical exams, taking the oath, being issued military gear, and progresses through several iconic scenes, including combat and burying the dead, ending in a homecoming scene.

The memorial flagpole

There is a similar progression on the right-side wall (toward the Atlantic arch) but the scenes are generally more typical of the European theatre with some scenes taking place in England, depicting the preparations for air and sea assaults. The last scene is of a handshake between the American and Russian armies when the western and eastern fronts met in Germany.

The Price of Freedom

The Freedom Wall, on the west side of the memorial, has a view of the Reflecting Pool and Lincoln Memorial behind it. The wall has 4,048 gold stars, each representing 100 Americans who died in the war. In front of the wall lies the message “Here we mark the price of freedom”

Jandy at the fountain area

National World War II Memorial: National Mall, Washington, D.C.

District of Columbia War Memorial (Washington, D.C., U.S.A.)

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The District of Columbia War Memorial, a memorial within the National Mall (the only local District memorial there)commemorating the citizens of the District of Columbia who served, fought and gave their lives in World War I, stands in in a grove of trees at West Potomac Park (the first war memorial to be erected in the park), near the Lincoln Memorial and slightly off of Independence Avenue.

District of Columbia War Memorial

Authorized by a June 7, 1924 act of Congress, funds for the memorial’s construction were provided by the contributions of both organizations and individual citizens of the District. In the spring of 1931, construction of the memorial, designed by Washington architect Frederick H. Brooke, with Horace W. Peaslee and Nathan C. Wyeth as associate architects, began and the memorial was dedicated on November 11, 1931, Armistice Day, by Pres. Herbert Hoover.

Dedication inscription

This 14.3 m. (47-ft.) tall circular, domed, peristyle Doric temple rests on concrete foundations. Its 1.2 m. (4 ft.) high marble base defines a 13.2 m. (43 ft., 5 in.) diameter platform, intended for use as a bandstand. Preserved in the cornerstone is a list of 26,000 Washingtonians who served in the World War I while inscribed on the base are the names of the 499 citizens who lost their lives in the war, together with medallions representing the branches of the armed forces. Twelve 6.7 m. (22-ft.) high, fluted Doric marble columns support the entablature and dome.

List of those who died

Restoration work, funded with US$7.3 million provided by the American Recovery and Reinvestment Act of 2009, began in October 2010. The lighting systems were improved, water drainage systems were corrected and the landscape was revived to allow the memorial to be used as a bandstand. On November 10, 2011, the memorial reopened. In 2014, it was listed on the National Register of Historic Places. The memorial is administered by the National Park Service under its National Mall and Memorial Parks unit.

How to Get There: The DC War Memorial is located just west of 17th St. and Independence Ave. SW, next to the World War II Memorial. The closest Metro station is Smithsonian.

Korean War Veterans Memorial (Washington, D.C., U.S.A.)

Posted on 30 June, 2017 by Benjie Layug — Leave a reply

Korean War Veterans Memorial

The Korean War Veterans Memorial, located southeast of the Lincoln Memorial and just south of the Reflecting Pool on the National Mall, commemorates those who served in the Korean War. Our afternoon visit here coincided with the state visit of South Korean Pres. Moon Jae-In and we saw the wreaths he and US Vice-Pres Mike Pence laid at the memorial just this morning.

Wreath laid by South Korean Pres. Moon Jae-In

Wreath laid by US Vice-Pres. Mike Pence

Designed by Cooper-Lecky Architects, who oversaw collaboration between several designers, the Korean War Veterans Memorial’s design and construction was managed by the Korean War Veterans Memorial Advisory Board and the American Battle Monuments Commission.

Jandy at Korean War Veterans Memorial

On June 14, 1993, Flag Day, the groundbreaking for the Memorial was conducted by President George H. W. Bush. Faith Construction Company, the Richard Sherman Company, the Cold Spring Granite Company, the Tallix Art Foundry and the Baltimore District of the US Army Corps of Engineers, the companies and organizations involved in the construction, are listed on the memorial.

Statues designed by sculptor Frank Gaylord

On July 27, 1995, the 42nd anniversary of the armistice that ended the war, the memorial was dedicated by President Bill Clinton and Republic of Korea President Kim Young Sam, to the men and women who served during the conflict. On the day of its dedication, the memorial was administratively listed on the National Register of Historic Places and the management of the memorial was then turned over to the National Park Service, under its National Mall and Memorial Parks group.

The main memorial, in the form of a triangle intersecting a circle, has 50 m. (164 ft.) long, 200 mm (8 in.) thick walls; more than 100 tons of highly polished “Academy Black” granite from California; and more than 2,500 photographic, archival images (representing the land, sea, and air troops who supported those who fought in the war) sandblasted onto the wall. The Mural, created by Louis Nelson, has photographic images sandblasted into it depicting soldiers, equipment and people involved in the war. When reflected on the wall, there appear to be 38 soldiers, 38 months, and it is also representing the 38 parallel that separated the North and South Korea.

The Mural of Louis Nelson

Within the walled triangle are 19 stainless steel larger than life-size statues designed by Frank Gaylord, each between 2.21 m. (7 ft., 3 in.) and 2.29 m. (7 ft., 6 in) tall; and each weighs nearly 500 kgs. (1,000 lbs.). The figures, representing a platoon on patrol, were drawn from each branch of the armed forces – 14 from the U.S. Army, 3 from the Marine Corps, one is a Navy Corpsman, and one is an Air Force Forward Air Observer. All are dressed in full combat gear and dispersed among strips of granite and juniper bushes which represent the rugged terrain of Korea.

Pool of Remembrance

The United Nations Wall, a low wall to the north of the statues and path, lists the 22 members of the United Nations that contributed troops or medical support to the Korean War effort. The Pool of Remembrance, a shallow, 9 m. (30 ft.) diameter pool lined with black granite, is surrounded by a grove of linden trees (shaped to create a barrel effect, which allows the sun to reflect on the pool) with benches.

The numbers of dead

The numbers of wounded

Inscriptions list the numbers killed, wounded, missing in action and held as prisoners of war. A nearby plaque is inscribed: “Our nation honors her sons and daughters who answered the call to defend a country they never knew and a people they never met.” Additionally, right next to the numbers of American soldiers, are those of the United Nations troops in the same categories. Three bushes of the Rose of Sharon hibiscus plant, South Korea’s national flower, are at the south side of the memorial. A further granite wall bears the simple message, inlaid in silver: “Freedom Is Not Free.”

Freedom is not Free

Korean War Veterans Memorial: 900 Ohio Dr SW, Washington, DC 20024

Lincoln Memorial (Washington D.C., U.S.A.)

Posted on 30 June, 2017 by Benjie Layug — Leave a reply

The Neo-Classical Lincoln Memorial

The Lincoln Memorial, an iconic American national monument built to honor Abraham Lincoln, the 16th President of the United States, is located on the western end of the National Mall , Situated on the Washington Monument–Capitol axis, this Neo-Classical monument overlooks the Potomac River, across from the Washington Monument. Behind it is the bridge to Arlington National Cemetery. Dedicated in 1922, it is one of several monuments built to honor an American president.

Jandy with the memorial in the background

Since the time of Lincoln’s death, demands for a fitting national memorial had been voiced. In 1868, three years after Lincoln’s assassination, the first public memorial (a statue by Lot Flannery) to Abraham Lincoln in Washington, D.C., was erected in front of the District of Columbia City Hall.

Abraham Lincoln

Here is the historical timeline of the statue’s construction:

In 1867,Congress passed the first of many bills incorporating a commission to erect a monument for the sixteenth president but the matter lay dormant.
At the start of the 20th century, under the leadership of Senator Shelby M. Cullom of Illinois, six separate bills were introduced in Congress for the incorporation of a new memorial commission. The first five bills, proposed in the years 1901, 1902, and 1908, met with defeat because of opposition from Speaker Joe Cannon. The sixth bill (Senate Bill 9449), introduced on December 13, 1910, passed.
In 1911, the Lincoln Memorial Commission had its first meeting and U.S. President William H. Taft was chosen as the commission’s president. Progress continued at a steady pace.
By 1913, Congress had approved of the Commission’s choice of design and location. With Congressional approval and a $300,000 allocation, the project got underway.
On February 12, 1914, a dedication ceremony was conducted
The following month, actual construction began.
As late as 1920, the decision was made to substitute an open portal for the bronze and glass grille which was to have guarded the entrance.
On May 30, 1922, Commission president William H. Taft (who was, by then, Chief Justice of the United States) dedicated the Memorial and presented it to Pres. Warren G. Harding, who accepted it on behalf of the American people. Lincoln’s only surviving son, 78-year-old Robert Todd Lincoln, was in attendance. Robert Russa Moton, an African American educator and author, was one of the speakers at the dedication.

