15...then photos on Flickr

Mitre Hotel, 2 Church Street/Paradise Street, Liverpool. Photo c1900-01. by Philip Mayer

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Joseph Sharples in the latest "Pevsner" says 2 Church Street is the former Seel's Building, completed by 1872.

He says: "A rare essay in commercial architecture by Edward Welby Pugin, best known for his R.C. churches."

By 1881 it was "Syke's Mourning Warehouse".

The Mitre Hotel, 2 Church Street, opened 13 November 1894 "on temperance principles" by the Liverpool Clerks' Café Company. 36 bedrooms.

An application for a full victualler's licence was refused in August 1895 (they'd lost money by not being able to supply booze), and refused again in each August, until finally refused in August 1899.

There was a large room where meetings were held - the final one was on 7 March 1900.

The licence and Goodwill was for sale on 22 March 1900, but there were no takers. The contents of the hotel were for sale on 27 August 1900.

It was occupied by Crane's from c1901 until they built new premises in Hanover Street in 1913-15*.

Then Cooper's (grocers) from c1920 to 1972.

Then Hepworth's (tailors).

*This date is also confirmed by Joseph Sharples.

Edit, September 2017.

It's going to reopen as a new branch of NatWest, but they're going to close seven branches in Merseyside, including Castle Street, which is the oldest operating bank (1901) in Liverpool.

A friend was in the Castle Street branch last week and he was told it was going to close, although the list of NatWest closures gives the impression it will stay open.

We'll see.

www.liverpoolecho.co.uk/news/liverpool-news/natwest-confi...

Albert Hautecoeur - Eglise de la Sorbonne, ca 1865 by The History of Photography Archive

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Maker: Albert Hautecoeur

Born: France

Active: France

Medium: albumen print

Size: 3 1/2 in x 7 in

Location: France

Object No. 2020.325

Shelf: E-14-PARIS

Publication:

Other Collections:

Provenance: 48151

Rank: 6

Notes: A. Hautecoeur was a publisher and seller of photographs and prints located at 172 rue de Rivoli. The firm was originally founded by Aaron Martinet as Ancienne Maison Martinet. After his marraige to Martinet's daughter in 1822, Hermenégilde Hautecoeur took over running the firm in 1824. In later years the firm was run by the next generation, Eugène (1822-1870) and Alfred Hautecoeur (1824-1882), and the name Martinet was dropped. Prior to joining the firm Eugene and Alfred worked together from 1843 to 1867 under the name "Hautecoeur Brothers". From 1868, Alfred directs the publishing house at 172 rue de Rivoli, under the name "Ancienne maison Martinet" and Eugene at Boulevard des Capucines, under the name "Maison Martinet"

Locations of the shops are as follows: 1829: 13, 15 rue Coq-Saint-Honoré (until demolished by Hausmann). 1832: rue du Coq St. Honoré, No. 13 et 15 1830 (circa): rue du Coq (Hautcoeur[sic]-Martinet) 1848-1852 (circa): 15 rue du Coq 1848-1852 (circa): (Maison Martinet), rue du Coq 1848-1852 (circa): Maison Martinet, rue Vivienne, 41, et rue du Coq, 15 Then 1855: 146 rue de Rivoli, from 1862 no. 172 (known as Ancienne Maison Martinet). 41 rue Vivienne, later Boulevard des Capucines (known as Maison Martinet)

The shop still functioned in the rue de Rivoli, no.172, in 1991, selling modern reproductions, posters and a few old maps.

