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The bronze equestrian sculpture of George B. McClellan located at the intersection of California Street, Columbia Road, and Connecticut Avenue NW in Washington, D.C. McClellan was a major general during the Civil War, Democratic candidate in the 1864 presidential election, and governor of New Jersey. Sculpted by Frederick William MacMonnies, it cost $50,000 and was dedicated on May 2, 1907. The sculpture is one of eighteen Civil War statuary collectively listed on the National Register of Historic Places (NRHP) in 1978. It's also designated a contributing property to the Kalorama Triangle Historic District, listed on the NRHP in 1987.

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This is one of my older photos I originally uploaded to Wikimedia Commons.

India - Rajasthan - Udaipur - City Palace - Weighing Scale for Maharana Bhupal Singh - 44 by Manfred Sommer

City Palace, Udaipur, is a palace complex in Udaipur, in the Indian state Rajasthan. It was built over a period of nearly 400 years being contributed by several kings of the dynasty, starting by the Maharana Udai Singh as the capital of the Sisodia Rajput clan in 1559, after he moved from Chittor. It is located on the east bank of the Lake Pichola and has several palaces built within its complex. Udaipur was the historic capital of the former kingdom of Mewar in the Rajputana Agency and its last capital.

The City Palace in Udaipur was built in a flamboyant style and is considered the largest of its type in Rajasthan, a fusion of the Rajasthani and Mughal architectural styles, and was built on a hill top that gives a panoramic view of the city and its surrounding, including several historic monuments such as the Lake Palace in Lake Pichola, the Jag Mandir on another island in the lake, the Jagdish Temple close to the palace, the Monsoon Palace on top of an overlooking hillock nearby and the Neemach Mata temple. These structures are linked to the filming of the James Bond movie Octopussy, which features the Lake Palace and the Monsoon Palace. The subsequent publicity has resulted in the epithet of Udaipur as "Venice of the East". In 2009, Udaipur was rated the top city in the World's Best Awards by Travel + Leisure.

HISTORY

The city Palace was built concurrently with establishment of the Udaipur city by Maharana Udai Singh, in 1559 and his successor Maharanas over a period of the next 300 years. It is considered the largest royal complex in Rajasthan and is replete with history. Founding of the city and building of the palace complex can not be looked in isolation as the Maharanas lived and administered their kingdom from this palace.

Prior to moving their capital from Udaipur to Chittor≤≥, the Mewar kingdom had flourished initially in Nagda (30 kilometres to the north of Udaipur), established in 568 AD by Guhil, the first Mewar Maharana. In the 8th century, the capital was moved to Chittor, a hill top fort from where the Sisodias ruled for 80 years. Maharana Udai Singh II inherited the Mewar kingdom at Chittor in 1537 but by that time there were signs of losing control of the fort in wars with the Mughals. Udai Singh II, therefore, chose the site near Lake Pichola for his new kingdom because the location was well protected on all sides by forests, lakes and the Aravalli hills. He had chosen this site for his new capital, much before the sacking of Chittor by Emperor Akbar, on the advice of a hermit he had met during one of his hunting expeditions.

At his capital Udaipur, Maharana Udai Singh soon faced defeat at the hands of Mughal Emperor Akbar. He soon moved to Udaipur to the chosen location to establish his new capital. The earliest royal structure he built here was the Royal courtyard or 'Rai Angan', which was the beginning of the building of the City Palace complex, at the place where the hermit had advised Maharana to build his Capital.

After Udai Singh’s death in 1572, his son Maharana Pratap took the reins of power at Udaipur. He was successful in defeating Akbar at the battle of Haldighati in 1576 and thereafter Udaipur was peaceful for quite some years. With this, prosperity of Udaipur ensued, palaces were built on the shore and in the midst of the Pichola lake. Concurrently art, particularly miniature painting, also flourished.

But in 1736, the marauding Marathas attacked Udaipur and by the end of the century the Mewar state was in dire straits and in ruins. However, the British came to Mewar’s rescue in the 19th century and soon the State of Mewar got re-established and prospered under British protection, under a treaty signed with the British. However, the British were not allowed to replace them. Once India got independence in 1947, the Mewar Kingdom, along with other princely states of Rajasthan, merged with the Democratic India, in 1949. The Mewar Kings subsequently also lost their special royal privileges and titles. However, the successor Maharanas have enjoyed the trust of their people and also retained their ownership of the palaces in Udaipur. They are now running the palaces by creating a trust, called the Mewar Trust, with the income generated from tourism and the heritage hotels that they have established in some of their palaces. With the fund so generated they are running charitable hospitals, educational institutions and promoting the cause of environmental preservation.

LEGEND

Historical legend narrated to the selection of the site for the palace is about a hermit meeting Maharana Udai Singh when he was on a hunting trail in the Udaipur hills. The Maharana met the hermit who was meditating on top of a hill above the Pichola Lake and sought the hermit’s blessings. The hermit advised the Maharana to build his palace at that very spot and that is where the palace complex came to be established at Udaipur.

GEOGRAPHY

The city palace located in Udaipur city at 24.576°N 73.68°E, which is set with an average elevation of 598 metres.

CLIMATE

The climate of Udaipur reflects the climate at the city palace. It is tropical, with the mercury recording between a maximum of 38.3 °C and a minimum of 28.8 °C during summers. Winter is cold with the maximum temperature rising to 28 °C and the minimum dipping to 11.6 °C. The average annual rainfall is 64 cm.

STRUCTURES

The series of palaces packed in the city palace complex, facing east (as customarily appropriate for the Maharana dynasty – the Sun dynasty), behind an exquisite facade of 244 metres length and 30.4 metres height, were built on a ridge on the east of lake Pichola. They were built over a long period, from 1559 onwards, by 76 generations of Sisodia Rajputs or Suryavanshi Rajputs (worshippers of Sun god). Several Maharanas (the title Maharana is distinctly different from Maharajah, as the former connotes a warrior and the latter a ruler or a king) starting with Udai Mirza Singh II, have richly contributed to this edifice, which comprises an agglomeration of structures, including 11 small separate palaces. The unique aspect of this conglomeration is that the architectural design (a rich blend of Rajasthani, Mughal, Medieval, European and Chinese Architecture) is distinctly homogeneous and eye catching. The palace complex has been built entirely in granite and marble. The interiors of the palace complex with its balconies, towers and cupolas exhibit delicate mirror-work, marble-work, murals, wall paintings, silver-work, inlay-work and leftover of colored glass. The complex provides a fine view of the lake and the Udaipur city from its upper terraces.

Located with the picturesque backdrop of rugged mountains, beside the Pichola lake on its shore, the city palace complex painted in gleaming white color has been compared to the Greek islands, such as the Mykonos.