The Dedication

Here are some interesting trivia regarding the memorial:

In 2007, the American Institute of Architects (AIA) ranked the memorial as seventh, among 150 highest-ranked structures, in the AIA List of America’s Favorite Architecture.
It has always been a major tourist attraction and, since 2010, approximately 6 million people visited the memorial annually.
Like other monuments on the National Mall – including the nearby Vietnam Veterans Memorial, Korean War Veterans Memorial, and National World War II Memorial – the memorial is administered by the National Park Service under its National Mall and Memorial Parks
The memorial’s columns, exterior walls and facade are all inclined slightly toward the building’s interior to compensate for a common feature of Ancient Greek architecture – perspective distortions which would otherwise make the memorial appear to bulge out at the top when compared with the bottom.
Since the 1930s, the memorial has become a symbolically sacred center focused on race relations, especially for the Civil Rights Movement. In 1939, the Daughters of the American Revolution refused to allow Marian Anderson, the African-American contralto, to perform before an integrated audience at the organization’s Constitution Hall. Secretary of the Interior Harold L. Ickes, at the suggestion of Eleanor Roosevelt, the wife of Pres. Franklin D. Roosevelt, arranged for a performance, on Easter Sunday of that year, on the steps of the Lincoln Memorial to a live audience of 70,000 and a nationwide radio audience.
Since October 15, 1966, the Memorial was listed on the National Register of Historic Places.
The memorial grounds has been the site of many famous speeches, including Martin Luther King Jr.‘s historic “I Have a Dream” speech honoring the president who had issued the Emancipation Proclamation 100 years earlier. It was delivered on August 28, 1963, during the rally at the end of the March on Washington for Jobs and Freedom, which proved to be a high point of the American Civil Rights Movement. It is estimated that approximately 250,000 people came to the event. The D.C. police also appreciated the location because it was surrounded on three sides by water, so that any incident could be easily contained. On August 28, 1983, to reflect on progress in gaining civil rights for African Americans and to commit to correcting continuing injustices, crowds gathered again to mark the 20th anniversary of the Mobilization for Jobs, Peace and Freedom. In 2003, the spot on which King stood, on the landing 18 steps below Lincoln’s statue, was engraved in recognition of the 40th anniversary of the event.
The Memorial is replete with symbolic elements. The states of the Union at the time of Lincoln’s death are represented by the 36 columns and the inscriptions (with the dates in which they entered the Union), separated by double wreath medallions in bas-relief, in a frieze above the colonnade. The 48 states in 1922 (the year of the Memorial’s dedication) are represented by the 48 stone festoons above the columns and inscriptions above the cornice, on the attic frieze. The murals inside portray principles seen as evident in Lincoln’s life: Freedom, Liberty, Immortality, Justice, and the Law on the south wall; Unity, Fraternity, and Charity on the north. Cypress trees, representing Eternity, are in the murals’ backgrounds.
The statue has been at the center of two urban legends. Some claimed that the face of Gen. Robert E. Lee, looking back across the Potomac toward Arlington House, his former home (now within the bounds of Arlington National Cemetery), was carved onto the back of Lincoln’s head. The second popular urban legend is that Lincoln is shown using sign language to represent the president’s initials (his left hand shaped to form an “A” and his right hand to form an “L”). The National Park Service denies both legends.
From 1959 (the 150th anniversary of Lincoln’s birth) to 2008, the United States one cent coin depicted the memorial, with statue visible through the columns, on the reverse side. The front bore a bust of Lincoln. The memorial also appears on the back of the U.S. five dollar bill. The front bears Lincoln’s portrait.

The One Cent Coin

The Lincoln Memorial, as one of the most prominent American monuments, has been featured in books, films, and television shows that take place in Washington. By 2003, it had appeared in over 60 films. In 2009, Mark S. Reinhart compiled some short sketches of dozens of uses of the Memorial in film and television. As of 2017, according to the National Park Service, “Filming/photography is prohibited above the white marble steps and the interior chamber of the Lincoln Memorial.” Today, due to restrictive filming rules, many of the appearances of the Lincoln Memorial are actually digital visual effects.

Washington Monument and the Reflecting Pool seen from the Lincoln Memorial

Here a list of some of the movie and television films the memorial has appeared in:

In the 1939 American political comedy-drama film Smith Goes to Washington, the statue and its inscription provide inspiration to freshman Senator Jefferson Smith, played by James Stewart, in a key scene. The Park Service did not want director Frank Capra to film at the Memorial, so he sent a large crew elsewhere as a distraction while a smaller crew filmed Stewart and Jean Arthur at the Memorial.
In the science fiction film The Day the Earth Stood Still, the alien Klaatu visits the Memorial and is impressed by Lincoln’s words carved there.
Planet of the Apes (2001 American science fiction film)
X-Men: First Class (2011 American superhero film)
In the 2011 American science fiction action film Transformers: Dark of the Moon, Megatron destroys the statue of Lincoln and then sits on the chair as a throne.
In the 2016 horror movie The Purge: Election Year, the Lincoln Memorial is shown with dead and burning bodies on the steps and the columns defaced with giant letters that spell out “PURGE,” written in human blood.
In the Line of Fire (1993 American political thriller film)
In the 2004 American adventure film National Treasure, while sitting on the steps of the Memorial, the main characters discuss the possibility of stealing the Declaration of Independence
In the 2009 American adventure fantasy comedy film Night at the Museum: Battle of the Smithsonian, the statue of Lincoln helps defeat the Horus warriors
In the” Lisa Goes to Washington” episode of The Simpsons
In the 1994 American epic comedy-drama film Forrest Gump, Forrest (Tom Hanks) delivers a speech standing on a podium in front of the Memorial facing the reflecting pool
In the 2013 American political action thriller film White House Down, U.S. President (Jamie Foxx) requests a fly-by of the Lincoln Memorial, at both the beginning and the end of the movie to pay homage to his hero.

Some of the fluted Doric columns at the colonnade

The Memorial, designed by Illinois-born architect Henry Bacon, in the form of a classic Greek Doric temple, features Yule marble from Colorado. The structure measures 57.8 m. (189.7 ft.) by 36.1 m. (118.5 ft.) and is 30 m. (99 ft.) high. It is surrounded by a peristyle of 36 fluted Doric columns, one for each of the 36 states in the Union at the time of Lincoln’s death, and two columns in-antis at the entrance behind the colonnade. Each of the 13 m. (44 ft.) high columns, with a base diameter of 2.3 m. (7.5 ft.), column, is built from 12 drums including the capital.

Cornice and frieze

Above the colonnade is a frieze. The cornice, composed of a carved scroll regularly interspersed with projecting lions’ heads, is ornamented, along the upper edge, with palmetto cresting. A bit higher is a garland, joined by ribbons and palm leaves, and supported by the wings of eagles. All ornamentation on the friezes and cornices was done by Ernest C. Bairstow.

The Memorial’s 13 to 20 m. (44 to 66 ft.) deep concrete foundation, constructed by M. F. Comer and Company and the National Foundation and Engineering Company, is encompassed by a 57 by 78 m. (187 by 257 ft.) rectangular, 4.3 m. (14 ft.) high granite retaining wall.

The main steps leading up to the shrine on the east side, intermittently spaced with a series of platforms, begin at the edge of the shimmering Reflecting Pool, rise to the Lincoln Memorial Circle roadway surrounding the edifice, then to the main portal. As they approach the entrance, the steps are flanked by two buttresses each crowned with a 3.4 m. (11-ft.) high tripod carved from pink Tennessee marble by the Piccirilli Brothers.

The author inside the Memorial

The Memorial’s interior is divided into three chambers by two rows of four 15 m. (50 ft.) high Ionic columns, each 1.7 m. (5.5 ft.) across at their base. The 18.3 m.(60 ft.) wide, 22.56 m. (74 ft.) deep, and 18.3 m. (60 ft.) high central chamber houses the statue of Lincoln while the north and south chambers display carved inscriptions of Lincoln’s second inaugural address and his Gettysburg Address, two well-known speeches by Lincoln.

Inscription of the Second Inaugural Address given March 4, 1865 by Lincoln barely one month before the end of the Civil War. Above it is the mural “Unity” done by Jules Guerin. The mural features the Angel of Truth joining the hands of two figures representing the North and South. Her protective wings cradle the arts of Painting, Philosophy, Music, Architecture, Chemistry, Literature, and Sculpture. Emerging from behind the music figure is a veiled image of the Future.

Pilasters, ornamented with fasces, eagles, and wreaths, border these inscriptions. Both inscriptions and adjoining ornamentation were done by Evelyn Beatrice Longman. Each inscription is surmounted by 18.3 by 3.7 m. (60 by 12 ft.) murals (“Unity,” above the Second Inaugural Address on the north wall, and “”Emancipation,” above the Gettysburg Address on the south chamber wall) by Jules Guerin. The murals’ paint incorporated kerosene and wax to protect the exposed artwork from fluctuations in temperature and moisture.

The inscription of the Gettysburg Address on the south chamber wall. The Gettysburg Address was given by Lincoln on April 19, 1863 in Gettysburg at the dedication of Soldiers’ National Cemetery.

Abraham Lincoln, 1920, the primary statue (of Georgia white marble) of the solitary figure of Lincoln sitting in contemplation, took four years to complete. It was carved by the Piccirilli Brothers under the supervision of the sculptor, Daniel Chester French.

The sitting statue of Abraham Lincoln

The statue, originally designed to be 3.0 m. (10 ft.) tall, was, on further consideration, enlarged to 5.8 m. (19 ft.) tall, from head to foot (the scale being such that if Lincoln were standing, he would be 8.5 m. or 28 ft. tall), to prevent it from being overwhelmed by the huge chamber. The widest span of the statue corresponded to its height.

Cheska and Kyle

Lincoln’s arms rest on representations of Roman fasces. This subtle touch associates the statue with the Augustan (and imperial) theme (obelisk and funerary monuments) of the Washington Mall. Between two pilasters discretely bordering the statue (one on each side) and above Lincoln’s head, is engraved an epitaph of Lincoln by Royal Cortissoz.

The Lincoln statue up close. The open hand represents compassion while the fist means decisiveness. The chair Lincoln is sitting on is Roman it is draped with the American flag.

The statue rests upon an oblong 3.0 m. (10 ft.) high, 4.9 m. (16 ft.) wide and 5.2 m. (17 ft.) deep pedestal of Tennessee marble, directly beneath which is a 10.5 m. (34.5 ft.) long, 8.5 m. (28 ft.) wide and 0.17 m. (6.5 in.) high platform of Tennessee marble. The statue weighed 159 tons (175 short tons) and was shipped in 28 pieces.

The epitaph of Lincoln by Royal Cortissoz

The ceiling, consisting of bronze girders ornamented with laurel and oak leaves, is set between panels of Alabama marble (saturated with paraffin to increase translucency). Bacon and French felt that the statue required even more light to supplement the natural light so, in 1929, they designed and installed metal slats in the ceiling to conceal floodlights, which could be modulated. In the 1970s, an elevator for handicapped was added.