To view our archive organized by Collections, visit: OUR COLLECTIONS

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Ramlila At The Maha Kumbh by firoze shakir photographerno1

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From Wikipedia, the free encyclopedia

Ramlila (Rāmlīlā) (literally 'Rama’s lila or play') is a dramatic folk re-enactment of the life of Rama, ending up in ten-day battle between Rama and Ravana, as described in the Hindu religious epic, the Ramayana.[1] A tradition that originates from the Indian subcontinent, the play is staged annually often over ten or more successive nights, during the auspicious period of 'Sharad Navratras', which marks the commencement of the Autumn festive period, starting with the Dussehra festival. Usually the performances are timed to culminate on the festival of Vijayadashami day, that commemorates the victory of Rama over demon king Ravana, when the actors are taken out in a procession through the city, leading up to a mela ground or town square, where the enactment of the final battle takes place, before giant effigies of Ravana, his brother Kumbhakaran and son Meghanath are set fire, and coronation or abhisheka of Rama at Ayodhya takes place, marking the culmination of festivities and restoration of the divine order.[2]

Rama is the 7th incarnation of Vishnu and central figure of the Ramayana. The Ramayana is based on the life, times and values of Lord Rama. Lord Rama is called the Maryada Purushottam or 'The best among the dignified'. The story of Lord Rama and his comrades is so popular in India that it has actually amalgamated the psyche of the Indian mainstream irrespective of their religion. The very story of Ramayana injects ethics to the Indian mainstream.

Most Ramlilas in North India are based on the 16th century Avadhi version of Ramayana, Ramcharitmanas, written by Gosvami Tulsidas entirely in verse, thus used as dialogues in most traditional versions, where open-air productions are staged by local Ramlila committees, 'Samitis', and funded entirely by the local population, the audience.[3] It is close to the similar form of folk theatre, Rasa lila, which depicts the life of Krishna, popular in Uttar Pradesh, especially Braja regions of Mathura, Vrindavan, and amongst followers of Gaudiya Vaishnavism and Vaishnavism in Manipur, with some similarity with Pandavlila of Garhwal, based on life of Pandavas of Mahabharat and Yakshagana of Karnataka, based on various epic and puranas.[4]

Ramlila has received considerable global attention, especially due to its diverse representation throughout the globe, especially amongst the Indian diaspora community, and regions where Hinduism has spread over the centuries, like Africa and several South East Asian countries. UNESCO proclaimed the tradition of Ramlila a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005.[5] Subsequently, Govt. of India and IGNCA produced a two-hour documentary, titled "Ramlila - The traditional performance of Ramayana" for UNESCO, on 'Ramnagar Ramlila', and Ramlila traditions of Avadh, Braj and Madhubani, and that of Ayodhya, which assimilates elements of all three.[6] Another unique Ramlila, is being staged since 1972, at Bakshi Ka Talab, about 20 km from Lucknow, where lead characters like Rama, Lakshman and Hanuman are played by Muslim youths, a clear departure in a region known for communal flare-ups; this four-day Ram Lila starts on the day of Dusshera day, and has also been adapted into a Radio play, 'Us Gaon ki Ram Lila', by Lucknow All India Radio, which won the Communal Harmony Award in 2000.[7]

Historically it is believed that first Ramlila shows were staged by Megha Bhagat, one of the disciples of Tulsidas, the author of Ramacharitamanas in about 1625 AD, though there are some evidence of its existence in some form before the creation of this version as well. Some scholars believe its first appearance somewhere between 1200 and 1500 AD. Later during in the time of Mughal emperor Akbar, according to some, Akbar is said to have watched a performance. Krishna Das Kaviraj mentions in his 16th century hagiography of saint Chaitanya Mahaprabhu (1486–1533), Chaitanya Charitamrita, that once he got carried away while performing the character of Hanuman at a play in Puri, thus proving the existence of Ramayana plays, before the Ramcharitamanas appeared.[4] Though it would safe to conclude that its implosion into the Hindi heartland, happened only after Tulsidas created his version in people's language of the time, the Avadhi, unlike the original written by Valmiki, in Sanskrit, the language only spoken by Brahmins by then, which excluded much of masses from experiencing the inspirational saga, which is essentially the victory of good over evil.[8]

Styles of Ramlila[edit]