The famous structures or palaces viewed from the Lake Palace appear like a fort. They are interlinked inside the complex through a number of chowks or quadrangles with zigzag corridors (planned in this fashion to avoid surprise attacks by enemies). Erected in the complex, after entering through the main Tripolia (triple) gate, are the Suraj Gokhda (public address facade), the Mor-chowk (Peacock courtyard), the Dilkhush Mahal (heart’s delight), the Surya Chopar, the Sheesh Mahal (Palace of glass and mirrors), the Moti Mahal (Palace of Pearls), the Krishna Vilas (named after Lord Krishna), Shambu Niwas (royal residence now), the Bhim Vilas, the Amar Vilas (with a raised garden) that faces the Badi Mahal (the big palace), the Fateprakash Palace and the Shiv Niwas Palace (the latest addition to the complex); the last two have been converted into heritage hotels. Details of all these structures are elaborated. The vast collection of structures are termed to form ‘a city within a city’ set with facilities of post office, bank, travel agency, numerous craft shops and also an Indian boutique belonging to the World Wildlife Fund (WWF) for Nature. The entire complex is the property of the Mewar royal family and a number of trusts take care of the running and maintenance of the structures. The earliest royal structure built in the complex was the Royal courtyard or Rai Angan.

GATEWAYS

Gateways, colloquially called Pols, are set to the east of Udaipur city that was established by Maharana Udai Singh II, concurrently with the City Palace. A number of impressive gateways provide access to the palace complex.

The main entry from the city is through the 'Bara Pol' (Great Gate), which leads to the first courtyard. Bara Pol (built in 1600) leads to the ‘Tripolia Pol', a triple arched gate built in 1725, which provides the northern entry. The road between this gate and the palace is lined with shops and kiosks owned by craftsmen, book-binders, miniature painters, textile dealers and antique shops. Between these two gates, eight marble arches or Toranas are erected. It is said that the Maharanas used to be weighed here with gold and silver, which was then distributed among the local people. Following the Tripolia gate is an arena in front of the Toran Pol and the facade palace, where elephant fights were staged in the past to test their prowess before starting on war campaigns.

The main block of the city palace at Udaipur is approached through a modest door from the Ganesha Deodhi terrace. The door is flanked by whitewashed walls vibrantly painted with martial animals in the traditional Rajput style.

AMAR VILAS

Amar Vilas is the uppermost court inside the complex, which is a raised garden. It provides entry to the Badi Mahal. It is a pleasure pavilion built in Mughal style. It has cussed arcades enclosing a square marble tub. Amar Vilas' is the highest point of the City palace and has wonderful hanging gardens with fountains, towers and terraces.

BADI MAHAL

Badi Mahal (Great Palace) also known as Garden Palace and is the exotic central garden palace that is situated on a 27 metres high natural rock formation bis-a-bis the rest of the palace. The rooms on the ground floor appear to be at the level of the fourth floor in view of the height difference to its surrounding buildings. There is a swimming pool here, which was then used for Holi festival (festival of colors) celebration. In an adjoining hall, miniature paintings of 18th and 19th centuries are displayed. In addition, wall paintings of Jag Mandir (as it appeared in the 18th century), Vishnu of Jagdish temple, the very courtyard and an elephant fight scene are depicted.

The elephant fight depicted in a painting on the wall was a representation of the real elephant fights, which used to be organized by the Maharanas. It is mentioned that the elephants used to be fed hashish (opium) before arranging the fights. An interesting observation is that the word ‘assassin’ is a derivative of the word ‘hashish’. The last such fight was reported in 1995.

BHIM VILAS

Bhim Vilas has a gallery of a remarkable collection of miniature paintings that depict the real life stories of Radha-Krishna.

CHINI CHITRASHALA

Chini Chitrashala (Chinese art place) depicts Chinese and Dutch ornamental tiles.

CHOTI CHITRASHALI

Choti Chitrashali or 'Residence of Little Pictures', built in early 19th century, has pictures of peacocks.

DILKHUSHA MAHAL

Dilkhusha Mahal or ‘Palace of Joy’ was built in 1620.

DURBAR HALL

Durbar Hall was built in 1909 within the Fatepraksh Palace (now a heritage hotel) Official functions such as State banquets and meetings were held here. The gallery of the hall was used by the Royal ladies to observe the Durbar proceedings. This hall has luxuriant interior with some unusually large chandeliers. Weapons of the maharanas and also some of their unique portraits are also depicted here. The foundation stone for this hall was laid by Lord Minto, the Viceroy of India, in 1909, during the rule of Maharana Fateh Singh and was then called Minto Hall.

FATEPRAKASH PALCE

Fateprakash Palace, which is now run as a luxury hotel, has a crystal gallery that consists of crystal chairs, dressing tables, sofas, tables, chairs and beds, crockery, table fountains which were never used. There is also a unique jewel studded carpet here. Maharaja Sajjan Singh had ordered these rare items in 1877 from F& C Osler & Co of London but he died before they arrived here. It is said that the packages containing these crystals remained unopened for 110 years.

JAGDISH MANDIR

Jagdish Mandir, located 150 metres north of the city palace, was built in 1652 in Indo-Aryan architectural style. It is a large and aesthetically elegant temple where an idol of Lord Jagannath, a form of Lord Vishnu made in black stone is deified in the sanctum. The temple walls and the sikhara or tower are decorated with carvings of Vishnu, scenes from Lord Krishna’s life and figurines of nymphs or apsaras. A brass image of Garuda (half-bird, half-man image, which is Lord Vishnu’s vehicle), is placed in a separate shrine in front of the temple. Flanking the steps up the temple decoration of statues of elephants are seen. The street square, where the temple is located, is also known as Jagdish Chowk from where several roads radiate in different directions.

KRISHNA VILAS

Krishna Vilas is another chamber, which has rich collection of miniature paintings that portray royal processions, festivals and games of the Maharanas. However, there is tragic story linked to this wing of the City Palace. In the 19th century, a royal princess was unable to choose from two suitors seeking her hand in marriage, one from the royal family of Jaipur and another from Jodhpur, and hence in a state of dilemma, she poisoned herself to death.

LAXMI VILAS CHOWK

Laxmi Vilas Chowk is an art gallery with a distinctive collection of Mewar paintings.

MANAK MAHAL

The Manek mahal approached from the Manak Chowk is an enclosure for formal audience for the Udaipur rulers. It has a raised alcove inlaid completely in mirror glass. Sun-face emblems, in gleaming brass, religious insignia of the Sisodia dynasty are a recurring display at several locations in the City Palace; one of these prominent emblems is depicted on the façade of the Manak Chowk, which can also be seen from the outermost court below. The largest of such an emblem is also seen on the wall of the Surya Chopar, a reception centre at the lower level. Surya or Sun emblem of the Mewar dynasty depicts a Bhil, the Sun, Chittor Fort and a Rajput with an inscription in Sanskrit of a quotation from the Bhagavad Gita (Hindu holy scripture), which means “God Helps those who do their duty". It was customary for the Maharanas to offer obeisance to the Sun facing east, every morning before taking breakfast.

