Smithsonian Castle (Washington D.C., U.S.A.)

Posted on 1 July, 2017 by Benjie Layug — Leave a reply

Smithsonian Castle a.k.a. Smithsonian Institution Building

The grand, church-like Smithsonian Castle (formally the Smithsonian Institution Building), is located near the National Mall in Washington, D.C., behind the National Museum of African Art and the Sackler Gallery. Housing the Smithsonian Institution‘s administrative offices and information center, the building was built in the Norman Revival style (a 12th-century combination of late Romanesque and early Gothic motifs) to evoke the Collegiate Gothic atmosphere of such venerable colleges such as Cambridge and Oxford in England and the ideas of knowledge and wisdom.

North facade of Castle

The building had its beginnings in 1846 when a building committee held a nationwide design competition and selected the design of 28 year old architect James Renwick, Jr. by unanimous vote. The first Smithsonian building designed by Renwick (his other works include St. Patrick’s Cathedral in New York City and the Smithsonian’s Renwick Gallery, also in Washington D.C.), a cardboard model of his winning design survives and is on display in the Castle.

James Renwick’s original model of the Smithsonian Castle

Renwick was assisted by Robert Mills, particularly in the internal arrangement of the building. The committee also selected Gilbert Cameron as the general contractor. Construction funds were sourced from “accrued interest on the Smithson bequest.”

Check out “St. Patrick’s Cathedral (New Your City)”

Using elements from Georg Moller‘s book Denkmäler der deutschen Baukunst (Milestones in German Architecture), James Renwick, Jr. designed the Castle as the focal point of a picturesque landscape on the National Mall.

He also originally intended to detail the building with entirely American sculptural flora (in the manner of Benjamin Henry Latrobe‘s work at the United States Capitol) but the final work, instead, used conventional pattern-book designs. The plan allowed for expansion at either end, a major reason for the informal Medievally-inspired design (which would not suffer if asymmetrically developed).

Initially intended to be built in white marble, then in yellow sandstone, the architect and building committee finally settled on Seneca red sandstone (from the Seneca Quarry in Montgomery County, Maryland) which was substantially less expensive than the granite, marble and light Aquia sandstone used by other major buildings in Washington, D.C. and, while initially easy to work, was found to harden to a satisfactory degree upon exposure to the elements.

Statue of Joseph Henry

Here is the historical and construction timeline of the building:

On May 1, 1847, the cornerstone of the Castle was laid in a grand Masonic ceremony
In 1849, the East Wing was completed and occupied by Secretary Joseph Henry and his family. Later the same year, the West Wing was completed.
In 1850, a structural collapse of partly completed work raised questions of workmanship and resulted in a change to fireproof construction.
In 1852, the Castle’s exterior was completed
In 1855, Cameron’s interior work was completed.
In 1865, despite the upgraded fireproof construction, a fire caused extensive damage to the upper floor of the building, destroying the correspondence of James Smithson, Secretary Joseph Henry‘s papers, two hundred oil paintings of American Indians by John Mix Stanley, the Regent’s Room and the lecture hall, and the contents of the public libraries of Alexandria, Virginia and Beaufort, South Carolina, confiscated by Union forces during the American Civil War.
From 1865-67, renovation was undertaken by local Washington architect Adolf Cluss. A third and fourth floor were added to the East Wing while a third floor was added to the West Wing.
In 1883, further fireproofing work was also done by Cluss (who, by this time, had designed the neighboring Arts and Industries Building).
In 1895, electric lighting was installed.
Around 1900, the wooden floor of the Great Hall was replaced with terrazzo and a Children’s Museum was installed near the south entrance. A tunnel connected to the Arts and Industries Building.
From 1968-70, a general renovation took place to install modern electrical systems, elevators and heating, ventilation and air conditioning systems.
In 1987, the Enid A. Haupt Garden and Renwick Gate (also built from Seneca red sandstone retrieved from the demolished D.C. Jail), facing Independence Avenue, were dedicated.
On January 1, 1965, the Castle was designated as a National Historic Landmark.
On October 15, 1966, it was included in the U.S. National Register of Historic Places (NRHP reference no. 66000867)

Check out “Enid A. Haupt Garden”

A Castle of Curiosities Exhibit

The building, comprising a central section, two extensions (or ranges) and two wings (East and West), has four towers containing occupiable space and five smaller and primarily decorative towers (although some contain stairs).

The principal tower, on the south side is 28 m. (91 ft.) high and 11 m. (37 ft.) square. On the north side are two towers, the taller one 44 m. (145 ft.) high. A campanile, at the northeast corner, is 5.2 m. (17 ft.) square and 36 m. (117 ft.) high.

The few surviving personal possessions of James Smithson

The central section, as constructed, contains the main entry and museum space (now the Great Hall), with a basement beneath and a large lecture room above.

Two galleries, on the second floor, formerly used to display artifacts, is now the Visitor’s Information and Associates’ Reception area, with interactive displays and 3-D maps pinpointing and detailing the 17 Washington DC-area Smithsonian Institution properties, including museums, galleries and the National Zoological Park. Here, computers electronically answer most common questions.

Earliest known photograph of the Castle

The first floor of the East Range contained laboratory space with research space on the second floor while the East Wing contained storage space on the first floor and a suite of rooms on the second (as an apartment for the Secretary of the Smithsonian). Currently, this space is used as administrative offices and archives.

