Find hotels near 無敵電腦辭典集團(Besta)

無敵電腦辭典集團(Besta)

the 無敵電腦辭典集團(Besta) is part of Northern Queens , Queens Crossing .

Location is derived from the great work of WikiMapia
Check this place on Socialmapia

Top photos chosen by u all:

St. George's (Episcopal) Church
Made by Emilio Guerra
Flushing, Queens, New York City, New York, United States Landmarks Preservation Commission February 8, 2000; Designation List 311 Summary Prominently sited on Main Street in the heart of downtown Flushing, St. George's (Episcopal) Church is a notable example of Gothic Revival design. Erected in 1853-54, this impressive stone building is the congregation's third church building on the site since 1746. The large size of St. George's is indicative of the importance of Flushing as a major regional center during the nineteenth century. A rare surviving work in New York City by the leading ecclesiastical architects Wills & Dudley, St. George's is a major example of ecclesiological church architecture. A philosophical reform movement that had widespread influence on American Protestant Episcopal church design in the nineteenth century, ecclesiology sought spiritual renewal by returning to the rituals and architectural forms of the medieval church. Its architectural precepts are reflected at St. George's in the clear expression of the interior spaces in the exterior massing, in the straightforward use of the materials, and in the inclusion of certain details derived from medieval architecture, such as the high pitched roofs and lofty tapered spire, which the ecclesiologists imbued with symbolic meaning. The design is also noteworthy for handsome walls of randomly-laid granite rubble trimmed with dressed red sandstone and stained glass windows in wood tracery derived from English Perpendicular and Decorated Gothic sources. In 1894, the church was enlarged by the addition of a new chancel wing that matched the older parts of the church in materials and detailing and incorporated exceptionally fine stained glass windows. The 1907 Neo-gothic Old Parish House, designed by the prominent architect Charles C. Haight, complements the church building and features a skillfully composed asymmetrical design. The church and parish house are located in a landscaped churchyard that contains approximately fifty gravestones and memorials dating from the late eighteenth and early nineteenth centuries. DESCRIPTION AND ANALYSIS The Early Development of Flushing St. George's (Episcopal) Church is located in Flushing, one of the oldest European settlements on Long Island. Originally known as Vlissingen, it was founded by a group of English colonists who were granted a patent on October 19,1645 by William Kieft, the director general of the Dutch colony of Nieuw Amsterdam. These settlers, many of whom were Quakers, came from Massachusetts seeking religious freedom. Under the rule of Governor Peter Stuyvesant, the Quakers were denied the right of meeting for worship and in 1657 issued the famous Flushing Remonstrance, one of the earliest colonial pleas for religious freedom. Two major buildings, the Friends Meeting House (1694-1719) and the Bowne House (1661-1696), survive as monuments of this important period in Flushing's history. By the early nineteenth century Flushing had become a major regional village. In 1800, a stage line opened connecting Flushing and Brooklyn. In 1826, Rev. William A. Muhlenberg, rector of St. George's, established the Flushing Institute, a private secondary school that attracted students from as far away as South America and Europe. The village was officially incorporated in 1837 and by 1843 had its own newspaper. Direct rail service to New York City opened in 1854. Many wealthy New Yorkers built elegant houses on the side streets off Main Street, especially in the years following the Civil War. In 1862, the Romanesque Revival style Town Hall was constructed on Northern Boulevard and between 1853 and 1854 the congregation of St. George's erected its present building on its historic Main Street site. Early History of St. George's Parish The Episcopal Church was the second religious denomination to organize in Flushing. In 1702 the Society for the Propagation of the Gospel in Foreign Parts sent the first Church of England clergyman, Rev. George Keith, to Flushing as a missionary. Keith, a former Quaker, attempted to speak at the Quaker meeting but was shouted down, and he soon left the settlement. In 1704, Rev. William Urquhart, whose parish comprised the towns of Jamaica, Flushing, and Newtown, began conducting regular Church of England services at the Guard House in Flushing. Around 1746, Capt. Hugh Went worth, a merchant in the West India trade, donated a half-acre tract from his farm in Flushing for the construction of an Anglican church building and establishment of a grave yard. Erected near the highway leading to Jamaica (present-day Main Street), the small frame church building was named St. George's soon after its completion. In 1761,underthe leadership of Samuel Seabury, who later became the first bishop of the Episcopal Church in America, the church was officially incorporated under a Royal Charter from George in as the Rector and Inhabitants of the township of Flushing in Queens County in Communion of the Church of England. In 1797, Trinity Church in Manhattan (the mother church of the Protestant Episcopal Church in New York State) gave the churches in Flushing, Newtown and Jamaica each $1,250 so that they could establish separate parishes and hire their own ministers.