MOR CHOK

Mor Chok or Peacock square is integral to the inner courts of the palace. The elaborate design of this chamber consists of three peacocks (representing the three seasons of summer, winter and monsoon) modeled in high relief and faced with coloured glass mosaic, built into successive niches in the wall area or jharoka, These were built during Maharana Sajjan Singh’s reign, 200 years after the palace was established. The peacocks have been crafted with 5000 pieces of glass, which shine in green, gold and blue colours. The apartments in front of the Chowk are picturesquely depicted with scenes of Hindu god Lord Krishna’s legends. At the upper level, there is a projecting balcony, which is flanked by inserts of coloured glass. In an adjoining chamber, called the Kanch-ki-Burj, mosaic of mirrors adorn the walls. The Badi Charur Chowk within this chowk is a smaller court for private use. Its screen wall has painted and inlaid compositions depicting European men and Indian women. Proceeding further from the Mor-Chowk, in the Zenana Mahal or women’s quarters exquisitely designed alcoves, balconies, colored windows, tiled walls and floors are seen.

MUSEUM

n 1974, a part of the city palace and the 'Zenana Mahal' (Ladies Chamber) were converted into a museum. The museum is open for public. There is an interesting exhibit of a freaky monkey holding a lamp and also portraits of maharajas displaying a spectacular array of mustaches. ‘Lakshmi Chowk' is an elegant white pavilion in the same precinct.

RANG BHAWAN

Rang Bhawan is the palace that used to contain royal treasure. There are temples of Lord Krishna, Meera Bai and Shiva, located here.

SHEESH MAHAL

Sheess Mahal or Palace of Mirrors and glasses was built in 1716.

A shrine of Dhuni Mata is also located in the complex. This location is considered as the oldest part of the Palace, where a sage spent his entire life meditating.

THE PALACE IN FILM & TELEVISION

The palace was used as a hotel in the 1985 James Bond film Octopussy, where Bond (played by Roger Moore) stayed as he began his quest to apprehend the villainous Kamal Khan (Louis Jordan).

A 1991 documentary film directed for television by Werner Herzog is called Jag Mandir and consists of footage of an elaborate theatrical performance for the Maharana Arvind Singh Mewar at the City Palace staged by André Heller.

The palace was used for filming part of Goliyon Ki Raasleela Ram-Leela (English: A Play of Bullets: Ram-Leela) 2013 directed by Sanjay Leela Bhansali.

WIKIPEDIA

HUPTI & Leo Cancer Care Partnership by Jefferson Lab

Members of the Hampton University Proton Therapy Institute (HUPTI) and the Leo Cancer Center walk through the SRF Test Lab during a tour of Jefferson Lab on Thursday, Mar. 2, 2023. (Photo by Aileen Devlin | Jefferson Lab)

Today, Hampton University Proton Therapy Institute - HUPTI announced a partnership with Leo Cancer Care to develop an upright proton arc therapy treatment technique for cancer.

The technique will allow patients to stand or sit upright and, combined with an additional CT system, may better target tumors in patients.

Jefferson Lab is proud to contribute to these efforts by applying its nuclear physics and technology expertise to help pave the way for improvements in patient care.

Barrie Antiques Centre 272 Innisfil Street Barrie Ontario Canada L4N 3G1 by antefixus21

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Large chipped Atlantic Noble Triton Trumpet shell.

(The description Charonia Nobilis does not actually exist)

It’s about a foot long but it has been chipped. I can’t give serious consideration to turning this shell into a horn. As a teenager I dabbled at playing the French horn, a one valve bugle in a Boy Scout/Legion marching band and a trumpet in high school. This would have a totally different aesthetic.

www.flickr.com/photos/21728045@N08/32538981152/in/photoli...

www.flickr.com/photos/internetarchivebookimages/148021776...

www.flickr.com/photos/internetarchivebookimages/147468078...

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SOME BASICS ON SHELL TRUMPETS

AND SOME VERY BASICS ON HOW TO MAKE THEM

Two views of an end-blown shell trumpet made by the author from a Cassis cornuta ("horned helmet"); length 8 1/4"; pitch B3 (open) or A3 (hand-stopped).

At the request of the editor of Experimental Musical Instruments, to whom I once casually mentioned that I had made a few shell trumpets, I will write something about the process of making such an instrument. But, to the possible disappointment of the editor, there's not an awful lot for me to say about their construction, as the simple forms of shell trumpets are quite easy to make. So, in the style of an entry in a cookbook where the author gives lots of history, lore, and anecdotes, and then finally gets down to the recipe, somewhere in what follows are some basic instructions for making shell trumpets. Endnotes - often referring to illustrations which may be consulted in other sources - are included, and contribute additional texture.

I'll start by saying that when I was young, I knew about shell trumpets but obviously did not quite understand the principle of how they worked. I thought that no alteration was made to a conch's shell, which I thought was very beautiful and that it would be a shame to deface it. Rather, it seemed that getting the shell to sound was a matter simply of blowing very, very, very hard. Fortunately I did not rupture any blood vessels trying out this theory.1

But the shell trumpet (an instrument in the domain of study of the organologist) has indeed been altered from the animal's natural shell (a natural object in the domain of study of the conchologist) in such a way that would make life uncomfortable for the actual mollusk itself (an animal in the domain of study of the malacologist) - that is, a hole's been poked in the shell. A shell trumpet will obviously have to made after the mollusk has (willingly or unwillingly) vacated.

There are two basic places this hole may be placed, and so there are two basic approaches that can be taken for making a conch shell into a shell trumpet. A hole is made either at the apex (the tip of the spire) of the shell, or, alternatively, in one of the whorls to the side of the spire. The mouth hole may be at the apex if the spire is shallow, as on a Strombus gigas ("queen conch" or "pink conch," common in the Caribbean), 2 Cassis cornuta ("horned helmet," found in the Indo-Pacific region), or Cassis tuberosa ("king helmet," found in the Caribbean). The mouth hole may be on the side of the spire if the spire is more steep, as on a Charonia tritonis ("Triton's trumpet," distributed throughout most of the tropical Pacific and Indian Oceans). In some cases the hole itself forms the mouth hole; in others, a mouthpiece is added. Mouthpieces seem to be a matter of what tradition has evolved, as sometimes the same species of shell may be found with or without a mouthpiece. For instance, a variety of approaches will be found with Charonia tritonis. In Polynesia, a mouth hole cut into the side of the spire is the norm. 3 Occasionally a side-blown tritonis will have a mouthpiece added, as found in the Marquesas Islands; 4 this appears to be a rare arrangement. Concerning end-blown tritonis, on the Hawaiian pu 5 and on the Korean na, 6 a mouth hole is cut into the apex. On the Japanese hora, the tritonis (called horagai) is given a mouthpiece, placed at the apex. 7 Other shells used for trumpets usually have the hole in the apex, with a mouthpiece or (perhaps more commonly) without.