Bronze girders, ornamented with laurel and oak leaves, at the ceiling

Underneath the Lincoln Memorial are exhibits that provide information on the creation of the memorial and its famous subject.

Civil Rights Exhibit

Lincoln Memorial: 2 Lincoln Memorial Cir NW, Washington, D.C. 20037, USA. Open 24 hours. Rangers are on duty from 9:30 AM to 10 PM daily.

How to Get There: The easiest way to get to the Lincoln Memorial is via Metrorail (the nearest Metro stations are Foggy Bottom and Smithsonian, both on the Orange, Blue and Silver lines) or Metrobus (take the 32, 34 or 36 routes). Capital Bikeshare also has a dock (Daniel French Drive SW) nearby.

Washington Union Station (Washington D.C., U.S.A.)

Posted on 30 June, 2017 by Benjie Layug — Leave a reply

Washington Union Station

The 61.62-km. (38.3-mi.) Peter Pan Bus Lines bus ride, via the MD-295 S and Baltimore-Washington Parkway, from Baltimore to Washington, D.C. took us less than an hour and we arrived at the Washington Union Station (the U.S. Capitol’s major train station and transportation hub) parking garage by 9 AM.

What awaited me when I arrived at the 183 m. (600 ft.) long main hall of the station was a soaring masterpiece done in the Neo-Classically-influenced Beaux-Arts style. Train stations are great expositions of art in public places and the Washington Union Station is one of the grandest examples of this.

Bus parking garage

The station, opened in 1907, is the only railroad station in the nation specifically authorized by the U.S. Congress. It is the southern terminus of the Northeast Corridor, an electrified rail line extending north through major cities (Baltimore, Philadelphia, New York City, and Boston) and the busiest passenger rail line in the nation.

The station is jointly owned by Amtrak (their headquarters, Amtrak owns the platforms and tracks through the Washington Terminal Company a nearly wholly owned subsidiary, with 99.9% controlling interest) and United States Department of Transportation (they own the station building itself and the surrounding parking lots). Itis Amtrak railroad’s second-busiest station (with annual ridership of just under 5 million) and the ninth-busiest in overall passengers served in the United States.

Main hall

Union Station, an intermodal facility, also serves MARC and VRE commuter rail services, the Washington Metro, the DC Streetcar, intercity bus lines, and local Metrobus buses.

In 1988, a headhouse wing was added and the original station was renovated for use as a shopping mall, with many shops, cafes and restaurants (the station’s former presidential suite is also now occupied by a restaurant), making it one of the busiest shopping destinations in the United States. Today, Union Station, one of Washington DC’s busiest and best-known places, is visited by over 40 million people a year.

The author and Jandy at the main hall

The building was primarily designed by William Pierce Anderson of the Chicago architectural firm of D.H. Burnham & Company. Famed architect and planner Daniel H. Burnham (the same architect who planned Baguio City), assisted by Pierce Anderson, was inspired by a number of architectural styles and Classical elements.

For the exterior and main façade, he was inspired by the Arch of Constantine (Rome, Italy) while the great vaulted spaces of the Baths of Diocletian inspired the interior.

Check out “Arch of Constantine”

Grace, Cheska and Kyle

The station was also built on a massive scale, with a façade stretching more than 180 m. (600 ft.) and a waiting room ceiling rising 29 m. (96 ft.) above the floor.

Statues of Centurions (Louis St. Gaudens)

Stone inscriptions and allegorical sculpture were also done in the Beaux-Arts style and expensive materials such as marble, gold leaf, and white granite, from a previously unused quarry, were also used.

Statues of Centurions (Louis St. Gaudens)

In the Attic block, above the main cornice of the central block, stand six, 5.5 m. (18 ft.) high colossal statues, entitled “The Progress of Railroading,” representing deities related to rail transport in the United States created by Louis St. Gaudens, modeled on the Dacian prisoners of the Arch of Constantine and cut by Andrew E. Bernasconi, a high-grade Italian stone workman, between 1909 and 1911.

Their iconography expresses the confident enthusiasm of the American Renaissance movement – Prometheus for Fire; Thales for Electricity; Themis for Freedom or Justice; Apollo for Imagination or Inspiration; Archimedes for Mechanics; and Ceres for Agriculture (the substitution of Agriculture for Commerce in a railroad station iconography vividly conveys the power of a specifically American lobbying bloc).

The triumphal arch-like station entrance with the Columbus Fountain in front

St. Gaudens also created the 26 centurions for the station’s main hall. Treating the entrance to a major terminal as a triumphal arch was drawn, by Burnham, upon a tradition launched with the 1837 Euston railway station in London.

The Progress of Railroading

The monumental end pavilions were linked with long arcades, enclosing loggias, in a long series of bays that were vaulted with the lightweight fireproof Guastavino tiles favored by American Beaux-Arts architects. The final aspect owed much to the Court of Heroes at the World’s Columbian Exposition of 1893 (where Burnham had been coordinating architect) in Chicago.

The monument end pavilion linked with long arcades enclosing loggias

The prominent setting of Union Station’s façade at the intersection of two of Pierre (Peter) Charles L’Enfant‘s avenues (with an orientation that faced the United States Capitol just five blocks away), in a park-like green setting, is one of the few executed achievements of the City Beautiful movement, elite city planning that was based on the patte d’oie (“goosefoot”) of formal garden plans made by Baroque designers such as André Le Nôtre. Frederick Law Olmstead designed the landscape around the station.

Full-length portrait of Christopher Columbus

The Columbus Fountain (also known as the Columbus Memorial), the centerpiece of Columbus Circle in front of the station, is a public artwork by American sculptor Lorado Taft unveiled on June 7, 1912. This semicircular double-basin fountain has a 13.7 m. (45 ft.) high shaft, in the center, whose front bears a full-length portrait of explorer Christopher Columbus wearing a mantle and staring forward, with his hands folded in front of him.

The globe representing the Western Hemisphere

Beneath him is a ship prow featuring a winged figurehead that represents the observation of discovery. On top of the shaft is a globe, representing the Western hemisphere, with four eagles on each corner connected by garland.

Elderly man representing the Old World

Two male figures (an elderly man, representing the Old World, on the right, and on the left, a figure of a Native American, representing the New World) decorating the left and right sides of the shaft.

American Indian representing the New World

At the back of the shaft is a low-relief medallion with images of Ferdinand & Isabella. The left and right side of the fountain are guarded by two lions placed away from the base.

A pair of lions

Washington Union Station: 50 Massachusetts Avenue NE, Washington, D.C. Coordinates: 38°53′50″N 77°00′23″W

The Walters Art Museum (Baltimore, Maryland, USA)

Posted on 29 June, 2017 by Benjie Layug — Leave a reply

Walters Art Museum

This public art museum, founded and opened in 1934, holds collections substantially amassed by major American art and sculpture collector William Thompson Walters, (1819–1894) and his son Henry Walters (1848–1931), who refined the collection and made arrangements for the construction of a later landmark building to rehouse it. The entire collection of then more than 22,000 works was bequeathed by Henry Walters upon his death in 1931.

The museum entrance

The collection includes masterworks of ancient Egypt, Greek sculpture, Roman sarcophagi, medieval ivories, illuminated manuscripts, Renaissance bronzes, Old Master European and 19th-century paintings, Chinese ceramics and bronzes, Art Deco jewelry, and ancient Near East, Mesopotamian, or ancient Middle East items.

The palazzo-style collonade

The elaborate stone palazzo-styled structure, Henry Walters’ original gallery, was designed by architect William Adams Delano and erected between 1904 and 1909. Its exterior was inspired by the Renaissance-revival-style Hôtel Pourtalès in Paris while its interior was modeled after the 17th-century “Collegio dei Gesuiti” (now the Palazzo dell’Università, built by the Balbi family for the Jesuits in Genoa). It houses the arts of the Renaissance and Baroque periods, French decorative arts of the 18th and 19th centuries, manuscripts and rare books.

The author at the Sculpture Court

The Centre Street Annex Building, at the rear of the original main gallery, was designed by the Boston firm of Shepley, Bullfinch, Richardson, and Abbott, in the “Brutalist” poured-concrete style, an extremely modernistic style prevalent in the 1960s. This annex building, opened in 1974, has several horizontal lines paralleled with features in the 1909 structure.

Medieval World lobby. At left is the “Virgin and Child” (Burgundian, ca. 1425) while at center is an altarpiece with the Passion of Christ

From 1998 to 2001, it was substantially altered by Kallmann McKinnell and Wood, Architects. A soaring, four-storey glass atrium was provided, with a suspended staircase at the juncture between the older and newer buildings, and a new entrance lobby along Centre Street. Today, the conjoined buildings has five floors with 39 intimate galleries for smaller works. The collection has also grown, by later gifts and purchases, to 35,000 works.

Ancient World Lobby

The new lobby, which provides easier ground-level handicapped access along with enhanced security provisions for both collections and visitors, also has a café, an enlarged museum, gift store and a reference library.

Portrait of Henry Walters (1938, Thomas Cromwell Corner, American)

The museum’s famed art conservation laboratory, one of the oldest in the country, is also found here. With its large display walls and irregular corridors and galleries, the Centre Street Annex Building houses the ancient, Byzantine, medieval, Ethiopian, and 19th-century European collections.

Adam and Eve (ca. 1515) on main staircase to Sculpture Court

Originally called “The Walters Art Gallery,” the museum changed its long-time name to “The Walters Art Museum” in 2000 to reflect its image as a large public institution and eliminate confusion among some of the increasing out-of-state visitors.

17th Century Dutch Cabinet Rooms

In 2001, after a dramatic 3-year physical renovation and replacement of internal utilities and infrastructure, “The Walters” (as it is often known in the city) reopened its original main building.