An actor playing Ravana for a scene from Ramlila

Today, several regions have developed their distinctive form of Ramlila, Uttar Pradesh itself has numerous variants of presentation styles, most prominent among them is that of Ramnagar, Varanasi, staged over multiple venue, the pantomime style is visible in jhankis or tableaux pageants as seem in Ramlila of Varanasi, where colourful Jhankis and pageants depicting scenes from the life of Lord Rama are taken out through the city.[9] According to a 2008 UNESCO report, the most representative Ramlilas are those of Ayodhya, Ramnagar and Varanasi, Vrindavan, Almora, Satna and Madhubani.[5]

The Almora or Kumaon style was set in the musical rendering of thekatha based on the theatrical style developed by Uday Shankar during his stay in Almora, it was carried on forward by Mohan Upreti and Brijendra Lal Sah.

A Ramlila actor the traditional attire of Ravana

Next is the operatic style incorporates elements of folk theatre elements generously, while the traditional style remains, where the couplets of Ramacharitmanas not only act as dialogues, but also as chorus as well, and lastly there is the Ramlila staged by professional troupes called "mandalis".[10] Many urban Ramilias now have dialogues written in Khadi Boli or in local dialects, but the treatment remains melodramatic as always to achieve maximum impact amidst an audience that knows the story by heart, but watches the enactment nevertheless for religious fervour and also for its spectacle value, making Ramlila an important event in the religious as well as social calendar of not only in small town and villages but also many big cities. Just other folk theatre form of India, like Jatra of Bengal, topic themes are often interwoven in the script to had relevance and sometimes humour is used to offer a critic or commentary over current happenings.

A unique staging of Ramlila, takes place at Chitrakoot, over five days every year during the last week of February, beginning from the Maha Shivratri day, here the episode of Bharat-Milap is of prime importance, and is watched by eager devotees.[11] The Ram Barat of Agra is another interesting tradition connected with Ramlila, where in during the three festivities, a marriage procession of Rama is taken through various localities of the city.

Delhi holds many prominent Ramlilas across the city, including the oldest one on the Ramlila Grounds, outside the historic Red Fort, it was started in times of Mughal emperor Bahadur Shah Zafar,[12] and in 2004, for the first time, Ramlila celebrations organised by Luv-Kush Ramlila Committee were telecast to over 100 countries, telecast on SADHNA TV.[13]

Ramlila at Ramnagar, Varanasi[edit]

The tradition of staging the Ramlila at Ramnagar, Varanasi, which lies across the Ganges river from the Hindu pilgrimage city of Varanasi, was started in ca 1830 by Maharaja Udit Narayan Singh, Kashi Naresh with the help of Pandit Laxmi Narayan Pandey's family (present vyas ji of the Ramlila of Ramnagar).[14][15] It rose in popularity during the reign of his successor Maharaj Isvari Prasad Singh, and received continued patronage from the subsequent Kings of the Royal House of Benares to create a participatory environmental theatre (Site-specific theatre) on a grand scale, where attendance ranges from few thousands to 100,000 for others.[16] The Ramlila is a cycle of plays which recounts the epic story of Lord Rama, as told in Ramcharitmanas, the version of the Ramayana penned by Tulsidas. The plays sponsored by the Maharaja, are performed in Ramnagar every evening for 31 days.[15]

Though several local legends exist regarding the beginning of this Ramlila, including one of which suggests that it was first staged at a nearby village, Chota Mirzapur as the one at Varanasi was disrupted due to the floods in the Ganges, from where it evolved to the present Ramlila, which is by far the most traditional rendition of the Ramayana, and has been a subject of study by scholars from all over the world for many decades now.[17]