The qualities of sounds which shell trumpets can produce are varied, and also layered in the meanings and responses such sounds evoke. As children we learn of one of the poetic associations of shells - that if you hold a conch shell to your ear, you will hear (however far away from the coastline you may be) the sound of the sea. 8 Yes, perhaps it is indeed the air column enclosed by the shell filtering the ambient level of noise to create a faint roaring sound. But the association of shells with water, and the sea especially, is also at the basis of the many of the ceremonial uses of shell trumpets around the world. Shell trumpets have often been used at great distances from the sea, and this has contributed to the sacredness of their sounds. Thus the hearing the of sea in a shell may be a vestige of these older, profound associations. Shell trumpets produce a profound sound in every sense of the word - there is a sense of the sound coming from the deep past. This is both true as regards the actual antiquity of the use of shell trumpets, which dates to the Neolithic era, 9 and in the very shell itself. The apex of a univalve gastropod such as a conch or a snail is the oldest part of the shell (the place where the young animal started growing): in blowing a shell trumpet the sound is passing from the oldest place to the youngest - from the past towards the present.

Concerning this antiquity of the use of shell trumpets, the etymologist Eric Partridge puts forth the idea that the word "conch" may be of echoic - that is, onomatopoeic - origin. 10 Echoic, I suppose, of the sound of the blast of a shell trumpet, and thus - given the early Greek roots of the work "conch" - indicating the great antiquity of their use. A common term applied in a number of parts of Polynesia to the shell trumpet - pu - would certainly also seem, in its own way, to be echoic.

The most common use of shell trumpets in many parts of the world - and they have a remarkably wide distribution - is as a signaling device. A shell trumpet may announce curfew in Samoa, or announce that fresh fish is for sale in Fiji, or may serve as a foghorn on the Mediterranean. The shell trumpet often has a magical role in relation to weather. It may be used on the one hand be used to calm rough seas, or on the other to summon wind when seas are becalmed. 11 Shell trumpets are also used in musical contexts, most often in conjunction with ritual. The Indian shanka has held a place in the Hindu religion for millennia. There it may be used as a ritual vessel as well as a trumpet. 12 The shanka is also of significance in Buddhism, where, besides its musical uses, it figures importantly into Buddhist iconography. Befitting their role in Tibetan ritual music, where they are called dung-dkar, shell trumpets made from shanka receive detailed decoration, with carving on the surface of the shell itself and with added ornamentation in metal and semi-precious stone. 13 Shell trumpets were also important ritual instruments in Pre-Columbian South and Central America and in Minoan Crete. In these latter areas, skeuomorphic reproductions ("the substitution of products of craftsmanship for components or objects of natural origin") of shell trumpets, in ceramic and stone, are found archaeologically. The details of their exact purposes remain a mystery. 14 Generally a shell trumpet is used to produce one note; harmonics are possible but seldom utilized. One exception is the Japanese hora, where three, sometimes even four, pitches of the harmonic series may be employed. 15 On the end-blown Fijian shell trumpet made from the Bursa bubo ("giant frog shell"), there is a fingerhole which will allow for a whole-tone change in pitch. 16 Shell trumpets with several fingerholes have also been explored. 17 Occasionally pitch is modified by the player inserting his or her hand into the aperture. Although shell trumpets would seem to lend themselves to being played in a musical context in homogenous ensembles, along the lines of ensembles of panpipes and stamping tubes in Oceania (particularly Melanesia), such an approach is actually very rare. Tonga (in Polynesia) is the only place where conch ensembles have been found, and then only in the more remote areas (some of the northern islands) and only in a few musical contexts (for recreation and for cricket matches). 18 In contemporary music and jazz, however, ensembles of shell trumpets have been used by trombonists Stuart Dempster and Steve Turre.

Now, to get to work. I've made a few shell trumpets with the mouth-hole at the apex. A simple basic recipe is:

Ingredients:

The shell of a large univalve gastropod

A file

Jeweler's files for finishing work (optional)

Procedure:

File off the tip of the spire.

Smooth out the perimeter of the hole (optional).

That's it. But to be more specific: from my experience, for making a shell trumpet it seems that a conch of some size - something like seven inches or greater in length - is needed. My attempt at making an instrument with the shell of a young Strombus gigas (perhaps 5-6 inches long) did not work out: I just couldn't get a sound out of the thing. Perhaps a smaller shell such as that might work with a mouthpiece. I've made end-blown trumpets from Cassis cornuta (my shell of choice; see photos above), Cassis tuberosa, and adult Strombus gigas. My construction approach with the Cassis has been to file off the tip with an 8" mill bastard file and a lot of elbow grease, getting it to the point where the opening is about 5/8" in diameter. With the jeweler's files, I'll smooth down the insides of the opening. For a Strombus gigas, which has a steeper spire, I first cut off an inch or so of the tip with a saw, and then proceeded as with the Cassis.

It is certainly possible to get the job done more quickly. A friend once made a trumpet from a Strombus gigas by forcibly breaking off the tip - he's a percussionist - with little or no filing. In this case, it appears that the irregularities of the edges of the mouth-hole allowed for a more pronounced array of upper partials to the shell trumpet's tone. To remove the tip of a Strombus gigas, D.Z. Crookes (describing the process in his "How to make a shelly hautbois") supported the shell's tip "on an anvil, and nipped it off with a cold chisel," later carving a "half-civilized" mouthpiece. 19 I suppose one could also use a power grinder or sander to quickly get through the early stage on a Cassis, for instance, but I think a couple of hours or so of manual filing is not too big a price to pay (however, see photo below). Of course, being physically involved with the stages of the manufacture of a shell trumpet, as with any musical instrument, increases one's connection with the instrument and its sounds.

As regards side-blown shell trumpets, I've made one, from a Charonia tritonis (see photo below). For such a shell, a basic recipe could be:

Ingredients:

The shell of a large conch with a steep spire, especially a Charonia tritonis

A drill

Jeweler's files for expanding the hole and for finishing work

Procedure:

Drill a small hole into the side of the spire.

Expand the size of the hole and smooth out the edges.

Again, a little more detail. I placed the hole in the second whorl out from, and on the same side of the spire as, the aperture. With this arrangement the aperture faces backwards from the player when the trumpet is played. I used photographs of side-blown Charonia tritonis as my guide. 20 I used a drill bit of about l/8" diameter to get the hole started and then followed with a 1/4" bit. I expanded the hole to about 5/8" with a half-round jeweler's file. A larger rat-tail file would also be possible (although one needs to be careful of a bulkier tool damaging the interior of the shell), before following up with the jeweler's file.

Although I've made a few shell trumpets, I have not yet made musical use of them in any concerted way. I do have a piece - forthcoming in my series of Anthems for ensembles of "peacefully co-existing" sustained sounds - for a plurality of shell trumpets and pre-recorded tape. Also, when you've got a shell trumpet around, blowing it every once in a while does impress neighbors and passers-by alike.

