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  • Covent Garden Xmas Decorations 2014, London

    Covent Garden Xmas Decorations 2014, London

    Covent Garden Xmas Decorations 2014, London

    Covent Garden (/ˈkɒvənt/) is a district in London on the eastern fringes of the West End, between St. Martin’s Lane and Drury Lane. It is associated with the former fruit and vegetable market in the central square, now a popular shopping and tourist site, and the Royal Opera House, which is also known as "Covent Garden". The district is divided by the main thoroughfare of Long Acre, north of which is given over to independent shops centred on Neal’s Yard and Seven Dials, while the south contains the central square with its street performers and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum.

    Though mainly fields until the 16th century, the area was briefly settled when it became the heart of the Anglo-Saxon trading town of Lundenwic. After the town was abandoned, part of the area was walled off by 1200 for use as arable land and orchards by Westminster Abbey, and was referred to as "the garden of the Abbey and Convent". The land, now called "the Covent Garden", was seized by Henry VIII, and granted to the Earls of Bedford in 1552. The 4th Earl commissioned Inigo Jones to build some fine houses to attract wealthy tenants. Jones designed the Italianate arcaded square along with the church of St Paul’s. The design of the square was new to London, and had a significant influence on modern town planning, acting as the prototype for the laying-out of new estates as London grew. A small open-air fruit and vegetable market had developed on the south side of the fashionable square by 1654. Gradually, both the market and the surrounding area fell into disrepute, as taverns, theatres, coffee-houses and brothels opened up; the gentry moved away, and rakes, wits and playwrights moved in. By the 18th century it had become a well-known red-light district, attracting notable prostitutes. An Act of Parliament was drawn up to control the area, and Charles Fowler’s neo-classical building was erected in 1830 to cover and help organise the market. The area declined as a pleasure-ground as the market grew and further buildings were added: the Floral Hall, Charter Market, and in 1904 the Jubilee Market. By the end of the 1960s traffic congestion was causing problems, and in 1974 the market relocated to the New Covent Garden Market about three miles (5 km) south-west at Nine Elms. The central building re-opened as a shopping centre in 1980, and is now a tourist location containing cafes, pubs, small shops, and a craft market called the Apple Market, along with another market held in the Jubilee Hall.

    Covent Garden, with the postcode WC2, falls within the London boroughs of Westminster and Camden, and the parliamentary constituencies of Cities of London and Westminster and Holborn and St Pancras. The area has been served by the Piccadilly line at Covent Garden tube station since 1907; the journey from Leicester Square, at 300 yards, is the shortest in London.

    Early history

    The route of the Strand on the southern boundary of what was to become Covent Garden was used during the Roman period as part of a route to Silchester, known as "Iter VII" on the Antonine Itinerary. Excavations in 2006 at St Martin-in-the-Fields revealed a Roman grave, suggesting the site had sacred significance. The area to the north of the Strand was long thought to have remained as unsettled fields until the 16th century, but theories by Alan Vince and Martin Biddle that there had been an Anglo-Saxon settlement to the west of the old Roman town of Londinium were borne out by excavations in 1985 and 2005. These revealed Covent Garden as the centre of a trading town called Lundenwic, developed around 600 AD, which stretched from Trafalgar Square to Aldwych. Alfred the Great gradually shifted the settlement into the old Roman town of Londinium from around 886 AD onwards, leaving no mark of the old town, and the site returned to fields.

    Around 1200 the first mention of an abbey garden appears in a document mentioning a walled garden owned by the Benedictine monks of the Abbey of St. Peter, Westminster. A later document, dated between 1250 and 1283, refers to "the garden of the Abbot and Convent of Westminster". By the 13th century this had become a 40-acre (16 ha) quadrangle of mixed orchard, meadow, pasture and arable land, lying between modern-day St. Martin’s Lane and Drury Lane, and Floral Street and Maiden Lane. The use of the name "Covent"—an Anglo-French term for a religious community, equivalent to "monastery" or "convent" —appears in a document in 1515, when the Abbey, which had been letting out parcels of land along the north side of the Strand for inns and market gardens, granted a lease of the walled garden, referring to it as "a garden called Covent Garden". This is how it was recorded from then on.

    The Bedford Estate (1552–1918)

    After the Dissolution of the Monasteries in 1540, Henry VIII took for himself the land belonging to Westminster Abbey, including the convent garden and seven acres to the north called Long Acre; and in 1552 his son, Edward VI, granted it to John Russell, 1st Earl of Bedford. The Russell family, who in 1694 were advanced in their peerage from Earl to Duke of Bedford, held the land from 1552 to 1918.

    Russell had Bedford House and garden built on part of the land, with an entrance on the Strand, the large garden stretching back along the south side of the old walled-off convent garden. Apart from this, and allowing several poor-quality tenements to be erected, the Russells did little with the land until the 4th Earl of Bedford, Francis Russell, an active and ambitious businessman, commissioned Inigo Jones in 1630 to design and build a church and three terraces of fine houses around a large square or piazza. The commission had been prompted by Charles I taking offence at the condition of the road and houses along Long Acre, which were the responsibility of Russell and Henry Carey, 2nd Earl of Monmouth. Russell and Carey complained that under the 1625 Proclamation concerning Buildings, which restricted building in and around London, they could not build new houses; the King then granted Russell, for a fee of £2,000, a licence to build as many new houses on his land as he "shall thinke fitt and convenient". The church of St Paul’s was the first building, begun in July 1631 on the western side of the square. The last house was completed in 1637.

    The houses initially attracted the wealthy, though when a market developed on the south side of the square around 1654, the aristocracy moved out and coffee houses, taverns, and prostitutes moved in. The Bedford Estate was expanded in 1669 to include Bloomsbury, when Lord Russell married Lady Rachel Vaughan, one of the daughters of the 4th Earl of Southampton.

    By the 18th century, Covent Garden had become a well-known red-light district, attracting notable prostitutes such as Betty Careless and Jane Douglas. Descriptions of the prostitutes and where to find them were provided by Harris’s List of Covent Garden Ladies, the "essential guide and accessory for any serious gentleman of pleasure". In 1830 a market hall was built to provide a more permanent trading centre. In 1913, Herbrand Russell, 11th Duke of Bedford agreed to sell the Covent Garden Estate for £2 million to the MP and land speculator Harry Mallaby-Deeley, who sold his option in 1918 to the Beecham family for £250,000.