The Upper Stair Hall. At near left is the “Allegory of Knowledge of Things” while on the right is the Choir Gate (1700-1750)

Starting on October 1, 2006, as a result of substantial grants given by Baltimore City and the surrounding suburban Baltimore County arts agencies and authorities, the museum began having free admission year-round. In 2012, “The Walters” released nearly 20,000 of its own images of its collections (one of the largest and most comprehensive such releases made by any museum), on a Creative Commons license, and collaborated in their upload to the world-wide web and the internet on Wikimedia Commons.

The two monumental 3,000-pound statues of the Egyptian lion-headed fire goddess Sekhmet at the entrance to the Egyptian Art Exhibit

The Walters’ collection of ancient art, one of the largest assemblages in the United States, includes examples from Egypt, Nubia, Greece, Rome, Etruria and the Near East.

Egyptian Art – Seated Statue of Nehy (ca. 1250-1230 BC, New Kingdom, 19th Dynasty)

The second floor houses The Ancient World (Ancient Treasury, Near Eastern Art, Egyptian Art, Greek Art, Etruscan Art, Roman Art), European Art (Entry Hall of Arms and Armor, Chamber of Wonders, 17th Century Dutch Cabinet Rooms, 18th and 19th Century Treasury) and the Sculpture Court.

Egyptian Art – Mummy and Painted Cartonnage of an Unknown Woman (850-750 BC)

The Walters’ collection of ancient art, one of the largest assemblages in the United States, includes examples from Egypt, Nubia, Greece, Rome, Etruria and the Near East.

Egyptian Art – Mummy Mask of a High Official (ca. 2000-1980 BCE, Middle Kingdom)

The collection of ancient Egyptian and Nubian art, dating from prehistoric to Roman Egypt (5th millennium BC– 4th century AD ), include statuary (the most impressive pieces are two monumental 3,000-pound statues of the Egyptian lion-headed fire goddess Sekhmet); stelae; the intact Walters Mummy (still in its elaborate wrappings); reliefs; sarcophagi; funerary objects; impressive jewelry and objects from daily life as well as images of private individuals and kings.

Ancient Near Eastern Art

Art from the Near East includes alabaster reliefs from the palace of Ashurnasirpal II.

Greek Art Exhibit

The Walters’ outstanding collection of ancient Greek art, illustrating the history and culture of Greece from the Cycladic to the Hellenistic period (ca. 3rd millennium–1st century BC), includes engraved gemstones; dazzling gold jewelry (including extraordinary Greek bracelets, encrusted with multicolored gemstones, from Olbia on the shores of the Black Sea); exceptional vases, and marble statues (including the Praxitelean Satyr)

Etruscan Art

The most treasured objects in the collection of ancient Roman art at the Walters includes a large assemblage of Roman portrait heads (including powerful depictions of the emperors Augustus and Marcus Aurelius); exquisite Etruscan bronzes, a Roman bronze banquet couch, and seven marble sarcophagi, among the finest in the world, with intricate marble carvings depicting mythological scenes, from the tombs of the prominent Licinian and Calpurnian families in Rome.

Roman Art

Ancient Treasury

The 18^th and 19^th century Treasury displays portrait miniatures, examples of goldsmiths’ works (especially snuffboxes and watches) along with some exceptional 19th- and early-20th-century works. Among them are examples of Art Nouveau-styled jewelry by René Lalique, jeweled objects by the House of Fabergé, including two Russian Imperial Easter eggs, and precious jewels by Tiffany and Co. of New York City.

18th and 19th Century Treasury

Three galleries (Entry Hall of Arms and Armor, Chamber of Wonders and Collector’s Private Study), dedicated to European art of the 15th to 17th centuries, suggest a 1600s collection that might have been the pride of a sophisticated nobleman in the Spanish Netherlands (present-day Belgium).

Entry Hall of Arms and Armor

The Entry Hall of Arms and Armor , reflecting traditions of chivalry and the noble values of family honor is, in part, based on the installation at the Habsburg palace Schloss Ambras just outside Innsbruck (Austria).

Chamber of Wonders

The Collector’s Private Study is where small, intricate objects were kept close at hand. The more spacious Chamber of Art and Wonders (or Constkamer, as such a space was known in the Spanish Netherlands), is a faithful recreation of a cabinet of curiosity and has cabinets full of natural history specimens, as well as art objects from the museum’s collection.

Jandy exploring the hallway with displays of Renaissance Ceramics

The third floor houses The Medieval World Galleries (Byzantine, Russian and Ethiopian Icons, Early Byzantine Art, Migration and Early Medieval Art, Medieval World Lobby, Romanesque and Gothic Art, The Great Room, Upper Stair Hall, Islamic Art, Islamic Arms and Armor) and Renaissance & Baroque Galleries (13th-15th Century Italian Art, 15th Century Art of Northern Europe, 15th Century Italian Art, 16th Century Italian Art, 17th Century Art, 18th Century Art, Renaissance Ceramics)

Byzantine, Russian and Ethiopian Icons

The Walters’ collection contains one of the largest assemblages of art produced during the Middle Ages (extends from the 4^th to the end of the 14^th century, or from the disintegration of the Roman Empire to the beginning of the Renaissance in western Europe in all the major artistic media of the period).

The author (left) entering the “15th Century Art of Northern Europe”exhibit. At right is an altarpiece with the Passion of Christ (ca. 1492-1495, Late Medieval Renaissance).

The Walters’ Medieval collection, for which the museum is best known internationally, is considered one of the best collections of Medieval art in the United States. Spanning the Medieval world from the eastern Mediterranean to Western Europe, the museum’s Medieval art collection features a wide range of remarkable objects including examples of metalwork, sculpture, stained glass, textiles, icons, and other paintings.

Romanesque and Gothic Art

The Walters’ collection is especially renowned for its particularly strong holdings of ivories, enamels, liturgical vessels, reliquaries and illuminated manuscripts.

Early Byzantine Art

The Walters’ Medieval collection features unique objects such as the Byzantine agate Rubens Vase that belonged to the painter Rubens (accession no. 42.562) and the earliest-surviving image of the Virgin of Tenderness, an ivory carving produced in Egypt in the 6th or 7th century (accession no. 71.297). Sculpted heads from the royal Abbey of St. Denis are rare surviving examples of portal sculptures that are directly connected with the origins of Gothic art in 12th-century France (accession nos. 27.21 and 27.22). An ivory casket covered with scenes of jousting knights is one of about a dozen such objects to survive in the world (accession no. 71.264).

Migration and Early Medieval Art

The Walters also displays Late Medieval devotional Italian paintings by painters such as Tommaso da Modena, Pietro Lorenzetti, Andrea di Bartolo (Resurrection), Alberto Sotio, Bartolomeo di Tommaso (Death of Saint Francis), Naddo Ceccarelli, Master of Saint Verdiana, Niccolo di Segna (Saint Lucy), Orcagna, Olivuccio di Ciccarello, Master of Panzano Triptych and Giovanni del Biondo.

The Rubens Vase (agate, gold, Byzantine Art. ca 400)

Henry Walters took an early interest in Byzantine art, buying at a time when there were limited collectors in this field, and the museum also holds one of the leading collections of Byzantine Art in the United States.

Jewelry Box with Dancers and Faun (4th to 6th Century)

Sarcophagus Fragment with the Good Shepherd (early 4th century)

The Walters’ Byzantine art collection, supported by an important collection of Russian and Orthodox icons, includes a group of over two thousand decorative tile fragments, early Byzantine silver, post-Byzantine art, the Kaper Koraon Treasure and illuminated manuscripts. The museum also houses the largest and finest collection of Ethiopian Orthodox Church art outside Ethiopia.

13th-15th Century Italian Art

15th Century Italian Art

The collection of Renaissance, Baroque and 18th-century European art, the breadth of which offers a comprehensive display of the arts during this artistically fertile period, features one of the most significant holdings of Italian paintings, many of which were acquired by Henry Walters with the Massarenti Collection (a previously unprecedented purchase of the contents of an Italian villa) plus sculpture, furniture, ceramics, metalwork, jewelry, arms and armor, and locks and keys.

16th Century Italian Art

17th Century Art

The best-known works include Hugo van der Goes‘ Donor with Saint John the Baptist, Heemskerck‘s Panorama with the Abduction of Helen Amidst the Wonders of the Ancient World, Giambattista Pittoni‘s Sacrifice of Polyxena, the Madonna of the Candelabra (from the studio of Raphael), Veronese’s Portrait Of Countess Livia da Porto Thiene and her Daughter Porzia, El Greco‘s Saint Francis Receiving the Stigmata, Bernini‘s “bozzetto” of the Risen Christ, Tiepolo‘s Scipio Africanus Freeing Massiva, and The Ideal City attributed to Fra Carnevale. The museum has one of ten surviving examples of the Sèvres pot-pourri vase in the shape of a ship from the 1750s and 1760s.

18th Century Art

The Walters’ collection presents an overview of 19th-century European art, particularly European art works by late-19th-century academic masters and Impressionists from France. Because of his notorious Southern-leanings, William Walters, with his family, stayed in Paris during the Civil War.

The Cafe-Concert (1879, Edouard Manet)

Here, he soon developed a keen interest in contemporary European painting and he commissioned, either directly from the artists or purchased at auctions, such major works by the Barbizon masters (Jean-François Millet and Henri Rousseau); academic masters (Jean-Léon Gérôme and Lawrence Alma-Tadema) and modernists (Monet, Manet, Sisley and the Italian Antonio Rotta).

Odalisque with Slave (1842, Jean Auguste Dominique Ingres)

From the first half of the century comes major paintings by Ingres, Géricault, and Delacroix. Highlights of the collection include Odalisque with Slave by Ingres (a second version); Claude Monet’s Springtime; Alfred Sisley‘s panoramic view of the Seine Valley; and The Café Concert, Édouard Manet’s realist masterpiece.

