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Nutting Associated early 70's.
Game On 2.0 - Exhibition, Stockholm
Swedish National Museum of Science and Technology
For a few days now, my thoughts have been on intimacy. I've been pondering it. What is it? How do I guard my heart and still be intimate with someone?
The secular culture has perverted the meaning of the word, and that bothers me. I know that intimacy is simply being close to or vulnerable with someone. One may be intimate with his or her deepest friends. One may be intimate with his or her family. One also may be uncomfortably intimate with someone he or she is forced to stand really close to in an outrageous line on Black Friday.
Intimacy is...tough, because, in the case of friends, family, and other relationships, there is an amount of trust involved. There is vulnerability involved. There is a deeper connection than surface-level involved. Reality and truth are involved. It's hard, and the truth is that sometimes you and I will get hurt. We'll want to return to the smiles of surface-level because it is safe there. Our hearts and the deepest things about us are not in danger there. I've found, however, that intimacy is essential. If we stay surface-level, we'll never know what lies in deeper waters. Something beautiful may be waiting in those deeper waters, but if we're too scared to swim down, we will never know it.
I've always thought that I am pretty good about being real with people and not putting up that surface-level front. A few days ago, my eyes were opened, though, when, in a conversation, I revealed something from deep within myself to the person I was talking to and the person sort-of balked. Not that it was some horrible memory or something. I was simply revealing a desire from my heart. I could tell that this person was taken a bit off guard, and I was embarrassed. And do you know what I did? I consciously returned to the surface-level. I did not want to be embarrassed anymore.
One thing I have observed is that people expect you to be surface-level. They expect conversations to go as follows: "Hey! How are you?" "I'm fine. How are you?" "I'm good." With smiling faces, you are expected to part ways, and neither of you know any more about each other than you did at the beginning of the conversation. On the inside, though, each of us truly has something worthwhile to say. We have hurts that are raging and battles being fought. We have celebrations to share and stories untold. We have treasures inside of us that we don't need to hide. Surface-level is not going to show forth the gold and silver, diamonds and pearls that are at the bottom of the sea. Intimacy is essential. Take time to actually connect with someone. Listen to his or her words. I can guarantee that, just as you and I have something to say, other people do, too.
~ In the Pursuit of Innocence, Whitney
Normally associated with southern part of the Netherlands, but Schiedam has its Carnaval procession too, albeit for one afternoon. For the occasion the name of the city is now "Brandersgat", until Wednesday. The temporary name reflects the cities' roots in the jenever/ gin industry.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
"Retained in a park-like setting within a surrounding urban landscape, the Old Town or Queen Street Cemetery is a small 19th century cemetery found on the north side of Queen Street, between Pim and Elizabeth Streets, in Sault Ste. Marie.
The Old Town Cemetery is of heritage value because it is the last remaining 19th century rural municipal cemetery in Sault Ste. Marie. The Old Town Cemetery has maintained the integrity of its design and provides value as a good example of 19th century rural municipal cemetery design in a northern Ontario community. It is an important link to the history of the city.
This Old Town Cemetery was officially established in 1879, however, burials date back to 1863. In some records, it is referred to as the 'Protestant Cemetery.' The 'Catholic Cemetery', located near the Precious Blood Cathedral at the time the Old Town Cemetery was established, as well as earlier cemeteries connected with the Hudson’s Bay Company and the Anglican Church are no longer in existence. The Old Town or Queen Street Cemetery is the last remaining rural municipal cemetery associated with the Village of Sault Ste. Marie (1871), the town of Sault Ste. Marie (1887) and the City of Sault Ste. Marie (1912). The last recorded burial at the cemetery was 1914.
As a 19th century rural municipal cemetery, Old Town Cemetery is characterized by its naturalistic setting to attract and comfort the living; its creation of a secure space for the dead; its use of markers and monuments to perpetuate the memory of individuals of historic importance; and its layout as a park-like space for public use.
In use between 1863 and 1914, the gravesites found in the cemetery provide important insight into the lives of Sault Ste. Marie's early inhabitants and reflect the key historical themes in the development of the city during this period. These include the gravesites of a number of prominent individuals, such as George Ironside, a former Indian Superintendent; David Pim, the first English settler in Sault Ste. Marie (other than government officials or Hudson’s Bay Company Officers) and a former owner of the Ermatinger Old Stone House; Margaret Pim, wife of George Ironside and Postmaster; Colonel John Savage, the first Registrar of the Judicial District of Algoma; Henry Pilgrim, the first Clerk of the District Court and Captain T.A. Tower, who led the voyageurs who took part in the 1870 Red River Expedition commanded by Sir Garnet Wolsley.
Key character defining elements of the cemetery that reflect its value as the last remaining 19th century rural municipal cemetery in Sault Ste. Marie and as an example of 19th century rural municipal cemetery design in northern Ontario include:
- its location, orientation and dimensions
- its park-like setting, including its mature trees
- the original plan and placement of gravesites
Key character defining elements of the cemetery that reflect its value as an important link to the history of Sault Ste. Marie include:
- the original markers and monuments, with their surviving inscriptions
- the variety of styles, materials and symbolism represented in the markers and monuments
- the range of size and sophistication of markers and monuments, from modest to elaborate. - info from Historic Places.
"Sault Ste. Marie (/ˈsuː seɪnt məˈriː/ SOO-seint-ma-REE) is a city on the St. Marys River in Ontario, Canada, close to the Canada–US border. It is the seat of the Algoma District and the third largest city in Northern Ontario, after Sudbury and Thunder Bay.
The Ojibwe, the indigenous Anishinaabe inhabitants of the area, call this area Baawitigong, meaning "place of the rapids." They used this as a regional meeting place during whitefish season in the St. Mary's Rapids. (The anglicized form of this name, Bawating, is used in institutional and geographic names in the area.)
To the south, across the river, is the United States and the Michigan city of the same name. These two communities were one city until a new treaty after the War of 1812 established the border between Canada and the United States in this area at the St. Mary's River. In the 21st century, the two cities are joined by the International Bridge, which connects Interstate 75 on the Michigan side, and Huron Street (and former Ontario Secondary Highway 550B) on the Ontario side. Shipping traffic in the Great Lakes system bypasses the Saint Mary's Rapids via the American Soo Locks, the world's busiest canal in terms of tonnage that passes through it, while smaller recreational and tour boats use the Canadian Sault Ste. Marie Canal.
French colonists referred to the rapids on the river as Les Saults de Ste. Marie and the village name was derived from that. The rapids and cascades of the St. Mary's River descend more than 6 m (20 ft) from the level of Lake Superior to the level of the lower lakes. Hundreds of years ago, this slowed shipping traffic, requiring an overland portage of boats and cargo from one lake to the other. The entire name translates to "Saint Mary's Rapids" or "Saint Mary's Falls". The word sault is pronounced [so] in French, and /suː/ in the English pronunciation of the city name. Residents of the city are called Saultites.
Sault Ste. Marie is bordered to the east by the Rankin and Garden River First Nation reserves, and to the west by Prince Township. To the north, the city is bordered by an unincorporated portion of Algoma District, which includes the local services boards of Aweres, Batchawana Bay, Goulais and District, Peace Tree and Searchmont. The city's census agglomeration, including the townships of Laird, Prince and Macdonald, Meredith and Aberdeen Additional and the First Nations reserves of Garden River and Rankin, had a total population of 79,800 in 2011.
Native American settlements, mostly of Ojibwe-speaking peoples, existed here for more than 500 years. In the late 17th century, French Jesuit missionaries established a mission at the First Nations village. This was followed by development of a fur trading post and larger settlement, as traders, trappers and Native Americans were attracted to the community. It was considered one community and part of Canada until after the War of 1812 and settlement of the border between Canada and the US at the Ste. Mary's River. At that time, the US prohibited British traders from any longer operating in its territory, and the areas separated by the river began to develop as two communities, both named Sault Ste. Marie." - info from Wikipedia.
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Huge nature spirits are associated with the changing of the seasons and with solstices and equinoxes. These great beings pass through the earth and its atmosphere bringing with them the seeds of change appropriate to the time. These powerful spirits really belong to all the elements, but have a strong connection with the element of earth and are easily observed in their interactions with it.
www.denniscordell.zenfolio.com
also:
www.elephantjournal.com/2020/12/some-notes-on-nature-spir...
Convair RB-36H Peacemaker 51-13730
Castle Air Museum
Atwater, California
Of the 384 B-36 aircraft produced, only four survive. This is the only surviving reconnaissance variant.
The RB-36H, like other late models of the B-36 series, was powered by six 28-cylinder Pratt & Whitney R-4360 radial engines, and an additional four General Electric J47 jet engines. This configuration led to the popular phrase associated with the B-36, "six turning and four burning."
If you're interested in the B-36, I recommend this video:
Unfathomably American:
The Armament Systems of the B-36
youtu.be/VyUxnwD5xhY?si=DYh5KeA0N3B38hUg
Convair RB-36 Peacemaker 51-13730 (Castle Air Museum):
castleairmuseum.org/collections/convair-rb-36h-peacemaker/
B-36 Peacemaker (Wikipedia):
This Associated "Flying A" service station is quite indicative of the mid '30s architecture. Octagonal floor plan and sweeping, circular awning. Right in step with the drive-in diners popping up everywhere.
The lighting captured in this rare night shot is positively memorizing. Imagine the soft glow the incandescent awning lights cast, in contrast to the bright neon signage. The warm glow from the gas pump globes and all. What a special time for architecture and lighting.
Zagato Zele 2000 (1974-76) Engine Marelli direct drive electric motor
Production approx 500
Registration Number VLO 735 M (London NW)
And now for something completely different.
Zagato was formed by Ugo Zagato in 1919, building an enviable reputation as a coachbulder and stylist associated with some of the Worlds most striking cars. But by the late 1960s styling houses were suffering in the wake of most of the car manufacturer taking styling in house. Visitors to the 1972 Geneva Motorshow were greeted by the Zele a diminutive electric powered car of only 77 inches in length, said to be perfect as a Town Car concept. The car went into production at Zagato in 1974 and produced until 1976, being the only ever car entirely produced in house by Zagato. Fortunately demand for the companies coachwork business was set to improve with new collaborations with the likes of Alfa Romeo and Aston Martin.
The Zagato Zele 1000, 1500, 2000 (sold in the United States as the Elcar) is an electric microcar with a fiberglass body manufactured by Zagato. Designed as a two door, rear engine, rear wheel drive vehicle. The Zele was high , and boxy, produced in seven colours (Orange-red, Brown, Dark blue, Pastel blue, White, Green and metal flake Blue) and the chassis and suspension were derived from the Fiat 500 and Fiat 124. The 1000, 1500, and 2000 after the Aele name stands for the wattage of the motors respectively. The Zele employed a 4 position speed selector and a 2 position foot pedal providing six forward speeds, two reverse speeds and a range of approximately 50 miles (80 km). The Zele 2000 also featured a boost switch which, once at top speed, weakens the motor's magnetic fields in the field coils to produce less torque but a greater top speed. Its top speed was between 25 and 30 mph.
