Barnett, Haynes & Barnett
Barnett, Haynes & Barnett was a prominent architectural firm based in St. Louis, Missouri, their credits include many familiar St. Louis landmarks a number related to the local Catholic church, their best-known building is the Cathedral Basilica of St. Louis. A number of the firm's works are listed on the U. S. National Register of Historic Places; the three partners were Thomas P. Barnett, John Ignatius Haynes, George Dennis Barnett; the three were the two sons and the son-in-law of English-born St. Louis architect George I. Barnett; the founding of the firm dates to about 1895. Their designs include: Rockcliffe Mansion, 1000 Bird St. Hannibal, Missouri, 1898–1900, NRHP-listed Kingsbury Place, private place entry gates and three of the mansions, 1902 Loretto Academy, Kansas City, Missouri, 1902 Palace of Liberal Arts, Louisiana Purchase Exposition, St. Louis, 1904 Hotel Jefferson, 415 N. Tucker Blvd. St. Louis, MO, 1904, NRHP-listed St. Ann's Orphan Asylum, St. Louis, 1904 Mark Twain Hotel, 200 S.
Main St. Hannibal, MO, 1905, NRHP-listed St. John's Mercy Hospital Building, 620 W. Scott Springfield, MO, 1906, NRHP-listed Bank of New York Building, New York, 1907 Marquette Hotel, 1734 Washington Ave. St. Louis, MO, 1907, NRHP-listed Connor Hotel, Missouri, 1908 Himmelberger and Harrison Building, 400 Broadway Cape Girardeau, MO, 1908, NRHP-listed Immaculate Conception / St. Henry's Church, St. Louis, 1908 Congregation Temple Israel, one of the institutions at the Holy Corners Historic District, St. Louis, 1908 Illinois Athletic Club, 112 S. Michigan Avenue, Chicago, 1908 Connor Hotel, Missouri, 1908 Hotel Stratford, 229 Market St. Alton, IL, 1909, NRHP-listed the former Loretto Academy, 3407 Lafayette Avenue, St. Louis, MO, 1909, NRHP-listed Lenox Hall, University City, St. Louis, 1910 Adolphus Hotel, 1315 Commerce St. Dallas, TX, 1912, NRHP-listed Brockman Building, 520 W. 7th St. and 708 S. Grand Ave. Los Angeles, CA, 1912, NRHP-listed Cathedral Basilica of St. Louis, St. Louis, 1912 Busch Mausoleum, Bellefontaine Cemetery, St. Louis, 1915 Post-Dispatch building, 1139 Olive Street, St. Louis, 1916, NRHP-listed Cathedral of St Patrick, El Paso, Texas, 1916 Saint Clement Catholic Church, Chicago, 1917–1918 McFarlin Building, 11 E. 5th St Tulsa, OK, 1918, NRHP-listed Little Sisters of the Poor Home for the Aged, 1400 18th Ave. S. Nashville, TN, 1919, NRHP-listed Crestview Manor, residence in the Buena Vista Park Historic District, Tulsa, OK, 1919, NRHP-listed Arcade Building, St. Louis, 1919 Hotel Claridge, 109 N.
Main St. Memphis, TN, 1924, NRHP-listed Jefferson Arms Apartments, St. Louis, 1928 B'Nai Israel Synagogue, Cape Girardeau, Missouri, 1937Additional works by the firm, in alphabetical rather than chronological order, are: Colonial Hotel, Missouri Hamilton Hotel, St. Louis Immaculate Conception Church and Rectory, 312 Lafayette Ave. St. Louis, MO, NRHP-listed Loretto Academy, 1111 W. 39th St. Kansas City, MO, NRHP-listed Martin Shaughnessy Building, 2201-15 Washington St. Louis, MO, NRHP-listed St. Mark the Evangelist Catholic Church and Academy, 1313 Academy Ave. & 5100 Minerva Ave. St. Louis, MO, NRHP-listed Southern Hotel, Chicago Star Building, St. Louis Robert Henry Stockton House, 3508 Samuel Shepard Dr. St. Louis, MO, NRHP-listed Waterman Place-Kingsbury Place--Washington Terrace Historic District, Bounded by Union Blvd. Alley S of Waterman Place, Belt Ave. alley S of Kingsbury Place, Clara Ave. alley line bet St. Louis, MO, NRHP-listed One or more properties in Hamilton Place Historic District, 5900-6000 blocks of Enright and Clemens St. Louis, MO, NRHP-listed emporis listing of commissions
Terror Trail is a 1921 American Western film serial directed by Edward A. Kull, it is considered to be a lost film. Eileen Sedgwick as Vera Vernon / Elaine Emerson George Larkin as Bruce Barnes Theodore Brown as Bertram Russell Albert J. Smith as Hunch Henderson Barney Furey as Holmes Pierre Couderc The Mystery Girl False Clues The Mine of Menace The Door of Doom The Bridge of Disaster The Ship of Surprise The Palace of Fear The Peril of the Palace The Desert of Despair Sands of Fate The Menace of the Sea The Isle of Eternity The Forest of Fear The Lure of the Jungle The Jaws of Death The Storm of Despair The Arm of the Law The Final Reckoning List of film serials List of film serials by studio List of lost films Terror Trail on IMDb