    Modern changes

    Charles Fowler’s 1830 neo-classical building restored as a retail market.
    The Covent Garden Estate was part of Beecham Estates and Pills Limited from 1924 to 1928, after which time it was managed by a successor company called Covent Garden Properties Company Limited, owned by the Beechams and other private investors. This new company sold some properties at Covent Garden, while becoming active in property investment in other parts of London. In 1962 the bulk of the remaining properties in the Covent Garden area, including the market, were sold to the newly established government-owned Covent Garden Authority for £3,925,000.

    By the end of the 1960s, traffic congestion had reached such a level that the use of the square as a modern wholesale distribution market was becoming unsustainable, and significant redevelopment was planned. Following a public outcry, buildings around the square were protected in 1973, preventing redevelopment. The following year the market moved to a new site in south-west London. The square languished until its central building re-opened as a shopping centre in 1980. An action plan was drawn up by Westminster Council in 2004 in consultation with residents and businesses to improve the area while retaining its historic character. The market buildings, along with several other properties in Covent Garden, were bought by a property company in 2006.

    Geography

    Historically, the Bedford Estate defined the boundary of Covent Garden, with Drury Lane to the east, the Strand to the south, St. Martin’s Lane to the west, and Long Acre to the north. However, over time the area has expanded northwards past Long Acre to High Holborn, and since 1971, with the creation of the Covent Garden Conservation Area which incorporated part of the area between St Martins Lane and Charring Cross Road, the Western boundary is sometimes considered to be Charring Cross Road. Shelton Street, running parallel to the north of Long Acre, marks the London borough boundary between Camden and Westminster. Long Acre is the main thoroughfare, running north-east from St Martin’s Lane to Drury Lane.

    The area to the south of Long Acre contains the Royal Opera House, the market and central square, and most of the elegant buildings, theatres and entertainment facilities, including the Theatre Royal, Drury Lane, and the London Transport Museum; while the area to the north of Long Acre is largely given over to independent retail units centred on Neal Street, Neal’s Yard and Seven Dials; though this area also contains residential buildings such as Odhams Walk, built in 1981 on the site of the Odhams print works, and is home to over 6,000 residents.

    Governance
    The Covent Garden estate was originally under the control of Westminster Abbey and lay in the parish of St Margaret. During a reorganisation in 1542 it was transferred to St Martin in the Fields, and then in 1645 a new parish was created, splitting governance of the estate between the parishes of St Paul Covent Garden and St Martin, both still within the Liberty of Westminster. St Paul Covent Garden was completely surrounded by the parish of St Martin in the Fields. It was grouped into the Strand District in 1855 when it came within the area of responsibility of the Metropolitan Board of Works.

    In 1889 the parish became part of the County of London and in 1900 it became part of the Metropolitan Borough of Westminster. It was abolished as a civil parish in 1922. Since 1965 Covent Garden falls within the London boroughs of Westminster and Camden, and is in the Parliamentary constituencies of Cities of London and Westminster and Holborn and St Pancras. For local council elections it falls within the St James’s ward for Westminster, and the Holborn and Covent Garden ward for Camden.

    Economy

    The area’s historic association with the retail and entertainment economy continues. In 1979, Covent Garden Market reopened as a retail centre; in 2010, the largest Apple Store in the world opened in The Piazza. The central hall has shops, cafes and bars alongside the Apple Market stalls selling antiques, jewellery, clothing and gifts; there are additional casual stalls in the Jubilee Hall Market on the south side of the square. Long Acre has a range of clothes shops and boutiques, and Neal Street is noted for its large number of shoe shops. London Transport Museum and the side entrance to the Royal Opera House box office and other facilities are also located on the square. During the late 1970s and 1980s the Rock Garden music venue was popular with up and coming punk rock and New Wave artists.

    The market halls and several other buildings in Covent Garden were bought by CapCo in partnership with GE Real Estate in August 2006 for £421 million, on a 150-year head lease. The buildings are let to the Covent Garden Area Trust, who pay an annual peppercorn rent of one red apple and a posy of flowers for each head lease, and the Trust protects the property from being redeveloped. In March 2007 CapCo also acquired the shops located under the Royal Opera House. The complete Covent Garden Estate owned by CapCo consists of 550,000 sq ft (51,000 m2), and has a market value of £650 million.

    Landmarks

    The Royal Opera House, often referred to as simply "Covent Garden", was constructed as the "Theatre Royal" in 1732 to a design by Edward Shepherd. During the first hundred years or so of its history, the theatre was primarily a playhouse, with the Letters Patent granted by Charles II giving Covent Garden and Theatre Royal, Drury Lane exclusive rights to present spoken drama in London. In 1734, the first ballet was presented; a year later Handel’s first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premières here. It has been the home of The Royal Opera since 1945, and the Royal Ballet since 1946.

    The current building is the third theatre on the site following destructive fires in 1808 and 1857. The façade, foyer and auditorium were designed by Edward Barry, and date from 1858, but almost every other element of the present complex dates from an extensive £178 million reconstruction in the 1990s. The Royal Opera House seats 2,268 people and consists of four tiers of boxes and balconies and the amphitheatre gallery. The stage performance area is roughly 15 metres square. The main auditorium is a Grade 1 listed building. The inclusion of the adjacent old Floral Hall, previously a part of the old Covent Garden Market, created a new and extensive public gathering place. In 1779 the pavement outside the playhouse was the scene of the murder of Martha Ray, mistress of the Earl of Sandwich, by her admirer the Rev. James Hackman.

    Covent Garden square

    Balthazar Nebot’s 1737 painting of the square before the 1830 market hall was constructed.
    The central square in Covent Garden is simply called "Covent Garden", often marketed as "Covent Garden Piazza" to distinguish it from the eponymous surrounding area. Laid out in 1630, it was the first modern square in London, and was originally a flat, open space or piazza with low railings. A casual market started on the south side, and by 1830 the present market hall was built. The space is popular with street performers, who audition with the site’s owners for an allocated slot. The square was originally laid out when the 4th Earl of Bedford, Francis Russell, commissioned Inigo Jones to design and build a church and three terraces of fine houses around the site of a former walled garden belonging to Westminster Abbey. Jones’s design was informed by his knowledge of modern town planning in Europe, particularly Piazza d’Arme, in Leghorn, Tuscany, Piazza San Marco in Venice, Piazza Santissima Annunziata in Florence, and the Place des Vosges in Paris. The centrepiece of the project was the large square, the concept of which was new to London, and this had a significant influence on modern town planning in the city,[56] acting as the prototype for the laying-out of new estates as the metropolis grew. Isaac de Caus, the French Huguenot architect, designed the individual houses under Jones’s overall design.