* Initially, the churches pooled their resources to hire one minister who rode circuit between the three towns and established a short lived academy within the precincts of St. George's. In 1808 St. George's hired its own rector. The following year Trinity conveyed three lots in Manhattan to St. George's assuring the church of a steady rental income. By the 1810s the church building had fallen into disrepair and the congregation had grown so large that two services were needed on Sundays. Between 1820 and 1821, a new frame church was erected to the designs of parishioner James Morrell. In 1838 that building was lengthened by seventeen feet to accommodate more pews. During the 1820s the vestry also acquired an additional acre of land at the rear of the churchyard, which is now the site of the Old and New Parish Houses. For much of its early history St. George's served as a stepping stone for promising young ministers who stayed at the church for only a few years before taking positions with other parishes. This changed in 1847 when the vestry appointed Rev. John Carpenter Smith (1817-1901), who had previously served as the minister to Trinity Church in the Rockaways.' This noted preacher came to the parish at a time when it was recovering from financial difficulties brought on by the death of a number of wealthy parishioners. Under his leadership the congregation grew quickly and the vestry was able to offer him a number of raises. For fifty years he presided over the parish which grew from about 140 communicants to 770 communicants. Chapels were established in Bayside, Whitestone, College Point, and Murray Hill (the section of Flushing near 150th and Murray Streets, south of Northern Boulevard). Bayside and Whitestone eventually became independent parishes. The New Church of 1853 hi 1850 the vestry at St. George's appointed a committee to explore the possibility of enlarging its 1820s building. Plans were drawn to extend the building by twelve feet on each side, but by 1851 it was evident that the renovation scheme was unpopular with the congregation and that the committee's fund raising efforts would be unsuccessful. There was, however, considerable agitation for a new church building. An editorial in the Flushing Journal complained about members of the church being driven away from its door for the need of room and argued that the want of sittings in [the] church is seriously operating against the growth of our village On April 9, 1852, a new committee was appointed to take into consideration and to report to the vestry a suitable plan for such building with the cost and the practicability of carrying the same to execution.' Almost immediately, several prominent women in the congregation organized a subscription drive to raise money for the new church. The next month a contract was let to move the old church building to 38th Street where it was later converted to a Sunday school (now demolished). The congregation turned to architectural firm of Wills & Dudley, leaders in the ecclesiological Gothic Revival movement that was becoming increasingly popular with the Episcopalian clergy and laity. The architects submitted two alternative designs, one with a tower and spire at the center of the western facade for $17,000, the other with a smaller tower at a comer of the front for $16,000. The vestry selected the first design, although the planned chancel was shortened to reduce the cost. In March, contractors were given an opportunity to bid on the project. Workmen began laying the foundations in early April. The Flushing Journal marked the occasion with an article which suggested that when completed ...the new edifice will be... a model of church architecture and an ornament to the village' The cornerstone for the new church was laid on May 18,1853 and the church was completed a year late at a cost of $32,222.80, almost double the initial estimate. The building was officially consecrated on June 1,1854. The Ecclesiological Movement Originating in England in the 1830s, the ecclesiological movement was a reform movement in the Anglican Church which called for a return to traditional medieval forms both in ritual and church building. It grew out of the writings of a group of Anglican religious leaders at Oriel College, Oxford University (the Oxford movement), and was enlarged on a few years later in the publications of