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  1. Bridges

    [n.p., 189-?]

  2. Bridges

    Dupré, Judith, 1956-
    New York : Black Dog & Leventhal Publishers : Distributed by Workman Pub. Co., c1997.

  3. Bridges

    Cleary, Richard Louis
    1st ed. - New York, N.Y. : W.W. Norton & Company, c2007.

    Surveys American bridges from coast to coast in terms of four fundamental structural types (beam, arch, truss and suspension) and the special category of movable bridges, showing how similar structural ideas have been addressed by different designers, refined over time and rendered in various building materials.

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  1. Strauss Bridge Plans available for research

    Strauss Trunnion Bascule Bridge over San Joaquin River at Mossdale, California. Image courtesy of Special Collections, Stanford Libraries.   The Joseph Strauss Bridge Plans collection has been reprocessed and rehoused and are now available for research in the Reading Room. Originally donated by the School of Engineering in 1966, the drawings in the collection had been stored rolled in tubes or in paper-wrapped bundles. In 2019, Gurudarshan Khalsa began working to unroll the drawings and flatten them for rehousing in large folders. In early 2020 David Krah finished unrolling and rehousing the drawings, and revised the existing finding aid. The drawings spent some time flattening out under weights during the break in the action and are now returning to permanent storage. Researchers can now page individual sets of drawings for use in the Special Collections Reading Room. Using weights to flatten unrolled bridge plans. Strauss Trunnion Bascule Bridge proposed Deering bridge over North Branch Chicago River. Image courtesy of Special Collections, Stanford Libraries   Known to many as the Chief Engineer of San Francisco’s Golden Gate Bridge, Joseph Strauss’ most widespread impact has been through the Strauss Bascule Bridge Company. Headquartered in Chicago, Strauss’ company built a wide variety of movable bridges incorporating one of his patents for a bascule type bridge employing a concrete counterweight. Locally, a well-known example of this design exists at 3rd Street and Channel Street in San Francisco (the Lefty O’Doul Bridge). The Strauss Bascule Bridge Company designed moveable bridges across waterways all over the United States and Canada with concentrations in Chicago, Eastern New Jersey and California. The collection includes designs from Cuba, Mexico, Norway and a competitive submission for the Palace Bridge in St. Petersburg, Russia. Each drawing set contains 15-30 (or more) drawings including elevations and site plans as well as technical details of linkages, bearings, material specifications and mechanical operations.             Channel Street Waterway at Third Street, San Francisco California. File 1038: S.T.B.B. 1931-1932, Roll 86, Item 2. Image courtesy of Special Collections, Stanford Libraries   Review the finding aid on the Online Archive of California: Joseph Strauss Bridge Plans, 1905-1935 Page items from the catalog record: Joseph Strauss Bridge Plans, 1905-1935 Several drawing sets have been digitized and are available to view by clicking the above catalog record link.                    

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  2. Purcell remembered: The history of the autographed manuscript of Purcell’s Te Deum & Jubilate for Voices and Instruments Made for St. Cecilia’s Day 1694