    The church of St Paul’s was the first building, and was begun in July 1631 on the western side of the square. The last house was completed in 1637. Seventeen of the houses had arcaded portico walks organised in groups of four and six either side of James Street on the north side, and three and four either side of Russell Street. These arcades, rather than the square itself, took the name Piazza; the group from James Street to Russell Street became known as the "Great Piazza" and that to the south of Russell Street as the "Little Piazza". None of Inigo Jones’s houses remain, though part of the north group was reconstructed in 1877–79 as Bedford Chambers by William Cubitt to a design by Henry Clutton.

    Covent Garden market

    The first record of a "new market in Covent Garden" is in 1654 when market traders set up stalls against the garden wall of Bedford House. The Earl of Bedford acquired a private charter from Charles II in 1670 for a fruit and vegetable market, permitting him and his heirs to hold a market every day except Sundays and Christmas Day. The original market, consisting of wooden stalls and sheds, became disorganised and disorderly, and the 6th Earl requested an Act of Parliament in 1813 to regulate it, then commissioned Charles Fowler in 1830 to design the neo-classical market building that is the heart of Covent Garden today. The contractor was William Cubitt and Company. Further buildings were added—the Floral hall, Charter Market, and in 1904 the Jubilee Market for foreign flowers was built by Cubitt and Howard.

    By the end of the 1960s, traffic congestion was causing problems for the market, which required increasingly large lorries for deliveries and distribution. Redevelopment was considered, but protests from the Covent Garden Community Association in 1973 prompted the Home Secretary, Robert Carr, to give dozens of buildings around the square listed-building status, preventing redevelopment. The following year the market relocated to its new site, New Covent Garden Market, about three miles (5 km) south-west at Nine Elms. The central building re-opened as a shopping centre in 1980, with cafes, pubs, small shops and a craft market called the Apple Market. Another market, the Jubilee Market, is held in the Jubilee Hall on the south side of the square. The market halls and several other buildings in Covent Garden have been owned by the property company Capital & Counties Properties (CapCo) since 2006.

    Theatre Royal, Drury Lane

    The current Theatre Royal on Drury Lane is the most recent of four incarnations, the Second of which opened in 1663, making it the oldest continuously used theatre in London. For much of its first two centuries, it was, along with the Royal Opera House, a patent theatre granted rights in London for the production of drama, and had a claim to be one of London’s leading theatres. The first theatre, known as "Theatre Royal, Bridges Street", saw performances by Nell Gwyn and Charles Hart. After it was destroyed by fire in 1672, English dramatist and theatre manager Thomas Killigrew engaged Christopher Wren to build a larger theatre on the same spot, which opened in 1674. This building lasted nearly 120 years, under leadership including Colley Cibber, David Garrick, and Richard Brinsley Sheridan. In 1791, under Sheridan’s management, the building was demolished to make way for a larger theatre which opened in 1794; but that survived only 15 years, burning down in 1809. The building that stands today opened in 1812. It has been home to actors as diverse as Shakespearean actor Edmund Kean, child actress Clara Fisher, comedian Dan Leno, the comedy troupe Monty Python (who recorded a concert album there), and musical composer and performer Ivor Novello. Since November 2008 the theatre has been owned by composer Andrew Lloyd Webber and generally stages popular musical theatre. It is a Grade I listed building.

    London Transport Museum

    The London Transport Museum is in a Victorian iron and glass building on the east side of the market square. It was designed as a dedicated flower market by William Rogers of William Cubitt and Company in 1871, and was first occupied by the museum in 1980. Previously the transport collection had been held at Syon Park and Clapham. The first parts of the collection were brought together at the beginning of the 20th century by the London General Omnibus Company (LGOC) when it began to preserve buses being retired from service. After the LGOC was taken over by the London Electric Railway (LER), the collection was expanded to include rail vehicles. It continued to expand after the LER became part of the London Passenger Transport Board in the 1930s and as the organisation passed through various successor bodies up to TfL, London’s transport authority since 2000. The Covent Garden building has on display many examples of buses, trams, trolleybuses and rail vehicles from 19th and 20th centuries as well as artefacts and exhibits related to the operation and marketing of passenger services and the impact that the developing transport network has had on the city and its population.

    St Paul’s Church

    St Paul’s, commonly known as the Actors’ Church, was designed by Inigo Jones as part of a commission by Francis Russell in 1631 to create "houses and buildings fitt for the habitacons of Gentlemen and men of ability". Work on the church began that year and was completed in 1633, at a cost of £4,000, with it becoming consecrated in 1638. In 1645 Covent Garden was made a separate parish and the church was dedicated to St Paul. It is uncertain how much of Jones’s original building is left, as the church was damaged by fire in 1795 during restoration work by Thomas Hardwick; though it is believed that the columns are original—the rest is mostly Georgian or Victorian reconstruction.

    Culture

    The Covent Garden area has long been associated with both entertainment and shopping, and this continues. Covent Garden has 13 theatres, and over 60 pubs and bars, with most south of Long Acre, around the main shopping area of the old market. The Seven Dials area in the north of Covent Garden was home to the punk rock club The Roxy in 1977, and the area remains focused on young people with its trendy mid-market retail outlets.

    Street performance

    Street entertainment at Covent Garden was noted in Samuel Pepys’s diary in May 1662, when he recorded the first mention of a Punch and Judy show in Britain. Impromptu performances of song and swimming were given by local celebrity William Cussans in the eighteenth century. Covent Garden is licensed for street entertainment, and performers audition for timetabled slots in a number of venues around the market, including the North Hall, West Piazza, and South Hall Courtyard. The courtyard space is dedicated to classical music only. There are street performances at Covent Garden Market every day of the year, except Christmas Day. Shows run throughout the day and are about 30 minutes in length. In March 2008, the market owner, CapCo, proposed to reduce street performances to one 30-minute show each hour.

    Pubs and bars

    The Covent Garden area has over 60 pubs and bars; several of them are listed buildings, with some also on CAMRA’s National Inventory of Historic Pub Interiors; some, such as The Harp in Chandos Place, have received consumer awards. The Harp’s awards include London Pub of the Year in 2008 by the Society for the Preservation of Beers from the Wood, and National Pub of the Year by CAMRA in 2011. It was at one time owned by the Charrington Brewery, when it was known as The Welsh Harp; in 1995 the name was abbreviated to just The Harp, before Charrington sold it to Punch Taverns in 1997. It has been owned by the landlady since 2010.