In the UK Bristol Motors who had a long standing relationship with Zagato became the UK sole agents, marketing them via their London showrooms in Kensington High Street. This car remained in the ownership of Bristol Cars from new for many years until 2019 when sold to its present owner having recorded a grand total of 154 ilometers (96 miles) in 45 years
Diolch am 78,546,935 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 78,546,935 amazing views, every one is greatly appreciated.
Shot 06.10.2019 at Bicester Scramble, Bicester, Oxon. 143-1474
British postcard in the Picturegoer Series, London, no. D 475. Photo: Associated British.
Janette Scott (1938) is a retired English actress, who started her career as a child actress at the age of 3. From the late 1950s to the mid-1960s, she was a leading lady in British films in which she co-starred with Terry-Thomas, Ian Carmichael, and Laurence Olivier. She is best remembered from the line "And I really got hot When I saw Janette Scott fight a triffid that spits poison and kills" in the opening song of The Rocky Horror Picture Show (1975). Scott gave up her film career upon marrying singer Mel Torme.
Thora Janette Scott was born in 1938 in Morecambe, Lancashire, England. She is the daughter of actors Jimmy Scott and Thora Hird and began her acting career as a child actress known as Janette Scott. She made her film debut only 3-years-old in the British war film Went the Day Well? (Alberto Cavalcanti, 1942), adapted from a story by Graham Greene. The film was produced by Michael Balcon of Ealing Studios and served as unofficial propaganda for the war effort. It tells of how an English village is taken over by German paratroopers. After a few bit roles, she had her first big part as Jennifer in No Place for Jennifer (Henry Cass, 1950) with Leo Genn and Rosamund John. She played a young girl, who experiences a trauma when her parents' divorce. Another big role followed in the sports comedy The Galloping Major (Henry Cornelius, 1951), starring Basil Radford. The title is taken from the song 'The Galloping Major', and the plot was centered on gambling at the horse racing track. She also co-starred in the British 20th Century Fox production No Highway in the Sky/No Highway (Henry Koster, 1951), starring James Stewart and Marlene Dietrich. Scott appeared in the British Technicolor biographical drama The Magic Box (John Boulting, 1951). The film stars Robert Donat as William Friese-Greene, who first designed and patented one of the earliest working cinematic cameras. Told in flashback, the film details Friese-Greene's tireless experiments with the 'moving image', leading inexorably to a series of failures and disappointments, as others hog the credit for the protagonist's discoveries. Scott was briefly (along with Jennifer Gay) one of the so-called 'Children's Announcers' providing continuity links for the BBC's children's TV programs in the early 1950s. At the age of 14, Scott wrote her autobiography, 'Act One'. During the 1950s, she also appeared in such films as the divorce drama Background/Edge of Divorce (Daniel Birt, 1953) starring Valerie Hobson, the musical comedy As Long as They're Happy (J. Lee Thompson, 1955) starring Jack Buchanan and Diana Dors, and as Cassandra in the Hollywood epic Helen of Troy (Robert Wise, 1956), based on Homer's Iliad and Odyssey. Scott also had the leading role in the romance Now and Forever (Mario Zampi, 1956). It was Scott's first adult role in which she got her first screen kiss.
In the late 1950s, Janette Scott became a popular leading lady. She appeared with Ian Carmichael in the comedy Happy Is the Bride (Roy Boulting, 1958), and with Anna Neagle and Frankie Vaughan in The Lady Is a Square (Herbert Wilcox, 1958). She is known to American audiences for her role as the parson's wife in The Devil's Disciple (Guy Hamilton, 1959) starring Burt Lancaster, Kirk Douglas, and Laurence Olivier. One of her other well-known roles is April Smith in the British comedy School for Scoundrels (Robert Hamer, 1960), based on the 'one-upmanship' books by Stephen Potter, in which Ian Carmichael and Terry-Thomas competed for her attention. Scott is referenced to in the song 'Science Fiction/Double Feature', the opening number from The Rocky Horror Show and its film version The Rocky Horror Picture Show (Jim Sharman, 1975) for her participation in The Day of the Triffids (Steve Sekely, 1962): "And I really got hot When I saw Janette Scott fight a triffid that spits poison and kills." The British Science Fiction film stars Howard Keel and Nicole Maurey and was loosely based on the 1951 novel of the same name by John Wyndham. She later appeared in the Hammer thriller Paranoiac (Freddie Francis, 1963) with Oliver Reed, Siege of the Saxons (Nathan H. Juran, 1963), set in the time of King Arthur, and the American horror-comedy The Old Dark House (William Castle, 1963), a remake of the 1932 film by James Whale. The photo of the postcard was produced for The Beauty Jungle/ Contest Girl (Val Guest, 1964), about " the beauty profession and all of its hypocrisy and sordid publicity stunts", according to Wikipedia. Ordinarily a brunette, Scott dyed her hair blonde to take on a sort of sex bomb persona for the film. Her final films were the American Science-Fiction Crack in the World (Andrew Marton, 1965) a 'doomsday disaster movie' filmed in Spain, and the American comedy Bikini Paradise/White Savage (Gregg Tallas, 1967). In the meantime, she had married American Jazz singer Mel Torme and gave up her career to raise a family. Janette Scott has been married three times: to Canadian singer and TV host Jackie Rae (1959-1965; divorced), Mel Tormé (1966-1977; divorced), and William Rademaekers (since 1981). With Mel Tormé, she has two children, actress Daisy Tormé (1969) and songwriter James Tormé (1973). In 1997, she returned to the screen for a cameo in the popular TV series Last of the Summer Wine in the episode There Goes the Groom. Although she is credited in the cast of the British film How to Lose Friends & Alienate People (Robert B. Weide, 2008), Scott did not return to the cinema. Her character - the deceased mother of the Simon Pegg character - is seen only in flashbacks as a very young woman, extracts from her film Now and Forever (Mario Zampi, 1956).
Sources: Brian Drive-in's Theater, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
(further information and pictures are available by clicking on the link at the end of section and of page!)
Synagogue St. Pölten
Exterior of the former St. Pölten Synagogue
The St. Pölten Synagogue was up to the November pogroms in 1938 the main synagogue of the Jewish Community of St. Pölten. The In the years 1912 to 1913 by the architects Theodor Schreier and Viktor Postelberg built Art Nouveau synagogue is located in the Dr. Karl Renner Promenade in St. Pölten and is now the headquarters of the Institute for Jewish History in Austria.
History
The old synagogue, which was demolished in favor of the new one
The first prayer rooms of in 1863 founded Jewish Community of St. Pölten were located in the premises of the former Kattunmanufaktur (cotton manufactory), the later Gasser factory at school ring. A building of this factory was adapted between 1885 and 1890 as a synagogue. This adaptation was associated with considerable effort, which is why the members of the Jewish community already since 1888 endeavoured to get a new building, until 1903 but this was rejected by the township. At this time, a redesign of the promenade was planned, which was only possible by demolition of the in the street course standing synagogue. After lengthy preparations, a preparatory committee was elected in April 1907, which in addition to building site and plans the necessary financing should provide.
1911, a building committee was chosen and agreed with the community a real estate exchange. At the architectural competition, which was tendered in the same year, participated among others Jacob Modern, Jacob Gartner, Ignaz Reiser and Theodor Schreier. The latter was together with his partner Viktor Postelberg by the Committee commissioned another project for a temple with room for 220 men and 150 women to submitt, which was then realized. The conditions for the planning work developed Rudolf Frass. The necessary funds were raised through collections and appeals for donations throughout the country, so that could be started with the construction in June 1912. The gilding works were carried out by Ferdinand Andri. After little more than a year of construction and 141 390 crowns total investment, the synagoge on 17 August 1913 was solemnly consecrated.
Destruction
On the night of 9th to the 10th November 1938 invaded several SS and SA members the rooms of the synagogue, smashed windows and set fire. The that night caused damage was limited, as the fire could be extinguished relatively quickly. On the following morning 300 to 400 people gathered, some in civilian clothes, in front of the building. They moved with the singing of political songs in the sacred spaces and destroyed them completely. The windows were broken, Torah scrolls, Torah shrine, benches and images burned. Even water pipes and door posts were torn from the walls. The books of the extensive library were largely thrown on the road and burned. Some people climbed the dome and tore the Star of David of the roof .
Almost all of the movable property of the Jewish community was destroyed or stolen . A limited set of books were placed in the city archives, the City Museum there's still a donation box and a painting of Emperor Franz Josef, which hung in the entrance area. A single prayer book is since 1998 owned again by the Jewish Community.
In the following years the side rooms of the building of the SA were used as an office, the interior was used among other things as furniture warehouse. 1942, the synagogue became the property of the city of St. Pölten, which used it as a detention center for Russian forced laborers. In last fightings and bombings in 1945 the building was further damaged.
1945
The Red Army used the former synagogue as a grain storage until it was in 1947 returned to the city. The application of restitution was recognized in 1952 by the city council, which then returned the synagogue to the Jewish Community Vienna. In the following years, the former house of God continued to decay as after the Holocaust no Jewish community in St. Pölten could establish. The domed roof showed severe damage, individual components were threatening to collapse completely and through the boarded windows came rain and snow into the by dovecotes populated house.
In 1975, the Jewish Community Vienna (IKG - Israelitische Kultusgemeinde Wien) offered the city of St. Pölten to purchase the synagogue, which did not accept the offer due to lack of uses. Then the Jewish Community Vienna wanted to initiate the demolition, but this was prevented by the fact that the Federal Monuments Office the building put under monument protection. Then it was renovated from 1980 to 1984. Here, for example, many wall paintings were recovered, on the other hand, some structural changes were made (especially removal of water basins for the ritual washing of the hands), since it was clear from the beginning that the building would not be used as a synagogue, but as an event center.
Since 1988 in the premises of the former synagogue the Institute for Jewish History of Austria is located, further regular events are realized. The original function the synagoge never could fulfill again, as too few Jews returned after the Holocaust to St. Pölten.
On the occasion of the 100th anniversary of the synagogue the City Museum in St. Pölten 2013/14 the building dedicates its own special exhibition. In doing so there is also shown a recently found photo of the interior before the destruction. It is also pointed out that the synagogue due to lack of funding already again is abandoned to a certain decay.
The St. Pölten rabbi
Interior of the synagogue with part of the dome ceiling, in the center of the former shrine
Name Period of office
Moritz Tintner 1863-1869
Adolf Kurrein 1873-1876
Samuel Marcus 1876-1878
Adolf Hahn 1878-1882
Jacob Reiss 1882-1889
Bernhard Zimmels 1889-1891
Leopold Weinsberg 1891-1897
Adolf Schächter 1897-1934
Arnold Frankfurt 1934-1936
Manfred Papo 1936-1938
Building description
Outside
The dominant element of the synagogue is the octagonal, completed by a large dome main building, to which the eastern and western side wings are attached. Connected to the synagogue is the former school building in Lederergasse 12.