The Ramnagar Ramlila is held over 31 days instead of usual 10, and is known for its lavish sets, dialogues and visual spectacle. Here permanent structures have been built and several temporary structure are also added, which serve as sets, to represent locations like Ashok Vatika, Janakpuri, Panchavati, Lanka etc., during the performance. Hence the entire city turn into a giant open-air set, and audience moves along with the performers with every episode, to the next locale. Preparations begin, weeks before its commencement, even the audition process is traditionally attended to by the Maharaja, where Svarupas, literally divine embodiment, the various characters of the Ramayana, are chosen from amongst local actors. Important roles are often inherited by families, for example, the role of Ravana was held by same family from 1835 to 1990, and roles of Hanuman, Jatayu, and Janaka traditionally belong to one Vyasa family.[18] When the Dussehra festivities are inaugurated with a colourful pageant Kashi Naresh rides an elephant at the head of the procession.[15] Then, resplendent in silk and brocade, he inaugurates the month long folk theatre of Ramlila at Ramnagar.[15] During the period, hundreds of sadhus called 'Ramayanis' descend into the town to watch and recite the Ramcharitmanas text. Many an audience carry a copy of the Ramacharit Manas, simply called Manas, and follow stanza after stanza, after the characters delivering their dialogue.[19][20]

During the course of the performance, there is a double transformation of the space within the city, as it first transforms from a city to theatre and then to mythic geography, as the scale of the performance is gradually increased to mythic proportions, coming down only in the end, when Rama finally returns home, this is when the Raja himself becomes part of the theatre thereby incorporating local element into the story itself. In the end, as the swarups, actors depart, they take off their garlands and offer it to Royal family members and give darshan to audience, after the performance one last time.[21] At the end of each episode, lila, an aarti is performed, chants of 'Har Har Mahadev' or 'Bolo! Raja Ramchandra ki Jai!' resound in the air, as the audience join in. Thereafter, a jhanki, literally a peep or glimpse, tableaux of frozen iconic moments from the 'Manas', is presented, which not only distill and crystallize the message of the story for the audience, but is also appreciated for its spectacular effect.[21]

On the last day the festivities reach a crescendo as Rama vanquishes the demon king Ravana.[15] Over a million pilgrims arrive annually for the vast processions and performances organized by Kashi Naresh.[22]

Format[edit]

Lead performers of a Ramlila troupe mandali, with the director, called vyasa

Traditionally organized in a makeshift open-air theatre at night, it is usually staged by amateur actors drawn from the same social grouping as the audience. There is often a singer (occasionally a priest) in the sidelines who recites relevant verses from the Ramayana during scene-changes or at moments of dramatic tension. These recitations and the narrative of the play are usually based on Ramacharitamanas, Gosvami Tulsidas' version of the Ramayana, in the Awadhi language, written in 16th century. The dialog is improvised, and often responsive to audience reactions. Dhol drummers and other musicians participate. The atmosphere is usually festive and free, with the audience whistling and commenting as the story proceeds.

In many rural areas, traditional venues for Ramlila have developed over the centuries, and hundreds of people will often make the trip nightly to attend the play. Surrounding areas temporarily transform into bazaars to cater to the audience. Depending on the region, interspersed breaks in the play can become impromptu talent shows for local society, and a de facto competition takes place between neighbouring Ram lilas, each vying to stage a more lavish production. Though the play itself is thematically religious, this social aspect often draws in people from non-Hindu segments of the community as well. Performance costs are usually financed by fundraising in the community, often by self-organized Ramlila Committees.

Geographic spread[edit]

Over the centuries, Ramlila has evolved into a highly venerated art form, and has travelled to far corners of the globe, through Indian diaspora, not as acts of "cultural recovery", rather as fresh expressions of a persistent faith. Today, Ramalila is staged in most countries that with immigrant Hindu populations from the Indian subcontinent, including that from India, Nepal and Pakistan. Outside the Indian subcontinent, this includes Fiji, Mauritius, South Africa, Canada, Guyana, Suriname, Trinidad and Tobago, Great Britain, The Netherlands, the United States, and Australia. Some Asian cultures have similar drama traditions based on the Ramayana, for instance the Phra Lak Phra Lam (Lak and Lam are the Laotian names for Lakshman and Ram, respectively) folkplay of Laos and northeastern Thailand.