Again, these are the most basic of recipes. I look forward to other writers who have more background in the individual traditions of these instruments, and who are more acquainted with the acoustics and detailed construction, 21 to contribute further on the subject of these fascinating instruments.

ENDNOTES

1. Despite the fact that a large conch does need to be modified to make a trumpet, a small snail shell can be used, unmodified, as a whistle. An intact snail shell is essentially a stopped pipe, and if the aperture is of an appropriate size - so the player is able to create an embouchure - the shell can be an effective whistle. Unaltered large conch shells filled with water were used for their gurgling sounds by John Cage in his pieces Inlets (1977, which also makes use of a shell trumpet) and Two3 (1991, which also includes a Japanese shô reed organ). A single such large water-filled conch was used by the present author in his "concerning an aspect..." (1988). Return to text

2. In general usage, the word "conch" is used to describe large spiral univalve gastropods even when it is not referring to what is, strictly speaking, a conch (the "true conchs" are members of the genus Strombus). This seems to be especially true in relation to shell trumpets, where the term "conch trumpet" is used quite freely. Return to text

3. See Richard M. Moyle, Polynesian Sound-producing Instruments (Princes Risborough, England: Shire Publications, 1990), 39 and figure 25, which shows several side-blown tritonis being played in Tonga. Return to text

4. Richard M. Moyle, Polynesian Sound-producing Instruments, 39 and lower portion of figure 23. Return to text

5. Te Rangi Hiroa (Peter H. Buck), Arts and Crafts of Hawaii, IX: Musical Instruments (Honolulu: Bishop Museum Press, 1957, reprinted 1964), figure 256a. Return to text

6. See Chang Sa-hun, Uri yet Akki ("Our Traditional Musical Instruments"; Seoul: Daewonsa, 1990), 31. Return to text

7. See Hajime Fukui, "The Hora (Conch Trumpet) of Japan" in Galpin Society Journal 47 (1994): 47-62, where several photographs and a diagram of the mouthpiece are shown. For a full-size color photograph of a hora, see Jane Fearer Safer and Frances McLaughlin Gill, Spirals from the Sea: An Anthropological look at Shells (New York: Clarkson N. Potter, Inc., 1982), 174-5. Concerning the hora, one of its less-documented uses is in a rite called Shunie associated with the Tôdai-ji Temple in Nara (see Hajime Fukui's essay, 52). A shell-trumpet ensemble portion of the Shunie can be heard on the album Harmony of Japanese Music, mentioned in the attached discography. Return to text

8. Note that terminology relating to the human ear is rich in shell imagery. The cochlea (a Latin word derived from the Greek kokhlos, land snail) is the spiral, shell-shaped portion of the inner ear which transmits the signals to the brain which are interpreted as sound. As a word referring to a shell-like structure, concha (from the Greek konkhe - a shell-bearing mollusk in general - which, via Latin, is the ancestral form of "conch") is a term used to describe the human external ear, also known as pinna. And pinna, from the Latin word for "wing" or "feather," is also the name for a genus of large - and wing- or feather-shaped - bivalve mollusks (family Pinnidae). Return to text

9. John M. Schechter and Mervyn McLean, "Conch-shell trumpet" in Stanley Sadie, ed., The New Grove Dictionary of Musical Instruments (London: Macmillan. 1954), I:461. Note that it is conjectured that the earliest use of the instrument was as a voice modifier - a megaphone of sorts. Return to text

10. Eric Partridge, Origins: A Short Etymological Dictionary of Modern English (2nd edition, New York: MacMillan, 1959), 114. Note especially one Middle English spelling, conk. Return to text

11. A recorded example of the former, from Chuuk, Micronesia, is included on the album Spirit of Micronesia, mentioned in the attached discography. The latter is mentioned in the entry for the shell trumpet ntuantuangi, of the Poso Toradja of Celebes, in Sibyl Marcuse, Musical Instruments: A Comprehensive Dictionary (2nd edition, New York & London: W.W. Norton & Co., 1975), 368. Return to text

12. Note that the Sanskrit word shanka (which may be romanized in various ways, with or without diacritics; the English common name for the shell is "chank") does share the same Indo-European root as konkhe, and ultimately, "conch." The Latin scientific name for the shanka is Turbinella pyrum. Return to text

13. See Safer and Gill, Spirals from the Sea, 176-7, for two views of a specimen dated 1400. Return to text

14. Jeremy Montagu, "The conch in prehistory: pottery, stone and natural" in World Archaeology 12/3 (1981): 273-9, which focuses on these shell-trumpet skeuomorphs. Return to text

15. Hajime Fukui "The Hora (Conch Trumpet) of Japan," 51-2. Return to text

16. Moyle, Polynesian Sound-producing Instruments, 39 and figure 24. Return to text

17. See D.Z. Crookes, "How to make a shelly hautbois" in FoMRHI Quarterly 80 (July 1995): 43, where he experiments with up to seven (?) fingerholes on Strombus gigas. Return to text

18. Richard M. Moyle, "Conch Ensemble: Tonga's Unique Contribution to Polynesian Organology" in Galpin Society Journal 28 (1975): 98-106. Also, his Polynesian Sound-producing Instruments, 41-2 and figure 25. Ensembles of three to seven, or more, side-blown Charonia tritonis are used. Return to text

19. Crookes, "How to make a shelly hautbois," 43. Return to text

20. For instance, Eric Metzgar, Arts of Micronesia (Long Beach, Calif.: FHP Hippodrome Gallery, 1987 {exhibition catalogue}), figure G, and Safer and Gill, Spirals from the Sea, 168. Return to text

21. See Montagu, "The conch in prehistory: pottery, stone and natural," 274-5, for a brief discussion of shell-trumpet acoustics which outlines some of the basic issues. Concerning shell-trumpet construction, note that Hajime Fukui's "The Hora (Conch Trumpet) of Japan" goes into a great amount of detail concerning making this particular instrument. Return to text

SOME SHELL TRUMPET DISCOGRAPHY

Following is a handful of recordings including shell trumpets. Occasionally, recordings of shell trumpets will appear on collections of music from Oceania. An example is Spirit of Micronesia (Saydisc CD-SDL 414), which includes a conche (note this alternate spelling) introducing two chants (track 20) and a conche used for warding off storm clouds (track 22; a photo on page 20 of the booklet shows a player of a trumpet made from a Cassis species). Though brief, this latter track beautifully captures, against a backdrop of storm waves, the shell trumpet's evocative qualities. Pan Records' Fa'a-Samoa: The Samoan way... between conch shell and disco (PAN 2066CD) includes a recording (track 1) of a conch-shell pu being used to announce curfew; on track 13, an animal horn used for the same purpose is also called pu. (The "disco" of the title is actually a brass band performance.) Another album on Pan, Tuvalu: A Polynesian Atoll Society (PAN 2055CD), has an impressive photograph of a shell-trumpet player on the cover, but does not include any shell-trumpet recordings.