    The Lamb and Flag in Rose Street has a reputation as the oldest pub in the area, though records are not clear. The first mention of a pub on the site is 1772 (when it was called the Cooper’s Arms – the name changing to Lamb & Flag in 1833); the 1958 brick exterior conceals what may be an early 18th-century frame of a house replacing the original one built in 1638.[94] The pub acquired a reputation for staging bare-knuckle prize fights during the early 19th century when it earned the nickname "Bucket of Blood". The alleyway beside the pub was the scene of an attack on John Dryden in 1679 by thugs hired by John Wilmot, 2nd Earl of Rochester, with whom he had a long-standing conflict.

    The Salisbury in St. Martin’s Lane was built as part of a six-storey block around 1899 on the site of an earlier pub that had been known under several names, including the Coach & Horses and Ben Caunt’s Head; it is both Grade II listed, and on CAMRA’s National Inventory, due to the quality of the etched and polished glass and the carved woodwork, summed up as "good fin de siècle ensemble". The Freemasons Arms on Long Acre is linked with the founding of the Football Association in 1896; however, the meetings took place at The Freemasons Tavern on Great Queen Street, which was replaced in 1909 by the Connaught Rooms.

    Other pubs that are Grade II listed are of minor interest, they are three 19th century rebuilds of 17th century/18th century houses, the Nell Gwynne Tavern in Bull Inn Court, the Nag’s Head on James Street, and the White Swan on New Row; a Victorian pub built by lessees of the Marquis of Exeter, the Old Bell on the corner of Exeter Street and Wellington Street; and a late 18th or early 19th century pub the Angel and Crown on St. Martin’s Lane.

    Cultural connections

    Covent Garden, and especially the market, have appeared in a number of works. Eliza Doolittle, the central character in George Bernard Shaw’s play, Pygmalion, and the musical adaptation by Alan Jay Lerner, My Fair Lady, is a Covent Garden flower seller. Alfred Hitchcock’s 1972 film Frenzy about a Covent Garden fruit vendor who becomes a serial sex killer, was set in the market where his father had been a wholesale greengrocer. The daily activity of the market was the topic of a 1957 Free Cinema documentary by Lindsay Anderson, Every Day Except Christmas, which won the Grand Prix at the Venice Festival of Shorts and Documentaries.

    Transport

    Covent Garden is served by the Piccadilly line at Covent Garden tube station on the corner of Long Acre and James Street. The station was opened by Great Northern, Piccadilly and Brompton Railway on 11 April 1907, four months after services on the rest of the line began operating on 15 December 1906. Platform access is only by lift or stairs; until improvements to the exit gates in 2007, due to high passenger numbers (16 million annually), London Underground had to advise travellers to get off at Leicester Square and walk the short distance (the tube journey at less than 300 yards is London’s shortest) to avoid the congestion. Stations just outside the area include the Charing Cross tube station and Charing Cross railway station, Leicester Square tube station, and Holborn tube station. While there is only one bus route in Covent Garden itself—the RV1, which uses Catherine Street as a terminus, just to the east of Covent Garden square—there are over 30 routes which pass close by, mostly on the Strand or Kingsway.

    en.wikipedia.org/wiki/Covent_Garden

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  • Peel Apart Portraits #7

    Peel Apart Portraits #7

    Peel Apart Portraits #7

    Cupboard and furnishings maker, Plimouth Plantations.

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  • First Baptist Church Valdosta, 200 W Central Avenue, Valdosta, Georgia, USA / Built: 1900

    First Baptist Church Valdosta, 200 W Central Avenue, Valdosta, Georgia, USA / Built: 1900

    First Baptist Church Valdosta, 200 W Central Avenue, Valdosta, Georgia, USA / Built: 1900

    THE Starting: 1st Baptist Church of Valdosta truly began in Troupville about 150 a long time in the past. The to start with settlers came to South Georgia in 1821. On June 21, 1840, a Missionary Baptist Church organized at the household of James O. Goldwire. 1st Baptist was initially constituted under the title of the Minimal River Baptist Church. There have been seven constitution users, two of whom had been black.

    THE EARLY Several years: Over the following 4 yrs worship products and services had been held in residences and the Court docket House. Their new church creating was finished in 1844 and presented a new name, Troupville Baptist Church. In1842, $20 was subscribed for missions. Soon following, Central Church, “An Arm of the Church,” was built about 10 miles absent. Slaves were amid its customers. In 1847, Ebenezer, an additional “Arm of the Church,” was shaped some twelve miles away.

    THE Go TO VALDOSTA: The coming of railroads necessitated a go to the new town, Valdosta. In 1860-61, associates dismantled their church setting up, which includes the church bell, and moved to the corner of Valley and Ashley Streets. About two many years later on, the creating was wrecked by a storm, and for the up coming 3 to 5 years worship services ended up held in a school household. In 1863, the minutes refer to the church as the Baptist Church of Christ. From 1865 to 1907, it was named the Baptist Church of Valdosta.

    THE SANCTUARY: In 1896 a great deal on Toombs Road amongst West Central Avenue and Valley Street was purchased and building on a new church developing began. Right after 4 several years, on November 18, 1900, the church was dedicated debt totally free, to the glory of God. Information do not reveal the value, but by June 1893, a complete of $13,000 was used on the making. The little ones of the Sunday University lessons purchased just one brick just about every and a fund-raising marketing campaign in 1899 netted $6,000. The curly pine woodwork was donated by W.S. Fender. The stained glass in the windows is reputed to have arrive from Italy. On December 13, 1908, the Organ Committee recommended the obtain of a Pilcher organ, the optimum charge established at $3,000. Other buildings additional have been the Sunday University Annex to the Sanctuary in 1926 and the Children’s Building and the Langdale Chapel in 1956. Our present Children’s Developing was created in 2006 and the aged children’s making was renovated into grownup instruction house in 2007. It was focused in honor of Mac Weaver, our Affiliate Pastor for above 43 many years.

    On January 10, 2016 our new Family members Life Middle was focused to the glory of God with an emphasis on carrying on the ministry of God from “Generation to Era: G2G”. The modern-day creating includes a youth facility on the second flooring and a substantial fellowship corridor which is made use of for 8:44 present-day assistance, concert events, banquets, church relatives meals and a great deal additional.

