Misplaced Pages

#683316

45-480: Designed by architect Bertram Goodhue between 1918 and 1924, and built between 1925 and 1928 without the use of structural steel, it contains about 70 integrated figural sculptures by sculptors Lee Lawrie and Ulric Ellerhusen , and interior work by mosaicist Hildreth Meière . Today the chapel is used for ecumenical worship services, university convocations, guest speakers, musical programs, weddings, memorial services, and occasional film screenings. It occupies most of

90-416: A thumb index to help find material quickly. Gold leaf may also be applied to the edges of the pages, so that when closed, the side, top, and bottom of the book have a golden color. On some books, a design may be printed on the edges, or marbling or a simple colour applied. Some artist's books go even further, by using fore-edge painting . Pop-up elements and fold-out pages may be used to add dimensions to

135-675: A block and can seat 1700 people. The woodcarvings that adorn the organ and South balcony were created by Alois Lang , a Master Woodcarver at the American Seating Co. , and one of the artists responsible for bringing the medieval art of ecclesiastical carving back to life. His pieces in Rockefeller Chapel are carved from White Appalachian Oak. The chapel contains the Laura Spelman Rockefeller Memorial Carillon and tower,

180-578: A design competition for St. Matthew's in Dallas. After completing his apprenticeship, Goodhue moved to Boston Massachusetts , where he was befriended by a group of young, artistic intellectuals involved in the founding of the Society of Arts and Crafts – Boston in 1897. This circle included Charles Eliot Norton of Harvard University and Ernest Fenollosa of the Boston Museum of Fine Arts . It

225-627: A full Academician in 1923. When Goodhue left to begin his own practice in 1914, Cram had already created his dreamed-of Gothic Revival commission at the Cathedral of St. John the Divine in New York City, and continued to work in the Gothic style mode for the rest of his career. Goodhue departed into a series of radically different stylistic experiments over his independent career. His first

270-505: A part title, the half title or part title counts as page one. As in the front matter, page numbers are omitted on blank pages, and are either omitted or a drop folio is used on the opening page of each part and chapter. On pages containing only illustrations or tables, page numbers are usually omitted, except in the case of a long sequence of figures or tables. The following are two instructive examples: The back matter , also known as end matter , if used, normally consists of one or more of

315-649: A separate gift from John D. Rockefeller Jr. in 1932 in honor of his mother. This 72-bell carillon is the second-largest carillon in the world by mass, after the carillon at Riverside Church on the Upper West Side of New York City , which Rockefeller Jr. also donated in honor of his mother. [REDACTED] Media related to Rockefeller Chapel at Wikimedia Commons 41°47′19″N 87°35′49″W  /  41.78858°N 87.59704°W  / 41.78858; -87.59704 Bertram Goodhue Bertram Grosvenor Goodhue (April 28, 1869 – April 23, 1924)

360-524: A six-month research and acquisitions tour together through Egypt , Persia , and the Arabian Peninsula before collaborating on the classic Persian gardens layout and Roman and Spanish Colonial Revival residence at El Fureidis. Goodhue's Spanish Colonial Revival style work went on to dominate the Hawaiian architecture of public buildings and estate residences during the 1920s building boom in

405-404: Is called a drop folio . Drop folios usually appear either centered on each page or flush left verso and flush right recto. The book contains the main text and a number of paratexts that comprise all of the additional matter that is included in the book. Front matter (or preliminaries; shortened to "prelims") comprises the first section of a book, and is usually the smallest section in terms of

450-793: Is central to the aesthetic power and social messages implicit in Goodhue's best work. Lee Lawrie worked with Cram and Goodhue on: the Chapel at West Point, the Church of St. Vincent Ferrer, St. Bartholomew's, and the reredos at the Church of St. Thomas. Lawrie worked after 1914 with Goodhue's independent practice on: the Los Angeles Public Library , the Nebraska State Capitol , the Rockefeller Chapel at

495-461: Is either omitted or a drop folio is used on the opening page of each section of the front matter (e.g., table of contents, foreword, preface). Front matter generally appears only in the first of a multi-volume work, although some elements (such as a table of contents or index) may appear in each volume. It can get in the way of reading a book for even the most devoted fans of an author. The following table defines some common types of front matter, and