Welcome to the Smithsonian Exhibit

The one storey West Range was used as a reading room while the West Wing, known as the chapel, was used as a library. Today, the West Wing and Range are now used as a quiet room for visitors to go.

A crypt, just inside the north entrance, houses the tomb of French-born, British-raised scientist James Smithson. There’s also a coffee and snack shop and a large seating area with free Wi-Fi.

James Smithson Crypt

A Castle of Curiosities exhibit delves into the history of the castle and the little that is known of James Smithson’s life. The Welcome to the Smithsonian exhibit, in high-ceilinged rooms, displays art and artifacts representing all of the institution’s members in old, gleaming wooden display cases. The National Zoo’s “panda cam” shows popular bears and ancient Buddhas from the Sackler Gallery.

Museum Store

Smithsonian Castle: 1000 Jefferson Dr SW, Washington, D.C. Tel: +1 202-633-1000. Coordinates: 38°53′19.49″N 77°1′33.59″W

Hirshhorn Museum and Sculpture Garden (Washington D.C., USA)

Posted on 1 July, 2017 by Benjie Layug — Leave a reply

Hirshhorn Museum and Sculpture Garden

The Hirshhorn Museum and Sculpture Garden, an art museum sited halfway between the Washington Monument and the US Capitol, anchoring the southernmost end of the so-called L’Enfant axis (perpendicular to the Mall’s green carpet), is part of the Smithsonian Institution.

Interior court and fountain

Conceived as the United States’ museum of contemporary and modern art, it currently focuses its collection-building and exhibition-planning mainly on the post–World War II period, with particular emphasis on art made during the last 50 years. The museum has a budget of US$8 million, which does not include the US$10 to US$12 million in operational support supplied by the Smithsonian Institution.

Geometric Mouse, Variation I, Scale A (Claes Oldenburg, 1971)

The museum was initially endowed, during the 1960s, with the permanent art collection of more than 6,000 items of Joseph H. Hirshhorn (who enjoyed great success from uranium-mining investments), started in his forties, which consisted of works from classic French Impressionism as well as those by living artists, American modernism of the early 20th century, and sculpture brought from the Hirshhorns’ Connecticut estate and other properties.

Subcommitee (Tony Cragg, 1991, steel)

Here is the museum’s historical timeline:

In 1966, an Act of Congress established the Hirshhorn Museum and Sculpture Garden. Most of its funding was federal, but Hirshhorn later contributed US$1-million toward its construction.
On July 1967, an original plan, with an elongated, sunken rectangle crossing the Mall with a large reflecting pool across the Mall, designed by architect Gordon Bunshaft, was approved.
In 1969, groundbreaking takes place on the former site of the Army Medical Museum and Library (built in 1887) after the brick structure was demolished.
On July 1, 1971, after excavation was started, a revised design, with a smaller footprint, was approved. The revised design, deliberately stark, using gravel surfaces and minimal plantings to visually emphasize the works of art, also shifted the garden’s Mall orientation from perpendicular to parallel and reduces its size from 8,100 sq. m. (2 acres) to 5,300 sq. m. (1.3 acres).
In 1974, the museum was opened with three floors of painting galleries, a fountain plaza for sculpture, and the Sculpture Garden. In the first six months, one million visitors saw the 850-work inaugural show.
In the summer of 1979, the Sculpture Garden was closed.
In September 1981, the Sculpture Garden was reopened after a renovation and redesign by Lester Collins, a well-known landscape architect and founder of the Innesfree Foundation. The design introduces plantings, paved surfaces, accessibility ramps, and areas of lawn.
In 1985, the Museum Shop is moved to the lobby, increasing exhibition space at its former location on the lower level.
On December 1991, the Hirshhorn Plaza is closed.
In 1993, Hirshhorn Plaza is reopened after a renovation and redesign by landscape architect James Urban. The 11,000 sq. m. (2.7-acre) area around and under the building is repaved in two tones of gray granite, and raised areas of grass and trees are added to the east and west.
In 2013, the Hirshhorn Museum and Sculpture Garden drew around 645,000 visitors.
In 2014, the Museum Shop is moved back to the lower level.

Museum Shop

Here are some technical information on the museum:

The building and its walls were surfaced with precast concrete aggregate of “Swenson” pink granite
The building has a diameter of 231 ft., 115 ft. for the interior court and 60 ft. for the fountain.
The building is 82 ft. high and elevated 14 ft. on 4 massive, sculptural piers.
The museum provides 5,600 sq. m. (60,000 sq. ft.) of exhibition space on three floors inside and nearly 4 acres outside in its two-level Sculpture Garden and plaza for a total of 197,000 sq. ft. of total exhibition space, indoors and outdoors.
It has a 274-seat auditorium at the lower level.
There are 2.7 acres around and under the museum building.
The 1.3-acre Sculpture Garden, across Jefferson Drive, was sunk 6–14 ft. below street level and ramped for accessibility.
The second and third floor galleries have 15-ft. high walls, with exposed 3-ft. deep coffered ceilings.
The lower level includes exhibition space, storage, workshops, offices while the fourth floor includes offices and storage.

Pumpkin (Yayoi Kusama, 2016)

The building, an open cylinder elevated on four massive “legs,” with a large fountain occupying the central courtyard, itself is an attraction. The new federal museum’s modern look and intrusively expansive sculptural grounds is a striking contrast to everything else in the city.