Main tract
The main tract houses the former sanctuary. The facade is divided into a low ground floor, high upper floor and the dome. At the facade facing the street can be found in the two storeys each three windows, that are executed on the ground floor as low segmental arch windows with above running continuously cordon cornice. The windows on the upper floor, however, are high, rectangular windows, the space between them is divided by pilasters. The original stained glass windows were destroyed from 1938, today, clear glass can be found in the windows. Directly under the dome there is a large segment gable with representations of the Tablets of the Law, set in floral vines. Beneath it is written in Hebrew the text of Psalm 118, verse 19.
" פתחו לי שערי צדק אבא בם אודה יה "
"Open to me the gates of righteousness: I will enter and give thanks to God".
- Inscription under the law boards.
On the short, lateral oblique walls of the main building on the ground floor there are side entrances, in the transition to the dome there are embedded large oval windows.
Side wings
To the eastern side wing, which in comparison to the western tract is designed very narrowly, connects the former school building and was once home to the shrine. At the by segment gable and barrel roof completed tract can be found on the northern front in the upper floor a tall, rectangular window of the same type as that of the main wing. At the eastern side a round window is embedded, in the ground floor begins a connecting room to the school building.
The western side wing is identical to the east in the basic form, but it is significantly wider. In addition, in front of it there are entrance buildings. Both at the road side and on the opposite side between the main wing and the western annex are wide projecting semi-circular staircases, next to it can be found till half the height of the first upper floor each a buttress with two low windows. Road side, this buttress is preceded by a walk-in porch, which on three sides is open round-arched. The with triangular gable completed building ends in a concave enclosure, where a commemorative plaque is attached today. The west facade repeats the design of the main building, it can be found on the ground floor low segmental arch windows with above running continuously, jagged cordon cornice. On the first floor the windows are, however, significantly lower than in the main wing.
Former school building
The former school building has its main facade towards Lederergasse and there has the number 12. The road-side main facade of the two-storey building is divided into four axes. The window on the ground floor are round-arched disigned, the ones on the upper floor rectangularly. Between side wing of the synagogue and the main wing of the school building there is a tower-like, curved stairwell risalit up to the attic.
de.wikipedia.org/wiki/Synagoge_St._P%C3%B6lten
(further information is available by clicking on the link at the end of page!)
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
The astronaut themed socks of NASA Associate Administrator Bob Cabana are seen during a Moon to Mars Town Hall, Thursday, May 18, 2023, at the Mary W. Jackson NASA Headquarters building in Washington. Photo Credit: (NASA/Keegan Barber)
On Friday, June 25, 2010, Livonia Avon and Lakeville RR (LAL) 418 working in the yard at Lakeville, NY.
LAL 418 is an ALCo RS36. Reportedly it was built in 1962, builders number 83697, as NKP 865. Reporting marks and numbers associated with this locomotive are said to include ONCT 418 and NW 2865. Locomotive wrecked in 2019 and retired.
In the new Lahore lies buried Shah Husain and with him lies buried the myth of Lal Husain. Still, at least once a year we can hear the defused echoes of the myth. As the lights glimmer on the walls of Shalamar, the unsophisticated rhythms of swinging bodies and exulting voices curiously insist on being associated with Husain. This instance apparently defies explanation. But one is aware that an undertone of mockery pervades the air - released feet mocking the ancient sods of Shalamar and released voices mocking its ancient walls. Husain too, the myth tells us, danced a dance of mockery in the ancient streets of Lahore. Grandson of a convert weaver, he embarrassed every one by aspiring to the privilege of learning what he revered guardians of traditional knowledge claimed to teach.
Then again, fairly late in life, he embarrassed every one by refusing to believe in the knowledge he had received from others, and decided to know for himself. He plucked the forbidden fruit anew.
The myth of Lal Husain has lived a defused, half-conscious life in the annual Fare of Lights. The poetry of shah Husain which was born out of common songs of the people of the Punjab has kept itself alive by becoming a part of those very songs. In recent past, the myth of Madhu Lal Husain and the poetry of Husain have come to be connected. But the time for the myth to become really alive in our community is still to come.
Husain s poetry consists entirely of short poems known as "Kafis." A typical Husain Kafi contains a refrain and some rhymed lines. The number of rhymed lines is usually from four to ten. Only occasionally a more complete form is adopted. To the eye of a reader, the structure of a "Kafi" appears simple. But the "Kafis" of Husain are not intended for the eye. They are designed as musical compositions to be interpreted by the singing voice. The rhythm in the refrain and in the lines are so balanced and counterpointed as to bring about a varying, evolving musical pattern.
It may be asserted that poetry is often written to be sung. And all poetry carries, through manipulation of sound effects, some suggestion of music. Where then lies the point in noticing the music in the "Kafis" of Shah Husain? Precisely in this: Husain s music is deliberate - not in the sense that it is induced by verbal trickery but in the sense that it is the central factor in the poet s meaning.
The music that we have here is not the vague suggestion of melodiousness one commonly associates with the adjective "lyrical : it is the symbolic utterance of a living social tradition. The "Kafis" draw for their musical pattern on the Punjabi folk songs. The Punjabi folk songs embody and recall the emotional experience of the community. They record the reactions to the cycle of birth, blossoming, decay and death. They observe the play of human desire against the backdrop of this cycle, symbolizing through their rhythms the rhythms of despair and exultation, nostalgia and hope, questioning and faith. These songs comprehend the three dimensions of time - looking back into past and ahead into future and relating the present to both. Also, these songs record the individual s awareness of the various social institutions and affiliations and clinging to them at the same time - asserting his own separate identity and also seeking harmony with what is socially established.
Through this deliberate rhythmic design, Shah Husain evokes the symbolic music of the Punjabi folk songs. His "Kafis" live within this symbolic background and use it for evolving their own meaning.
By calling into life the voice of the folk-singer, Husain involves his listeners into the age-old tension which individual emotions have borne it its conflicts with the unchanging realities of Time and Society. But then, suddenly one is aware of a change. One hears another different voice also. It is the voice of Husain himself, apparently humanized with the voice of the folk-singer, and yet transcending it. The voice of the folk-singer has for ages protested against the bondage of the actual, but its fleeting sallies into the freedom of the possible have always been a torturing illusion. The voice of the folk-singer is dragged back to its bondage almost willingly, because it is aware of the illusory nature of its freedom and is reluctant run after a shade, fearing the complete loss of its identity. The voice of Shah Husain is transcending folk-singer s voice brings into being the dimension of freedom - rendering actual what had for long remained only possible:
Ni Mai menoon Kherian di gal naa aakh
Ranjhan mera, main Ranjhan di, Kherian noon koori jhak
Lok janey Heer kamli hoi, Heeray da wer chak
Do not talk of the Kheras to me,
O mother, do not.
I belong to Ranjha and he belongs to me.
And the Kheras dream idle dreams.
Let the people say, "Heer is crazy; she has given her-self to the cowherd." He alone knows what it all means.
O mother, he alone knows.
Please mother, do not talk to me of Kheras.
At first , the little "Kafi" deftly suggests the underlying folk-song patter. The usual figures in the marriage song - the girls, the mother, the perspective husband and the perspective in-laws are all there. And the refrain calls the plaintive marriage-song address of the girl to he mother on the eve of her departure from the parents house.
But the folk-song pattern remains at the level of an underlying suggestion. The mother and the daughter in the folk-song were both helpless votaries of an accepted convention, bowing before the acknowledged power of an unchanging order. Here in the "Kafi" the daughter assumes the power of choice and rejection. She stands outsides the cycles of time and society. The mother continues to represent the social order and the accepted attitudes according to her convictions, the Kheras offer the best possible future for her daughter because they assure mundane security and prestige, within a decaying order. But the daughter I snow determined to go beyond this order and seek further inner development. To her the Kheras, her unacceptable in-laws, represent the tyranny of the actual forced on the individual. To her, Ranjha, the socially condemned cowherd, represents the consummation of her revolt, promising a union which is the real inner fulfillment. The accepted attitudes are based on a superficial vision,
which takes appearance to be the only reality. Ranjha, who always hides his real self behind the shabby garb of a jogi or a cowherd can never be understood and can never be preferred to the wealthy Kheras. His real identity is a mystery that can be realized only in Heer s individual emotions. And for such a realization, a conscious break with the order of appearances is a prerequisite. Husain s triumph is achieved, not by evading the bondage s of the actual but by suffering them and finally transforming them. The mother remains a part of the daughter s consciousness - in addressing her she addresses herself. But this part of her consciousness is now subjected to more vital individual self. In the refrain:
Ni Mai menon Kherian di gal naa aakh
there is a tone of confidence - a mixture of earnest protestation and assured abandon.
Here is a "Kafi" presenting a different emotion:
Sujjen bin raatan hoiyan wadyan
Ranjha jogi, main jogiani, kamli kar kar sadian
Mass jhurey jhur pinjer hoyya, karken lagiyan hadyan
Main ayani niyoonh ki janan, birhoon tannawan gadiyan
Kahe Husain faqeer sain da, larr tairay main lagiyaan
Nights swell and merge into each other as I stand a wait for him.
Since the day Ranjha became jogi, I have scarcely been my old self and people every where call me crazy. My young flesh crept into creases leaving my young bones a creaking skeleton. I was too young to know the ways of love; and now as the nights swell and merge into each other, I play host to that unkind guest - separation.
The slower tempo of the refrain sets the mood of the "Kafi." The voice of the singer stretches in an ecstasy of suffering along the lengthening vowel sounds. The vowel sounds initiated by the refrain are taken up by rhythms and several other words.
The Heer-Ranjha motif is used here in a different emotional background. The intense loneliness here contrasts sharply with the confidence of fulfillment shown in the earlier "Kafi." Here people s preoccupation with appearances is not treated with indifference;
Ranjha jogi, main jogiani, kamli kar kar sadian
instead it adds to the plain. But in the notes of suffering, there is a strange quality of single-mindedness. One is not aware of any fidgety second thoughts. The plain does not evince any desperation: in fact there is an air of contemplative pose, born out of the awesome finality of commitment.
In another "Kafi" using the Heer-Ranjha motif, we are taken back to a still earlier stage of the poet s emotional Odyssey:
Main wi janan dhok Ranjhan di, naal mare koi challey
Pairan paindi, mintan kardi, janaan tan peya ukkaley
Neen wi dhoonghi, tilla purana, sheehan ney pattan malley
Ranjhan yaar tabeeb sadhendha, main tan dard awalley
Kahe Husain faqeer namana, sain senhurray ghalley
Travelers, I too have to go; I have to go to the solitary hut of Ranjha. Is there any one who will go with me? I have begged many to accompany me and now I set out alone. Travelers, is there no one who could go with me?