SECTION 10

#1732783048684

540-432: Is especially important and publishing tradition and formality are less important. The spine is the vertical edge of a book as it normally stands on a bookshelf . Early books did not have titles on their spines; rather they were shelved flat with their spines inward and titles written with ink along their fore edges. Modern books display their titles on their spines. In languages with Chinese-influenced writing systems,

585-649: Is held by the Avery Architectural and Fine Arts Library at Columbia University in New York City. James Perry Wilson , an architect and painter responsible for many of the Natural History dioramas at the American Museum of Natural History , was employed by Bertram Goodhue Associates before transitioning to museum work. Book design Book design is the art of incorporating the content, style, format , design , and sequence of

630-581: Is sometimes credited with being part of popularizing the art deco style in America, as in his design for the Nebraska State Capitol building, by which some may retroactively classify him as an early American Modernist . However, his dedication to the integration of art and architecture was contrary to the spirit of Modernism design, and at least partly accounts for the academic and critical neglect of his work. A significant archive of Goodhue's correspondence, architectural drawings , and professional papers

675-400: Is the page spread. The left page and right page (called verso and recto respectively, in left-to-right language books) are of the same size and aspect ratio, and are centered on the gutter where they are bound together at the spine . The design of each individual page, on the other hand, is governed by the canons of page construction . The possible layout of the sets of letters of

720-486: The Territory of Hawaii . Later Goodhue's architectural creations became freed of architectural detail and more Romanesque in form, although he remained dedicated to the integration of sculpture , mosaic work, and color in his surface architectural details. Towards the end of his career, he arrived at a highly personal style, a synthesis of simplified form and a generalized archaic quality, and those innovations paved

765-408: The "voice" (or point of view) in which each can be said to be given: The structure of a work—and especially of its body matter—is often described hierarchically. The first page of the actual text of a book is the opening page, which often incorporates special design features, such as initials . Arabic numbering starts at this first page. If the text is introduced by a second half title or opens with

810-819: The 1930s for the Rockefeller Center project collaboration with Raymond Hood. In a dissertation on American regional architecture in California and Hawaii, Goodhue is credited with creating a distinctive interpretation of Spanish Colonial architecture into the Spanish Colonial Revival Style as a dominant Californian regional vernacular. He also directly influenced the dominance of the Spanish Colonial Revival style in major public and private architecture of 1920s Hawaii. Along with Paul Cret and others, Goodhue

855-586: The Cheltenham typeface for use by a New York printer, Cheltenham Press. This typeface came to be used as the headline type for The New York Times . In 1891, Cram and Goodhue formed the architectural firm of Cram, Wentworth, and Goodhue , renamed Cram, Goodhue and Ferguson in 1898. The firm was a leader in Neo-Gothic architecture , with significant commissions from ecclesiastical, academic, and institutional clients. The Gothic Revival Saint Thomas Church

900-634: The Intercession , at his request in the building he considered his finest. Architectural sculptor Lee Lawrie created a Gothic styled tomb for him there, featuring Goodhue recumbent, crowned by a carved halo of some of his buildings. He received the AIA Gold Medal in 1925. Over the course of his career, Goodhue relied on frequent collaborations with several significant artists and artisans. These included architectural sculptor Lee Lawrie , and mosaicist and muralist Hildreth Meiere . Their work

945-816: The Southern and Southwestern United States. It led to California's assimilation of Spanish Colonial Revival Style architecture as its dominant historical regional style, which continues to this day. The singular style for the rebuilding of Santa Barbara after its 1925 destruction by a major earthquake was drawn from the local Mission Revival and Goodhue's Panama–California Exposition Spanish Colonial Revival style trends. Examples of influential private Californian commissions, both extant registered landmarks now, are his 1906 J. Waldron Gillespie Estate, El Fureidis ; and 1915 Dater – Wright Ludington Estate, Dias Felices — Val Verde in Montecito . Goodhue and Gillespie had done

SECTION 20

#1732783048684

990-819: The University of Chicago, the National Academy of Sciences Building in Washington, D.C., and the Christ Church Cranbrook completed after Goodhue's death at the Cranbrook Schools in Bloomfield Hills, Michigan . Edward Ardolino was a frequent collaborating sculptor. After Goodhue's unexpected death in 1924, many of his designs and projects were brought to completion by architect Carleton Winslow Sr. in California,