    Extensive TENURE PASTORS: In accordance to the formal church background, Very first Baptist Church has been blessed with committed pastors who served for a amount of several years. The very first pastor, William B. Cooper served 14 decades from 1840 to 1854. William H. Goldwire served 14 decades from 1854 to 1868. T. Baron Gibson served 18 decades from 1935-1953. James P. Rodgers had served 14 yrs when he died of a coronary heart attack in June of 1967. The 20th pastor, James E. Pitts, served 23 decades from 1967-1990. In the course of Reverend Pitts’ ministry, 2,942 people have been gained into FBC fellowship. Delos Sharpton came to FBC in August 1991 and served as our pastor right up until November 1999. Dr. Ches Smith served as our Interim Pastor from January 2000 until finally July 2001. On the initially of August 2001, Dr. Philip West was welcomed into our church household and served right until March 2013. Dr. Milton Gardner, who served as pastor of Initially Baptist Church in Thomasville, Georgia for 31 decades, served as Interim Pastor from April 2013 until finally July 2014. Immediately after continuous prayer for God’s will, our committee uncovered the particular person God selected to be our up coming pastor. In August 2014, Charles “Chuck” Owens joined the FBC church household serving as our Senior Pastor.

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    © All Rights Reserved – you may perhaps not use this graphic in any kind without the need of my prior authorization.

    Posted by Photographer South Florida on 2020-02-23 23:58:37

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  • Detail of Baroque Organ in Chapel

    Detail of Baroque Organ in Chapel

    Detail of Baroque Organ in Chapel

    Cornell’s is First Organ with Multiple Historic Wind Systems

    Cornell’s new baroque organ has become the world’s first organ with multiple historic wind systems, using a technique organ designer Munetaka Yokota perfected on a research instrument at the Göteborg Organ Art Center (GOArt) at the University of Gothenburg, Sweden.

    With simple manual adjustments, organists can authentically re-create the wind systems of organs from the 15th to the beginning of the 19th century from north and central Germany on the instrument.

    Professor of music Annette Richards, who led the organ project at Cornell, explains that “the wind is the basis of any organ’s sound, and to appreciate music like Bach’s as it was intended, you need to hear it played on the kind of organ for which it was written.”

    The organ is intended to reintroduce modern audiences to this authentic, historic sound, which was gradually lost over the centuries as equal temperament in keyboard intervals and highly stable wind systems became the norm.

    The ingenious system includes seven new valves and 80 new feet of conductors, and has attracted worldwide attention from organists and researchers. An international group of scientists gathered at Cornell in spring 2012 to share data on the organ’s key action characteristics and wind behavior.

    Yokota and GOArt research engineer Carl Johan Bergsten will use the new system to study general wind system behavior in organs. They’ll compare the measurements they took in November 2011, before the modification, to measurements they will take after.

    “We’re excited to hear how the collaborative research on this organ between mathematical modelers, engineers and a builder with Munetaka Yokota’s historical knowledge and incomparable musical intuition can make our instrument speak with even more clarity, power, nuance and expressivity—even while acting as a cutting-edge laboratory for the latest experimental study,” Richards says.

    The $2 million organ is the culmination of more than seven years of research and collaboration by GOArt and the Department of Music, and more than two years of work by 21st-century craftsmen, who used authentic 17th- and early 18th-century methods to hand-build the instrument.

    The organ re-creates the tonal design of the 1706 Arp Schnitger organ at Charlottenburg in Berlin, which was destroyed by Allied bombers during WWII. The massive wooden case has a design based on a Schnitger organ at Clausthal-Zellerfeld, Germany, and was hand-built by local cabinetmaker Christopher Lowe.

    The original wind system on Cornell’s organ was built by Parsons Pipe Organ Builders in Canandaigua, N.Y.; the 1,827 pipes were handcrafted in Sweden by Yokota, using rediscovered historic techniques. The modifications to the wind system were made by Lowe.

    The Cornell Baroque Organ

    The new majestic baroque organ in Cornell’s Anabel Taylor Chapel required over seven years of research in an international, collaborative effort by Cornell’s College of Arts and Sciences and the Gothenburg Organ Art Center (GOArt) at the University of GÖTEBORG, Sweden.

    Interdisciplinary Effort

    The instrument re-creates the tonal design of the celebrated Charlottenburg organ in Berlin, handmade in 1706 by master organ builder Arp Schnitger and tragically destroyed during WWII. The interdisciplinary effort to understand the many aspects of this historic organ’s construction included experts in fluid dynamics, electro-acoustics, and metallurgy, as well as craftsmen and musicians. Each of the nearly 2,000 pipes was handcrafted in Sweden under the direction of project designer Munetaka Yokota.

    Exquisite Craftsmanship

    View from behind the keyboardThe massive, intricately designed wooden case is based on another Schnitger organ in Germany. Every detail is handmade and historically accurate, from the wooden pegs and hand-forged nails to the hand-planed wooden surface and dovetail joints.

    Musical Versatility

    Commissioned by the Department of Music, the organ is perfect for the music of J.S. Bach and his north German predecessors, and is versatile enough for solo and ensemble music from the 16th century onward. As a complement to the music department’s strengths in performance and research, the organ is expected to attract top organ students, professional performers, composers and scholars to Cornell.

    The Cornell Baroque Organ Project

    A New Organ for Anabel Taylor Chapel

    In 2003 Cornell University began work on a new organ for Anabel Taylor Chapel—an instrument based on a German 18th century masterpiece—as part of an international research project involving three academic institutions in the field of organ studies: Cornell, the University of Gothenburg, Sweden, and the Eastman School of Music at the University of Rochester. This interdisciplinary and international effort encompasses scholars, physical scientists, musicians, craftsmen and visual artists from Sweden, Japan, The Netherlands, Germany and New York State. Joining their efforts under the artistic direction of Munetaka Yokota at the Gothenburg Organ Art Center (GOART), the members of this team created an organ that is not just a fine vehicle for teaching, performance and scholarship, but also a magnificent work of art. (See Photo Galleries section below.)

    Historical Models

    The Cornell Baroque Organ will reconstruct the tonal design of the celebrated instrument at the Charlottenburg-Schlosskapelle built in the first decade of the 18th century in Berlin by Arp Schnitger, one of history’s greatest organ builders. The instrument’s layout and visual design will be based on Schnitger’s breathtaking organ case at Clausthal-Zellerfeld in central Germany. See Historic Model Photo Gallery.