The River is deep and the shaky bridge creaks as people step on it. And the ferry is a known haunt of tigers. Will no one go with me to the lonely hut of Ranjha?
During long nights I have been tortured by my raw wounds. I have heard he in his lonely hut knows the sure remedy. Will no one come with me, travelers? <
The folk-song locale is present here in the shape of a river, a ferry and a batch of travelers. The travelers gather to set off to remote places for business, duty and other reasons. And there is the self conscious girl who comes daily to hear some chance gossip drop a word about her friend. The river for centuries has flowed between desire and fulfillment. No one knows where it goes; it has no beginning and no end. The river is ancient and unfathomable - holding mysterious dangers. It causes both life and death but shows a fascinating indifference that compels awed men and women to kneel and worship the river. There is another reason for this homage. The river bounds the village. It limits and defines the known and tried capacities of humanity. The girl s father has no possessions beyond the river. What she was born with lies placidly marked this side of the river. What is beyond, is vaguely threatening. But this hazardous unknown fascinates the girl and seeks to lure her out of the complacent peace she was born with.
But the girl in the "Kafi" differs from the girl in the folk-song in one vital respect. The girl in the folk-song has for ages, waited on this side of the river. She visits the ferry and moves among the travelers with questioning looks. But in her words and looks there lurks the knowledge of perpetual impossibility, the acknowledge that desire is never more than a wish is often less than it. The girl in the "Kafi" is prepared to bridge the gap between desire and attainment. She too is aware of the hazards of her ways but for her he imperative need to set out has become the supreme fact.
The image of a patient, desperately looking for a last remedy contains subtle implications. When Heer fakes illness in the house of her in-laws, Ranjha the fake jogi was approached for some magic cure. Heer was cured in a way the people did not foresee and her illness turned out to be of an unexpected nature. Those believing in appearances as the only reality were given a dramatic lesson. Here in the "Kafi", the metaphorical background is recreated. The girl earnestly wishes to align herself with ordinary motives and measures. But the uncommon purpose of her journey and the uncommon destination still stand out among the group of travelers. Her request for some one to accompany her only throws into stranger relief her unique loneliness.
The ecstatic rhythm brings to the refrain a tone of finality, a finality comparable to that of death. The journey across the river is a transition as radical as death. The two worlds of experience are as different from each other as the familiar life and the unknown beyond. (1959)
Alexander, Amanda CAFNR – Hospitality Management, Associate Teaching Professor, Division of Applied Social Sciences
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.
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Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.
A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.
Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.
In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms
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Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.
Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.
In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.
The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.
The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.
Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.
Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.
The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.
In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.
Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.
Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.
However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.
In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.
An ex Whittle Bedford YMT Duple Dominant 2 nearing the end of its life with Associated Coachways, Harlow, on 16th May, 1997.
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Even the doors to the back rooms at Bass Pro at the Memphis Pyramid are pretty fancy! And they never seem to miss a chance to add a bit of that unique Bass Pro décor wherever they can as well.
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The main environmental issues associated with the implementation of the 5G network come with the manufacturing of the many component parts of the 5G infrastructure. In addition, the proliferation of new devices that will use the 5G network that is tied to the acceleration of demand from consumers for new 5G-dependent devices will have serious environmental consequences. The 5G network will inevitably cause a large increase in energy usage among consumers, which is already one of the main contributors to climate change. Additionally, the manufacturing and maintenance of the new technologies associated with 5G creates waste and uses important resources that have detrimental consequences for the environment. 5G networks use technology that has harmful effects on birds, which in turn has cascading effects through entire ecosystems. And, while 5G developers are seeking to create a network that has fewer environmental impacts than past networks, there is still room for improvement and the consequences of 5G should be considered before it is widely rolled out. 5G stands for the fifth generation of wireless technology. It is the wave of wireless technology surpassing the 4G network that is used now. Previous generations brought the first cell phones (1G), text messaging (2G), online capabilities (3G), and faster speed (4G). The fifth generation aims to increase the speed of data movement, be more responsive, and allow for greater connectivity of devices simultaneously.[2] This means that 5G will allow for nearly instantaneous downloading of data that, with the current network, would take hours. For example, downloading a movie using 5G would take mere seconds. These new improvements will allow for self-driving cars, massive expansion of Internet of Things (IoT) device use, and acceleration of new technological advancements used in everyday activities by a much wider range of people. While 5G is not fully developed, it is expected to consist of at least five new technologies that allow it to perform much more complicated tasks at faster speeds. The new technologies 5G will use are hardware that works with much higher frequencies (millimeter wavelengths), small cells, massive MIMO (multiple input multiple output), beamforming, and full duplex.[3] Working together, these new technologies will expand the potential of many of the devices used today and devices being developed for the future. Millimeter waves are a higher frequency wavelength than the radio wavelength generally used in wireless transmission today.[4] The use of this portion of the spectrum corresponds to higher frequency and shorter wavelengths, in this case in the millimeter range (vs the lower radio frequencies where the wavelengths can be in the meters to hundreds of kilometers). Higher frequency waves allow for more devices to be connected to the same network at the same time, because there is more space available compared to the radio waves that are used today. The use of this portion of the spectrum has much longer wavelengths than of that anticipated for a portion of the 5G implementation. The waves in use now can measure up to tens of centimeters, while the new 5G waves would be no greater than ten millimeters.[5] The millimeter waves will create more transmission space for the ever-expanding number of people and devices crowding the current networks. The millimeter waves will create more space for devices to be used by consumers, which will increase energy usage, subsequently leading to increased global warming. Millimeter waves are very weak in their ability to connect two devices, which is why 5G needs something called “small cells” to give full, uninterrupted coverage. Small cells are essentially miniature cell towers that would be placed 250 meters apart throughout cities and other areas needing coverage.[6] The small cells are necessary as emissions [or signals] at this higher frequency/shorter wavelength have more difficulty passing through solid objects and are even easily intercepted by rain.[7] The small cells could be placed on anything from trees to street lights to the sides of businesses and homes to maximize connection and limit “dead zones” (areas where connections are lost). The next new piece of technology necessary for 5G is massive MIMO, which stands for multiple input multiple output. The MIMO describes the capacity of 5G’s base stations, because those base stations would be able to handle a much higher amount of data at any one moment of time. Currently, 4G base stations have around eight transmitters and four receivers which direct the flow of data between devices.[9] 5G will exceed this capacity with the use of massive MIMO that can handle 22 times more ports. Figure 1 shows how a massive MIMO tower would be able to direct a higher number of connections at once. However, massive MIMO causes signals to be crossed more easily. Crossed signals cause an interruption in the transmission of data from one device to the next due to a clashing of the wavelengths as they travel to their respective destinations. To overcome the cross signals problem, beamforming is needed. To maximize the efficiency of sending data another new technology called beamforming will be used in 5G. For data to be sent to the correct user, a way of directing the wavelengths without interference is necessary. This is done through a technique called beamforming. Beamforming directs where exactly data are being sent by using a variety of antennas to organize signals based on certain characteristics, such as the magnitude of the signal. By directly sending signals to where they need to go, beamforming decreases the chances that a signal is dropped due to the interference of a physical object.
One way that 5G will follow through on its promise of faster data transmission is through sending and receiving data simultaneously. The method that allows for simultaneous input and output of data is called full duplexing. While full duplex capabilities allow for faster transmission of data, there is an issue of signal interference, because of echoes. Full duplexing will cut transmission times in half, because it allows for a response to occur as soon as an input is delivered, eliminating the turnaround time that is seen in transmission today. Because these technologies are new and untested, it is hard to say how they will impact our environment. This raises another issue: there are impacts that can be anticipated and predicted, but there are also unanticipated impacts because much of the new technologies are untested. Nevertheless, it is possible to anticipate some of detrimental environmental consequences of the new technologies and the 5G network, because we know these technologies will increase exposure to harmful radiation, increase mining of rare minerals, increase waste, and increase energy usage. The main 5G environmental concerns have to do with two of the five new components: the millimeter waves and the small cells. The whole aim of the new 5G network is to allow for more devices to be used by the consumer at faster rates than ever before, because of this goal there will certainly be an increase in energy usage globally. Energy usage is one of the main contributors to climate change today and an increase in energy usage would cause climate change to increase drastically as well. 5G will operate on a higher frequency portion of the spectrum to open new space for more devices. The smaller size of the millimeter waves compared to radio frequency waves allows for more data to be shared more quickly and creates a wide bandwidth that can support much larger tasks.[15] While the idea of more space for devices to be used is great for consumers, this will lead to a spike in energy usage for two reasons – the technology itself is energy demanding and will increase demand for more electronic devices. The ability for more devices to be used on the same network creates more incentive for consumers to buy electronics and use them more often. This will have a harmful impact on the environment through increased energy use. Climate change has several underlying contributors; however, energy usage is gaining attention in its severity with regards to perpetuating climate change. Before 5G has even been released, about 2% of the world’s greenhouse gas emissions can be attributed to the ICT industry.[16] While 2% may not seem like a very large portion, it translates to around 860 million tons of greenhouse gas emissions.[17] Greenhouse gas emissions are the main contributors to natural disasters, such as flooding and drought, which are increasing severity and occurrence every year. Currently, roughly 85% of the energy used in the United States can be attributed to fossil fuel consumption.[18] The dwindling availability of fossil fuels and the environmental burden of releasing these fossil fuels into our atmosphere signal an immediate need to shift to other energy sources. Without a shift to other forms of energy production and the addition of technology allowed by the implementation of 5G, the strain on our environment will rise and the damage may never be repaired. With an increase in energy usage through technology and the implementation of 5G, it can be expected that the climate change issues faced today will only increase. The overall contribution of carbon dioxide emissions from the ICT industry has a huge impact on climate change and will continue to have even larger impacts without proper actions. In a European Union report, researchers estimated that in order to keep the increase in global temperature below 2° Celsius a decrease in carbon emissions of around 15-30% is necessary by 2020. Engineers claim that the small cells used to provide the 5G connection will be energy efficient and powered in a sustainable way; however the maintenance and production of these cells is more of an issue. Supporters of the 5G network advocate that the small cells will use solar or wind energy to stay sustainable and green.[20] These devices, labeled “fuel-cell energy servers” will work as clean energy-based generators for the small cells.[21] While implementing base stations that use sustainable energy to function would be a step in the right direction in environmental conservation, it is not the solution to the main issue caused by 5G, which is the impact that the massive amount of new devices in the hands of consumers will have on the amount of energy required to power these devices. The wasteful nature of manufacturing and maintenance of both individual devices and the devices used to deliver 5G connection could become a major contributor of climate change. The promise of 5G technology is to expand the number of devices functioning might be the most troubling aspect of the new technology. Cell phones, computers, and other everyday devices are manufactured in a way that puts stress on the environment. A report by the EPA estimated that in 2010, 25% of the world’s greenhouse gas emissions comes from electricity and heat production making it the largest single source of emissions.[22] The main gas emitted by this sector is carbon dioxide, due to the burning of natural gas, such as coal, to fuel electricity sources.[23] Carbon dioxide is one of the most common greenhouse gases seen in our atmosphere, it traps heat in earth’s atmosphere trying to escape into space, which causes the atmosphere to warm generating climate change. Increased consumption of devices is taking a toll on the environment. As consumers gain access to more technologies the cycle of consumption only expands. As new devices are developed, the older devices are thrown out even if they are still functional. Often, big companies will purposefully change their products in ways that make certain partner devices (such as chargers or earphones) unusable–creating demand for new products. Economic incentives mean that companies will continue these practices in spite of the environmental impacts. One of the main issues with the 5G network and the resulting increase in consumption of technological devices is that the production required for these devices is not sustainable. In the case of making new devices, whether they be new smart-phones or the small cells needed for 5G, the use of nonrenewable metals is required. It is extremely difficult to use metals for manufacturing sustainably, because metals are not a renewable resource. Metals used in the manufacturing of the smart devices frequently used today often cannot be recycled in the same way many household items can be recycled. Because these technologies cannot be recycled, they create tons of waste when they are created and tons of waste when they are thrown away. There are around six billion mobile devices in use today, with this number expected to increase drastically as the global population increases and new devices enter the market. One estimate of the life-time carbon emissions of a single device–not including related accessories and network connection–is that a device produces a total of 45kg of carbon dioxide at a medium level of usage over three years. This amount of emission is comparable to that of driving the average European car for 300km. But, the most environmentally taxing stage of a mobile device life cycle is during the production stage, where around 68% of total carbon emissions is produced, equating to 30kg of carbon dioxide. To put this into perspective, an iPhone X weighs approximately 0.174kg, so in order to produce the actual device, 172 iPhone X’s worth of carbon dioxide is also created. These emissions vary from person to person and between different devices, but it’s possible to estimate the impact one device has on the environment. 5G grants the capacity for more devices to be used, significantly increase the existing carbon footprint of smart devices today. Energy usage for the ever-growing number of devices on the market and in homes is another environmental threat that would be greatly increased by the new capabilities brought by the 5G network. Often, energy forecasts overlook the amount of energy that will be consumed by new technologies, which leads to a skewed understanding of the actual amount of energy expected to be used.[30] One example of this is with IoT devices.[31] IoT is one of the main aspects of 5G people in the technology field are most excited about. 5G will allow for a larger expansion of IoT into the everyday household.[32] While some IoT devices promise lower energy usage abilities, the 50 billion new IoT devices expected to be produced and used by consumers will surpass the energy used by today’s electronics.