A Japanese Buddhist ritual-music use of shell trumpets - as part of O-Mizu Tori ("a water-drawing rite") of the Shunie rite at Tôdai-ji Temple, Nara - may be heard on Harmony of Japanese Music (King Records [Japan] KICH 2021).

Steve Turre's Sanctified Shells (Antilles 314 514 186-2) and Stuart Dempster's Underground Overlays from the Cistern Chapel (New Albion NA076) include some contemporary creative uses of shell trumpets in ensemble. Colin Offord's Pacific Sound (Move Records [Australia] MD 3 105) makes use of shell trumpets in ensemble with instruments of his own construction. Together with other sound-makers made of shells, a shell trumpet may be heard on the track "Sea Language" on The Art of Primitive Sound's Musical Instruments from Prehistory (Hic Sunt Leones [Italy] HSL 003).

Baoding Balls

An on-line description of one:

This Japanese vintage Samurai Horagai is a trumpet shell of yoroi, or armour. It is about 50 years old, and is like the real thing used during the age of the Samurai. It is made from a real trumpet shell like the shells we have had before and found in many oceans including the Pacific, this one being from Japan. A mouth piece had been attached and it can be used just like in the old days when it was used to communicate during wars. Horagai was used as a command and signal of the old times during Samurai battles. Now it is used for decorating armour.

Life in the city by Paul Indigo

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Exuberance, movement and energy all contribute to the experience captured at this moment in the city.

An Afternoon at Sissinghurst - September, 2016 by JR P

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www.nationaltrust.org.uk/sissinghurst-castle-garden

"Sissinghurst's garden was created in the 1930s by Vita Sackville-West, poet and gardening writer, and her husband Harold Nicolson, author and diplomat. Sackville-West was a writer on the fringes of the Bloomsbury Group who found her greatest popularity in the weekly columns she contributed as gardening correspondent of The Observer, which incidentally—for she never touted it—made her own garden famous. The garden itself is designed as a series of 'rooms', each with a different character of colour and/or theme, the walls being high clipped hedges and many pink brick walls. The rooms and 'doors' are so arranged that, as one enjoys the beauty in a given room, one suddenly discovers a new vista into another part of the garden, making a walk a series of discoveries that keeps leading one into yet another area of the garden. Nicolson spent his efforts coming up with interesting new interconnections, while Sackville-West focused on making the flowers in the interior of each room exciting.

For Sackville-West, Sissinghurst and its garden rooms came to be a poignant and romantic substitute for Knole, reputedly the largest house in Britain, which as the only child of Lionel, the 3rd Lord Sackville she would have inherited had she been a male, but which had passed to her cousin as the male heir.

The site is ancient; "hurst" is the Saxon term for an enclosed wood. A manor house with a three-armed moat was built here in the Middle Ages. In 1305, King Edward I spent a night here. It was long thought that in 1490 Thomas Baker, a man from Cranbrook, purchased Sissinghurst, although there is no evidence for it. What is certain is that the house was given a new brick gatehouse in the 1530s by Sir John Baker, one of Henry VIII's Privy Councillors, and greatly enlarged in the 1560s by his son Sir Richard Baker, when it became the centre of a 700-acre deer park. In August 1573, Queen Elizabeth I spent three nights at Sissinghurst.

Rose arbour in Sissinghurst's White Garden room, which set a fashion for 'white gardens' After the collapse of the Baker family in the late 17th century, the building had many uses: as a prisoner-of-war camp during the Seven Years' War; as the workhouse for the Cranbrook Union; after which it became homes for farm labourers.

Sackville-West and Nicolson found Sissinghurst in 1930 after concern that their property Long Barn, near Sevenoaks, Kent, was close to development over which they had no control. Although Sissinghurst was derelict, they purchased the ruins and the farm around it and began constructing the garden we know today.[ The layout by Nicolson and planting by Sackville-West were both strongly influenced by the gardens of Gertrude Jekyll and Edwin Lutyens; by the earlier Cothay Manor in Somerset, laid out by Nicolson's friend Reginald Cooper, and described by one garden writer as the "Sissinghurst of the West Country"; and by Hidcote Manor Garden, designed and owned by Lawrence Johnston, which Sackville-West helped to preserve. Sissinghurst was first opened to the public in 1938.

The National Trust took over the whole of Sissinghurst, its garden, farm and buildings, in 1967. The garden epitomises the English garden of the mid-20th century. It is now very popular and can be crowded in peak holiday periods. In 2009, BBC Four broadcast an eight-part television documentary series called Sissinghurst, describing the house and garden and the attempts by Adam Nicolson and his wife Sarah Raven, who are 'Resident Donors', to restore a form of traditional Wealden agriculture to the Castle Farm. Their plan is to use the land to grow ingredients for lunches in the Sissinghurst restaurant. A fuller version of the story can be found in Nicolson's book, Sissinghurst: An Unfinished History (2008)."

en.wikipedia.org/wiki/Sissinghurst_Castle_Garden

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India - Rajasthan - Udaipur - City Palace - 129 by Manfred Sommer

HISTORY

Prior to moving their capital from Udaipur to Chittor, the Mewar kingdom had flourished initially in Nagda (30 kilometres to the north of Udaipur), established in 568 AD by Guhil, the first Mewar Maharana. In the 8th century, the capital was moved to Chittor, a hill top fort from where the Sisodias ruled for 80 years. Maharana Udai Singh II inherited the Mewar kingdom at Chittor in 1537 but by that time there were signs of losing control of the fort in wars with the Mughals. Udai Singh II, therefore, chose the site near Lake Pichola for his new kingdom because the location was well protected on all sides by forests, lakes and the Aravalli hills. He had chosen this site for his new capital, much before the sacking of Chittor by Emperor Akbar, on the advice of a hermit he had met during one of his hunting expeditions.

LEGEND

GEOGRAPHY

The city palace located in Udaipur city at 24.576°N 73.68°E, which is set with an average elevation of 598 metres.

CLIMATE

STRUCTURES

GATEWAYS

AMAR VILAS

BADI MAHAL

BHIM VILAS

Bhim Vilas has a gallery of a remarkable collection of miniature paintings that depict the real life stories of Radha-Krishna.

CHINI CHITRASHALA

Chini Chitrashala (Chinese art place) depicts Chinese and Dutch ornamental tiles.

CHOTI CHITRASHALI

Choti Chitrashali or 'Residence of Little Pictures', built in early 19th century, has pictures of peacocks.

DILKHUSHA MAHAL

Dilkhusha Mahal or ‘Palace of Joy’ was built in 1620.

DURBAR HALL

FATEPRAKASH PALCE

JAGDISH MANDIR

KRISHNA VILAS

LAXMI VILAS CHOWK

Laxmi Vilas Chowk is an art gallery with a distinctive collection of Mewar paintings.