Still Life with Spirit and Xtile (Jimmie Durham, 2007)

At the museum entrance is the deceptively simple Still Life with Spirit and Xitle , one of the most well-known works of art by artist Jimmie Durham (a sculptor who is known for his sense of humor and irreverence), features a slapstick disaster scene (intended to capture the clash between industrial and ancient spirits) of a 1992 Chrysler Spirit being crushed by a 9 ton red basalt boulder with a comical smiley face painted on it.

Woman Verso Untitled (Willem de Kooning, 1948)

Woman Before an Eclipse With Her Hair Disheveled by the Wind (Joan Miro, oil on canvas, 1967)

Notable artists in the Hirshhom collection include Pablo Picasso, Henri Matisse, Mary Cassatt, Thomas Eakins, Henry Moore, Jackson Pollock, Mark Rothko, Franz Kline, Hans Hofmann, Morris Louis, Kenneth Noland, John Chamberlain, Francis Bacon, Willem de Kooning, Milton Avery, Ellsworth Kelly, Louise Nevelson, Arshile Gorky, Edward Hopper, Larry Rivers, and Raphael Soyer among others.

Sleeping Muse I (Constantin Brancusi, 1909-1910, marble)

The Master Works from the Hirshhorn Collection, on view from June 9, 2016 to September 4, 2017, is a new rehanging of the permanent collection galleries at the third-level. It features more than 75 works in virtually all media, highlights of Joseph Hirshhorn’s original gift, alongside some of the newest additions to the collection.

Untitled – Big Man (Ron Mueck, 2000, pigmented polyester resin on fiberglass)

They include several major artworks returning to view after more than a decade (such as Candian painter Jean-Paul Riopelle’s 1964 Large Triptych), as well as in-depth installations devoted to some of the most important artists in the collection.

Large Triptych (Jean-Paul Riopelle, 1964, oil on canvas)

Dog (Alberto Giacometti, 1951-57)

Exhibited are more than a dozen paintings and works on paper by Dutch abstract expressionist artist Willem de Kooning alongside sculptures by Swiss sculptor Alberto Giacometti, two of the 20^th century’s greatest figurative artists.

Eleven A.M. (Edward Hopper, 1928, oil on canvas)

The Los Angeles County Museum on Fire (Ed Ruscha, 1965-68, oil on canvas)

Other cornerstones of the collection on view are Constantin Brancusi’s Sleeping Muse I (1909–10), Edward Hopper’s Eleven A.M. (1926), Edward Ruscha’s The Los Angeles County Museum on Fire (1965–68), French-American artist Louise Bourgeois’ Legs (1986/cast 2008) and Australian sculptor Ron Mueck’s Untitled (Big Man) (2000).

Window (Gerhard Richter, 1968, oil on canvas)

The End of Ending (Eduardo Basualdo, 2012)

In an adjacent room is The End of Ending (2012), a massive sculptural installation by Argentinian artist Eduardo Basualdo which occupies all but a sliver of walkable space in a gallery. R.S.V.P. X (1976/2014), the performative sculpture by African-American Senga Nengudi (among a group of artists in 1970’s Los Angeles who explored conceptual art in their pursuit of a distinctly African-American aesthetic), also appears at the museum for the first time.

Spearfishing (Peter Doig, 2013)

Siren of the Niger (Wilfredo Lam, 1950, oil and charcoal on canvas)

The exhibition is augmented by a special loan of Scottish painter Peter Doig’s painting Spearfishing (2013), which hangs alongside richly colored canvases by British figurative painter Francis Bacon, American painter Richard Diebenkorn and Cuban artist Wifredo Lam.

Field for Skyes (Joan Mitchell, 1973, oil on canvas)

1962-D (Clyfford Still, oil on canvas)

Some of the most recent additions to the Hirshhorn’s collection are represented by new cultural histories. O Abuso da História (The Abuse of History, 2014) is a video, by Brazil-based Mexican artist Héctor Zamora, of a riotously destructive group performance at São Paulo’s historic Hospital Matarazzo.

From Continent to Continent (Mario Merz, 1985)

Cuban artist Reynier Leyva Novo’s 5 Nights (2014), from his series “The Weight of History,” in the Lerner Room (overlooking the National Mall), maps revolutionary 20th-century manifestos by Vladimir Lenin, Adolf Hitler, Fidel Castro, Mao Zedong, and Muammar Gaddafi to conceptual monochromes, based on the amount of ink spilled in the writing of each text.

Iris, Messenger of the Gods (Auguste Rodin)

During our visit to the museum, we also explored three ongoing temporary exhibits – the “Markus Lupertz: Threads of History” Exhibit, the “Linn Meyers: Our View From Here” Exhibit and the “Ai Weiwei: Trace at the Hirshhorn” Exhibit.

Check out “The Markus Lupertz: Threads of History Exhibit” “The Linn Meyers: Our View from Here Exhibit” and “”The Ai Weiwei: Trace at Hirshhorn Exhibit“

The Sculpture Garden, outside the museum, features works by artists including Auguste Rodin, David Smith, Alexander Calder, Jean-Robert Ipoustéguy, Jeff Koons, and others. A permanent installation and a major attraction, since 2007, in the Sculpture Garden is Yoko Ono‘s famous Wish Tree for Washington, DC.

Are Years What? (Mark di Suvero)

Hirshhorn Museum and Sculpture Garden: 700 Independence Ave SW & 7th St SW, National Mall, Washington, D.C. 20560, United States. Website: www.hirshhorn.si.edu. Admission is free. Open daily, 10 AM – 5:30 PM.