Fortune (1900, Sevres Porcelain Factory, Augustin Moreau-Vauthier)

The Dancer (1900, Sevres Porcelain Factory, Agathon Leonard)

The museum’s collection of Sèvres porcelain (Henry Walters was particularly interested in the courtly arts of 18th-century France) includes a number of pieces that were made for members of the Royal Bourbon Court at Versailles Palace outside of Paris.

Islamic Art

Islamic art in all artistic media, encompassing the entire realm of artistic production in those lands where, from the 7th century onward, the Muslim religion took hold (territory that, at its height, stretched from present-day Spain and North Africa westward to India), is represented at the Walters, reflecting the cultural diversity and geographical range of Islamic cultures.

Islamic Art

It includes not only objects used in the service of religion but also those created for the courts of the Middle East and Central Asia, as well as articles used in everyday life.

Iznik Plate with a depiction of an Ewer (late 16th century, Early Modern)

Basin (early mid-15th century, Late Medieval)

Among the highlights are a 7th-century carved and hammered silver bowl from Iran that demonstrates the continuation of Sassanian traditions in early Muslim Persia; a 13th-century candlestick made of copper, silver, and gold from the Mamluk era in Egypt; 16th-century mausoleum doors decorated with intricate wood carvings in a radiating star pattern; a delicate 17th-century silk sash from the Mughal Empire in India; and a 17th-century Turkish tile with an image of the Masjid al-Haram (“Great Mosque of Mecca”), the center of Islam in Mecca, (modern Saudi Arabia).

Tile with the Great Mosque of Mecca (17th century, Ottoman)

The Walters Museum owns an array of Islamic manuscripts that include a 15th-century Koran from northern India (executed at the height of the Timurid Empire); a 16th-century copy of the “Khamsa of Nizami” by Amir Khusraw (illustrated by a number of famous artists for the Emperor Akbar); and a Turkish calligraphy album by Sheikh Hamadullah Al-Amasi (one of the greatest calligraphers of all time).

Islamic Arms and Armor

The ongoing, 18-month, special exhibition “From Rye to Raphael: The Walters Story, spanning the entire fourth floor of the museum, celebrates the museum’s 80th anniversary by examining the legacy of founders William and Henry Walters.

A Roman Emperor Claudius (1871, Sir Lawrence Alma-Tadema)

The Attack at Dawn (1877, Alphonse de Neuville)

It brings together, in 7 galleries, an extraordinary group of art and artifacts that illustrates the intriguing stories behind the Walters family’s magnificent gift to the city.

Walter Mountain Distilleries Whiskey Bottle and Tumblers with WTW Monogram

The “rye” in the exhibit name refers to the trade in rye whiskey that served as the basis of the family fortune while “Raphael” refers to the “Madonna of the Candelabra” (depicting Mary and Christ as divine royals) painting (not on view in the exhibition) by Renaissance master Raphael, purchased by Henry in 1901, the artist’s first Virgin and Child to enter a United States collection..

From Rye to Raphael – The Walters Story

Alongside Walters family photographs and historic material culled from the archives, it features 200 works chosen for their beauty and craftsmanship. Much of it comes from the museum’s permanent collection while other previously unseen objects were selected from the museum’s archives.

A Roman Slave Market (1884) by Jean Leon Gerome, depicting an eroticized nude female slave, seen from behind standing on a scaffold as men below call out their bids is, perhaps, the most sensuous image in the show but is also easily the most disturbing.

Its highlights include a 19th-century salon-style gallery (re-creating a room in the original Walters residence at 5 West Mount Vernon Place that was crammed floor to ceiling and wall to wall with artworks, gold frames gleaming against plum wallpaper) and a gallery of French works by such painters as Eugene Delacroix, Jean-Jacques Rosseau and Jean-Leon Gerome.

The Young Girl of Bou-Saada (Susse Freres Foundry, Ernest Barrias)

The Walters Art Museum: 600 North Charles Street, Mount Vernon-Belvedere, Baltimore, Maryland 21201, United States. Tel: +1 410-547-9000. Open Wednesdays to Sundays, 10 AM –5 PM (9 PM on Thursdays), closed Mondays, Tuesdays, Martin Luther King Jr. Day, Independence Day, Thanksgiving Day, Christmas Eve, Christmas Day and New Year’s Day. Admission is free. Website: www.thewalters.org.

Fort McHenry National Monument and Historic Shrine (Baltimore, Maryland, USA)

Posted on 29 June, 2017 by Benjie Layug — 10 Comments ↓

Fort McHenry National Monument and Historical Shrine

This historical American coastal pentagonal bastion fort is best known for its role in the War of 1812, when it successfully defended Baltimore Harbor from the September 13–14, 1814 attack by the British navy from Chesapeake Bay. The fort, a prominent tourist destination, is visited each year by thousands of visitors who come to see the “Birthplace of the Star Spangled Banner.”

Entrance to Fort McHenry

It’s also a popular spot for Baltimoreans to run, walk their dogs, enjoy a picnic or just sit by the waters of Chesapeake Bay and enjoy the breeze and views of the city.

View of Baltimore Harbor as seen from the fort

Listed are some interesting trivia regarding the fort:

This was named after early American statesman James McHenry (November 16, 1753 – May 3, 1816), a Scots-Irish immigrant and surgeon-soldier who was a delegate to the Continental Congress from Maryland and a signer of the United States Constitution. Afterwards, he was appointed United States Secretary of War (1796–1800), serving under Presidents George Washington and John Adams.
Fort McHenry was built on the site of the former Fort Whetstone which stood on Whetstone Point (today’s residential and industrial area of Locust Point) peninsula, which juts into the opening of Baltimore Harbor between the Basin (today’s Inner Harbor) and Northwest branch on the north side and the Middle and Ferry (now Southern) branches of the Patapsco River on the south side. The fort defended Baltimore from 1776 to 1797.
The new fort, built to improve the defenses of the increasingly important Port of Baltimore from future enemy attacks, is a bastioned pentagon, surrounded by a dry moat (a deep, broad trench) that served as a shelter from which infantry might defend the fort from a land attack. In case of such an attack on this first line of defense, each point, or bastion could provide a crossfire of cannon and small arms fire.
During the War of 1812, the 5.2 m. × 7.6 m. (17 ft. by 25 ft.) storm flag flown over Fort McHenry during the bombardment was replaced early on the morning of September 14, 1814 with a larger 9.1 m. × 12.8 m. (30 ft. by 42 ft.) garrison flag, sewn by Mary Pickersgill for $405.90, which signaled American victory over the British in the Battle of Baltimore. Francis Scott Key, a Washington lawyer who had come to Baltimore to negotiate the release of Dr. William Beanes, a civilian prisoner of war, witnessed the bombardment from a nearby truce ship. The sight of the ensign inspired him to write the poem “Defense of Fort M’Henry.” The poem was later set to the tune “To Anacreon in Heaven” and become known as the “Star Spangled Banner,” the national anthem of the United States.
It has become national tradition that when a new flag is designed, it first flies over Fort McHenry. The first official 49- and 50-star American flags were flown over the fort. The flags are still located on the premises.
In the event of a national emergency, the United States Codecurrently authorizes Fort McHenry’s closure to the public for use by the military for the duration of such an emergency.
Every September, the City of Baltimore commemorates Defenders Day in honor of the Battle of Baltimore. It is the biggest celebration of the year at the fort, it is accompanied by a weekend of programs, events and fireworks.
In 2013, under the America the Beautiful Quarters Program, Fort McHenry National Monument and Historic Shrine was honored with its own quarter.

The barracks

Here is a timeline of the fort’s history:

Designed by Frenchman Jean Foncin in 1798, the fort was built between 1798 and 1800.
During World War I, in order to convert the entire facility into an enormous U.S. Army hospital for the treatment of troops returning from the European conflict, an additional one hundred odd buildings (only a few of them remain) were built on the land surrounding the fort.
On September 13, 1814, beginning at 6 AM, British warships, under the command of Vice-Admiral Alexander Cochrane, continuously bombarded Fort McHenry, under the command of Major George Armistead (April 10, 1780 – April 25, 1818) of the 3rd Regiment of U. S. Artillery, for 25 hours. The British ships were unable to pass Fort McHenry and penetrate Baltimore Harbor because of its defenses which included a chain of 22 sunken ships and the American’s 8, 11 and 16 kg. (18, 24 and 32-pounder) cannons. The British guns had a range of 3 kms. (2 miles) and their rockets had a 2.8 km. (1.75-mile) range, neither of which, fired at maximum range, were accurate. At one point during the bombardment, a bomb crashed through the fort’s powder magazine but, fortunately for the Americans, either the rain extinguished the fuse or the bomb was a dud.
On the morning of September 14, the British, having depleted their ammunition, ceased their attack. Only one British warship, a bomb vessel, received a direct hit from the fort’s return fire, which wounded one crewman. The Americans lost four killed (including Private William Williams, an African-American soldier, and a woman who was cut in half by a bomb as she carried supplies to the troops) and 24 wounded.
During the American Civil War, Fort McHenry served as a military prison, confining Confederate soldiers as well as a large number of Maryland political figures (including newly elected Baltimore Mayor George William Brown, the city council, the new police commissioner, George P. Kane; members of the Maryland General Assembly; several newspaper editors and owners; John Eager Howard,(local hero of the Revolutionary War; and Francis Scott Key‘s grandson, Francis Key Howard) who were suspected of being Confederate At this time, Fort McHenry also served to train artillery (hence the Rodman guns presently located and displayed at the fort).
During World War II, Fort McHenry was leased to the Coast Guard for port security work and as a fire training station aboard ships for nearly 28,000 U.S. Coast Guardsmen.
In 1925, the fort was made a national park
In 1931, the fort was finally deactivated and transferred to the National Park Service .
On August 11, 1939, it was redesignated a “National Monument and Historic Shrine, the only such doubly designated place in the United States.
On October 15, 1966, it was placed on the National Register of Historic Places.
On September 10–16, 2014, the Star Spangled Spectacular was held at Fort McHenry to celebrate the bicentennial of the writing of the Star Spangled Banner. The event included a parade of tall ships, a large fireworks show and the US Navy’s Blue Angels.