MANAK MAHAL

MOR CHOK

MUSEUM

RANG BHAWAN

Rang Bhawan is the palace that used to contain royal treasure. There are temples of Lord Krishna, Meera Bai and Shiva, located here.

SHEESH MAHAL

Sheess Mahal or Palace of Mirrors and glasses was built in 1716.

A shrine of Dhuni Mata is also located in the complex. This location is considered as the oldest part of the Palace, where a sage spent his entire life meditating.

THE PALACE IN FILM & TELEVISION

The palace was used as a hotel in the 1985 James Bond film Octopussy, where Bond (played by Roger Moore) stayed as he began his quest to apprehend the villainous Kamal Khan (Louis Jordan).

The palace was used for filming part of Goliyon Ki Raasleela Ram-Leela (English: A Play of Bullets: Ram-Leela) 2013 directed by Sanjay Leela Bhansali.

WIKIPEDIA

Tuesdays With Dorie (TWD): Baking with Julia: Chocolate Truffle Tartlets by Baking is my Zen

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Tuesdays With Dorie (TWD): Baking with Julia: Chocolate Truffle Tartlets

Chocolate Truffle Tartlets recipe from the book, Baking with Julia, by Dorie Greenspan. Contributing Baker: David Ogonowski

My wordpress blog post can be found on my blog, Baking is my Zen.

bakingismyzen.wordpress.com/2012/02/21/twd-baking-with-ju...

Recipe Found Here:

There are four hosts for this week’s recipe, CHOCOLATE TRUFFLE TARTLETS: pages 382-383, chocolate dough, pages 372-373

Steph

Blog: A whisk and a Spoon

awhiskandaspoon.com/

Spike

Blog: Spike.does.stuff

spikebakes.tumblr.com/

Jaime

Blog: Good Eats n' Sweet Treats

www.goodeatsblog.com/

Jessica

Blog: Cook Book Habit

cookbookhabit.blogspot.com/

St Mary, Godmanchester, Cambridgeshire by Jelltex

It seems a lifetime ago, but in fact was just four weeks gone, that Jools came up to meet with me in Godmanchester before going to see Mum in Papworth.

I chose Godmanchester because a contact/friend on GWUK had published shots from there, and it looked interesting, and was a ten minute drive from the hospital.

The spire of St Mary can be seen from almost everywhere in the town, drawing me in like a flame to a moth. And thankfully it was open.

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My children both had their birthdays the same weekend, and announced plans to invite all their friends from around the country to spend the weekend and to go out together, fifty or so of them, some of them staying over. They'd have a party in the back garden first, my son DJing. They are good children, generally trustworthy, and their mother promised to keep an eye on them. Smiling, nodding, I reached for the Holiday Inn Express website and booked myself a Saturday night at Huntingdon Holiday Inn. Two days of exploring the churches of south-west Cambridgeshire were in prospect.

The plan for Day One was to circumnavigate Grafham Water, the great reservoir created to serve Cambridge and Peterborough in the 1960s, taking in all the churches along the way. The slight crimp in the plan is that, to retain the rural nature of the area and to stop traffic cutting between A1 and A14, there is no road running to the north of Grafham Water other than the A14, although using the OS Landranger map I was able to piece together what I thought would be enough bridleways, byways and permissive cycle tracks to achieve this object. During the day I would visit thirteen new churches, all of which were open except for two, and they had keyholder notices.

It was a really hot day, and I didn't want to overstretch myself, so I made a leisurely start from Ipswich arriving in Huntingdon at about half past ten. Huntingdon is a small town really, barely 30,000 people, and it is separated by the Ouse from the older town of Godmanchester, pronounced god-m'n-chester, my first port of call. Indeed, Godmanchester is Cambridgeshire's oldest town, a major Roman settlement where Ermine Street crossed the road from Colchester to Chester. In Roman times it was the third biggest place in the east of England after Colchester and Lincoln, and was there long before Peterborough, Huntingdon and Cambridge were a twinkle in the celestial milkman's eye.

The Ouse and its water meadows are wide enough to make Huntingdon and Godmanchester seem separate places. For a town of less than 10,000 people it is really grand, with lots of 18th Century buildings and a delightful setting along the Ouse with islands and a park.

It was already shaping up into a bright, warm summer day as I reached the huge church, one of the biggest in the county, and typical in style of the Ouse valley. The spire is a familiar sight from the A14 rising above the mill on the river below. The nave south aisle you step into is alone bigger than many churches. A wide, gloomy interior, with acres of Kempe glass leavened somewhat by a good, big Burne-Jones window in the south aisle. Very urban, but with plenty of evidence of the borough's importance up until the 18th Century, at which time it was of equal size with neighbouring Huntingdon. But the Industrial Revolution changed all that. All very impressive, but not a place to gladden the heart.

And so, I headed south.

www.flickr.com/photos/norfolkodyssey/sets/72157653449416853/

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Godmundcestre (xi cent.), Gutmuncetre, Gudmencestre, Gumencestre, Guncestre (xii cent.), Gumecestre, Gurmundcestre (xiii cent.), Godmanchester (xiv cent.).

The parish and borough of Godmanchester, (fn. 1) which are co-terminous, contain 4,832 acres of land and 75 acres of land covered by water. The River Ouse forms the northern boundary and divides Godmanchester from the borough of Huntingdon. The land near to the river is liable to floods, but the ground rises gradually to the south, where it is mostly arable. The population is chiefly occupied in agriculture, and in 1921 numbered 2,035 persons. In the 17th century Godmanchester was described as 'a very great county Toune, and of as great name for tillage; situate in an open ground, of a light mould, and bending to ye sun.' (fn. 2) In 1604 the borough charter tells of like conditions, and especially exempted the store horses and others employed in agriculture from the king's service. (fn. 3) The inhabitants boasted that they had formerly received kings on their progress with a pageant of nine score ploughs, (fn. 4) but in the royal progresses to and from Scotland in 1633 the borough apparently only presented Charles I and his queen with pieces of plate. (fn. 5) Later records mention feasts at the election of town officials, (fn. 6) but in the 16th century the bailiffs contributed from the town funds to many entertainments, such as bear-baiting, visits of players and of the Lord of Misrule from Offord Cluny. (fn. 7)

Of other industries besides agriculture, coal porterage on the Ouse was formerly an important business, and in the last century a tan-yard, jute factory, iron foundry and brick works existed, and basket-making was also carried on. (fn. 8) At the present day a stocking factory at the bridge provides a considerable amount of work, and there is also a flour mill.

There is a railway station near Huntingdon Bridge which is a junction for the London Midland and Scottish Railway and the London and North Eastern Railway.