    Arp Schnitger was the most important organ builder of late 17th-century North Germany; although he was active mainly in its northwestern corner, his work was well known in all of the German speaking lands. He built several organs in the eastern cities as well, with unique features not possessed by their northwestern counterparts. Many of his works in the northwestern areas survive today and are well-known, but none of his instruments in the eastern areas are extant today, with the one exception of the organ case in Clausthal-Zellerfeld.

    Tragically destroyed in the Second World War, the Charlottenburg organ and its unique tonal qualities can be recreated today using original documentation alongside early 20th-century studies and recordings of the instrument. Unique to this Berlin instrument, and still little-understood, is the way in which Schnitger combined North- and Central-German organ aesthetics in its design, to result in an unusual, even exceptional, tonal concept. This recreation will allow us to explore this fascinating sound world once again. (See Specification section below.)

    Research, Collaboration and Outreach

    The project involves extensive research into the art of woodworking, metallurgy, organ construction and the crucial voicing of organ pipes in the early 18th century. It seeks to go beyond simply revivifying these skills, and attempts to place them in the cultural and aesthetic contexts so particular to Berlin and its environs. As part of this process, Cornell’s new organ is being built using sophisticated handcraft techniques, replicating the construction techniques of its storied historical models. In a landmark collaboration with local talent, Cornell is engaged not just with GOArt, but also with Ithaca-based master woodworkers Christopher Lowe and Peter De Boer, who built the organ case entirely by hand, and with the Canandaigua-based organ-building firm Parsons Pipe Organ Builders (see Case Construction Photo Gallery). This is more than an academic exercise. The historical entity that was the Berlin organ will enrich the active musical culture of Cornell, Ithaca, and Central New York and will provide valuable data and insights that can be drawn on by kindred projects globally. And with the inauguration of Cornell’s Baroque organ, the Fingerlakes region of New York will become an unprecedented destination for historic organ performance and research, with musicians and scholars able to work both at Cornell and on the nearby Eastman School of Music’s historic organs.

    Performance and Teaching

    The Cornell Baroque Organ will be ideal both for the glorious solo repertoire of the 17th and 18th centuries, especially the music of J. S. Bach, and for the accompaniment of ensemble music for instruments and voices; in addition, it will be versatile enough for performance of music from the 16th to the 19th centuries and beyond. This instrument will act as a magnet for top student organists, as well as being an inspiring tool for teaching, solo and group performance, and new composition. The Cornell Baroque Organ will complement the existing strengths of the Cornell music department in performance and research, especially in the music of the 17th to 19th centuries. In addition, it will contribute to the university and wider community in diverse and unforeseen ways. This project does not simply import a historic organ into Central New York, but seeks to transplant and nurture the skills required to make and maintain such an instrument, and of course to play and use it, drawing on the best of the past in pursuit of a rich future. This is not an exercise in reconstruction and museum-style curatorship but an effort to invigorate a constellation of skills and musical activities to help further energize both local culture and the University’s international standing.

    Specification:

    Hauptwerk (Manual I)

    Principal 8′, Quintadena 16′, Floite dues 8′, Gedact 8′, Octav 4′, Violdegamb 4′, Nassat 3′, SuperOctav 2′, Mixtur IV, Trompete 8′, Vox humana 8′

    Rückpositiv (Manual II)

    Principal 8′, Gedact lieblich 8′, Octav 4′, Floite dues 4′, Octav 2′, Waltflöit 2′, Sesquialt II, Scharf III, Hoboy 8′

    Pedal

    Principal 16′, Octav 8′, Octav 4′, Nachthorn 2′, Rauschpfeife II, Mixtur IV, Posaunen 16′, Trommet 8′, Trommet 4′, Cornet 2′

    Baroque Organ Fact Sheet

    Total cost: approx. $ 2 million

    Number of years of research, planning and construction: 7

    Number of years organ is projected to last: several hundred

    Pipes:

    •Number of pipes 1,847
    •Largest pipe; c. 16 feet long, 8 inches diameter
    •Smallest pipe—c. 1 inch long, ¼ inch diameter
    •Materials for pipes: lead, tin, pine
    •Sheets of metal for pipes cast on beds of sand
    •Seven and a half months required to “voice” pipes (ensure each has perfect sound in the chapel, and responds correctly to pressure and speed of the touch of the performer)
    •42 ranks (individual rows of pipes)
    •30 stops

    Keyboards:

    •2 manuals, each with 50 notes (C, D to d3)
    •1 pedal, with 26 notes (C, D to d1)
    •over 740 feet of wooden trackers traveling from key to pallet

    Bellows:

    •4 wedge bellows (each weighing approximately 430 pounds)
    •two pumpers required to manually run the bellows
    •fastened together with cow hide and cow hide organic glue

    Scale:

    •lowest pitch: c. 30 Hz
    •highest pitch c. 8, 000 Hz

    Case:

    •quarter-sawn fumed white oak
    •many tons of lumber in the case (estimated around 7)
    •handcrafted; every surface hand-planed rather than sanded
    •longest boards, 18 ft, imported from 300-year old sustainable forest in Germany
    •case dimensions: 25ft wide; 4 and ½ feet deep; 23ft high in the center
    •number of structural nails in case: zero—case held together by wooden pegs, dovetail joints, wedges, drawboard mortise and tenon