1035-430: The alphabet, or words, on a page is determined by the so-called print space, and is also an element in the design of the page of the book. There must be sufficient space at the spine of the book if the text is to be visible. On the other hand, the other three margins of the page, which frame the book, are made of the appropriate size for both practical and aesthetic reasons. The print space or type area determines

1080-425: The cover and the body of the book. In modern publishing it can be either plain, as in many text-oriented books, or variously ornamented and illustrated in books such as picture books , other children's literature, some arts and craft and hobbyist books, novelty/gift-market and coffee table books , and graphic novels . These books have an audience and traditions of their own where the graphic design and immediacy

1125-400: The cover yields all or part of its informational function to the dust jacket. On the inside of the cover page, extending to the facing page is the front endpaper sometimes referred as FEP. The free half of the end paper is called a flyleaf . Traditionally, in hand-bound books, the endpaper was just a sheet of blank or ornamented paper physically masking and reinforcing the connection between

1170-416: The following components: Arabic numbering continues for the back matter. The front cover is the front of the book, and is marked appropriately by text or graphics in order to identify it as such (namely as the very beginning of the book). The front cover usually contains at least the title or author , with possibly an appropriate illustration . When the book has a soft or hard cover with dust jacket ,

1215-453: The inside of the back cover page, extending from the facing page before it, is the endpaper. Its design matches the front endpaper and, in accordance with it, contains either plain paper or pattern, image etc. The back cover often contains biographical matter about the author or editor, and quotes from other sources praising the book. It may also contain a summary or description of the book Books are classified under two categories according to

1260-414: The need for a context to understand what that means. Modern books are paginated consecutively, and all pages are counted in the pagination whether or not the numbers appear (see also: blind folio ). The page number , or folio , may be found at the top or the bottom of the page, often flush left verso , flush right recto . The folio may also be printed at the bottom of the page, and in that location it

1305-472: The number of pages. Front matter pages are traditionally numbered in lower-case Roman numerals (i, ii, iii, iv, v, etc.), which obviates renumbering the remainder of a book when front matter content is added at the last moment, such as a dedication page or additional acknowledgments. Page number is omitted on blank pages and display pages (i.e., such stand-alone pages as those for the half title, frontispiece, title page, colophon, dedication, and epigraph), and it

1350-406: The page in different ways. Children's books commonly incorporate a wide array of design features built into the fabric of the book. Some books for preschoolers include textured fabric, plastic on other materials. Die-cut techniques in the work of Eric Carle are one example. Clear or reflective surfaces, flaps, textiles and scratch-and-sniff are other possible features. A basic unit in book design

1395-461: The pages using glue (perfect binding). Some small paperback books are sub-classified as pocketbooks. These paperbacks are smaller than usual—small enough to barely fit into a pocket (especially the back pocket of one's trousers). However, this capacity to fit into a pocket diminishes with increasing number of pages and increasing thickness of the book. Such a book may still be designated as a pocketbook. Some books such as Bibles or dictionaries may have

Rockefeller Chapel - Misplaced Pages Continue

1440-608: The physical nature of their binding. The designation hardcover (or hardback) refers to books with stiff covers, as opposed to flexible ones. The binding of a hardcover book usually includes boards (often made of paperboard ) covered in cloth, leather, or other materials. The binding is usually sewn to the pages using string stitching. A less expensive binding method is that used for paperback books (sometimes called softback or softcover). Most paperbacks are bound with paper or light cardboard, though other materials (such as plastic) are used. The covers are flexible and usually bound to

1485-404: The spine text, when the book is standing upright, runs from the top to the bottom. This means that when the book is lying flat with the front cover upwards, the title is oriented left-to-right on the spine. This practice is reflected in the industry standards ANSI/NISO Z39.41 and ISO 6357., but "... lack of agreement in the matter persisted among English-speaking countries as late as the middle of

1530-481: The spine text, when the book is standing upright, runs from the bottom up, so the title can be read by tilting the head to the left. This allows the reader to read spines of books shelved in alphabetical order in accordance to the usual way left-to-right and top-to-bottom. The spine usually contains all, or some, of four elements (besides decoration, if any), and in the following order: (1) author, editor, or compiler; (2) title; (3) publisher; and (4) publisher logo. On