the Cambridge Camden Society (a related group centered at Cambridge University). Both groups were influenced greatly by the writings and designs of the English Roman Catholic architect Augustus Welby Pugin. Both Pugin and the ecclesiologists felt that the emphasis on Rationalism in eighteenth-century church practice and design had deprived worshipers of the spiritual and emotional impact offered by the medieval church. By returning to a liturgy based on medieval sources conducted in equally medieval surroundings, Pugin and the ecclesiologists hoped to achieve a spiritual renewal. To that end, they studied Gothic buildings and their furnishings to identify features which related to the liturgical and symbolic functions of the worship service, and then used that evidence for the formulation of rules which would govern church building.'* For the ecclesiologists, the ideal model was the small English Gothic parish church, preferably in the Decorated Gothic style of about 1300. They found in these buildings a clarity and truthfulness in the expression of function and structure that they considered essential to good architecture. Thus, in a good church design, the nave, side aisles, chancel, entrance porch, and other interior spaces would be clearly delineated on the exterior. The structural system and materials of construction would be completely evident, even stressed, while inexpensive facing materials (for example stucco scored to look like stone) would be avoided at all costs. Decorative finishes would be appropriate to the materials. To distinguish between them, different materials (iron, wood, stone, etc.) would be different colors and would be decorated with individual motifs. Ornament would be used to enrich the essential construction and to establish a hierarchic relationship between the various parts of the building, with greatest attention on the chancel, the place of sacrifice, the most sacred part of the edifice. Ecclesiological doctrine also demanded that the nave, which housed the laity, and the chancel, which was reserved for the clergy, be treated as separate, clearly defined spaces. The chancel was given far greater size and importance than it had been in eighteenth-century and early-nineteenth-century Episcopal churches, in accordance with the great emphasis the ecclesiologists placed on the sacraments and the consecrated place where they were celebrated. Verticality was also stressed because it was equated with the Christian concern with upwardness.'* Thus, as Pugin explained, high pitched roofs were considered a great ornament to a building which add prodigiously to its grandeur.'' Towers, with high tapered spires, were also favored since they symbolically pointed toward heaven and stood as a beacon to direct the faithful to the house of God.' The mysterious filtered light provided by stained glass windows was also considered essential to evoke the quiet mood appropriate to the solemnity of the liturgy. Representational stained glass also had the added benefit of serving a didactic purpose. Ecclesiologists were opposed to using operable windows on the lower level of the nave where the introduction of white bright light [was] destructive to all repose and where raising a window would create the ludicrous effect of cutting the figure of a saint in two.' Ornament from the Decorated phase of the Gothic style was preferred because it lacked the ponderousness of Early English ornament but was not as ornate as the ornament from flamboyant Perpendicular period. The Design of St. George's Church as an Expression of Ecclesiology The design by Wills & Dudley for St. George's (Episcopal) Church closely follows the ideas on church building espoused by Pugin and the ecclesiologists. As prescribed by the ecclesiologists, St. George's is modeled after a small Gothic English parish church. According to a most authentic and reliable source, cited in a review of the building published in the Churchman in 1854, the style of the building is third pointed [Perpendicular] Gothic with a feeling approaching the second pointed [Decorated Gothic] throughout.* Following ecclesiological doctrine, materials and structure are handled in straightforward manner, the interior spaces are clearly delineated on the exterior and the building is crowned by a steeply pitched roof and features a high tower. A symmetrically-massed structure, it has a central nave with a low clerestory that is surmounted by a steeply-pitched gabled roof. Flanking the nave are side aisles that have high-pitched shed roofs and arched windows set between stepped buttresses. Enclosed porches with steeply pitched roofs and arched entrances extend at right angles from the eastern comers of the aisles. Set in front of the main body of the church, is the building's most imposing feature -- and one that is unique among the five Wills and Dudley churches in New York City — the 150-foot tower with bold double comer buttresses, arched