The small cells required for the 5G network to properly function causes another issue of waste with the new network. Because of the weak nature of the millimeter waves used in the 5G technology, small cells will need to be placed around 250 meters apart to insure continuous connection. The main issue with these small cells is that the manufacturing and maintenance of these cells will create a lot of waste. The manufacturing of technology takes a large toll on the environment, due to the consumption of non-renewable resources to produce devices, and technology ending up in landfills. Implementing these small cells into large cities where they must be placed at such a high density will have a drastic impact on technology waste. Technology is constantly changing and improving, which is one of the huge reasons it has such high economic value. But, when a technological advancement in small cells happens, the current small cells would have to be replaced. The short lifespan of devices created today makes waste predictable and inevitable. In New York City, where there would have to be at least 3,135,200 small cells, the waste created in just one city when a new advancement in small cells is implemented would have overwhelming consequences on the environment. 5G is just one of many examples of how important it is to look at the consequences of new advancements before their implementation. While it is exciting to see new technology that promises to improve everyday life, the consequences of additional waste and energy usage must be considered to preserve a sustainable environment in the future. There is some evidence that the new devices and technologies associated with 5G will be harmful to delicate ecosystems. The main component of the 5G network that will affect the earth’s ecosystems is the millimeter waves. The millimeter waves that are being used in developing the 5G network have never been used at such scale before. This makes it especially difficult to know how they will impact the environment and certain ecosystems. However, studies have found that there are some harms caused by these new technologies. The millimeter waves, specifically, have been linked to many disturbances in the ecosystems of birds. In a study by the Centre for Environment and Vocational Studies of Punjab University, researchers observed that after exposure to radiation from a cell tower for just 5-30 minutes, the eggs of sparrows were disfigured.[34] The disfiguration of birds exposed for such a short amount of time to these frequencies is significant considering that the new 5G network will have a much higher density of base stations (small cells) throughout areas needing connection. The potential dangers of having so many small cells all over areas where birds live could cause whole populations of birds to have mutations that threaten their population’s survival. Additionally, a study done in Spain showed breeding, nesting, and roosting was negatively affected by microwave radiation emitted by a cell tower. Again, the issue of the increase in the amount of connection conductors in the form of small cells to provide connection with the 5G network is seen to be harmful to species that live around humans. Additionally, Warnke found that cellular devices had a detrimental impact on bees.[36] In this study, beehives exposed for just ten minutes to 900MHz waves fell victim to colony collapse disorder.Colony collapse disorder is when many of the bees living in the hive abandon the hive leaving the queen, the eggs, and a few worker bees. The worker bees exposed to this radiation also had worsened navigational skills, causing them to stop returning to their original hive after about ten days. Bees are an incredibly important part of the earth’s ecosystem. Around one-third of the food produced today is dependent on bees for pollination, making bees are a vital part of the agricultural system. Bees not only provide pollination for the plant-based food we eat, but they are also important to maintaining the food livestock eats. Without bees, a vast majority of the food eaten today would be lost or at the very least highly limited. Climate change has already caused a large decline in the world’s bee population. The impact that the cell towers have on birds and bees is important to understand, because all ecosystems of the earth are interconnected. If one component of an ecosystem is disrupted the whole system will be affected. The disturbances of birds with the cell towers of today would only increase, because with 5G a larger number of small cell radio-tower-like devices would be necessary to ensure high quality connection for users. Having a larger number of high concentrations of these millimeter waves in the form of small cells would cause a wider exposure to bees and birds, and possibly other species that are equally important to our environment.As innovation continues, it is important that big mobile companies around the world consider the impact 5G will have on the environment before pushing to have it widely implemented. The companies pushing for the expansion of 5G may stand to make short term economic gains. While the new network will undoubtedly benefit consumers greatly, looking at 5G’s long-term environmental impacts is also very important so that the risks are clearly understood and articulated. The technology needed to power the new 5G network will inevitably change how mobile devices are used as well as their capabilities. This technological advancement will also change the way technology and the environment interact. The change from using radio waves to using millimeter waves and the new use of small cells in 5G will allow more devices to be used and manufactured, more energy to be used, and have detrimental consequences for important ecosystems. While it is unrealistic to call for 5G to not become the new network norm, companies, governments, and consumers should be proactive and understand the impact that this new technology will have on the environment. 5G developers should carry out Environmental Impact Assessments that fully estimate the impact that the new technology will have on the environment before rushing to widely implement it. Environmental Impact Assessments are intended to assess the impact new technologies have on the environment, while also maximizing potential benefits to the environment. This process mitigates, prevents, and identifies environmental harm, which is imperative to ensuring that the environment is sustainable and sound in the future. Additionally, the method of Life Cycle Assessments (LCA) of devices would also be extremely beneficial for understanding the impact that 5G will inevitably have on the environment. An LCA can be used to assess the impact that devices have on carbon emissions throughout their life span, from the manufacturing of the device to the energy required to power the device and ultimately the waste created when the device is discarded into a landfill or other disposal system. By having full awareness of the impact new technology will have on the environment ways to combat the negative impacts can be developed and implemented effectively.
jsis.washington.edu/news/what-will-5g-mean-for-the-enviro...
Lighting candles has long been associated with the Catholic Church and Christianity. Other religions who use candles include Hinduism and Buddhism.
Society in general now uses candles to show solidarity with others, usually those who have died in tragic circumstances, as a collective prayer that light will triumph over darkness.
These ones are at the shrine to the Virgin Mary at Fatima in Portugal.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
AUGUST
Labors of the month August are generally associated with threshing. The scene usually shows a man and a woman, or occasionally two men, beating the grain. The scene can take place both indoor and outdoor and sometimes in the background there are bound of stacks of grain. Variations of the scene might also show sowing as the activity of the month.
Link to the "Labors of the month August" set.
Link to the "Labors of the months" collection.
Manuscript title: Codex Schürstab
Origin: Nürnberg (Germany)
Period: 15th century
Image source: Zürich, Zentralbibliothek, Ms. C 54, p. 13r – Codex Schürstab (www.e-codices.unifr.ch/en/zbz/C0054/13r)
www.flickr.com/photos/andysancestors/5034381037/
www.flickr.com/photos/andysancestors/5027366428/
www.flickr.com/photos/21728045@N08/6138270767/in/set-7215...
www.flickr.com/photos/21728045@N08/26410366546/
The significance of the end product in art
March 22, 2010 at 10:58pm
Before we see this, ‘the significance of the end product in the arts’, we need to first look at some teachings from the past to get some sort of a big picture, so we can get to see the place of the artist and his work in the universe.
There seems to be an obstacle to satisfaction in the process of making art. The difference between the mystic and the artist is that the mystic is quite happy to be standing still. For him, ‘stillness speaks’, but for the artist he has to keep feeling his way through his art until he realizes it is not going to come to an end. The process drives the artist through all the crevices and you come up with mainly dead ends. The manifestation of this process is the art work. The end product is only part of the process. The art work throws light on that journey. It shows the viewer, through its excavations, its mistakes, through the coming together of form, through the history of the works, something of the ‘Intelligence in nature.’
‘….Earth in its entirety is indeed a living, breathing organism with an intelligently (albeit instinctively) coordinated sense of its own existence and purpose.’ (J.S Gordon, ‘The rise and Fall of Atlantis.’)
The process of making art is but a mini replication of the greater. There is something of the way a work of art falls into place when it is completed that is similar to the way the universe has fallen into place amid the chaos into order. Only an artist struggling with form to make art can truly feel this when it happens. You know it by doing. And it is repeated with each work. He/she starts to feel a coming together and senses that ‘intelligence in nature’ at work. After a while you take the invisible forces at work for granted and make it part of the process. It becomes a way you finish off a work of art. You know it will naturally bring itself to completion. And you will instinctively know when it is not there yet.
Art is a valuable database for the natural Truths and the structure behind the intelligence. It comes through the personality of the artist and through the flavour of his own form in his mind.
Today, even the scientists are confused about what they know of the structure of the universe. So let us look at some ancient literature as to what they say about the invisible forces of the universe. This is relevant to the artist as he is working up against this in his process of the work that he is trying to manifest. The idea of his work comes of the form that is in his mind and his mind, whether he likes it or not, is connected to the structure of the intelligent universe, both visible and invisible.