National Air and Space Museum (Washington D.C., U.S.A.)

Posted on 1 July, 2017 by Benjie Layug — Leave a reply

National Air and Space Museum

The National Air and Space Museum (NASM) of the Smithsonian Institution is a must-see for visitors to Washington, DC. Established August 12, 1946 as the National Air Museum, it opened at its main building on the National Mall near L’Enfant Plaza in 1976.

It is a center for research into the history and science of aviation, spaceflight, planetary science, terrestrial geology and geophysics. Allow at least 2-3 hours to explore the exhibits.

Continuum of the late Charles O. Perry

Here are some interesting trivia regarding this museum:

It holds the largest collection of historic aircraft and spacecraft in the world.
In 2014, the museum saw approximately 6.7 million visitors, making it the fifth most visited museum in the world.
It is the largest of 19 museums included in the Smithsonian Institution.

Lockheed F-104A Starfighter at the second floor concourse

The museum features 22 exhibition galleries, displaying hundreds of artifacts. Many of the exhibits are interactive and great for kids. Almost all space and aircraft on display are either originals or the original backup craft.

Boeing Milestones of Flight – the main hall of the museum

Designed by St. Louis-based architect Gyo Obata of HOK , the museum, its mass similar to the National Gallery of Art and using the same pink Tennessee marble, was built by Gilbane Building Company and opened on July 1, 1976 at the height of the United States Bicentennial festivities.

The Mercury Friendship 7 and Gemini IV capsules

It has four simple marble-encased cubes containing the smaller and more theatrical exhibits, connected by three spacious steel-and-glass atria which house the larger exhibits such as missiles, airplanes and spacecraft. The west glass wall of the building, used for the installation of airplanes, also functions as a giant door. On display outside is “Continuum,” a curving metal map of the universe one by the late Charles O. Perry.

Bell X-1

The Boeing Milestones of Flight Gallery, the museum’s main hall, was reopened in July 2016. This expanded exhibition traces the interconnected stories of the world’s most significant aircraft, rockets, and spacecraft in history, milestones which have made our planet smaller and the universe larger, with digital displays and a mobile experience in a new design that stretches from one entrance to the other.

Ryan NYP Spirit of St. Louis

North American Aviation Inc. X-15A 56-6670 hypersonic research rocketplane

SS-20 and Pershing II ICBM Missiles

They also tell tales of ingenuity and courage, war and peace, politics and power, as well as society and culture.

Bell XP-59A Airacomet

Mock-up of Lunar Module

The displays, taking full advantage of the atrium’s two-storey height, includes the huge Apollo Lunar Module; the Telstar satellite; the model of the “Starship Enterprise” used in the Star Trek television series;, the Ryan NYP Spirit of St. Louis (where Charles Lindbergh’s made his solo trip across the Atlantic); the Bell XP-59A Airacomet (the first American jet aircraft); the Bell X-1 (in which Chuck Yeager first broke the mythical “sound barrier”); the North American X-15 (the fastest aircraft ever flown); the Mercury Friendship 7 capsule (flown by John Glenn); the Mariner, Pioneer, and Viking planetary explorers; and SpaceShipOne (the first privately-developed, piloted vehicle to reach space). You can even touch a Moon rock.

The author touching a piece of the Moon

Jandy with the model of the Star Trek Starship Enterprise

The Space Race Gallery tells about that U.S.-Soviet Union space rivalry and its aftermath, from the military origins of the Space Race, through the race to the Moon and the development of reconnaissance satellites, to cooperative ventures between the two former rivals and efforts to maintain a human presence in space.

German V2 Rocket

Yuri Gagarin’s Space Suit

John Glenn’s Space Suit

Hubble Space Telescope

Some of the items on display include a German V-1 “buzz bomb” and V-2 missile, Soviet and U.S. spacecraft and space suits, a Skylab Orbital Workshop, and a full-size test version of the Hubble Space Telescope.

1970 Northrop M2-F3 CN 1

Apollo–Soyuz Test Project

V-1 Buzz Bomb

The Apollo to the Moon Gallery has an unparalleled display of artifacts from the Apollo and earlier missions with displays that range from a huge F-1 rocket engine, a scale model of the Saturn V rocket, spacesuits worn by Apollo astronauts on the Moon to space food and personal items that astronauts took into space.

Saturn V Rocket Engine

Lunar Roving Vehicle

The America by Air Gallery, exploring the history of air transportation in the United States, shows how the federal government has shaped the airline industry, how improvements in technology have revolutionized air travel, and how the flying experience has changed.

The nose section of a DC-7

Boeing 747 Forward Fuselage

Highlights include a Ford 5-AT Tri-Motor, Boeing 247, and Douglas DC-3 airliners; a cockpit simulation of an Airbus A320; and a nose from a Boeing 747 jumbo jet that you can enter.

Ford 5-AT-B Trimotor

Douglas DC-3

Boeing 247-D

The Barron Hilton Pioneers of Flight Gallery, having to do with people who pushed the existing technological or social limits of flight, contains an impressive, eclectic assortment of aircraft and exhibits, each representing an unprecedented feat, a barrier overcome or a pioneering step.