entrances, a finely carved tracery window, and a tapered spire. To the rear of the nave is the chancel which was constructed in 1894. It replaces the original chancel, a rectangular structure that was lower and narrower than the nave and had its own pitched roof. The lower walls of St. George's are constructed of blue-gray Connecticut granite rubble laid in a random manner. Dressed brownstone is employed as coping for the watertable and buttresses, as string courses delineating the story levels on the tower, and as surrounds for the door and window openings. The irregularly coursed stonework with dressed stones of uneven dimensions setting off the lower portion of the doors and windows is closely related to Pugin's illustration of Good stonework for a Gothic Building The taut flat quality of the stonework with only a few strong projections for the major structural elements is also Puginesque. The clerestory was originally sided with flat boards laid flush with regularly spaced square wood posts indicating the location of interior roof trusses. Clerestories were relatively rare in all but the largest English ecclesiological churches, however they were recommended for the warmer American climate as a means of unobtrusively providing operable windows. Wills's use of a frame clerestory at St. George's was commended by the Churchman as admirably adapted for light, ventilation, and interior height in those portions of the country where stone cannot be procured or where its costliness would prevent its use. The journal credited Wills with being the first to recommend this adaptation of the old principle to modem practice and noted that it had been adopted by the New York Ecclesiological Society some years earlier in a plan prepared for a church in Wisconsin.** Wills & Dudley subsequently used the same solution for the clerestory of Trinity Church in Mobile, Alabama (1853-55, altered). The windows at St. George's were probably originally glazed with translucent quarry glass similar to the diamond-paned glass that survives in the tracery window at the second story of the tower. In the 1880s and 1890s the aisle windows were replaced by figural stained glass windows, most featuring scenes from the life of Christ. The tower was originally ornamented by crocketed brownstone pinnacles (later replaced by pyramidal finials) and is surmounted by a cross. Following ecclesiological practice, stone crosses are also employed at the edge of the peaked roofs over the porch entrances, nave, and chancel. The New Chancel of 1894 Aside from the installation of some stained glass windows in the 1880s, the church remained largely unchanged until the 1890s. By March 1892, however, a committee had been formed to canvas members of the parish regarding proposed improvements to the church. While the exterior continued to be admired, there was considerable sentiment that the interior of the church [was] old fashioned and not in keeping with the exterior. Moreover, additional room was required in the chancel for the popular boys' choir which had been established in 1891. In January 1893, the parish newsletter solicited the parishioners' support for enlarging and beautifying the chancel and redecorating the church. Initially, the vestry retained the eighty-year-old Henry Dudley to prepare plans for the new addition that would extend the chancel by eighteen feet and provide rooms for a new organ chamber, choir room, and rector's study while converting the old vestry to a vestibule. The vestry approved these plans, but determined that they would not proceed until at least $10,000 of the projected costs had been raised. By May 1894, the project had passed to the architect J. King James, a member of the parish who had designed St. George's chapel in Bayside. A native of Truro, Cornwall, James had been apprenticed in an architect's office in Sheffield, England, and had attended British art schools. He cams to this country in 1887, spending about a year and a half in Kansas City, Missouri, where he was associated with the firm of James & James. He established an office in New York in 1889. He worked in partnership with A.H. James in 1890 and 1891, then practiced on his own in Flushing and New York until 1901. A talented draftsman and water colorist, James prepared the drawings and specifications for the chancel of St. George's and also superintended construction. Demolition and excavation for the new addition began on May 24,1894 and construction commenced on June 21st; the chancel was consecrated on December 9. James designed the chance! in the Gothic Revival style and constructed it of granite and brownstone. It was praised for being in perfect harmony with the older structure and for appearing to be a natural development, rather than an addition. The design incorporated three clerestory windows on the north and south walls of the chancel and a large traceried window on the west (rear) wall by the noted English stain glass makers