    All nails, hinges, etc. hand-forged of solid iron in Sweden

    Contacts

    •Cornell University
    oContact: Annette Richards, University Organist
    oProfessor of Musicology and Performance (17th-18th-century music, organ)
    oPh.D., Stanford University
    o607-255-7102, ar34@cornell.edu
    Annette Richards provided the passion and organization behind the Cornell Baroque Organ project. She managed every aspect, from coordinating the international team of builders to shoveling snow for the delivery trucks, and is now delighted to be one of the primary organists to play the unique instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a… and vivo.cornell.edu/humanities/individual/vivo/individual23295
    •David Yearsley
    oProfessor of Musicology and Performance (17th-18th-century music, early keyboards)
    oPh.D., Stanford University
    o607-255-9024, dgy2@cornell.edu
    David Yearsley provided key support for the Cornell Baroque Organ project through his expertise with organs and his skill as a performer. He is also one of the primary organist to play this magnificent instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a…
    •CCSN Woodworking
    oContact: Christopher Lowe
    oCabinet Maker
    oFreeville, NY(607) 347-6633 scmarlowe@frontiernet.net
    Christopher Lowe is a local craftsman who has been a cabinet maker for 28 years, specializing in everything from barn restoration to furniture making. This was his first organ commission.
    •Göteborg Organ Art Center
    oUniversity of Gothenburg, Sweden
    oGOArt was responsible for the overall design and project coordination, the production of the pipework, and the voicing of the pipes. More details at www.goart.gu.se/Research/
    oContact: Munetaka Yokota
    oEmail: munetaka.yokota@goart.gu.se
    Munetaka Yokota supervised the assembly of the organ at Cornell. He is the main researcher and designer of the instrument and the primary craftsman for the organ pipes. He brought his family to Ithaca to live for almost a year, while he installed and voiced the pipes at Cornell.
    •Parsons Pipe Organ Builders
    oCanandaigua, New York
    oParsons Pipe Organ Builders was responsible for constructing the wind system inside the organ, including all the mechanicals and the bellows. More details at: www.parsonsorgans.com/home.htm
    oContact: Richard Parsons
    oPresident and owner (585) 229-5888 or (888) 229-4820 or info@parsonsorgans.com

    Timeline

    •2/2/10 Delivery of wind chest, organ case, to Anabel Taylor Chapel
    •Assembly of organ begins
    •2/8/10-2/19/10 Pipe racking (involves burning wood and making a great deal of smoke, and will happen in a little shed right outside the chapel)
    •2/17/1 Voicing of pipes begins
    •3/1/10 Basic organ assembly complete, though all pipes might not be in
    •03/4-6/10 Inspection by the great Dutch organist and organ expert Jacques van Oortmerssen
    •03/10-11/10 Final tuning of organ
    •04/10 Open house to display assembled organ
    •11/10 Late November concert to inaugurate organ for local audience
    •3/11 Official inauguration of organ

    Annette Richards

    University Organist
    Professor
    Musicology, Performance
    17th-18th-century music, organ
    Ph.D., Stanford University
    Tel#: 607-255-3712
    ar34@cornell.edu
    340 Lincoln Hall

    In her work as a music historian and keyboard player, Annette Richards draws on her training in English literature, art history, musicology, and musical performance. Musical and visual aesthetics and criticism are of particular interest to her, as is music in literature, and changing attitudes and approaches to performance in the late eighteenth and early nineteenth centuries. Her book The Free Fantasia and the Musical Picturesque (Cambridge, 2001) explores the intersections between musical fantasy and the landscape garden in late eighteenth- and early nineteenth-century music culture, ranging across German-speaking Europe to England. Other topics on which she has written include Mozart and musical automata, the German keyboard song and solitude, and Haydn and the grotesque. She is the editor of CPE Bach Studies (Cambridge, 2006), and, with David Yearsley, of the Organ Works of C. P. E. Bach for the new complete edition (Packard Humanities Institute, 2008). She is also the founding editor of Keyboard Perspectives. Prof. Richards is currently working on two projects: a reconstruction of the extraordinary collection of musical portraits belonging to C. P. E. Bach, and a book that expands on her work on death, fantasy, and the grotesque to explore the dark hermeneutics of musical life in the age of European enlightenment and revolution—Music and the Gothic on the Dark Side of 1800.

    As a performer Annette Richards specializes in music of the Italian and North German Baroque, and has played concerts on numerous historic and modern instruments in Europe and the United States. She also regularly performs music from the nineteenth and twentieth centuries, and has won prizes in international competitions including the 1992 Dublin International Organ Competition and first prize for organ duo with David Yearsley at the Bruges Early Music Festival in 1994. Her CD Melchior Schildt and the North German Organ Art ( on the Loft label) was recorded on the historic organ at Roskilde Cathedral, Denmark.

    Prof. Richards has won numerous honors, including fellowships at the Stanford Humanities Center, the Getty Center in Santa Monica and at the Society for the Humanities at Cornell. She has also held a New Directions Fellowship from the Mellon Foundation and a fellowship from the Alexander von Humboldt Foundation.

    At Cornell Prof. Richards teaches courses on eighteenth- and early nineteenth-century music aesthetics and criticism; intersections between music and visual culture; music and the uncanny; the undergraduate history survey; music of the Baroque; and the organ and its musical culture, as well as organ performance. She has organized several conferences and concert festivals at the university, including “German Orpheus: C. P. E. Bach and North German Music Culture” (1998) and “British Modernism” (2003).

    Prof. Richards is also the Executive Director of the Westfield Center for Historical Keyboard Studies.

    David Yearsley

    Professor
    Musicology, Performance
    History, literature, and performance of 17th-18th-century music
    Ph.D., Stanford University
    Tel#: 607-255-9024
    dgy2@cornell.edu
    341 Lincoln Hall

    David Yearsley was educated at Harvard College and Stanford University, where he received his Ph.D. in Musicology in 1994. At Cornell he continues to pursue his interests in the performance, literature and history of northern European music among other activities. His musicological work investigates literary, social, and theological contexts for music and music making, and he has written on topics ranging from music and death, to alchemy and counterpoint, musical invention and imagination, and musical representations of public spaces in film. His first book, Bach and the Meanings of Counterpoint (Cambridge, 2002) explodes long-held notions about the status of counterpoint in the mid-eighteenth century, and illuminates unexpected areas of the musical culture into which Bach’s most obsessive and complicated musical creations were released. More recently, his Bach’s Feet: the Organ Pedals in European Culture (Cambridge, 2012) presents a new interpretation of the significance of the oldest and richest of European instruments—the organ—by investigating the German origins of the uniquely independent use of the feet in music-making. Delving into a range of musical, literary, and visual sources, Bach’s Feet pursues the wide-ranging cultural importance of this physically demanding art, from the blind German organists of the 15th century, through the central contribution of Bach’s music and legacy, to the newly-pedaling organists of the British Empire, and the sinister visions of Nazi propagandists.

    He is currently working on a monograph entitled The Musical Lives of Anna Magdalena Bach, a study of the changing musical contributions and restrictions, performing possibilities and perils that characterized the musical world of the women of the Bach household in the first half 18th century.

    David’s musical and musicological interests extend to the Elizabethans, the Italian keyboard traditions of the seventeenth century, Handel’s operas, film music, musical travels, and the intersections between music and politics.

    The only musician ever to win all major prizes at the Bruges Early Music Festival competition, David’s recordings of seventeenth- and eighteenth-century organ music are available from Loft Recordings and Musica Omnia.