Douglas World Cruiser Chicago

Fokker T-2

Things to see here include the Fokker T-2 (the airplane that made the first nonstop, coast-to-coast flight across the United States); the Douglas World Cruiser Chicago (which completed the first round-the-world flight); a Lockheed Model 8 Sirius (flown by Charles Lindbergh and Anne Morrow Lindbergh), a Lockheed Vega (flown by Amelia Earhart); the Explorer II high-altitude balloon gondola; and “Black Wings,” an exhibit on African Americans and aviation.

Lockheed Model 8 Sirius

Explorer II high-altitude balloon gondola

Lockheed Vega 5B of Amelia Earhart

The Explore the Universe Gallery shows how our ideas about the Universe evolved as we developed new astronomical instruments. It presents the Universe as discerned by the naked eye, then shows how the telescope, photography, spectroscopy, and digital technology revolutionized our view. The largest section describes what astronomers today think about the nature of the Universe. Among the many amazing treasures on display are an Islamic astrolabe from 10 centuries ago; the actual telescope tube from William Herschel‘s 20-foot telescope; the observing cage from the Mount Wilson Observatory‘s 100-inch Hooker Telescope; and the backup mirror for the Hubble Space Telescope.

World War II Aviation Gallery

Supermarine Spitfire HF.MK.VIIc

The World War II Aviation Gallery focuses on land-based fighter aviation. Fortresses Under Fire, a Keith Ferris mural filling an entire wall, features a B 17 Flying Fortress, with contrails streaming behind it, roaring out of a clear blue sky.

Mitsubishi A6M5 Reisen (Zero Fighter)

North American P-51D Mustang

The mural serves as a backdrop for five fighter planes – a British Supermarine Spitfire, German Messerschmitt Bf 109, Italian Macchi C.202 Folgore, U.S. North American P-51 Mustang and a Japanese Mitsubishi A6M Zero.

Messerschmitt Bf 109 G (1)

Aeronautica Macchi C.202 Folgore

Also on exhibit are engines, bombs, armament, ammunition, aircrew and service uniforms from several nations, and personal memorabilia.

Artist Soldiers Exhibit

The Artist Soldiers exhibition, a collaboration between the Smithsonian’s National Air and Space Museum and National Museum of American History, examines this form of artistic expression from two complementary perspectives – one from professional artists who were recruited by the U.S. Army and served in the American Expeditionary Force (the first true combat artists) and the other from soldiers who created artwork.

Together, these works of art of soldiers shed light on World War I in a compelling and very human way by first-hand participants.

The Exploring the Planets Gallery takes you on a tour of this remarkable realm, as seen and sensed by the Voyagers and other robotic explorers. Initial sections present some historical highlights and show the various means we use to study other worlds. Sections devoted to each planet form the core of the gallery.

The author with the Blériot XI monoplane

The gaily decorated Early Flight Gallery, celebrating the first decade of flight, evokes the atmosphere of the fictitious Smithsonian Aeronautical Exposition of 1913, an aviation exhibition from that period. The gallery is crammed with fabric-covered aerial vehicles, some fanciful, most real, along with trade show–style exhibits featuring cutting-edge technology of the day.

Swedenborg Flying Machine

The Chanute Gliders

They include a rare 1894 Lilienthal glider; Samuel P. Langley’s Aerodrome #5 and Quarter-Scale Aerodrome (powered, unmanned vehicles that successfully flew in 1896 and 1903); the 1909 Wright Military Flyer (the world’s first military airplane, it is the most original and complete of the museum’s three Wright airplanes); a Curtiss Model D “Headless Pusher,” an Ecker Flying Boat, and a Blériot XI monoplane.

Curtiss D-III Headless Pusher

The Unmanned Aerial Vehicles (UAVs) Gallery, made possible through the generosity of General Atomics Aeronautical Systems, Inc., showcases six modern military UAVs that represent a variety of missions and technologies.

Boeing X-45A

They range from large vehicles that can carry offensive weapons to a miniature system whose components are light and compact enough to be carried in a Marine’s backpack.

AAI RQ-7 Shadow UAV

The Golden Age of Flight Gallery features the 1920s and ’30s, the period between the two world wars that saw airplanes evolve from wood-and-fabric biplanes to streamlined metal monoplanes. The military services embraced air power and aviation came of age. Air races and daring record-setting flights dominated the news and aircraft displayed here include planes used for racing and record setting such as Howard Hughes‘ sleek, record-setting Hughes H-1 Racer, the Wittman Buster midget racer (hanging near the entrance) and the Curtiss J-1 Robin Ole Miss (which stayed aloft for 27 days). There are also planes for business travel (Beechcraft C17L Staggerwing) and exploration (the Northrop Gamma 2B Polar Star, which traversed Antarctica).

MQ-1L Predator A

The How Things Fly Gallery, devoted to explaining the basic principles that allow aircraft and spacecraft to fly, emphasizes “hands-on,” with dozens of exhibits inviting you to push, pull, press, lift, slide, handle, touch, twist, turn, spin, bend, and balance. Here you can discover for yourself answers to things you’ve always wondered about flight. You can explore the nature of gravity and air; how wings work; supersonic flight; aircraft and rocket propulsion; flying in space; and more.

1903 Wright Flyer

The Wright Brothers and the Invention of the Aerial Age Gallery celebrates the centennial of the Wright brothers‘ historic flights. It has, as its centerpiece, the 1903 Wright Flyer, the world’s first successful airplane and historic craft that ushered in the age of flight, displayed on the floor.

The first part of this exhibition tells the story of how Wilbur and Orville Wright invented the airplane—who they were, how they worked, and what they accomplished.