Heaton, Butler & Bayne. The Parish House of 1907 About ten years after the new chancel was completed the vestry began to plan a new parish house and a large assembly hall/° In June 1906, the vestry announced that it had decided to delay the assembly hall-auditorium but would proceed with the parish house on 39th Avenue (then Church Street) designed by the noted architect Charles C. Haight (1841-1917). The son of Rev. Benjamin Isaac Haight, assistant rector of Trinity Church, Charles Coolidge Haight was closely connected to New York's Episcopalian community. A graduate of Columbia College (now a part of Columbia University), Haight opened his own office in New York in 1867. He was appointed architect of the Trinity Church Corporation in the 1870s and subsequently designed many buildings including the General Theological Seminary (1883-1902), Columbia College (1874-84, demolished), and at least five churches in Manhattan. Erected in 1907-08, the Old Parish House is constructed of the same granite as the church and is designed in a late Gothic style so that the two edifices {appear to] be in perfect harmony. Haight's design features large rectangular multi-light windows which are arranged in an asymmetric composition around a central projecting entrance bay. The lower story, set about four feet below street level, originally contained two large rooms, used as club rooms for the Boy's Club, and a shower. The upper story is on a level with the church floor. It originally contained three large rooms and a kitchen, the largest room, the guild room, measuring 20 feet by 30 feet. Later Chances to the St. George's Complex In 1930, the old frame church structure, which had been serving as a Sunday School, was razed to erect a new larger parish house and auditorium to the north and west of the chancel, designed by John C. Dodd of Upper Montclair, New Jersey. (The New Parish Hall and Auditorium buildings are not included in this designation.) In 1937, Dodd also designed a 20' x 28' one-story-plus basement extension that linked the former vestry room in the 1894 chancel addition to the Old Parish House (which is included in this designation). Dodd used random granite ashlar and brownstone for the eastern facade of this structure to match the church and parish house. It features an arched stained-glass window salvaged from the demolished south wall of the chance! wing. In the mid-1950s, St. George's began an extensive campaign to repair and refurbish the church. At that time the foundations were strengthened to compensate for termite damage. The present slate roof was installed. Buttresses were constructed on the roof of the side aisles to carry some of the weight of the nave roof thus stabilizing the nave columns. The wood shingles on the tower spire and the comer pinnacles were replaced. It is probable that the present wood exterior doors to the church were also installed during this renovation. Other changes included the upgrading of mechanical systems, repointing of the free-stone walls, and repairing the windows and sandstone masonry.** Present-day St. George's In 1997 St. George's Parish celebrated its 235th anniversary on Main Street in Flushing. Over the years, St. George's has adapted to meet the needs of the Flushing community and remains an important neighborhood institution. It now offers worship services and community programs in English, Spanish, and Chinese to its congregation that includes immigrants from Asia, South and Central America, Europe, and Africa. The churchyard, church, and Old Parish House are visual reminders of St. George's historic role in the development of Flushing and the church and Old Parish House are notable examples of Gothic Revival design. Description St. George's Episcopal Church complex occupies a large through-the-block comer lot that has frontages on Main Street, 38* Avenue, and 39* Avenue. The portion of the lot occupied by the church, the Old Parish House, the wing connecting the church and Old Parish House, the historic masonry retaining walls and iron fence, and the grounds and graveyard enclosed by the retaining walls are part of this designation. The New Parish House (which adjoins and is connected internally to the Old Parish House and the 1937 extension), the auditorium building (which adjoins and is connected internally to the church chancel and the New Parish House), the yard between the Old and New Parish Houses, and the graveyard and parking lot at the western end of the lot are not included in this designation. The Church The Gothic Revival style church building consists of a towered entrance porch, nave with clerestory, and side aisles constructed in 1853-54. Because the church is located on the west side of Main Street, the entrance is at the east end of the building and the chancel extends to the west. The chancel wing, built in 1894, replaced the original chancel and vestry. The lower walls of the church are constructed of blue-gray