Harold Clayton Lloyd Sr. was an American actor and stunt performer who appeared in many silent comedy films. Lloyd is considered alongside Charlie Chaplin and Buster Keaton as one of the most influential film comedians of the silent film era. Lloyd made nearly 200 comedy films, both silent and "talkies", between 1914 and 1947, his bespectacled "Glass" character was a resourceful, success-seeking go-getter who matched the zeitgeist of the 1920s-era United States. His films contained "thrill sequences" of extended chase scenes and daredevil physical feats. Lloyd hanging from the hands of a clock high above the street in Safety Last! is considered one of the most enduring images in all of cinema. Lloyd performed the lesser stunts himself, despite having injured himself in August 1919 while doing publicity pictures for the Roach studio. An accident with a bomb mistaken as a prop resulted in the loss of the thumb and index finger of his right hand. Although Lloyd's individual films were not as commercially successful as Chaplin's on average, he was far more prolific, made more money overall.
Harold Clayton Lloyd was born on April 20, 1893 in Burchard, the son of James Darsie Lloyd and Sarah Elisabeth Fraser. His paternal great-grandparents were Welsh. In 1910, after his father had several business ventures fail, Lloyd's parents divorced and his father moved with his son to San Diego, California. Lloyd had acted in theater since a child, but in California he began acting in one-reel film comedies around 1912. Lloyd worked with Thomas Edison's motion picture company, his first role was a small part as a Yaqui Indian in the production of The Old Monk's Tale. At the age of 20, Lloyd moved to Los Angeles, took up roles in several Keystone comedies, he was hired by Universal Studios as an extra and soon became friends with aspiring filmmaker Hal Roach. Lloyd began collaborating with Roach who had formed his own studio in 1913. Roach and Lloyd created "Lonesome Luke", similar to and playing off the success of Charlie Chaplin films. Lloyd hired Bebe Daniels as a supporting actress in 1914.
In 1919, she left Lloyd to pursue her dramatic aspirations. That year, Lloyd replaced Daniels with Mildred Davis, whom he would marry. Lloyd was tipped off by Hal Roach to watch Davis in a movie; the more Lloyd watched Davis the more he liked her. Lloyd's first reaction in seeing her was that "she looked like a big French doll". By 1918, Lloyd and Roach had begun to develop his character beyond an imitation of his contemporaries. Harold Lloyd would move away from tragicomic personas, portray an everyman with unwavering confidence and optimism; the persona Lloyd referred to as his "Glass" character was a much more mature comedy character with greater potential for sympathy and emotional depth, was easy for audiences of the time to identify with. The "Glass" character is said to have been created after Roach suggested that Harold was too handsome to do comedy without some sort of disguise. To create his new character Lloyd donned a pair of lensless horn-rimmed glasses but wore normal clothing. "When I adopted the glasses," he recalled in a 1962 interview with Harry Reasoner, "it more or less put me in a different category because I became a human being.
He was a kid that you would meet next door, across the street, but at the same time I could still do all the crazy things that we did before, but you believed them. They were natural and the romance could be believable." Unlike most silent comedy personae, "Harold" was never typecast to a social class, but he was always striving for success and recognition. Within the first few years of the character's debut, he had portrayed social ranks ranging from a starving vagrant in From Hand to Mouth to a wealthy socialite in Captain Kidd's Kids. In August 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he was injured holding a prop bomb thought to be a smoke pot, it exploded and mangled his right hand, causing him to lose a thumb and forefinger. The blast was severe enough that the cameraman and prop director nearby were seriously injured. Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded badly burning his face and chest and injuring his eye.