The second part shows how their monumental achievement affected the world in the decade that followed, when people everywhere became fascinated with flight. The exhibition includes many historic photographs and cultural artifacts, along with instruments and personal items associated with the Wrights.

The Moving Beyond Earth Gallery, an immersive exhibition, places visitors “in orbit” in the shuttle and space-station era to explore recent human spaceflight and future possibilities. An expansive view of the Earth as viewed from the space station drifts over one gallery wall, while a fly-around tour of the International Space Station fills another wall. A presentation stage for live events, broadcasts, and webcasts at the center of the gallery serves as the platform for Space Flight Academy, a group quiz game where visitors can test their space smarts and become “flight ready.”

Time and Navigation Gallery

Lockheed 5C Vega – Winnie Mae

The Time and Navigation Gallery explores how revolutions in timekeeping over three centuries have influenced how we find our way.

Model of USS Enterprise

The Sea-Air Operations Gallery, at the quarterdeck of the mythical aircraft carrier USS Smithsonian, a scaled-down re-creation of a hangar deck bay, has surrounding structures and equipment that are from actual aircraft carriers.

Douglas SBD-6 Dauntless

You can poke around in a ready room, a combined living room and briefing area, or go upstairs and visit the navigation bridge and PriFly, the ship’s air traffic control center. From these two rooms you can watch “cat shots” and “traps” (takeoffs and landings) filmed on a U.S. Navy carrier.

Douglas A-4C Skyhawk

Balconies overlook the four carrier aircraft in the hangar bay – a Boeing F4B-4 biplane, Grumman F4F Wildcat, Douglas SBD-6 Dauntless, and Douglas A-4C Skyhawk. Also here are exhibits on carrier warfare in World War II and on modern carrier aviation.

Boeing F4B-4

The Looking at Earth Gallery, exploring the technology of aerial and space observation and its many uses, displays aircraft and spacecraft and examples of the photographic and imaging devices used on them.

Lockheed U-2C

De Havilland DH-4

Throughout the exhibition are countless images taken from above, some are historic; others show scientific, military, or civil applications; others are simply beautiful. All allow us to examine the familiar from unfamiliar perspectives.

GOES Weather Satellite

Highlights include a De Havilland DH-4 (a World War I aircraft used for aerial observation and photography); a Lockheed U-2 (designed for Cold War aerial surveillance); personal objects of Soviet-captured U-2 pilot Francis Gary Powers; and several generations of weather satellites. A “What’s New” section displays frequently updated images of current interest taken of our planet from space.

US Pilot Survival Kit

The Lunar Exploration Vehicles Gallery displays a constellation of vehicles used for lunar exploration. Dominating the space is a real lunar module, the second one built for the Apollo program. The orbital test flight of the first lunar module proved so successful that a second test flight was deemed unnecessary. The lunar module displayed here was used instead for ground testing. Six more like it landed astronauts on the Moon.

Engineering Model of Clementine

A series of unmanned lunar spacecraft preceded the manned missions. These robotic explorers transmitted images of the Moon, inspected its surface, and searched for Apollo landing sites.

Ranger Spacecraft

Examples of the three types of space probes involved in that effort—Ranger, Surveyor, and Lunar Reconnaissance Orbiter—hang above the lunar module, along with a more recent lunar explorer: the Moon-mapping spacecraft Clementine.

Lunar Orbiter

The Legend, Memory and the Great War in the Air Gallery reexamines aviation during World War I and contrasts romance with reality, with displays of popular culture showing how some of these myths were passed on.

German Aircraft Factory

Model of the Hindenburg

Other exhibits examine the many new roles aircraft played during the war, from battlefield reconnaissance to strategic bombing.

Pfalz D.XII

Albatross D.Va

Fokker D.VII

The gallery features several rare airplanes such as the German Pfalz D.XII, Albatros D.Va, and Fokker D.VII fighters; a British Sopwith 7F.1 Snipe fighter; and a French SPAD S.XIII fighter and Voisin VIII bomber.

Sopwith 7F.1 Snipe

Voisin Type 8

Spad XIII Smith IV

The Jet Aviation Gallery traces the development of jet technology and features many important turbojet engines introduced over four decades, along with three airplanes that helped usher in the jet age – the German Messerschmitt Me 262 A-1a Schwalbe (the world’s first operational jet fighter), the Lockheed XP-80 “Shooting Star” Lulu Belle (the prototype for the first full-production, operational U.S. jet fighter) and McDonnell FH-1 Phantom (the first jet fighter used by the Navy and Marine Corps).

McDonnell FH-1 Phantom

Lockheed XP-80 “Shooting Star” nicknamed Lulu Belle

Messerschmitt Me 262 A-1a nicknamed Schwalbe (German for “Swallow”)

The Lockheed Martin IMAX Theater, with its five-storey-high screen with six-channel digital surround sound, take you on a journey through space or to natural and manmade wonders of the world.

Douglas D-558-2 Skyrocket on display outside of the Lockheed Martin IMAX® Theater

The Albert Einstein Planetarium, with its high tech dual digital projection system, Sky Vision, takes you on a 20-minute tour of the universe. The museum’s three-storey gift shop is a great place to find memorable souvenirs and gifts. A food court- style restaurant is open daily from 10 AM to 5PM.

Museum Shop

National Air and Space Museum: 600 Independence Ave. at 6th St. SW, Washington, D.C. 20560, USA. Tel: +1 202-633-2214. Open aily (except December 25), 10 AM – 5:30 PM. Website: www.airandspace.si.edu.