‘In 1988, Professor James Lovelock, a fellow of Britain’s prestigious Royal Society, put forward the then apparently revolutionary idea that every part of the Earth, including its rocks, oceans and atmosphere, as well as all organic entities, was a part of one great living and intelligent organism.’ (‘The Rise and Fall of Atlantis.’)
If you open up the Sikh holy book, these are the first few lines you will read.
The one God
Whose name is Truth.
The Creator.
Who is present in all Creation
Who fears none.
Who hates none.
An immortal being beyond time.
Unborn
Self existent
attainable only through divine grace.
Meditate.
True in the Beginning.
True throughout the Ages.
True even Now.
says Nanak (Sikh Guru),Truth will always be here.
The truth comes from everywhere, so at times it is OK to just look over the edge of contemporary thinking, over the pages of cool contemporary magazines and art books, to see where the process is coming from. You must remember cool is yesterday and today, time rolls back to the days of Kandinsky at the turn of the last century. It was a time of the NEW in art with the advent of abstraction. Like Kandinsky did in his time: he looked at the Kalevala: Finish mythology, and he was fascinated by the life of the Shaman: a person who has been to the brink of death and then back again, now all knowing. He carried the book ‘Thought Forms’ from the Theosophical society with him at times. Then came, ‘Concerning the Spiritual in Art’, by Kandinsky. In today’s contemporary art schools: spirituality is not a valid reason for subject matter for the work. But as science and mysticism comes together we start to very rapidly see what our limitations are and what the work is all about and that the final product of the creative process is only part of a bigger happening. The Sikh holy book, the Guru Granth Sahib, reminds us in the very first few lines, just how vast the process of the creative wave really is. It gives you an idea of an underlying intelligence that permeates all and will always be true.
The spark in ones own mind can come from many different places. This is also a component of how the Whole perhaps works. I was at a talk by J.S Gordon on his new book, ‘The Rise and Fall of Atlantis’, but more on some of the reasons for climate change by looking at the history of the formation of the universe, from chaos to order, and an underlying order that is cyclical, yet very precise. This explained the cataclysm that ended Atlantis. And it is here again today. It was by looking at this structure of the universe and its possibilities that the point was made, that perhaps within our galaxy, we live within a sphere of consciousness that is contained, because of the forces that hold the different parts of the universe together (see diagram below).
These forces interact, but can remain distinct. And this can also be reflected by our own group spheres we live by and hence the limitation. We cannot perceive outside this bubble. More importantly we have to create this circle of limitation for us to generate an idea, to think coherently. This is where the flavour in our work comes from. The personality that is created in this sphere comes through in the work. It was the fact that the conscious whole had to be capped for the mind to create, to work, was what fascinated me. Remember that the artist works within the limits created by his own mind and also within the limits of his medium: the painter limited by a flat two dimensional space and its edges. He first looks from outside the canvas, from the vast universe and all it holds, both the tangible and the intangible and then filters it down into the image that he creates. It implodes through the artist into his work. The vast forces of the universe was also organized in this way. From big to small. As above so is below. Our minds are limited to function. ‘That is why with each work of art, the process always leaves the artist with a taste of dissatisfaction in his mind.’ I am trying to recall what was said. That is perhaps why the looking never ends. But then if you see it as it is, then you have it. The transformation comes from accepting this fact: that we operate within limits and we will never see all. The process will allow you to see this.
‘Man was seen as being unable to make his escape from one cycle of existence (or state of being) to another – except subjectively and at the critical points of transition between one celestial cycle (or state of being) and another…..’ and also ‘ It was for this reason also that each new cycle was seen as producing its own ‘zeitgeist’……..We use the expression ‘zeitgeist’ to mean the influential ‘Spirit of the Age’, from its literal meaning in German, although the modern interpretation of that expression gives it the flavour of no more than some sort of unspoken communal human perception of, or instinctive urge towards, cultural change.’ (J.S Gordon, ‘The rise and Fall of Atlantis’)
And also there is ‘zeitgeist’ and there is ‘zeitgeist’. To the ancients, the ‘Spirit of the Age’ was an ‘avatar’. With us, what you see now is of the last 100 years. The ‘zeitgeist’ is what you are living in today: the flavour of the century. And I think today, it is now in transition again, with the recent banking failures, the population sees how vulnerable the man-made system is, and its group consciousness will see it make a change. Add to this a couple of volcanic eruptions because of the ‘compressional and expanding forces’ of the universe, an earthquake here then there and you are looking at change. People get bumped around in this process and they start to ask questions or rather they start to think. We don’t see it until we live through the process of the system, dismantling the system. It is not very dissimilar to what the artist feels as he follows the process of making art. But we, the group, consciously will do it ourselves. We are in the process of making something new for us to live in, because we see the Truth in the limitations of the past. ‘As they did historically in ancient Rome, Greece, communist Russia…..’ Nature allows us to make and break systems. Well the artist, he sits coolly among all this and also functions just like it, in his own bubble: and he wonders why he is not seeing it yet. As the greater process functions, so does the artist as he lives creatively making art. Though the artist deals with the material object, the devotion to his craft has attuned him to non-material concerns. He is a function of the greater process: a micro entity of the ‘intelligence’: contained in a sphere with his own limitations and trying to decipher the big picture with his art.
‘The ancients saw the universe as a concentrically organized sequence of fields of consciousness, this being to them a universal principle.’ (‘The rise and Fall of Atlantis’ J.S Gordon.) As you can see from the diagram earlier we sit smugly in the center, in our little worlds, with our limitations and think we are the biggest thing since sliced bread. You know what I mean. Now if this is the big picture and we are really enclosed in the sphere of limitations not being able to see the landscape of the structure we live in: then we have to accept this. Progress comes from accepting this. We see that everything we make is an illusion, every idea is not real, but it may be an indicator of the manifestation of the invisibility and vastness of the space we live in, then perhaps we can unfold and progress. It is to bring on a settlement so a new space can become.
History of the universe has been a cycle of chaos and order. The making of us and the destroying of us: order and chaos. Atlantis was an example of this. In this cataclysm the new is created. As in art, it is only the look for the NEW is relevant. It is a personal opinion. It is the driving force for the unfolding of the race and evolution. ‘…..The ancients saw consciousness unfolding and then evolving……’ (‘The rise and Fall of Atlantis’). To bring this to a close quickly it is sufficient to say, from looking at J.S Gordon’s work on Atlantis, that these cyclical nature of the universe would bring on a series of states or ‘planes’ of consciousness within our local solar universe, that little circle in the center of the diagram. We evolve through 7 planes of consciousness (The current race is 5 and on the 5th plane). The flavour of this evolving nature of the races is one of involution becoming more egocentric, with increasing amounts of mass desire and by the 3rd race more grounded increasingly in physical matter. By the 4th race the concept of Mind, desire and physical form is fully integrated. ‘From the middle point of this race (4th) the process of evolution commences, the desire principle now becoming increasingly personalized and dominant in each individual and each local group. Correspondingly, in the present Fifth Race, it is the mind principle which is becoming increasingly individualized and dominant in the integrated personality and the local group.’ The seventh race returns to the first race and both races are spiritual in nature and the cycle repeats itself. As it did in Atlantis, the catastrophe will bring an end to one form for it to evolve to another. Another diagram from the book on the different races, ‘The Rise and Fall of Atlantis’ by J.S Gordon ISBN: 978-1-905857-43-2)
We are now in the 5th race, though still tied up to the object, desire, materialistic in the way we live but we are in transition. In the 5th race (us) the mind principle becomes prominent in the individual. We have just been through a process where the illusion of the structure we made for ourselves to live in started to show its weak areas. We could at one time almost see the possibility of the illusion crumbling. It had changed the lives of some, where all of what they thought was secure they lost: their homes, money etc. The mind gets stuck on things like this. When a lot of minds get stuck on such matters we get change. The structure of the ether changes. You witness the ‘rise and fall’. There is an awakening of the ‘Intelligence’ in the mind. I like to finish with a quote by Jiddu Krishnamurti on how the intelligence is woken by the discovery of a fact behind the illusion.
‘You see, intelligence is not personal, is not the outcome of argument, belief, opinion or reason. Intelligence comes into being when the brain discovers its fallibility, when it discovers what it is capable of, and what not.’ I think what K is trying to say here is exactly what is going on now in all our minds. Does this structure we live in now: is it real. We saw glimpses that it may not be real, only an illusion. When you see a fact, and its relationship to a fallacy, there is something in you that alters. A new presence makes itself felt in you because of that experience. The presence is a kind of ‘intelligence’ that can now operate through you. ‘And only when that intelligence, is functioning can the new dimension operate through it.’ The new you, as a result of seeing a universal Truth, now continues the evolutionary process towards the 6th race. So, as for the artist, in a different way, when he gifts you with the NEW in his work, he changes you forever and invokes that ‘intelligence’ to function in the NEW you.
Hamilton revisited – The dual nature of John Sloan Gordon
BY ADMIN ⋅ JUNE 1, 2007 ⋅ PRINT THIS POST ⋅ POST A COMMENT
By Gary L. Roy
“I wonder if the people of Hamilton appreciate the man in their midst…. A man whose advice and criticism went deeper than just correcting a line or subduing a tone or colour for his students…” – Arthur W. Crisp NA
“He would burst into the classroom without knocking and ridicule her or scold her about some trifle. Poor Mrs. Gordon maintained a tense little smile and made no protest… But the pulse in her throat throbbed more noticeably.” – Doris McCarthy RCA OSA
One man. Two masks. A life of contradiction: John Sloan Gordon.
When Gordon died on October 12, 1940, so closed a significant chapter of Hamilton’s vibrant art history. Canada’s first pointillist. Disciple of the instructional methods of the French academies. Champion of bohemian intellectualism. Lauded as they were during his lifetime, Gordon’s accomplishments in painting and in art education, once eulogized, would pass quickly into yet another institutional vertical file. However, his life is much more than a historical moment. It is a monument; a testament to the creative history of Hamilton and one of the pioneers who helped develop it.
Next month will mark the anniversary of Gordon’s death. To honour his life, we revisit the man, the art and the accomplishments that would later establish his enduring role within Hamilton’s history.
Sloan was born July 8, 1868 to Thomas and Janet Gordon of Brantford, Ontario. A year after his birth they moved to Hamilton, where Gordon grew up and went to school. He worked at the art department of the Howell Lithographing Company and later left Howell’s to open his own studio, devoting his energy to freelance illustration and advertisements. He began his fine art career at this time, taking courses at night from local artist S. John Ireland, and winning gold and silver medals from exhibitions held at the Hamilton Art School. His early success inspired him, and in 1895 he enrolled in art studies offered by the Julian Academy in Paris.
At the academy, he took drawing and painting instruction, and learned to model in clay. He also studied for a short period at the Academie des Beaux Arts and returned to Canada in 1897.