Despite the proximity of the blast to his face, he retained his sight. As he recalled in 1930, "I thought I would be so disabled that I would never be able to work again. I didn't suppose that I would have one five-hundredth of what I have now. Still I thought,'Life is worth while. Just to be alive. I still think so."Beginning in 1921, Roach and Lloyd moved from shorts to feature-length comedies. These included the acclaimed Grandma's Boy, which pioneered the combination of complex character development and film comedy, the popular Safety Last!, which cemented Lloyd's stardom, Why Worry?. Although Lloyd performed many athletic stunts in his films, Harvey Parry was his stunt double for the more dangerous sequences. Lloyd and Roach parted ways in 1924, Lloyd became the independent producer of his own films; these included his most accomplished mature f
Beaux-Arts architecture was the academic architectural style taught at the École des Beaux-Arts in Paris from the 1830s to the end of the 19th century. It drew upon the principles of French neoclassicism, but incorporated Gothic and Renaissance elements, used modern materials, such as iron and glass, it was an important style in France until the end of the 19th century. It had a strong influence on architecture in the United States, because of the many prominent American architects who studied at the Beaux-Arts, including Henry Hobson Richardson, John Galen Howard, Daniel Burnham, Louis Sullivan; the "Beaux Arts" style evolved from the French classicism of the Style Louis XIV, French neoclassicism beginning with Louis XV and Louis XVI. French architectural styles before the French Revolution were governed by Académie royale d'architecture following the French Revolution, by the Architecture section of the Académie des Beaux-Arts; the Academy held the competition for the "Grand Prix de Rome" in architecture, which offered prize winners a chance to study the classical architecture of antiquity in Rome.
The formal neoclassicism of the old regime was challenged by four teachers at the Academy, Joseph-Louis Duc, Félix Duban, Henri Labrouste and Léon Vaudoyer, who had studied at the French Academy in Rome at the end of the 1820s, They wanted to break away from the strict formality of the old style by introducing new models of architecture from the Middle Ages and the Renaissance. Their goal was to create an authentic French style based on French models, their work was aided beginning in 1837 by the creation of the Commission of Historic Monuments, headed by the writer and historian Prosper Mérimée, by the great interest in the Middle Ages caused by the publication in 1831 of The Hunchback of Notre-Dame by Victor Hugo. Their declared intention was to "imprint upon our architecture a national character."The style referred to as Beaux-Arts in English reached the apex of its development during the Second Empire and the Third Republic that followed. The style of instruction that produced Beaux-Arts architecture continued without major interruption until 1968.
The Beaux-Arts style influenced the architecture of the United States in the period from 1880 to 1920. In contrast, many European architects of the period 1860–1914 outside France gravitated away from Beaux-Arts and towards their own national academic centers. Owing to the cultural politics of the late 19th century, British architects of Imperial classicism followed a somewhat more independent course, a development culminating in Sir Edwin Lutyens's New Delhi government buildings; the Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, French and Italian Baroque models but the training could be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic. American architects of the Beaux-Arts generation returned to Greek models, which had a strong local history in the American Greek Revival of the early 19th century. For the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details.
Beaux-Arts training made great use of clasps that link one architectural detail to another. Beaux-Arts training emphasized the production of quick conceptual sketches finished perspective presentation drawings, close attention to the program, knowledgeable detailing. Site considerations tended toward urbane contexts. All architects-in-training passed through the obligatory stages—studying antique models, constructing analos, analyses reproducing Greek or Roman models, "pocket" studies and other conventional steps—in the long competition for the few desirable places at the Académie de France à Rome with traditional requirements of sending at intervals the presentation drawings called envois de Rome. Beaux-Arts architecture depended on sculptural decoration along conservative modern lines, employing French and Italian Baroque and Rococo formulas combined with an impressionistic finish and realism. In the façade shown above, Diana grasps the cornice she sits on in a natural action typical of Beaux-Arts integration of sculpture with architecture.
Overscaled details, bold sculptural supporting consoles, rich deep cornices and sculptural enrichments in the most bravura finish the client could afford gave employment to several generations of architectural modellers and carvers of Italian and Central European backgrounds. A sense of appropriate idiom at the craftsman level supported the design teams of the first modern architectural offices. Characteristics of Beaux-Arts architecture included: Flat roof Rusticated and raised first story Hierarchy of spaces, from "noble spaces"—grand entrances and staircases—to utilitarian ones Arched windows Arched and pedimented doors Classical details: references to a synthesis of historicist styles and a tendency to eclecticism.