The Visitor Center

The kid-friendly Visitor Center has a Park Ranger-staffed information desk, book and souvenir store, a large museum, restrooms and a meeting place for Ranger programs.

The Park Ranger-staffed information desk

The kid-friendly Visitor Center has a Park Ranger-staffed information desk, book and souvenir store, a large museum, restrooms and a meeting place for Ranger programs.

Francis Scott Key and the Birth of the Star Spangled Banner. At right is the original draft of the song

The museum is divided into three main areas of interest. The first section, “Francis Scott Key and the Birth of the Star Spangled Banner,” is devoted to Francis Scott Key, the Star Spangled Banner, and the flag. An interactive touch-screen presentation details Key’s schedule leading up to his writing of the poem.

The Star Spangled Banner and the War of 1812. At the right is a uniform, 2 muskets (one with bayonet), powder horn and personal items of a soldier

The second area of the museum, where I spent about an hour, focused on the War of 1812. Its interactive touch-screen presentation, a key exhibit, allowed me to read about every battle in the war. Also on exhibit are military memorabilia such as uniforms and a cannon as well as personal items used by soldiers.

A cannon

A second section of the museum covers the Battle of Baltimore, with its centerpiece being a 10-minute film about the Battle of Baltimore, a combination of live action and CGI animated battle maps, and ends with an inspirational rendition of “The Star Spangled Banner,” with the audience standing and singing along, as the curtain rises to reveal the flag at Fort McHenry outside.

L-R: Kyle, Cheska and Grace. Behind is a copy of the original storm flag of the garrison

Film showings occur at the top of every hour and every half hour and its movie screen is part of the overall museum. During the showing, the lights were turned down, rendering the rest of the museum essentially shut down during this time. Only the exhibits that are backlit, such as the interactive touch-screens, can be seen.

Jandy at the entrance of the fort

The actual wheelchair accessible and stroller friendly fort is just a short walk from the Visitor Center. Outside the fort were re-enacters such as women hand washing the service men’s clothes, sewing a flag and learning how to write on slate boards. Inside were probably a dozen servicemen in full dress and carrying muskets.

Women re-enacters

Servicemen in uniform

Within the fort are exhibits on a variety of topics relating to the fort and its history such as the restored Commander’s Quarters, Junior Officers’ Quarters, Guard House and the Enlisted Men’s Quarters, all mainly devoted to garrison life during its most famous period of the War of 1812; the Gunpowder Magazine as well as the restored flag pole. The flag flown here is not the size of the fabled Star-Spangled Banner, but is a garrison flag that is four sizes smaller.

George Armistead

Junior Officers’ Quarters

Outside the fort proper is a reconstruction of the Upper Battery which, during the 1814 attack, was largely manned by volunteer militia artillerymen and merchant seamen (from ships within blockaded Baltimore Harbor) and armed with large-caliber smooth bore guns mounted on naval trucks or garrison carriages. They had wooden trucks with iron wheels and, to prevent their excessive recoil when fired, were attached to the wall by rope cables.

Upper Battery

The fort also boasts a fine collection of mid-nineteenth century artillery pieces. The Lower Battery, with brick-reinforced earthen rampart (replacing the earth-and-wooden one of the War of 1812), have circa 1875 15-inch Rodman smoothbore guns of Civil War vintage that were sleeved with rifled inserts.

The author with the Rodman cannons in the background

Adjacent to Fort McHenry lies a monument of Orpheus that is dedicated to the soldiers of the fort and Francis Scott Key.

Monument of Orpheus by Charles Niehaus

Statue of Col. George Armistead

Fort McHenry National Monument and Historic Shrine: 2400 East Fort Ave, Baltimore, Maryland 21230, USA. Tel: +1-410-962-4290. Open daily, 9 AM – 6 PM (5 PM in the winter), closed on Thanksgiving Day, Christmas Day and New Year’s Day. Admission: adults (US$10), children 15 years old and younger (free).

How to Get There: The fort is easily accessible by water taxi from the popular Baltimore Inner Harbor. However, to prevent abuse of the parking lots at the Fort, the National Park Service does not permit passengers to take the water taxi back to the Inner Harbor unless they have previously used it to arrive at the monument.

USS Constellation Museum (Baltimore, Maryland, U.S.A.)

Posted on 29 June, 2017 by Benjie Layug — 1 Comment ↓

USS Constellation with Museum Gallery at left

After our visit to the World War II vintage cutter USCGC Taney, Jandy, Kyle and I walked some distance, from Pier 1, to get to Pier 5 where the museum ship USS Constellation, a sloop-of-war/corvette is berthed, the last of two ships we were to visit using our Squadron Pass. This would our first time to go aboard and explore a three-masted sailing ship.

The author with the USS Constellation in the background

Now a part of Historic Ships in Baltimore, Constellation and her companions are major contributing elements in the Baltimore National Heritage Area.

Check out “The Historic Ships of Baltimore“

Exhibit at Museum Gallery

Here are some interesting trivia regarding the Constellation:

It had a length of 60.96 m. (200 ft.), a beam width of 13.11 m. (43 ft.), a draft of 6.4 m. (21 ft.), displaced 1,400 lbs. and had a typical operating crew of 285 including a Marine detachment of 45.
She was built using some recycled materials salvaged from the old, 38-gun frigate USS Constellation (launched in 1797), which had been disassembled the year before at Gosport Navy Yard in Norfolk, Virginia. She is the second U.S. Navy ship to carry this famous name.
In 1955, when the sloop-of-war was brought to Baltimore as a museum ship, it was under the mistaken belief that it was its predecessor, the 1797 frigate Constellation. Over the next four decades, the 1854 ship was “restored” to look like the older ship. In the early 1990s, a US Navy research team, led by Dana Wegner, conclusively proved the ship’s true identity.
Despite being a single-gun deck “sloop,” she was actually larger than her original frigate built, and more powerfully armed, with fewer (22) but much more potent shell-firing guns. On commissioning, she had 16 x VIII-inch shell guns, 4 x 32-pounder guns and 2 x X-inch pivot mounted shell guns. During the American Civil War, she was equipped with 16 x VIII-inch shell Dahlgren guns (primary), 4 x 32-pounder guns (secondary), 1 x 30-pounder pivot mounted Parrott Rifle (bow) and 1 x 20-pounder pivot mounted Parrott Rifle (stern). She also had 3 x 12-pounder bronze howitzers for close-in fighting.
Her sail rigging, typical of the time, was set across 3 primary masts.
She had a surface speed of 21 knots (14 mph).
She is the last existing intact naval vessel, still afloat, from the American Civil War.
She was one of the last wind-powered (sail-only) warships built by the United States Navy.
She has been assigned the hull classification symbol IX-20.
About one-half of the lines used to rig the vessel are present (amounting to several miles of rope and cordage).

Here is the historical timeline of this ship:

Designed by John Lenthall, she was constructed at the Norfolk Navy Yard
Launched on August 26, 1854 and commissioned on July 28, 1855, with Captain Charles H. Bell in command, the Constellation performed largely diplomatic duties, from 1855 to 1858, as part of the S. Mediterranean Squadron.
On July 1856, while on station, Constellation was dispatched to protect American lives and property at Malaga, Spain, during a revolution in that country.
That same year, while cruising in the Sea of Marmora, she rescued a barque in distress, receiving, from the court of the Austrian emperor, an official message in appreciation.
From 1859 to 1861, she was the flagship of the 8-ship Africa Squadron, taking part in African Slave Trade Patrol operations to disrupt the Atlantic slave trade. The ship interdicted three slave ships and released the imprisoned Africans.
On December 21, 1859, the Constellation captured the Delicia, a brig fitted out as a slave ship (but with no slaves on board) which was without colors or papers to show her nationality.
On September 26, 1860, she captured the Cora, a “fast little bark” with 705 slaves who were set free in Monrovia, Liberia.
On May 21, 1861, in African coastal waters, the Constellation overpowered the Charleston-registered Triton, a slaver brig, one of the U.S. Navy’s first captures during the American Civil War.
During the Civil War, she spent much of the war in the Mediterranean Sea as a deterrent to Confederate cruisers and commerce raiders.
After the Civil War, Constellation spent a number of years as a receiving ship (floating naval barracks) in Norfolk, and later in Philadelphia, until 1869.
From March to July 1878, she carried exhibits to the 1878 Exposition Universelle in Paris
From March to June 1880, during the 1879 Irish famine, she carried 2,500 barrels of flour and potatoes for famine victims in Ireland.
In 1894, after being used as a practice ship for Naval Academy midshipmen, the Constellation became a training ship for Naval Training Center Newport.
During World War I, she helped train more than 60,000 recruits.
Decommissioned in 1933, the Constellation was recommissioned in 1940, by President Franklin Roosevelt, as a national symbol.
During World War II, she remained in Newport, spending much her time as relief (i.e. reserve) flagship for the U.S. Atlantic Fleet. From May 21, 1941, the Constellation was the relief flagship for Ernest J. King and, later, from January 19 to July 20, 1942 and from 1943 to 1944, for his replacement Vice Admiral Royal E. Ingersoll.
In October 1946, the Constellation was moved to Boston, where she was kept, together with the venerable USS Constitution, as a naval relic. She remained in commission until 1954.
Decommissioned, for the last time, on February 2, 1955, she was moved to Baltimore and taken to her permanent berth.
On May 23, 1963, the Constellation was designated as a National Historic Landmark.
On October 15, 1966, she was placed on the National Register of Historic Places.
In 1994, the Constellation was condemned as an unsafe vessel. Her rigging was removed an she was closed to the public.
In 1996, she was towed to a drydock at Sparrows Point, near Fort McHenry, and a US$9 million rebuilding and restoration project was undertaken and completed on July 2, 1999. In an attempt to safeguard the wood planking, the hull from the waterline to the keel was covered in a fiberglass coating and painted an aqua-blue.
On October 26, 2004, Constellation made her first trip, since 1955, out of Baltimore’s Inner Harbor. Lasting six days, the trip to the S. Naval Academy in Annapolis marked her first trip to Annapolis in 111 years.
In late 2012, it was determined the wood hull behind the fiberglass sheathing, installed during the 1996–98 rebuilding, contained significant rotting.
From 2014 to 2015, over a 6-month period, the ship was again put in dry dock and rebuilt with fresh (and chemically treated to resist rotting) wood planking.
In late March 2015, the rebuilt ship was returned to her Inner Harbor berth and her rigging was completed
By May 2015, she was again opened to the public.