DSC_3775-1 ~ 6/2/19. DAY 311/365 ~ YEAR 4 ~ Day 1741 ~ PHOTO A DAY ~ 365 A Day CHALLENGE ~ DAY 2 JUNE 2019 CHALLENGE ~ "SHAVE" ~ by CINDY CSOMO

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~ 6/2/19. DAY 311/365 ~ YEAR 4 ~ Day 1741 ~ PHOTO A DAY ~ 365 A Day CHALLENGE ~ DAY 2 JUNE 2019 CHALLENGE ~ "SHAVE" ~ All of these photos of Jesus he didn't "SHAVE", he had a full beard. Praying all of you have a Special Sunday and week.... ~

Samson and Delilah....

JUDGES 16

1 One day Samson went to Gaza, where he saw a prostitute. He went in to spend the night with her. 2 The people of Gaza were told, “Samson is here!” So they surrounded the place and lay in wait for him all night at the city gate. They made no move during the night, saying, “At dawn we’ll kill him.” 3 But Samson lay there only until the middle of the night. Then he got up and took hold of the doors of the city gate, together with the two posts, and tore them loose, bar and all. He lifted them to his shoulders and carried them to the top of the hill that faces Hebron. 4 Some time later, he fell in love with a woman in the Valley of Sorek whose name was Delilah. 5 The rulers of the Philistines went to her and said, “See if you can lure him into showing you the secret of his great strength and how we can overpower him so we may tie him up and subdue him. Each one of us will give you eleven hundred shekels of silver.” 6 So Delilah said to Samson, “Tell me the secret of your great strength and how you can be tied up and subdued.” 7 Samson answered her, “If anyone ties me with seven fresh bowstrings that have not been dried, I’ll become as weak as any other man.” 8 Then the rulers of the Philistines brought her seven fresh bowstrings that had not been dried, and she tied him with them. 9 With men hidden in the room, she called to him, “Samson, the Philistines are upon you!” But he snapped the bowstrings as easily as a piece of string snaps when it comes close to a flame. So the secret of his strength was not discovered. 10 Then Delilah said to Samson, “You have made a fool of me; you lied to me. Come now, tell me how you can be tied.” 11 He said, “If anyone ties me securely with new ropes that have never been used, I’ll become as weak as any other man.” 12 So Delilah took new ropes and tied him with them. Then, with men hidden in the room, she called to him, “Samson, the Philistines are upon you!” But he snapped the ropes off his arms as if they were threads. 13 Delilah then said to Samson, “All this time you have been making a fool of me and lying to me. Tell me how you can be tied.” He replied, “If you weave the seven braids of my head into the fabric on the loom and tighten it with the pin, I’ll become as weak as any other man.” So while he was sleeping, Delilah took the seven braids of his head, wove them into the fabric 14 and tightened it with the pin. Again she called to him, “Samson, the Philistines are upon you!” He awoke from his sleep and pulled up the pin and the loom, with the fabric. 15 Then she said to him, “How can you say, ‘I love you,’ when you won’t confide in me? This is the third time you have made a fool of me and haven’t told me the secret of your great strength.” 16 With such nagging she prodded him day after day until he was sick to death of it. 17 So he told her everything. “No razor has ever been used on my head,” he said, “because I have been a Nazirite dedicated to God from my mother’s womb. If my head were shaved, my strength would leave me, and I would become as weak as any other man.”18 When Delilah saw that he had told her everything, she sent word to the rulers of the Philistines, “Come back once more; he has told me everything.” So the rulers of the Philistines returned with the silver in their hands. 19After putting him to sleep on her lap, she called for someone to shave off the seven braids of his hair, and so began to subdue him. And his strength left him. 20 Then she called, “Samson, the Philistines are upon you!” He awoke from his sleep and thought, “I’ll go out as before and shake myself free.” But he did not know that the LORD had left him. 21 Then the Philistines seized him, gouged out his eyes and took him down to Gaza. Binding him with bronze shackles, they set him to grinding grain in the prison. 22 But the hair on his head began to grow again after it had been shaved. 23 Now the rulers of the Philistines assembled to offer a great sacrifice to Dagon their god and to celebrate, saying, “Our god has delivered Samson, our enemy, into our hands.” 24 When the people saw him, they praised their god, saying, “Our god has delivered our enemy into our hands, the one who laid waste our land and multiplied our slain.” 25 While they were in high spirits, they shouted, “Bring out Samson to entertain us.” So they called Samson out of the prison, and he performed for them. When they stood him among the pillars, 26 Samson said to the servant who held his hand, “Put me where I can feel the pillars that support the temple, so that I may lean against them.”27 Now the temple was crowded with men and women; all the rulers of the Philistines were there, and on the roof were about three thousand men and women watching Samson perform. 28 Then Samson prayed to the LORD, “Sovereign LORD, remember me. Please, God, strengthen me just once more, and let me with one blow get revenge on the Philistines for my two eyes.”29 Then Samson reached toward the two central pillars on which the temple stood. Bracing himself against them, his right hand on the one and his left hand on the other, 30 Samson said, “Let me die with the Philistines!” Then he pushed with all his might, and down came the temple on the rulers and all the people in it. Thus he killed many more when he died than while he lived. 31 Then his brothers and his father’s whole family went down to get him. They brought him back and buried him between Zorah and Eshtaol in the tomb of Manoah his father. He had led Israel twenty years.