Los Angeles the City of Los Angeles and known by its initials L. A. is the most populous city in California, the second most populous city in the United States, after New York City, the third most populous city in North America. With an estimated population of four million, Los Angeles is the cultural and commercial center of Southern California; the city is known for its Mediterranean climate, ethnic diversity and the entertainment industry, its sprawling metropolis. Los Angeles is the largest city on the West Coast of North America. Los Angeles is in a large basin bounded by the Pacific Ocean on one side and by mountains as high as 10,000 feet on the other; the city proper, which covers about 469 square miles, is the seat of Los Angeles County, the most populated county in the country. Los Angeles is the principal city of the Los Angeles metropolitan area, the second largest in the United States after that of New York City, with a population of 13.1 million. It is part of the Los Angeles-Long Beach combined statistical area the nation's second most populous area with a 2015 estimated population of 18.7 million.
Los Angeles is one of the most substantial economic engines within the United States, with a diverse economy in a broad range of professional and cultural fields. Los Angeles is famous as the home of Hollywood, a major center of the world entertainment industry. A global city, it has been ranked 6th in the Global Cities Index and 9th in the Global Economic Power Index; the Los Angeles metropolitan area has a gross metropolitan product of $1.044 trillion, making it the third-largest in the world, after the Tokyo and New York metropolitan areas. Los Angeles hosted the 1932 and 1984 Summer Olympics and will host the event for a third time in 2028; the city hosted the Miss Universe pageant twice, in 1990 and 2006, was one of 9 American cities to host the 1994 FIFA men's soccer World Cup and one of 8 to host the 1999 FIFA women's soccer World Cup, hosting the final match for both tournaments. Home to the Chumash and Tongva, Los Angeles was claimed by Juan Rodríguez Cabrillo for Spain in 1542 along with the rest of what would become Alta California.
The city was founded on September 4, 1781, by Spanish governor Felipe de Neve. It became a part of Mexico in 1821 following the Mexican War of Independence. In 1848, at the end of the Mexican–American War, Los Angeles and the rest of California were purchased as part of the Treaty of Guadalupe Hidalgo, becoming part of the United States. Los Angeles was incorporated as a municipality on April 4, 1850, five months before California achieved statehood; the discovery of oil in the 1890s brought rapid growth to the city. The completion of the Los Angeles Aqueduct in 1913, delivering water from Eastern California assured the city's continued rapid growth; the Los Angeles coastal area was settled by the Chumash tribes. A Gabrieleño settlement in the area was called iyáangẚ, meaning "poison oak place". Maritime explorer Juan Rodríguez Cabrillo claimed the area of southern California for the Spanish Empire in 1542 while on an official military exploring expedition moving north along the Pacific coast from earlier colonizing bases of New Spain in Central and South America.
Gaspar de Portolà and Franciscan missionary Juan Crespí, reached the present site of Los Angeles on August 2, 1769. In 1771, Franciscan friar Junípero Serra directed the building of the Mission San Gabriel Arcángel, the first mission in the area. On September 4, 1781, a group of forty-four settlers known as "Los Pobladores" founded the pueblo they called El Pueblo de Nuestra Señora la Reina de los Ángeles,'The Town of Our Lady the Queen of the Angels'; the present-day city has the largest Roman Catholic Archdiocese in the United States. Two-thirds of the Mexican or settlers were mestizo or mulatto, a mixture of African and European ancestry; the settlement remained a small ranch town for decades, but by 1820, the population had increased to about 650 residents. Today, the pueblo is commemorated in the historic district of Los Angeles Pueblo Plaza and Olvera Street, the oldest part of Los Angeles. New Spain achieved its independence from the Spanish Empire in 1821, the pueblo continued as a part of Mexico.
During Mexican rule, Governor Pío Pico made Los Angeles Alta California's regional capital. Mexican rule ended during the Mexican–American War: Americans took control from the Californios after a series of battles, culminating with the signing of the Treaty of Cahuenga on January 13, 1847. Railroads arrived with the completion of the transcontinental Southern Pacific line to Los Angeles in 1876 and the Santa Fe Railroad in 1885. Petroleum was discovered in the city and surrounding area in 1892, by 1923, the discoveries had helped California become the country's largest oil producer, accounting for about one-quarter of the world's petroleum output. By 1900, the population had grown to more than 102,000; the completion of the Los Angeles Aqueduct in 1913, under the supervision of William Mulholland, assured the continued growth of the city. Due to clauses in the city's charter that prevented the City of Los Angeles from selling or providing water from the aqueduct to any area outside its borders, many adjacent city and communities became compelled to annex themselves into Los Angeles.