Top or spar deck

20 pounder, pivot-mounted Parrott Rifle at the stern

To get aboard, we had to enter the two-storey Museum Gallery Building (where USS Constellation’s history is portrayed through artifacts and personal effects which belonged to the ship’s crew), climb the stairs to the second floor and cross a gangplank to the ship.

Kyle at the gun deck

Jandy beside a VIII-inch Dahlgren gun

Nearly all of the ship was accessible during our tour. We went down to all 4 wooden decks, each one different, and there were plenty of things to see on each.

Ship’s Stove

Galley Provisions

Compared to the USCGC Taney, the Constellation’s stairs leading to the lower decks , though still steep and narrow, were still much easier to go up and down.

Check out “USCGC Taney“

Bilge and Fire Pump

Arms Chest

There are plenty of signs and visual aids to explain everything.The male guide, dressed in uniform of the period, was very knowledgeable on the ship’s history.

Captain’s Office

Captain’s Stateroom

The top or spar deck, the highest of the continuous decks running the full length (stem to the stern) of a ship, was where all sailing operations took place. The ship’s wheel, binnacle, fife rails, and so forth, are also mounted here. The ship’s sails here were large and quite impressive.

Dining Table

Officers Quarters

The next deck down is the gun deck where the ship’s main battery of VIII-inch Dahlgren guns, the Captain’s Cabin, the Officers Quarters and the Galley are located. The ship’s officers (Executive Officer; Master; Marine Lieutenant; Second, Third, Fourth & Fifth Lieutenants; Chaplain, Paymaster; Surgeon) each had individual living quarters with beds.

Executive Officer’s Quarters

Master’s Quarters

The captain, on the other hand, had a large spacious area to himself, complete with dining table, bath, study, and the only private, old-school toilet on deck (it had a window view).

Second Lieutenant-Navigator’s Quarters

Chaplain’s Quarters

We explored further, going down another flight of steps to reach the berth deck where the majority of the crew lived and socialized and where their hammocks are slung.

Pantry

Despensary

Going down one more ladder brought us to the ship’s hold where food, water and gear for the crew was stowed. The top deck (spar deck) and gun deck are accessible via wheelchair lifts. The headroom on the two lower decks was low.

Stairs leading to Berth Deck

Berth Deck

A trip way back in maritime history, for tall ships it’s hard to beat the Constellation as we saw how the sailors slept (not very comfortable I should imagine as they slept on hammocks with no privacy) and ate on the ship, giving us a real feel at how hard it was to live on a ship back then.

Ship’s Hold

USS Constellation: Pier 1, Constellation Dock, 301 East Pratt St., Inner Harbor, Baltimore, Maryland 21202-3134, United States. Tel: 410-539-1797 (Main Office) and 410-396-3453 (Group Sales/ Education Office). Fax: 410-539-6238. Open daily, 10 AM – 4:30 PM. E-mail: administration@historicships.org. Website: www.historicships.org. Admission: US$18 (Fleet Pass – 4 ships entry), UUS$15 (Squadron Pass – 2 ships entry). Tickets may be purchased on-line or at ticket locations on Pier 1, Pier 3 or on board the USCGC Taney.

Tours are regularly available, self-guided or with the assistance of staff. Tour groups can participate in demonstrations such as “turning the yards” and operating the capstan on the main deck to raise/lower cargo. Daily, a cannon firing is also demonstrated. Star-Spangled Spectacular visitors, with limited mobility and one companion, may tour the USS Constellation free on September 11, 12, 14 and 15, during her regular scheduled operating hours.

USCGC Taney (Baltimore, Maryland, U.S.A.)

Posted on 29 June, 2017 by Benjie Layug — 1 Comment ↓

USCG Cutter Taney

During our tour of The Historic Ships of Baltimore, Jandy, Kyle and I first visited the USCGC Taney, a United States Coast Guard High Endurance Cutter (WPG/WAGC/WHEC-37), one of two of the famed Treasury-class (out of seven total) Coast Guard cutters still afloat.

The author and Kyle at the deck of USCG Cutter Taney

Kyle sitting on the pilot’s deck seat

It is notable for being the last ship afloat (a non-combatant vessel at Pearl Harbor, the US Navy tug Hoga, also remains afloat) that fought in the December 7, 1941 attack on Pearl Harbor (although Taney was actually moored in nearby Honolulu Harbor not Pearl Harbor itself).

The Pilot’s Room

Log Office

This destroyer-size cutter, named after famed Maryland Supreme Court Justice Roger B. Taney (who was, at various times, US Attorney General, Secretary of the Treasury, and Chief Justice of the Supreme Court), was 327 ft. long, with a beam of 41 ft., and originally displaced 2000 tons.

Taney at Pearl Harbor Exhibit

Here are some interesting historical trivia regarding this ship’s distinguished career:

The Taney was laid on May 1, 1935, at the Philadelphia Navy Yard where she was built alongside three of her sister ships, Campbell, Duane and Ingham.
She was launched on June 3, 1936 and commissioned on October 24 that same year. It was first home ported in Honolulu, Hawaii
Designed for peacetime missions of law enforcement, search and rescue, and maritime patrol, its original armament consisted of two 5”/51 caliber deck guns, and two 6-pounder saluting guns. It was also originally equipped to carry a Grumman JF-2 “Duck” float plane.
In May or June 1937, the Roger B. Taney’s name was shortened to simply Taney.
In the pre-war years, Taney she interdicted opium smugglers and carried out search and rescue duties from the Hawaiian Islands through the central Pacific Ocean and made regular cruises to the equatorial Line Islands (Kanton and Enderbury Islands), some 1500 miles southwest of Oahu, to re-supply and support to American colonists there.
In 1937, Taney participated in the search for missing aviator Amelia Earhart.
In 1940 and 1941, in anticipation of war, she received successive armament upgrades that included an additional 5”/51 caliber gun on the fantail (where her float plane once stood), three 3”/50 caliber dual purpose guns (capable of shooting at both surface and airborne targets), additional .50 caliber machine guns, depth charge racks and throwers, and sonar for locating submarines.
On the eve of Pearl Harbor, though she retained her Coast Guard crew, Taney was officially assigned to the US Navy’s Destroyer Division 80.
On December 7, 1941, when Japanese aircraft attacked Pearl Harbor and other American military installations in Hawaii, she was tied up at Pier 6, Honolulu, where she was able to repeatedly engage Japanese planes which over flew the city. When the attack subsided, it immediately set out to search for Japanese submarines off Pearl Harbor. Although it did not locate any, the ship received the American Defense Service Medal for the crew’s quick and courageous action.
From December 1941 until the fall of 1943, Taney operated from the west coast of the US through the Central Pacific, carrying out anti-submarine patrols, convoy escort duties as well as special assignments.
In 1942, after the Battle of Midway, she was one of many ships searching for survivors
In July 1943, while delivering a US Navy survey party to Baker Island along the Equator, the cutter fought off an attack by a Japanese “Mavis” patrol bomber.
In the fall of 1943, after a major refit at Mare Island (during which the ship lost her older 5”/51s and 3”/50s and received four 5”/38 caliber dual purpose guns), Taney was transferred to the Atlantic Theater where she served as Flagship of Task Force 66, US Atlantic Fleet and was the command vessel for six convoys of troop and supply ships between the US and North Africa.
On the evening of April 20, 1944, off the coast of North Africa, Taney narrowly dodged several torpedoes while fending off a large scale attack by German Junkers Ju 88and Heinkel He 111 medium bombers against Convoy UGS-38. Three ships were lost in the attack including the ammunition ship SS Paul Hamilton and the destroyer USS Lansdale.
In 1945, after a dramatic reconfiguration as an Amphibious Command Ship (AGC), Taney returned to the Pacific.
During the Battle of Okinawa, the cutter was the flagship of Rear Admiral Calvin Cobb, USN, who commanded a variety of naval operations off the island of Ie Shima, immediately northwest of Okinawa.
During April and May 1945, at the height of the campaign during 119 separate engagements in which her crew stood to battle stations, Taney was under frequent attack and was credited with destroying four Kamikaze suicide planes and 1 Mitsubishi G4M “Betty” bomber and assisted in numerous other “kills.”
Immediately after the end of the Pacific war, on September 11, 1945, Taney steamed into Japanese home waters at Wakayama, where it received American and other Allied prisoners-of-war and assisted with their evacuation.
During the Korean War, Taney received additional anti-submarine weapons and frequently carried out plane-guard duties off Midway Island and Adak, Alaska.
Following World War II, Taney was reconfigured for peacetime duties and, from 1946 until 1972, she was home ported in Alameda, California. Known as “The Queen of the Pacific,” she carried out virtually every peacetime Coast Guard duty including decades of Ocean Weather Patrol throughout the Pacific, fisheries patrols in the Bearing Sea and countless search and rescue missions.
On April 27, 1960, Taney had the honor to host French President Charles de Gaulle on his VIP tour of San Francisco Bay.
By the late 1960s, Taney had become the last United States vessel still in commission that had seen action during the December 7, 1941 Japanese attack on Hawaii. Consequently, from that time on, she was often referred to as “The Last Survivor of Pearl Harbor.”
In 1969-70, during the Vietnam War, Taney participated in “Operation Market Time” in the South China Sea. As a unit of Coast Guard Squadron III, she interdicted illegal arms and supplies by inspecting 1,000 vessels along the coast of South Vietnam, fired over 3,400 rounds of 5”/38 ammunition, in support of American and South Vietnamese troops, and provided medical assistance to more than 5,000 Vietnamese civilians. For the crew’s service, the government of the Republic of South Vietnam awarded, in February 1970, Taney with the Vietnam Presidential Unit Citation.
In February 1972, Taney was reassigned, from the 12th Coast Guard District in San Francisco, to the 5th Coast Guard District in Virginia.
From 1973 to 1977, Taney carried out Ocean Weather Patrol at Weather Station HOTEL, some 200 miles off the coast of New Jersey, as well as “hurricane hunting” (for which she received a special Doppler weather radar installation atop her pilot house).
In September 1977, Taney had the distinction of completing the Coast Guard’s last ocean weather patrol when she closed out Ocean Weather Station HOTEL.
From 1977 until 1986, Taney carried out search and rescue duties, fisheries patrols in the North Atlantic, drug interdiction patrols in the Caribbean, and summer training cruises for the Coast Guard Academy. During this period she made 11 major seizures of illegal drug including a 1985 bust which netted 160 tons of marijuana – the largest in US history.