General Admission: free. The 4-minute flight simulator rides cost US$6.50 per ride. IMAX movies and the Planetarium each cost US$9 per adult or US$7 per child. Shows often sell out, so purchase your tickets before viewing the rest of the museum. Tickets can be purchased in advance at (877) WDC-IMAX. After the September 11 attacks in 2001, new security measures have been created, with extensive queues extending outside the building.

How to Get There: The closest Metro stations are Smithsonian and L’Enfant Plaza.

National Museum of the American Indian (Washington DC, USA)

Posted on 1 July, 2017 by Benjie Layug — Leave a reply

National Museum of The American Indian

From the Botanic Garden, Jandy and I proceeded to the National Museum of the American Indian (NMAI), the first national museum in the country dedicated exclusively to Native Americans. Part of the Smithsonian Institution, it is committed to advancing knowledge and understanding of the past, present, and future of Native cultures of the Western Hemisphere, through partnership with Native people and others.

Museum entrance

Aside from this museum, the National Museum of the American Indian also has two other facilities – the George Gustav Heye Center (a permanent museum in Lower Manhattan, New York City) and the Cultural Resources Center (a research and collections facility in Suitland, Maryland).

Though it was a weekend, there wasn’t a long line of visitors wanting to enter the building (although the museum had 2.4 million visitors in 2004, the year it opened, it has averaged only 1.4 million in the years since due to its exhibits that feel “disjointed and incomplete”) but we were still all subjected to a security check.

Indian canoes at the lobby

The five-storey, 23,000 m²(250,000 sq. ft.) curvilinear building, set in a 17,200 m²(4.25-acre) site, is clad in golden-colored Kasota limestone, designed to evoke natural rock formations shaped by wind and water over thousands of years, and is surrounded by simulated wetlands.

Oculus of the dome

Fifteen years in the making, the museum was inaugurated on September 21, 2004 with an audience of around 20,000 American Indians, Alaska Natives and Native Hawaiians, the largest gathering of indigenous people in Washington D.C. to its time.

The museum’s design architects are GBQC Architects of Philadelphia and Severud Associates was the structural engineering firm chosen for this project. Project architects are Jones & Jones Architects and Landscape Architects Ltd. of Seattle and Smith Group of Washington, D.C., in association with Lou Weller (Caddo), the Native American Design Collaborative, and Polshek Partnership Architects of New York City. The landscape architects are Jones & Jones Architects and Landscape Architects Ltd. of Seattle and EDAW, Inc., of Alexandria, Virginia.

ImagiNATIONS Activity Center

Aiming to create a different atmosphere and experience from museums of European and Euro-American culture, Native Americans, in general, have filled the leadership roles in the design and operation of the museum.

Indian Chief motorcycle, 1948 at “Americans” exhibit

Canadian Douglas Cardinal, the museum’s architect and project designer, is Blackfoot. During construction, disagreements led to Cardinal’s removal from the project, but the building retains his original design intent and, during the museum’s construction, he provided continued input. Architect John Paul Jones is Cherokee/Choctaw while Ramona Sakiestewa (Hopi) also served as design consultant. Donna E. House (Navajo/Oneida) was the botanist who supervised the landscaping.

Our Universes – Traditional Knowledge Shapes Our World

The museum’s sweeping curvilinear architecture, its indigenous landscaping, and its exhibitions were also all designed in collaboration with tribes and communities from across the hemisphere, combine to give visitors from around the world the sense and spirit of Native America.

Nation to Nation exhibit

The landscape flows into the building and the theme of organic flow is reflected by the interior of the museum, whose walls are mostly curving surfaces, with almost no sharp corners. The museum’s east-facing entrance, its prism window and its 37 m. (120-ft.) high space for contemporary Native performances are direct results of extensive consultations with Native peoples.

Bald Eagle feather, ca. 2000

The museum’s collection, assembled by George Gustav Heye (1874–1957) during a 54-year period (beginning in 1903, he traveled throughout North and South America collecting Native objects), became part of the Smithsonian in June 1990.

Andrew Jackson’s pistol (ca. 1840)

Approximately 85% of the holdings of the NMAI, it includes more than 800,000 objects (one of the world’s largest and most diverse collections of its kind), as well as a photographic archive of 125,000 images. The collection is divided into the following areas: Amazon; Andes; Arctic/Subarctic; California/Great Basin; Contemporary Art; Mesoamerican/Caribbean; Northwest Coast; Patagonia; Plains/Plateau; Woodlands.

Celebrations

Pana and Qolla

The museum currently has 5 exhibits. Americans (January 18, 2018–2022), highlighting the ways in which American Indians have been part of the nation’s identity since before the country began, features pervasive, powerful and, at times, demeaning American Indian images (from the Land O’Lakes butter maiden to the Cleveland Indians’ mascot, and from classic Westerns and cartoons to episodes of Seinfeld and South Park), names (from state, city, and street names to the Tomahawk missile) and stories (historical events of Pocahontas’ life, the Trail of Tears, and the Battle of Little Bighorn) that reveal the deep connection between Americans and American Indians as well as how Indians have been embedded, in unexpected ways, in the history, pop culture, contemporary life and identity of the United States.