Los Angeles created the first municipal zoning ordinance in the United States. On September 14, 1908, the Los Angeles City Council promulgated residential and industrial land use zones; the new ordinance established three residential zones of a single type, where industrial uses were
The Continental Building Braly Block, is a 151 ft, 13-story high-rise residential building at 408 South Spring Street in the Historic Core of Los Angeles, California. When completed in 1903, it was the city's first high-rise building, remained the tallest commercial building for fifty-three years. Shortly after the building was completed, the Los Angeles City Council enacted a 150 ft height restriction on future buildings that remained until the 1950s; the Continental Building is part of the Spring Street Financial District, listed on the National Register of Historic Places. The building plays a prominent role in the 2009 independent film Days of Summer. International Savings & Exchange Bank Building, 10-story structure built in the same area in 1907 and using the same architectural styles Roseman, Curtis C.. The Historic Core of Los Angeles. Los Angeles: Arcadia Publishing. Pp. 35–38. ISBN 0-7385-2924-9. Continental Building profile at PropertyShark
The Italianate style of architecture was a distinct 19th-century phase in the history of Classical architecture. In the Italianate style, the models and architectural vocabulary of 16th-century Italian Renaissance architecture, which had served as inspiration for both Palladianism and Neoclassicism, were synthesised with picturesque aesthetics; the style of architecture, thus created, though characterised as "Neo-Renaissance", was of its own time. "The backward look transforms its object," Siegfried Giedion wrote of historicist architectural styles. The Italianate style was first developed in Britain in about 1802 by John Nash, with the construction of Cronkhill in Shropshire; this small country house is accepted to be the first Italianate villa in England, from, derived the Italianate architecture of the late Regency and early Victorian eras. The Italianate style was further developed and popularised by the architect Sir Charles Barry in the 1830s. Barry's Italianate style drew for its motifs on the buildings of the Italian Renaissance, though sometimes at odds with Nash's semi-rustic Italianate villas.
The style was not confined to England and was employed in varying forms, long after its decline in popularity in Britain, throughout Northern Europe and the British Empire. From the late 1840s to 1890 it achieved huge popularity in the United States, where it was promoted by the architect Alexander Jackson Davis. Key visual components of this style include: In interior decoration there were direct parallels to "Italianate" architecture with free re-combinations of decorative features drawn from Italian 16th-century architecture and objects, which were applied to purely 19th century forms. Wardrobes and dressers could be dressed in Italianate detailing as well as row houses; the spur to such commercial designs can be found in the "free Renaissance" style, espoused by Charles Eastlake. In 1868 he published Hints on Household Taste in Furniture and other Details, influential in Britain and in the United States, where the book was published in 1872. Although the archaeology of Mr. Eastlake's volume was always careful, most of the principles in it are beyond question, can be stated in a few words.
The Italianate style would have no carving or molding or other ornament glued on—such work must be done in the solid. The furniture that he thus proposed has straight, squarely cut members equal to their intention, its ornament is painted panels, porcelain plaques and tiles, metal trimmings, conventionalized carvings in sunk relief, a part of the construction entering into the ornament in the shape of narrow striated strips of wood radiating in opposite lines, after a fashion not altogether unknown in the time of Henry III. It has the solidity, but not the attraction, of the Medieval. Today "Italianate" furnishings are called "Eastlake" by American collectors and dealers, but contemporary terms ranged imaginatively, included "Neo-Grec". A late intimation of Nash's development of the Italianate style was his 1805 design of Sandridge Park at Stoke Gabriel in Devon. Commissioned by the dowager Lady Ashburton as a country retreat, this small country house shows the transition between the picturesque of William Gilpin and Nash's yet to be evolved Italianism.
While this house can still be described as Regency, its informal asymmetrical plan together with its loggias and balconies of both stone and wrought iron. Examples of the Italianate style in England tend to take the form of Palladian-style building enhanced by a belvedere tower complete with Renaissance-type balustrading at the roof level; this is a more stylistic interpretation of what architects and patrons imagined to be the case in Italy, utilises more the Italian Renaissance motifs than those earlier examples of the Italianate style by Nash. Sir Charles Barry, most notable for his works on the Tudor and Gothic styles at the Houses of Parliament in London, was a great promoter of the style. Unlike Nash he found his inspiration in Italy itself. Barry drew on the designs of the original Renaissance villas of Rome, the Lazio and the Veneto or as he put it: "...the charming character of the irregular villas of Italy." His most defining work in this style was the large Neo-Renaissance mansion Cliveden.
Although it has been claimed that one third of early Victorian country houses in England used classical styles Italianate, by 1855 the style was falling from favour and Cliveden came to be regarded as "a declining essay in a declining fashion."Anthony Salvin designed in the Italianate style in Wales, at Hafod House and Penoyre House, described by Mark Girouard as "Salvin's most ambitious classical house."Thomas Cubitt, a London building contractor, incorporated simple classical lines of the Italianate style as defined by Sir Char