Sloan was much more than a talented, internationally trained artist and teacher. He was a gifted, yet unpredictable, creative force, who led a distinguished commercial art career; was elected a member of the Ontario Society of Artists in 1898; had an oil purchased by the National Gallery in 1909; and became an Associate of the Royal Canadian Academy in 1923. He also helped establish the Hamilton Art School. In 1909, he was made principal of the school, a post he held until he retired.
It was at the school where Gordon developed his most enduring and controversial contribution to the artistic history of Hamilton. His public lectures combined art history, biography, composition theory, and discussions of colour and light. He illustrated his points with prints from his own extensive collection, as well as spontaneous drawings in chalk on the blackboard. He enriched his talks with personal experiences and notes from his travels, as well as references to the literature, sculpture, architecture and music of the period being discussed. For Gordon, the education system should not just give art instruction and develop students’ abilities, but should also provide them with opportunities to give back to their country.
Gordon mentored a number of students who went on to become major artists of their day, including New York muralist Arthur Crisp NA; Saturday Evening Post stalwart and Society of Illustrators president, Arthur William Brown; and impressionist Albert Henry Robinson.
Besides his lectures, Gordon was an outspoken critic of the changes taking place in the art world during the early part of the 20th century. He said Futurist art was art that could not be taken seriously, as it was made by men “who wanted to be conspicuous, and could only be that, by being eccentric.” His acerbic outlook on the avant garde was soon to be tested from an unlikely source: his bride.
In 1920, Gordon married Hortense Mattice, a painter of china and pleine air landscapes, who taught at the Hamilton Art School. They took every opportunity to bring their educational methods and their students’ work to the attention of European educators. The work was new and distinctive, and attracted a lot of positive attention from the Europeans. They queried the Gordons, “How are Hamilton students able to do things our students do not seem to accomplish?” The response came quickly from Hortense and John: “Our students are not encouraged to copy, but to think for themselves, and environment does the rest.”
While the Gordons appeared to share common ground with respect to the academic welfare of their students, they differed significantly in their appreciation of what constituted significant achievement in art. The difference would lead to explosive, public clashes that would come to signify Gordon’s contradictory nature.
Hortense incorporated discussions of avant garde art theories into her classes, while John was blunt and dismissive about modern art. Inevitably, clashes occurred and they came to be known within Hamilton’s artistic community as “the turbulent Gordons”. What may have begun as ideological ‘fencing’, quickly descended to embarrassing gossipy incidents, exacerbated by John’s increasing dependence on alcohol. How he missed a Christmas dinner because of the ‘scotch flu’. How his sudden and stormy departures were inevitably accompanied by the musical tinkling of bottles in a suitcase. How he stormed into his wife’s classroom and belittled her mercilessly.
Gordon’s tumultuous relationship highlights his creative contradiction – as a man who lived staunchly dedicated to the artistic traditions of the past, while nurturing a generation of future artists. It is this lasting, yet complex impression – one of inspiration and intrigue – that resonates today.
The last word fittingly to Arthur Crisp: “Hamiltonians ought to be happy and proud that they had a man of his attainments…. I am sure that my career would have been less than it is had I not had the guide, philosopher and friend that J.S. was to all of us.”
John Sloan Gordon’s works appear occasionally at catalogued auctions and other secondary market venues. Expect to pay $150-$250 for drawings, $500-$750 for watercolours 10” x 12”, and $900- $1,200 for comparably sized oils.
With artist files from the Art Gallery of Hamilton, the Special Collections of the Hamilton Public Library, from “Climbing the Cold White Peaks” by Stuart MacCuaig, and “Hortense M. Gordon, A Dedicated Life”, Chatham Cultural Centre publication.
Alfred Joseph Casson, born in Toronto, began to study art with J.S. Gordon at Hamilton Technical School and was apprenticed to a lithographer. Returned to Toronto in 1916 and studied with Harry Britton at the Ontario College of Art; also at the Central Technical School. Met Franklin Carmichael in 1919 and worked with him at Sampson & Mathews, as a commercial artist. Became a member of the Group of Seven in 1926 and a founding member of the Canadian Group of Painters, 1933. A.R.C.A. in 1926, R.C.A. in 1939, P.R.C.A. 1948 - 52.
John Sloan Gordon, Artist and Educator
Principal, Hamilton Art School 1909-1932
John Sloan Gordon began teaching art in 1897 shortly after returning to Hamilton from Paris where he had been studying at the Academie Julian. He took part in organizing the Art League of Hamilton which eventually became part of the Hamilton Art School. In 1909 he became Principal of the Hamilton Art School and in 1923 was named Director of the School of Fine and Applied Arts after the amalgamation of the art school with the technical school. "Though Gordon's own art career was partially eclipsed by his pioneering work in Canadian art education and his dedication to teaching, it was a career of distinction nonetheless. When he returned from Paris in 1896 he became a 'leading representative in this country of the Impressionist school of painting'. Today he is remembered as the first Canadian exponent of Pointillism... In 1909, the National Gallery in Ottawa bought his Old Mill, Brantford, a work in oil considered to be typical of his style."
Stuart MacCuaig
Climbing the Cold White Peaks:
A survey of artists in and from Hamilton 1910-1950
www.hpl.ca/articles/john-sloan-gordon-1886-1940
Instructions
1
Place the canvas face-up on a dust-free table. Pile small strips of hard linoleum under the cracked areas of the canvas to create a support to protect the painting from further damage during repair.
2
Heat 1/4-cup damar resin over a low flame until it dissolves. Stir 1/4-cup beeswax slowly into the dissolved resin. Continue to stir over heat until blended, then turn flame off. Fill the eyedropper with English turpentine. Add three drops to the mixture. Stir to blend, then cool to 170 degrees Fahrenheit.
3
Load a small paintbrush with the 170-degree mixture. Apply liberally to the cracked areas of the painting. Poke the tip of the paintbrush gently underneath and between the cracks to saturate the front and back sides of the paint with the glue.
4
Heat the metal palette knife in a cup of hot water, then dry on a clean cotton rag. Press the flat side of the palette knife gently on to the saturated paint. The heat and pressure glue the saturated paint to the backing. Allow to dry and cool.
5
Mix 1 cup of white flour and 1 cup of cold water to create a paste. Apply a thin layer of the paste over the glued areas of cracked paint. Cover the pasted area with Japanese tissue paper torn to fit. Allow to dry. Apply a second layer of paste over the tissue paper, and cover with gauze. Allow to dry. Cover the gauze with paste, then attach a piece of heavyweight archival paper over the gauze. Allow to dry, cover with paste, then attach one more layer of heavyweight paper.
6
Lay the canvas face-down on a table covered with cloth. Heat the damar-beeswax-turpentine mixture to 170 degrees. Paint the glue on the back of the canvas behind the cracked areas of paint clearly visible as slightly darker than the rest of the canvas. Warm a dry iron to medium heat. Lay wax paper over the back of the canvas, and iron the glued areas to further flatten and attach the cracked paint to the surface. Turn off the iron. Peel off the wax paper. Allow to cool and dry.
7
Turn the canvas face-up on the table. Add supports underneath as described in Step 1. Spray the top layer of heavyweight paper with distilled water to dissolve the wheat-paste glue. Peel off the paper. Spray, then remove the second layer of heavy paper and the gauze. Spray the Japanese tissue paper with water, then wash off the paper and paste gently using the sponge.
Read more : www.ehow.com/how_8400121_repair-painting-cracked-paint-yo...
Wilson & Associates Funeral Service East Chapel (4,654 square feet)
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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.
CELTIC SPIRIT (IMO: 9365491) from 01/2023
Previous Names
MIRAMAR (2013)
GEESTBORG (1996)
VIATOR (1996)
Vessel Register for DNV45572
CELTIC SPIRIT
IMO 9365491
MMSI: 304242000
Identification
Vessel Name: CELTIC SPIRIT
DNV id: 45572
IMO: 9365491
Other DNV services: MRV,DCS,MLC,ISPS,ISM-VE
Class relation: In DNV Class
Operational status: In Operation
Signal letters: V2HC4
Flag: Antigua and Barbuda (AG)
Port: Saint John's
Type: 301 - General cargo (single deck)
Yard
Marine Projects Ltd. Sp. z o.o.
Sienna 45
80-605 Gdansk Poland.
TEL. + 48 58 520-31-50
FAX + 48 58 520-31-51
VAT No. PL 583-000-86-48
marineprojects@marpro.pl
(Hull number: (682)
Contract date: 2004-11-30
Keel laid: 2004-12-30
Launch: 2006-10-31
Date of build: 2007-01-25
Hull material: Steel
Dimensions
Loa: 87.9 m
Lbp: 84.94 m
Lload: 84.97 m
Bext: 12.6 m
B: 12.5 m
D: 8 m
Draught: 5.3 m
GT (ITC 69): 2658
NT (ITC 69): 1195
DWT: 3740
Machinery
Main propulsion principle: Conventional propulsion - combustion engine
Propeller shaft: Shaft
Manoeuvring waterjet, variable: 4K 1000
Main generator engine 1: 634AGCO Sisu Power, GenPowex
Main generator engine 2: 634AGCO Sisu Power, GenPowex
Steering gear: Steering gear
Propeller, controllable pitch: Propeller, controllable pitch
Manoeuvring thruster: Electric power unit
Main generator power take off (Shaft Generator)Power take off
Emergency generator engine: Reciprocating internal combustion engineNOT SET
Propulsion engine: MaK ENGINES 6M25 Caterpillar Motoren GmbH & Co. KG
Owner
Owner: Charles M Willie & Co. (Shipping) Ltd. (10103210) (IMO number: 10103210)
Manager: Charles M Willie & Co. (Shipping) Ltd. (10103210) (IMO number: 0640621)
Isamu Noguchi's low-relief panel, News has soared above the entrance to the Associated Press Building, 50 Rockefeller Plaza, since its installation on April 29, 1940. Symbolizing the business of its former tenant, the Associated Press, this cast stainless steel Art Deco plaque depicts five journalists "getting a scoop"--the reporter with his pad, the newsman on the phone, the reporter typing out a story, the photographing recording events, and the newsman hearing the news as it comes in on the wire. The Associated Press' wordwide network is symbolized by diagonal radiating lines extending across the plaque.
Isamu Noguchi won a nationwide invitational competition in 1939 with this 22 foot high by 17 foot wide, 10-ton cast relief, using intense angles and smooth planes to emote the fast fassed environment of the newsroom in what was the first heoric-sized sculpture ever cast in stainless steel. Noguchi cast the piece in nine parts, but they were joined seamlessly so the naked eye could never detect.
Los Angeles born Isamu Noguchi (野口 勇, 1904-1988) was a sculptor, theatrical and industrial designer best known for his abstract works and set designs for Martha Graham productions. News was one of his last figurative works, and the only time he employed stainless steel as an artistic medium. His work can be found throughout major metropolitan cities, in museums, and in the Isamu Noguchi Garden Museum in Long Island City in New York. Noguchi's work around New York includes the Sunken Garden for Chase Manhattan Bank Plaza and Red Cube in Helmsley Plaza. His Thunder Rock was also temporarily on display in Rockefeller Plaza.