1575-460: The successor firm of Mayers Murray & Phillip in New York, and other former associates. Goodhue's offices had employed, before they established their own independent practices and reputations, designers and architects such as Raymond Hood , Carleton Winslow Sr., Clarence Stein , and Wallace Harrison . Thematic consultant Hartley Burr Alexander , Lee Lawrie, and Hildreth Meiere reassembled in

1620-663: The title is written top-to-bottom. In languages written from left to right, the spine text can be pillar (one letter per line), transverse (text line perpendicular to long edge of spine) and along spine. Conventions differ about the direction in which the title along the spine is rotated: In texts published or printed in the United States, the United Kingdom, the Commonwealth, Scandinavia and the Netherlands,

1665-610: The twentieth century, when books bound in Britain still tended to have their titles read up the spine ...". In many continental European countries, where the ascending system has been used in the past, the descending system has been used in recent decades, probably due to the influence of the English-speaking countries, such as Italy, Russia, Poland and elsewhere. In many continental European and Latin American countries,

1710-462: The various components and elements of a book into a coherent unit. In the words of renowned typographer Jan Tschichold (1902–1974), book design, "though largely forgotten today, [relies upon] methods and rules upon which it is impossible to improve, [and which] have been developed over centuries. To produce perfect books, these rules have to be brought back to life and applied". Richard Hendel describes book design as "an arcane subject", and refers to

1755-497: The way for others to transition to modern architectural idioms. This style is seen in his last major projects: the 1926 Mediterranean revival and Egyptian revival Los Angeles Public Library ; the Nebraska State Capitol ; and in his 1922 entry for the Chicago Tribune Tower competition. Goodhue died in 1924 in New York City. He was interred within a wall vault in the north (left-hand) transept of his Church of

1800-405: Was also through this group that Goodhue met Ralph Adams Cram , who would be his business partner for almost 25 years. Cram and Goodhue were members of several societies, including the "Pewter Mugs" and the " Visionists ". In 1892–1893 they published a quarterly art magazine called The Knight Errant . The multitalented Goodhue was also a student of book design and type design . In 1896, he created

1845-700: Was an American architect celebrated for his work in Gothic Revival and Spanish Colonial Revival design. He also designed notable typefaces , including Cheltenham and Merrymount for the Merrymount Press . Later in life, Goodhue freed his architectural style with works like El Fureidis in Montecito, California , one of three estates he designed. Goodhue was born in Pomfret, Connecticut , to Charles Wells Goodhue and his second wife, Helen Grosvenor (Eldredge) Goodhue. Due to financial constraints he

Rockefeller Chapel - Misplaced Pages Continue

1890-520: Was designed by them and built in 1914 on Manhattan 's Fifth Avenue in New York City. In 1904, Goodhue built a townhouse at 106 East 74th Street , pushing the front to the building line and redesigning it in a mix of Gothic and Tudor styles. In 1915, Goodhue accepted membership to what is known now as the American Academy of Arts and Letters . In 1917, Goodhue was elected into the National Academy of Design as an Associate member, and became

1935-572: Was educated at home by his mother until, at age 11 years, he was sent to Russell's Collegiate and Commercial Institute . Finances prevented him from attending university. In lieu of formal training, in 1884 he moved to Manhattan , New York City, to apprentice at the architectural firm of Renwick, Aspinwall and Russell (one of its principals, James Renwick Jr. , was the architect of Grace Church and St. Patrick's Cathedral , both in New York City). Goodhue's apprenticeship ended in 1891 when he won

1980-547: Was for the significant commission of the El Prado Quadrangle's layout and buildings at the major 1915 Panama–California Exposition , located in San Diego's Balboa Park . He was the lead architect, taking over from Irving Gill , with Carleton Winslow Sr. and Lloyd Wright assisting. The Panama–California Exposition's style was seen by many and widely published, becoming extremely influential in California and

2025-597: Was the Byzantine Revival style for St. Bartholomew's Episcopal Church on New York City's Park Avenue , built on a new platform just above the Grand Central Terminal railyards. In California, in 1915, Bertram Goodhue re-interpreted masterful Spanish Baroque and Spanish Colonial architecture complete with the latter's traditional Churrigueresque detailing into what became known as the Spanish Colonial Revival Style of architecture. This

#683316