en.wikipedia.org/wiki/Delilah

en.wikipedia.org/wiki/Samson

HB-IKY CL601 5125 LYN 21-Apr-94 by K West1

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Exported to USA 18-Nov-95 as N512BC,

then reregistered N604WB 26-Sep-97,

exported to Aruba 15-Dec-03 as P4-EPI,

reregistered VP-CEI in Nov-08,

then 2-SEXY 9-Sep-15,

then 2-CUTE 29-Jun-17,

then 9H-ART in Nov-18,

then 2-PAPA 13-Aug-21,

then N555DF 15-Dec-22.

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How does the cost of Artificial Synthetic Grass in Colorado compared to installing a natural lawn?When compared to installing a sprinkler system, topsoil, the price of sod, combined with frequent watering, mowing, weeding and fertilizing, the cost synthetic grass hits a break-even point in 3 to 5 years. You can minimize your investment if you include landscaping rocks, mulch beds and xeriscape elements with your synthetic grass. The contrast of landscape rock with Synthetic Grass looks fantastic!

How do I choose which type of Synthetic Grass by Lawn Pros is best for my needs? We have the largest selection of synthetic grass in the industry. A Lawn Pros representative can help you choose the right type of synthetic grass for you. The numbers in the names of our artificial grass for lawns refers to the density/thickness of the product – the higher the number the thicker the product.

Why should I choose Lawn Pros over another artificial grass company? Not all synthetic grass is created equal!! Lawn Pros has been making the highest quality artificial synthetic grass since 1987. All Synthetic Grass by Lawn Pros has undergone many years of extensive research and development, including extensive stability and wear-resistance testing. Most importantly, all Lawn Pros products are lead-free (not all artificial grass companies can say that!) Synthetic Grass by Lawn Pros is made in the USA, we stand behind our third-party warranty and have done so since 1987. We are the only company that controls the manufacturing from resins through final installation.

I’ve heard that lead has been found in artificial grass, is there lead in Grass by Lawn Pros? There is no lead or any other heavy metals in Synthetic Grass by Lawn Pros products. Lawn Pros has the most stringent testing in the industry.

Get your project done right and let Lawn Pros artificial synthetic grass in Colorado help you get the grass you always wanted. Give us a call for a free quote 719-963-6267 or 720-221-3606.

We offer artificial synthetic grass in/around the following Colorado cities:Aurora, Broomfield, Castle Pines, Castle Rock, Centennial, Cherry Hills, Colorado Springs,Columbine, Commerce City, Denver, Englewood, Franktown, Greenwood Village, Highlands Ranch, Ken Caryl, Lakewood, Larkspur, Littleton, Lone Tree, Monument, Parker, Thornton,Westminster, and Wheat Ridge.

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