Rockefeller Center was designated a landmark by the New York City Landmarks Preservation Commission in 1985.
In 2007, Rockefeller Center was ranked #56 on the AIA 150 America's Favorite Architecture list.
Rockefeller Center National Register #87002591
This colorful thermal area sitting on the shore of Yellowstone Lake is associated with, and just north of, the near-by West Thumb Geyser Basin, but it is not open to visitation. Lake Shore has at least six named geysers, though we didn't see an eruption over the 20 minutes or so we enjoyed the view from a pullout along the main road.
The beautiful view across the lake is of the Absaroka mountains.
Design by M Moser Associates
When workspace designer M Moser redesigned its Hong Kong office, it was determined to visibly demonstrate the benefits of migrating to a more technologically sophisticated, collaborative and Sustainable style of working. The doubling of existing meeting spaces and integration of shared areas such as team hubs, plus ‘heads down’ rooms for more private working and meetings ensured enhanced knowledge sharing. Collaboration was further improved by the seamless integration of new technologies. Incorporating optimised natural daylight, plus energy-efficient individually-lit, island style personal workstations and extensively recycling existing fittings and furnishings, the new office shortly expects to receive LEED certification.
Lead Designer: Karen Wong
Photography: Vitus Lau, Stefan Ripperger
Text: W. Frederic Nitschke
between Cannsregio (left) and Castello (right)
zwischen Cannaregio (links) und Castello (rechts)
Cannaregio (Italian pronunciation: [kannaˈredʒo]) is the northernmost of the six historic sestieri (districts) of Venice. It is the second largest sestiere by land area and the largest by population, with 13,169 people as of 2007.
Isola di San Michele, the historic cemetery island, is associated with the district.
History
The Cannaregio Canal, which was the main route into the city until the construction of a railway link to the mainland, gave the district its name (Canal Regio is Italian for Royal Canal). Development began in the eleventh century as the area was drained and parallel canals were dredged. Although elegant palazzos were built facing the Grand Canal, the area grew primarily with working class housing and manufacturing. Beginning in 1516, Jews were restricted to living in the Venetian Ghetto. It was enclosed by guarded gates and no one was allowed to leave from sunset to dawn. However, Jews held successful positions in the city such as merchants, physicians, money lenders, and other trades. Restrictions on daily Jewish life continued for more than 270 years, until Napoleon Bonaparte conquered the Venetian Republic in 1797. He removed the gates and gave all residents the freedom to live where they chose.
In the 19th century, civil engineers built a street named Strada Nuova through Cannaregio, and a railway bridge and road bridge were constructed to connect Venice directly to Mestre. Today, the areas of the district along the Grand Canal from the train station to the Rialto Bridge are packed with tourists, but the rest of Cannaregio is residential and relatively peaceful, with morning markets, neighborhood shops, and small cafés.
(Wikipedia)
Castello is the largest of the six sestieri of Venice, Italy.
History
There had been, since at least the 8th-century, small settlements of the islands of San Pietro di Castello (for which the sestiere is named). This island was also called Isola d'Olivolo.
From the thirteenth century onward, the district grew around a naval dockyard on what was originally the Isole Gemini. The land in the district was dominated by the Arsenale of the Republic of Venice, then the largest naval complex in Europe. A Greek mercantile community numbering around 5,000 in the Renaissance and late Middle Ages was based in this district, with the Flanginian School and the Greek Orthodox Church of San Giorgio dei Greci being located here, of which the former comprises the Hellenic Institute of Byzantine and Post-Byzantine Studies in Venice[1] and the latter is now the seat of the Greek Orthodox Archdiocese of Italy.
Other significant structures were by the monasteries in the north of the quarter.
Napoleon closed the Arsenal and planned what are now the Bienniale Gardens. More recently the island of Sant'Elena has been created, and more land drained at other extremities of Castello.
(Wikipedia)
Cannaregio ist der am dichtesten besiedelte Stadtteil (Sestiere von Venedig) Venedigs. Die 13.169 Einwohner (Stand 12. Dezember 2007) des Sestiere verteilen sich auf die Pfarren San Giobbe e Bernardino (mit Opera Pia Contarini), San Marcuola (mit Santa Fosca), Madonna dell’Orto (mit San Marziale, Ospedale Fatebenefratelli und Casa Card. Piazza), Sant’Alvise (mit San Bonaventura (Carmelitane) und Canossiane), San Girolamo (mit Santa Maria Madre del Redentore und Ist. Suore Dorotee), San Felice (mit Santa Sofia), Santi Apostoli (mit Gesuiti) und San Canciano (mit San Giovanni Crisostomo und Santa Maria dei Miracoli). Die Flächenausdehnung beträgt 150 Hektar.
Cannaregio liegt im Nordwesten von Venedig und wird von der flächenmäßigen Ausdehnung nur noch von Castello übertroffen. Der Name leitet sich angeblich vom Zustand des Sestiere ab, den es vor der Besiedlung hatte, als es sich noch um ein versumpftes Gebiet handelte, in dem Schilfrohr (italienisch canna: Schilf) wuchs.
Gliederung
In Cannaregio beginnt der Canal Grande, von den Venezianern „Canalazzo“ genannt, der sich in Form eines umgekehrten „S“ nach San Marco windet. Ursprünglich war die dem Festland zugewandte Öffnung des Canal Grande nicht der Haupteinfahrtsweg. Diese Funktion erfüllte der Cannaregiokanal, der nach der Ponte delle Guglie beim Palazzo Labia in den Canal Grande mündet.
In Cannaregio wohnen überwiegend Arbeiter und Angestellte, viele kleine Gewerbebetriebe sind dort angesiedelt. Schlagader des Bezirks ist die Trasse der Strada Nova, die sich von der Ponte delle Guglie, zu Beginn noch Rio terrà San Leonardo, danach Rio terrà della Maddalena und kurz noch Via V. Emanuele benannt, bis zum Campo SS. Apostoli hinzieht. Von der Strada Nova Richtung Bahnhof, nur vom Campo San Geremia unterbrochen, kommt man in die Rio terrà Lista di Spagna. In dieser Straße finden sich entlang der Hausfassaden in den Straßenbelag eingelassene weiße Marmorstreifen. Hinter diesen Streifen war exterritoriales Gebiet, waren hier doch viele ausländische Botschaften untergebracht. Der Begriff „Rio terrà“ leitet sich vom Umstand ab, dass diese Straßen ursprünglich Kanäle waren, die man zugeschüttet (interrare: zuschütten) und dadurch begehbare Wege geschaffen hat.
(Wikipedia)
Castello ist der größte der sechs Stadtteile (Sestiere) der italienischen Lagunenstadt Venedig. Er liegt im nordöstlichen Teil der Stadt und reicht fast bis zum Markusplatz. Auch die Friedhofsinsel San Michele knapp 420 Meter nördlich sowie die auch mit Brücken verbundenen Inseln San Pietro di Castello und Sant’Elena unmittelbar (40 bzw. 12 Meter) östlich gehören zum Stadtteil. Der Name Castello leitet sich ab von der antiken, befestigten Residenz des Bischofs von Olivolo, die sich auf der gleichnamigen Insel befand. Heute erinnert auf der Insel, die jetzt San Pietro di Castello heißt, nur mehr das Fondamenta di Castel Olivolo an den alten Sitz der venezianischen Bischöfe.
Geprägt wird der Stadtteil durch das 32 Hektar große Arsenal (Werft und Waffenlager) und die ehemaligen Wohnanlagen für die Arsenalarbeiter.
Das Sestiere hat eine Fläche von 186 Hektar[1] und hatte 2006 ungefähr 18.000 Einwohner, die sich auf die Pfarreien San Zaccaria (mit der Kirche Basilica di San Giorgio Maggiore), Santa Maria Formosa (mit den Kirchen San Lio und La Fava), San Zanipolo (mit San Lazzaro dei mendicanti im Ospedale civile), Santa Elena (auf der gleichnamigen Insel), San Piero Apostolo, San Giuseppe di Castello, San Francesco di Paola, San Martino Vescovo (mit Ca’ di Dio und San Biagio, Ordinariato militare), San Francesco della Vigna (mit Suore Francescane di Cristo Re und San Giovanni Battista di Malta), San Giovanni in Bragora (mit Pietà und Casa di riposo San Lorenzo), verteilen.[2]
In Castello befand sich seit 1091 der Sitz des römisch-katholischen Patriarchen von Venedig. Bischofskirche war San Pietro di Castello. Erst nach dem Ende der Republik wurde die Basilika San Marco, die ehemalige Palastkapelle der Dogen, Sitz des Bischofs von Venedig. Aus dem alten Patriarchenpalast in Castello wurde eine Kaserne, heute ist er wie auch andere Paläste Venedigs, in einem pflegebedürftigen Zustand. Das Sestiere hatte im Jahr 1171 zwölf Contraden (Kirchengemeinden). 1586 war die Zahl auf 13 gestiegen.
Die im Osten von Castello liegenden Parkanlagen wurden 1810 während der französischen Herrschaft über Venedig angelegt, nachdem mehrere Kirchen und profane Bauten abgerissen worden waren. In der Parkanlage befinden sich Pavillons verschiedener Nationen, in denen während der Biennale Ausstellungen ausgerichtet werden. Entworfen wurden die Pavillons von Architekten, wie Scarpa, Stirling, Aalto. Sie bilden daher selbst ein kleines Museum zeitgenössischer Architektur.
Zu den bedeutenden Sehenswürdigkeiten Castellos zählen neben dem Arsenal, die Kirchen San Piero, San Francesco della Vigna, San Giovanni in Bragora, San Zaccaria, ehemals eines der reichsten und bedeutendsten Nonnenklöster der Stadt, sowie die bevorzugte Grablege der Dogen, die Dominikanerkirche Santi Giovanni e Paolo mit der benachbarten Scuola Grande di San Marco und dem Reiterdenkmal des Condottiere Bartolomeo Colleoni. Eine weitere, wegen ihrer Bilder berühmte Scuola in Castello ist die Scuola di San Giorgio degli Schiavoni mit den Fresken Vittore Carpaccios.
(Wikipedia)
Die Brücke Ponte del Cavallo (deutsch: Pferdebrücke) ist eine der über 400 Brücken von Venedig. Sie liegt im Sestiere Cannaregio, überspannt den Rio di San Lazzaro dei Mendicanti und verbindet neben dem Campo SS. Giovanni e Paolo mit der Calle Larga Giacinto Gallina auch die beiden Sestieri Cannaregio und Castello. Ihren Namen verdankt sie dem in unmittelbarer Nähe befindlichen Reiterstandbild des Bartolomeo Colleoni.
Die Brücke diente unter anderem dem britischen Maler Charles John Watson als Motiv.
(Wikipedia)
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
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