Inka bowl, tumi (ritual knife), armbands and ornaments with human figure design

The Great Inka Road: Engineering an Empire (June 26, 2015–June 1, 2020) explores the foundations of the more than 20,000 mile long Inka Road (which stands as one of the monumental engineering achievements in history) in earlier Andean cultures, technologies that made building the road possible, the cosmology and political organization of the Inka world, and the legacy of the Inka Empire during the colonial period and in the present day.

Maya calendar

Crossing mountains and tropical lowlands, rivers and deserts, the Great Inka Road, recognized by UNESCO as a World Heritage site in 2014, linked Cusco, the administrative capital and spiritual center of the Inka world, to the farthest reaches of its empire and continues to serve contemporary Andean communities across Colombia, Ecuador, Peru, Bolivia, Argentina and Chile.

Shan Goshorn (Eastern Band of Cherokee, b. 1957). Pieced Treaty Spider’s Web Treaty basket, 2007. Tulsa, Oklahoma.

Nation to Nation: Treaties Between the United States and American Indian Nations (September 21, 2014–Through 2021), curated by Indian rights activist Suzan Shown Harjo, is built around the 1613 Two Row Wampum Treaty which, as museum reviewer Diana Muir Appelbaum points out, is, in fact, a modern forgery. ” It is the story of that relationship between Indian Nations and the United States, including the history and legacy of U.S.–American Indian diplomacy, from the Colonial Period through the present, as well as about the equally important and influential Native diplomats and leaders of Indian Nations.

Ceremonies of Spring

Our Universes: Traditional Knowledge Shapes Our World (September 21, 2004–September 2020) focuses on indigenous cosmologies (world views and philosophies related to the creation and order of the universe) and the spiritual relationship between human kind and the natural world. Organized around the solar year, the exhibition introduces visitors to indigenous peoples from across the Western Hemisphere who continue to express the wisdom of their ancestors in celebration, language, art, spirituality and daily life.

Pueblo plates

The community galleries feature eight cultural philosophies—those of the Pueblo of Santa Clara (Espanola, New Mexico, USA), Anishinaabe (Hollow Water and Sagkeeng Bands, Manitoba, Canada), Lakota (Pine Ridge Reservation, South Dakota, USA), Quechua (Communidad de Phaqchanta, Cuzco, Peru), Hupa (Hoopa Valley, California, USA), Q’eq’chi’ Maya (Cobán, Guatemala), Mapuche (Temuco, Chile), and Yup’ik (Yukon-Kuskokwim Delta, Alaska, USA).

Dance and Drama

The design of these galleries reflects each community’s interpretation of the order of the world.The exhibition also highlights the Denver (Colorado) March Powwow, the North American Indigenous Games, and the Day of the Dead as seasonal celebrations that bring Native peoples together.

Family Meals and Feasting

Preparing and Storing Food

At the ongoing compact exhibition Return to a Native Place: Algonquian Peoples of the Chesapeake educates visitors on the continued Native presence in the region, and provides an overview of the history and events from the 1600s to the present that have impacted the lives of the Nanticoke, Powhatan, and Piscataway tribes.

Harvesting From the Land and the Ocean

Music and Song

You will meet the Native peoples of the Chesapeake Bay region (what is now Washington, D.C., Maryland, Virginia, and Delaware) through photographs, maps, ceremonial and everyday objects, and interactive displays.

Southeastern Ceramics

Music and Song

The imagiNATIONS Activity Center, a fantastic interactive experience for families, allows visitors to explore genius innovations made by Native tribes, from transportation solutions (snowshoes, skateboards) to tipi-building and basket-weaving.

Native Glass

Potawatomi blouse (ca. 1890, Wisconsin)

The Mitsitam Native Foods Cafe (which translates to “Let’s eat!” in the language of Delaware and Piscataway Natives) is divided into Native regional sections such as the Northern Woodlands, South America, the Northwest Coast, Meso-America, and the Great Plains (the only Native American groups not represented in the café are the south eastern tribes such as the Choctaw, Chickasaw, Cherokee and Seminole, many of which supported the United States throughout the tribes’ histories).

Museum Store

National Museum of the American Indian: Fourth Street and Independence Avenue, Southwest, National Mall , Washington D.C.. Tel: 202-633-1000. TTY: 202-633-5285. Email: nmai-groupreservations@si.edu. Website: www.nmai.si.edu/visit/washington. Open daily, 10 AM–5:30 PM, closed on December 25. Exhibition spaces and the store begin closing at 5:15 PM. The Mitsitam Cafe is open daily, 11 AM–3 PM (closed on December 25); the Mitsitam Espresso Coffee Bar is open daily, 10 AM–5 PM; while the imagiNATIONS Activity Center is open daily 10 AM–5 PM, closed on Mondays. Admission is free. The building is accessible to people with disabilities. The museum does not have parking. Parking is available by meter on the surrounding streets and in local paid parking garages. Visitors should be prepared for a security check upon entrance to the museum. On busy days, there may be a line to enter the building. The museum offers a range of exhibitions, film and video screenings, school group programs, public programs and living culture presentations throughout the year.

How To Get There: The National Museum of the American Indian is located between the Smithsonian’s National Air & Space Museum and the U.S. Capitol Building.

Metro: L’Enfant Plaza (Blue/Orange/Green/Yellow lines), exit Maryland Avenue/Smithsonian Museums

Bus: Lines 30, 32, 34–36—Friendship Heights/Southern Avenue. There are 9 bus drop-off only spaces on Maryland Avenue accessible from 3rd Street.

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.)

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

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.

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.