Connecticut granite rubble laid in a random manner. Dressed brownstone is employed as coping for the watertable and buttresses, as string courses delineating the story levels on the tower, and as surrounds for the door and window openings. The roof, frame sidewalls of the clerestory over the nave, and the clerestory buttresses are clad with non-historic square-cut slate shingles installed in the 1950s. (The roof was originally sheathed in polychrome diamond and fishscale slate shingles laid in a stripe pattern.) All of the windows are set in wood tracery frames and contain historic stained glass. A number of modifications, notably the installation of the clerestory buttresses, were made to the building in the 1950s. Main Street Facade. The eastern facade facing Main Street is dominated by a 150 foot tower and spire that projects in front of the main body of the church. At each comer of the tower are stepped double-buttresses. The eastern and southern faces of the tower have pointed-arched entrances approached by stone steps with non-historic iron pipe rails (The front steps have been resurfaced with brownstone-coloredcement.) The south entrance to the tower retains its original paired wood doors trimmed with raised strips of wood. This door is inoperable having been walled off cm the interior of the church to create a space for a memorial. The front paired paneled wood doors with decorative iron strap hinges and pointed windows with leaded-glass lights were installed after 1938. An Arts-and-Crafts-inspired metal and glass lantern hangs above the front entrance to the tower. Angled flagpoles have been attached to the front buttresses. Above the door is an arched window with fine!y carved Perpendicular Gothic wood tracery surround and diamond-paned stained !eaded-glass lights. The front of the tower is also articulated by a blind rondel. Small lancet windows pierce the north and south faces of the tower lighting the staircase to the bell chamber at the top of the tower. The chamber is lit on all four sides of the tower by large arched openings with wood louvered blinds in tracery surrounds. A low parapet extends along the top of the tower; each comer is marked by a [non-historic] stone pyramid installed in the 1950s to replace the original brownstone pinnacles. The broached spire is constructed of wood sheathing covered by historic wood shingles; it is crowned by a cross. Behind the tower, the front face of each side aisle is lit by a large Tudor arch window with stained glass lights set in a tripartite tracery surround. Non-historic wire mesh security gates have been installed at these windows. Brownstone moldings at the watertable and stepped buttresses at the comers also add decorative interest to this facade. - From the 2000 NYCLPC Landmark Designation Report

Weeping Beech
Made by Emilio Guerra
Weeping Beech, Kingsland Manor, Flushing, Queens. One of the two trees designated as city landmarks (the other one being the magnolia grandiflora in Bed-Stuy.) It is unfortunate that no one has immortalized The Weeping Beech tree in American literature as Longfellow did the Village Chestnut Tree, but to local citizens and to many thousands from far and wide The Weeping Beech is known, admired, and venerated as a mighty tree, survivor of a past era. Standing in the center of a small, neatly landscaped park in a residential part of Flushing, and protected by an iron fence about one hundred feet in diameter, this extraordinary gift of nature with a spread of almost eighty-five feet stands in its imposing majesty for all to admire. A walkway, concentric with the outer circumference of the fence, and comfortable benches, placed at strategic points, allow visitors to enjoy this beautiful old tree from all sides. The seasonal changes of the colors of the leaves,whether seen in bright sunlight or the deep shadows of dense foliage, allow observers to enjoy hours in contemplation of this natural phenomenon. A sense of reverence overcomes those who come to pay their respects to this renowned veteran. Historically, it is interesting to note that, while traveling in Europe, Samuel Parsons, a Flushing nurseryman, purchased a section from a tree on the estate of Baron DeMann, in Beersal, Belgium, and planted it on this site. Today it is over sixty feet high and has a spread of about eighty-five feet. The circumference of the trunk is fourteen feet. At the public hearing, the representative of the New York Chapter of the American Institute of Architects said in reference to The Weeping Beech, This is a nomination of rare perception. We, as architects, realize the great importance of nature to man's environment and wholeheartedly endorse this tree for designation as the great Landmark it is. We cannot be enthusiastic enough for this giant among, trees.

St. George's Church - Flushing, NY.
Made by Spamdude060
St. George's Church in Flushing, NY. before and after the September 16, 2010 EF1 tornado and microburst.