    While his primary interests are in European music culture of the seventeenth and eighteenth centuries, he has taught courses in music theory, film music, music and travel, and music historiography.

    Works by David Yearsley

    Articles

    •An essay on the political implications of Bach’s vocal works: konturen.uoregon.edu/vol1_Yearsley.html

    Performances

    •Concert performance of C. P. E. Bach’s Abschied von meinem Silbermannischen Claviere for the Cambridge Society for Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord
    •Concert performance of C. P. E. Bach’s Fantasia in C Major from Kenner und Liebhaber VI for the Cambridge Society of Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord

    Why Cornell?

    “A great university deserves to have a really great organ,” says Annette Richards, university organist and project manager. Although Cornell had a number of organs already, it lacked an instrument of the style and scope appropriate to the music of the noted German organist composers of the 17th and 18th centuries. “There was no great vehicle for playing the music especially of Johann Sebastian Bach and his North German predecessors. So I felt it was important for us to get a new really first class—world class—instrument at Cornell,” says Richards.

    Cornell’s New Baroque Organ

    “Cornell is an institution that fosters many kinds of scholarship, and it also has a long and very storied musical tradition,” continues Richards. “Andrew Dickson White was a big organ supporter and fan. He initiated getting an important organ for Bailey Hall when that building was built. And Cornell’s College of Arts and Sciences has a music department where the 18th century is a real strength. It also has a fine collection of keyboard instruments already, and it made sense to build on all those strengths and that history to bring something like this here.”

    Posted by Autistic Reality on 2016-09-17 17:31:30

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  • First Baptist Church Valdosta, 200 W Central Avenue, Valdosta, Georgia, USA / Built: 1900

    First Baptist Church Valdosta, 200 W Central Avenue, Valdosta, Georgia, USA / Built: 1900

    First Baptist Church Valdosta, 200 W Central Avenue, Valdosta, Georgia, USA / Built: 1900

    THE Beginning: To start with Baptist Church of Valdosta in fact commenced in Troupville over 150 many years in the past. The very first settlers arrived to South Ga in 1821. On June 21, 1840, a Missionary Baptist Church organized at the property of James O. Goldwire. First Baptist was at first constituted underneath the name of the Minimal River Baptist Church. There had been 7 charter associates, two of whom ended up black.

    THE EARLY Several years: In excess of the upcoming 4 decades worship companies were being held in residences and the Courtroom Property. Their new church building was finished in 1844 and supplied a new title, Troupville Baptist Church. In1842, $20 was subscribed for missions. Shortly just after, Central Church, “An Arm of the Church,” was constructed about 10 miles away. Slaves have been among the its associates. In 1847, Ebenezer, a further “Arm of the Church,” was formed some twelve miles absent.

    THE Transfer TO VALDOSTA: The coming of railroads necessitated a shift to the new city, Valdosta. In 1860-61, users dismantled their church developing, together with the church bell, and moved to the corner of Valley and Ashley Streets. About two years later, the building was wrecked by a storm, and for the upcoming three to five a long time worship companies were being held in a school household. In 1863, the minutes refer to the church as the Baptist Church of Christ. From 1865 to 1907, it was identified as the Baptist Church of Valdosta.

    THE SANCTUARY: In 1896 a ton on Toombs Road in between West Central Avenue and Valley Street was acquired and construction on a new church creating started. Just after four a long time, on November 18, 1900, the church was committed personal debt cost-free, to the glory of God. Information do not reveal the expense, but by June 1893, a total of $13,000 was put in on the building. The little ones of the Sunday Faculty lessons purchased just one brick just about every and a fund-elevating campaign in 1899 netted $6,000. The curly pine woodwork was donated by W.S. Fender. The stained glass in the home windows is reputed to have arrive from Italy. On December 13, 1908, the Organ Committee recommended the purchase of a Pilcher organ, the utmost charge set at $3,000. Other properties additional have been the Sunday Faculty Annex to the Sanctuary in 1926 and the Children’s Developing and the Langdale Chapel in 1956. Our present Children’s Creating was made in 2006 and the outdated children’s creating was renovated into grownup training room in 2007. It was dedicated in honor of Mac Weaver, our Associate Pastor for over 43 a long time.

    On January 10, 2016 our new Spouse and children Lifestyle Centre was devoted to the glory of God with an emphasis on carrying on the ministry of God from “Generation to Generation: G2G”. The modern constructing involves a youth facility on the 2nd floor and a substantial fellowship corridor which is applied for 8:44 present-day services, concerts, banquets, church family members meals and considerably far more.

    Lengthy TENURE PASTORS: According to the official church heritage, Initial Baptist Church has been blessed with committed pastors who served for a quantity of decades. The very first pastor, William B. Cooper served 14 decades from 1840 to 1854. William H. Goldwire served 14 yrs from 1854 to 1868. T. Baron Gibson served 18 a long time from 1935-1953. James P. Rodgers experienced served 14 years when he died of a coronary heart assault in June of 1967. The 20th pastor, James E. Pitts, served 23 yrs from 1967-1990. For the duration of Reverend Pitts’ ministry, 2,942 persons were being acquired into FBC fellowship. Delos Sharpton came to FBC in August 1991 and served as our pastor right up until November 1999. Dr. Ches Smith served as our Interim Pastor from January 2000 right until July 2001. On the to start with of August 2001, Dr. Philip West was welcomed into our church household and served until finally March 2013. Dr. Milton Gardner, who served as pastor of Initially Baptist Church in Thomasville, Ga for 31 a long time, served as Interim Pastor from April 2013 till July 2014. After constant prayer for God’s will, our committee identified the individual God selected to be our upcoming pastor. In August 2014, Charles “Chuck” Owens joined the FBC church family serving as our Senior Pastor.

    Credit rating for the facts earlier mentioned is supplied to the adhering to internet websites:
    fbcvaldosta.org/
    qpublic.schneidercorp.com/Software.aspx?AppID=631&…

    © All Legal rights Reserved – you might not use this image in any type devoid of my prior permission.

    Posted by Photographer South Florida on 2020-02-24 00:56:02

    Tagged: , Very first Baptist Church Valdosta , 200 W Central Avenue , Valdosta , Georgia , Usa , Built: 1900 , 1st , Baptist , Church , 200 , W , Central , Avenue , Constructed: , 1900 , Lowndes , County , south , holy , position , worship , Peach , Point out , white , American , Flag , stree , pictures , making , steeple , blue , sky , faith , spiritual business

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