    Henry Purcell. Te Deum & Jubilate for Voices and Instruments made for St. Cecilia’s Day 1694.  Memorial Library of Music, MLM 850 Guest blogger: Michael Evans Kinney While not much is known about the early St. Cecilia’s Day celebrations circa 1683, England’s premier composer, Henry Purcell (1659-1695), wrote many pieces for the festivities. In 1694, he wrote one such piece, titled Te Deum & Jubilate for Voices and Instruments made for St. Cecilia’s Day 1694. The landmark work sets an English translation of the St. Ambrose Hymn and revolutionized church music with its scoring for violins, viola, basso continuo, and two trumpets, with soloists and choir. Purcell originally wrote the piece not for St. Cecilia’s Day, but for a Thanksgiving service to celebrate the return of King William III after a string of military successes. However, the use of instruments in the Royal Chapel was forbidden, and Purcell, not wanting to upset the Court, chose not to premiere the piece for this occasion.[1] As a result, the St. Cecilia’s Day celebration of 1694 marked the first time that instruments were used in English church music. The piece continued to be performed both for Thanksgiving services between 1702 and 1713 and for the Festival of the Sons of the Clergy, which took place annually at St. Paul’s Cathedral. Purcell’s Te Deum and Jubilate in D was a mainstay for this festival from 1697 (even inspiring a special print edition of the score) to 1713 when Handel’s Te Deum setting composed for the Peace of Utrecht took London by storm. From this point on, Purcell’s setting had to compete with Handel’s, which was much more fanciful. The only known autographed manuscript of this piece is currently housed at Special Collections and University Archives at Stanford University, and has been used in the preparation of modern transcriptions of the piece. The provenance of the manuscript is attributed to Frederick Bridge and Arthur Frederick Hill. Bridge was an organist and composer who was organ and choir master at Westminster Abbey beginning in 1875, while Arthur Frederick Hill was an instrument builder with W. E. Hill and Sons. We know that Bridge, while organist at Westminster Abbey, commissioned Hill and Sons to build a new organ. Bridge was probably in possession of the manuscript first; he had organized a festival of Purcell’s music in celebration of the bicentennial of his death in 1895.[2] The bookplate in the front cover of the manuscript, however, suggests that at some point Hill was in possession of it. Bridge vehemently wrote in 1895 that the arrangement of Purcell’s Te Deum and Jubilate in D that had been made by composer William Boyce in the mid 18th century spoiled Purcell’s composition.[3] In a brief statement published in The Musical Times in 1895, he notes that with his new edition of Purcell’s score that he was preparing from the autographed manuscript, he hoped to restore Purcell’s original sound. While Bridge asserts that this is the original autographed manuscript, it is more likely a fair copy, as it is written in three distinct hands, two being known copyists of Purcell.[4] The manuscript was bound between 1869 and 1939. This was determined by the active dates of the company that bound the manuscript and the paper that was used in the binding process. Watermarks on the paper reading “MBM” tell us that this paper was made by Arches® Paper. This watermark was only used by the company starting in 1869 and refers to the initials of the three owners, Morel, Bercioux and Masure. The binding was by Rivere & Son, whose active dates were 1829-1939. These dates correspond with the dates of both Bridge and Hill, further suggesting that one of them had the manuscript bound. The 1905 date at the bottom of the bookplate suggests that it was bound perhaps around this year, but we cannot be certain from this alone. Watermark reading “MBM” from Arches® Paper  Indication of the binders The manuscript has been used often in the preparation of new editions as it is the only known autographed manuscript. There are pencil markings throughout the manuscript, correcting and clarifying some points in the music. Since the 1920s, the Purcell Society has made strong efforts to preserve the composer’s original sound through scholarly editions of his scores (see the 32 volume The Works of Henry Purcell and Complete Index of Works [London: Novello, 1961-present]). The manuscript has been an important document in the current perception and understanding of Purcell’s work. With thanks to Astrid Smith, Rare Book and Special Collections Digitization Specialist, and the Digital Production Group for providing downloadable images of this manuscript. Guest blogger Michael Evans Kinney is a PhD student in Musicology at Stanford University. His work on late-19th, 20th, and 21st century vocality focuses on issues of divadom and the aging process. [1] William Weber, The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology (Oxford: Clarendon Press, 1992), 111. [2] Anonymous, “Sir F. Bridge,” The Times (19 March, 2016), accessed 15 Dec., 2016. [3] J. F. Bridge, “Purcell’s Te Deum” The Musical Times and Singing Class Circular 36, no. 626 (April 1, 1895): 263. Original emphasis. [4] Margaret Laurie and Bruce Wood (eds.), The Works of Henry Purcell, Volume 23: Services, (London: Stainer & Bell, 2013) xv-xvi.  

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  3. Early video from Ampex Corp collection at SF History Expo this weekend

    The San Francisco History Expo is this weekend (March 1-2, 2014) at the Old Mint. Some very early video footage from the Ampex Corp collection at Stanford will be on view there. This footage -- preserved through the state-wide California Audiovisual Preservation Project -- is special because it demonstrates Ampex's first portable video recorder, the VR-3000. It depicts scenes recorded on a San Francisco cable car going steeply down (probably) California Street in 1967! Other cool things on view, from other libraries, museums, and archives across the state that participate in CAVPP include: Earthquake Scenes (1906). Film footage of the aftermath of the 1906 earthquake and fire. From California Historical Society. Film footage of the Panama Pacific Exposition (1915). Equestrian events, stunt flying, wrestling, dancing, boating, pageantry and other events. Vistas of the Exposition, and close-ups of many individual buildings. From The Bancroft Library, University of California, Berkeley. Film footage of California scenes (1930s). Aerial shots of the construction of the Golden Gate Bridge and Bay Bridge. From The Bancroft Library, University of California, Berkeley. Golden Gate Bridge Celebration (1937). Film footage of the opening of the Golden Gate Bridge. From California Historical Society. Golden Gate International Exposition, Treasure Island (1939). Home movie of the world's fair. From University of California, Berkeley Art Museum and Pacific Film Archive. Go Western Pacific to San Francisco (1949) A trip on the California Zephyr to San Francisco along the Feather River Route.  From the California State Railroad Museum. Our Trip North (1960). Home movie of San Francisco tourist scenes. From Ontario City Public Library. High School Rising (1969). Students from Mission High School tell it like it is. By California Newsreel. From University of California, Berkeley Art Museum and Pacific Film Archive. Mission District Murals (1982-1983). Neighborhood kids appreciate the murals they see every day. From University of California, Santa Barbara, Davidson Library, Department of Special Collections. Do You Know Your Bay Area? (1973). A brief history and potential future of the city's infrastructure, environment and community, produced by the League of Women Voters for KQED's Open Studio. From The Bancroft Library, University of California, Berkeley. San Francisco Police Department vs. Gay Community Softball League (1974). Play ball! The team that has the most fun, wins. From California Historical Society.  Harvey Milk Interview at Castro Camera (1978). Media collective Optic Nerve interviews San Francisco Supervisor Harvey Milk at his camera shop. From University of California, Berkeley Art Museum and Pacific Film Archive. If you are in SF this weekend, definitely check it out!

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