Operation Market Time Exhibit

Over her distinguished career, Taney received three battle stars for World War II service and numerous theater ribbons for service in World War II, the Korean War, and Vietnam War.

National Historic Landmark Plaque

After more than 50 years of service, Taney was decommissioned on December 7, 1986 at Portsmouth, Virginia and given to the City of Baltimore, Maryland as a memorial and museum ship in the Inner Harbor as part of the Historic Ships in Baltimore collection.

Check out “The Historic Ships of Baltimore“

Ammunition Hoist

Radio Room

In 1988, USCGC Taney was added to the National Register of Historic Places and, on the same day, was also designated as a National Historic Landmark. Taney is included in the Baltimore National Heritage Area.

Galley

Common Mess Area

During our tour, much of the ship was open to walk through. We explored both below decks and up to the bridge. Upon close inspection, this museum ship is not exactly a World War II time capsule like USS Missouri and other veteran ships.

Sickbay

Throughout her life, she had been modernized and her spaces are more typical of a naval ship of the 1980s, the decade when she was decommissioned, rather than the 1940s.

Crew Berthing Area

Items of circa 1986 shipboard life include personal items and clothing in living quarters, offices with cabinets and typewriters, an ammunition room still loaded with training rounds, and stocked damage control lockers.

Soogie, the ship’s mascot dog

Crew’s Head

Some spaces have been repurposed for museum exhibits that focused on events the ship played a role (Pearl Harbor, Okinawa, Vietnam War, etc.).

Ship’s Store

Barber shop

USCGC Taney: Pier 5, Baltimore Maritime Museum, 301 East Pratt St., Baltimore, Maryland 21202-3134, United States. Open spring, summer and fall Sundays-Thursdays, 10 AM to 5:30 PM; Fridays & Saturdays, 10AM to 6:30 PM. During the winter, it is open Fridays-Sundays only: 10:30 AM to 5 PM. Tel: 410-396-3453. E-mail: administration@historicships.org. Website: www.historicships.org. Admission: US$18 (Fleet Pass – 4 ships entry), UUS$15 (Squadron Pass – 2 ships entry). Tickets may be purchased on-line or at ticket locations on Pier 1, Pier 3 or on board the USCGC Taney.

How to Get There: The Inner Harbor is accessible by bus, light rail, and metro subway (one-way rides are US$1.60). The light rail station closest to the ship is located at the Convention Center on Pratt Street (nine blocks west of the harbor). The closest metro station is Market Place at Power Plant Live (three blocks north and two blocks east of the submarine). There are also several bus routes that serve the Inner Harbor.

The Historic Ships of Baltimore (Maryland, U.S.A.)

Posted on 29 June, 2017 by Benjie Layug — 1 Comment ↓

The Historic Ships of Baltimore

One of the highlights during our 2-night stay in Baltimore was our visit to The Historic Ships of Baltimore, a maritime museum located in the Inner Harbor of Baltimore, an opportunity too good to miss for a nautical buff. An affiliate of the Living Classrooms Foundation, it represents one of the most impressive collections of military vessels in the world. Exhibiting life at sea, from the mid-19th century to the mid-1980’s, it was created as a result of the merger of the USS Constellation Museum and the Baltimore Maritime Museum.

Jandy posing with the World War II submarine USS Torsk in the background

The museum’s collection, all located within easy walking distance of each other, features four historic and well-maintained museum ships from four different times in history. The USS Constellation, a 1854 sloop-of-war in Pier 1, was the last all-sail warship built by the US Navy.

Check out “USS Constellation Museum“

USCG Cutter Taney

The USCGC Taney (WHEC-37), a Coast Guard cutter in Pier 5, is the last surviving vessel to witness the December 7, 1941 Japanese attack on Pearl Harbor. The USS Torsk (SS-423), a World War II-era, Trench-class (one of 10) submarine in Pier 3 commissioned in 1940, torpedoed the Coast Defense Vessels #13 and #47 on August 14, 1945, the last two enemy combatants of World War II. The Chesapeake, a lightship (which marked the entrance to the Chesapeake Bay) in Pier 3 built in 1930, was a navigational aid with beacons mounted on it.

Check out “USCGC Taney“

The author posing with the lightship Chesapeake in the background

Also included in the collection is the 40 ft. high Seven Foot Knoll Light, a screw-pile lighthouse in Pier 5 built in 1856. One of the oldest Chesapeake Bay area lighthouses, it was erected at the mouth of the Patapso River, on a shallow shoal called the Seven Foot Knoll. For over 130 years, it marked the entrance to the Patapsco River and Baltimore Harbor. The three ships (USS Constellation, USCGC Taney and the USS Torsk) are National Historic Landmarks and all five are listed on the National Register of Historic Places.

Seven Foot Knoll Light

Jandy, Kyle and I availed of the Squadron Pass and visited the USCGC Taney and the USS Constellation (by far, our favorite). Our interesting and educational visit gave us a good overview of different parts of the nautical world and of Baltimore’s heritage as a major seaport. Both ships were amazing to walk through as they had much of their original furnishings (like uniforms, desks, etc) for effect (where needed, accurate replicas where made).

Jandy with the American Civil War-era sloop-of-war USS Constellation in the background

Historic Ships in Baltimore: 301 East Pratt St., Baltimore, Maryland 21202-3134, United States. Tel: 410-539-1797 (Main Office) and 410-396-3453 (Group Sales/ Education Office). Fax: 410-539-6238. Open daily, 10 AM – 4:30 PM. E-mail: administration@historicships.org. Website: www.historicships.org. Admission: US$18 (Fleet Pass – 4 ships entry), UUS$15 (Squadron Pass – 2 ships entry). Tickets may be purchased on-line or at ticket locations on Pier 1, Pier 3 or on board the USCGC Taney. Admission is free at the Seven Foot Knoll Light.

This travel blog, a diary of the author’s local and international travels, aims to provide the reader with news and information on people, places and events that would interest the avid traveler and tourist. But, it also aims to be much more, providing insights on the wonders of this beautiful country, as well as the world, beyond the strict confines of the city. Have a BLAST seeing old churches, exotic temples, educational museums as well as palm-fringed islands; white sand beaches; thundering waterfalls; placid lakes; fiery sunsets; turquoise seas; cathedral-like caves; swirling rivers; majestic mountains; stupendous, amphitheater-like rice terraces; awesome volcanoes and the like. Get to know the movers and shakers in the tourism industry; find out where to titillate the palate; rejuvenate your body; feed your adrenalin, unwind and relax; satisfy your craving for history and culture; and find out what's being celebrated and where.

BENJAMIN “BENJIE” LAYUG, an architect by profession (he finished his B. S. Architecture degree from the University of the Philippines Diliman in 1982), is also a copy editor for two publishing houses; travel writer; blogger; architectural historian; author; concert. movie and musical reviewer (for www.pep.ph); and a motivational speaker.

As a free-lance travel writer, he has, in the past, contributed articles to Travel Update, Philippine Daily Inquirer, COLORS, TODAY, 7107 Islands Magazine, Business Day and Bluprint. He currently writes for Artplus Magazine and the Business Mirror.

He is also the author of the following travel books:

A Philippine Odyssey (New Day Publishers, 2005)
Pathfinder’s Travel Guide: Boracay (Great Books Trading, 2006)
A Tourist Guide to Notable Philippine Churches (New Day Publishers, 2007)
A Tourist to Notable Philippine Historical Landmarks, Monuments and Shrines (New Day Publishers, 2010)
A Tourist Guide to Notable Philippine Museums (New Day Publishers, 2012)

Some of his books now appear in the local library shelves of the National Library of the Philippines, De La Salle University, Ateneo de Manila University, University of Sto. Tomas, U.P. Diliman, Centro Escolar University, San Sebastian College, Miriam College, Silliman University, to name a few, as well as internationally at the National Library of Australia and the University of California Berkeley Library.

Now a senior citizen, he is probably one of the oldest, if not the oldest, active travel blogger in the country today. He also has a lifestyle blog called F.Y.I.:Firing Your Imagination (www.firingyourimagination.blogspot.com). Benjie has traveled to two-thirds (53) of the country’s 81 provinces and over 20 countries in 4 continents.