The parish was inclosed by private Act of Parliament in 1803, (fn. 9) and the award is in the possession of the Corporation. Preserved at the Court Hall, (fn. 10) is a remarkable series of records, dating from the charter of King John in 1212 to the present day. These materials were used by Robert Fox, one of the bailiffs of the borough in 1831–2, in his History of Godmanchester. (fn. 11) Other natives of Godmanchester who may be mentioned are William of Godmanchester, who was elected Abbot of Ramsey in 1267, (fn. 12) and Stephen Marshall, the Parliamentarian divine and one of the authors of Smectymnuus, (fn. 13) published in 1641.

The town seems to have arisen on the site of a Roman settlement here, which has already been described. (fn. 14) Its lay-out, however, has apparently been changed to suit the later requirements of a market town. Ermine Street, the Roman road from London to the north, and the Roman roads from Sandy and the south and from Cambridge, which joined it, stop abruptly at the points where they touch what is supposed to be the site of the Roman town, and their place is taken by a road which almost circuits the medieval town and so links them up. It was customary in most medieval market towns to arrange the lay-out of the streets so as to compel the traffic to pass through the market place and pay toll. It would appear that Godmanchester was laid out in this way as a market town, although there is little evidence of an early market here. The road from St. Neots to Huntingdon enters the town by West Street towards the south end of what was intended for the market place and passes that from Cambridge towards the north end, by East Street. In the same way the traffic to and from London and the north is carried by the road on the west side of the town, through the same place.

Entering the town from Huntingdon on the north, after crossing Huntingdon Bridge, which has already been described, (fn. 15) the road passes over a causeway which was apparently of ancient construction, as we find that in 1279 its repair was charged on a meadow in the tenure of the prior of St. Mary's, Huntingdon. (fn. 16) In 1331 it was rebuilt (fn. 17) and in 1433 it appears that the road was carried over a series of small bridges. (fn. 18) The causeway was again rebuilt in 1637 by Robert Cooke as a thank-offering for his escape from drowning in a flood here. A stone in the parapet of the southern of the two bridges, each of eight arches, of which the causeway is composed, bears an inscription copied from an earlier one, 'Robertus Cooke ex aquis emersus hoc viatoribus sacrum D.D. 1637.' The bridges underwent repairs in 1767 and were rebuilt in 1784. The causeway (fn. 19) now forms a fine wide approach to the town, with many half-timbered houses of the 17th century and later, on either side. At the north-west corner of East Street stood the vicarage, a 17th-century house, lately demolished; adjoining it on the east side is Church Lane, leading to St. Mary's Church. A little to the east on the south side of East Street is a range of three picturesque half-timber houses with overhanging upper story and an overhanging gable at the west end. The western of the two original chimney stacks bears the date 1611 and the eastern 1613. Over a fireplace in the east room on the first floor are painted the Stuart royal arms with the initials I.R. for James I. There are other 17th-century houses in East Street. Opposite to East Street in the Causeway is the New Court or Town Hall, built in 1844, at which time this part of the Causeway was raised 2 ft. The Town Hall was largely rebuilt in 1899. (fn. 20) Queen Elizabeth's Grammar School, a brick building with tiled roof, built about 1560, faces the new Court Hall. It originally consisted of a hall and two-storied porch, bearing above the window of the upper story the inscription 'Eliz. Reg. hujus scholae fundatrix,' over which is a sundial bearing the words 'Sibi Aliisque.' It was restored in 1851 and some buildings were added on the north side. Near the school was the 'cage' for the temporary safeguarding of prisoners, which was built in 1687. The governors of the school, however, complained that the position was 'very inconvenient and unapt,' and so the overseers were ordered to build it near the Court Hall Yard. (fn. 21) In the main street, probably opposite St. Ann's Lane, was a cross called St. Ann's Cross, mentioned in 1526 (fn. 22) and 1545, (fn. 23) and may have existed as early as 1279; tenants of Godmanchester are described as 'ad crucem.' (fn. 24) The road south to old Court Hall was then apparently called Post Street and later Silver Street. Pinfold Lane, which goes off eastward, is referred to in 1539. (fn. 25) In it are the almshouses erected in 1738 by Mrs. Barbary Manser for four dwellings and rebuilt in 1859 for two dwellings. In West Street are some 17th-century half-timber houses, and on the outskirts of the town is a timber and plaster house, formerly the 'Shepherd and Dog' Inn, which bears the date 1593 in the south-west gable. The upper story formerly projected, but has been underbuilt in brick. Further west on the opposite side is Belle Isle House, a 17th-century half-timber house. Returning to the main street, the house at the northeast corner of the island site has an overhanging upper story. Near this spot stood the Horse Shoe Inn in Post Street, (fn. 26) where much of the business of the town was transacted. Southward is Old Courthall, called from the place where the Court Hall, which was pulled down in 1844, formerly stood at the junction of Silver Street and the old bridle road running to Toseland. (fn. 27) At first apparently the hall was only a covered inclosure (fn. 28) in which the view of frankpledge was held, the courts and council meetings or 'parvis' being frequently held in private houses, a custom which persisted even after the Court House was built in 1508. (fn. 29) The Court House was apparently a half-timber building with overhanging gables, and around the walls in the hall were oak benches for the bailiffs. (fn. 30) Near the hall was the 'Pondefolde,' before the gates of the prior of Merton, which may be identified with the town pound, from which Pinfold Lane possibly took its name. Here the king had the right to impound the cattle distrained at the hundred court. (fn. 31) In Old Courthall are two 17th-century inns, the Queen Victoria Inn, a timber and plaster house with overhanging upper story, and the Red Lion Inn, a brick house. Corpus Christi Lane no doubt takes its name from the gild of that name which existed in the town in the 15th century. Here and in Duck End are some 17th-century cottages.

Ermine Street, which is not on the site of the original street of that name, comprises some interesting 17th-century houses, particularly Tudor House, of timber and plaster, at the north end of the street. It bears the date 1600 in the south gable and 1603 on the doorway. There are also two other good timber and plaster houses of a later date in the street. On the Cambridge Road is a 16th-century half-timber house, and also a brick house with a stone panel bearing the date 1714. On the west side of the London Road, on the outskirts of the town, is Porch Farm, a 16th-century house which takes its name from a picturesque wooden porch with brick base added at the end of the century; on the opposite side of the road is Lookers Farm, a 17th-century house with a good chimney stack.

MANOR

¶The manor of GODMANCHESTER was held by Edward the Confessor as 14 hides. (fn. 32) It was valued at £40 a year, which was a sum which it paid in 1086 to William the Conqueror, who succeeded to it as crown land. (fn. 33) Thus, as ancient demesne of the crown, it acquired certain privileges and obligations. (fn. 34) Before Michaelmas, 1190, (fn. 35) Richard I granted Godmanchester to David Earl of Huntingdon, at the increased farm of £50 to hold at the king's pleasure. (fn. 36) In 1194 a new grant in fee was made to the earl and his heirs. (fn. 37) The manor appears to have been in King John's hands in 1199, (fn. 38) but in the same year a new charter was obtained by the earl, (fn. 39) who held it in 1210–12 by the service of one knight's fee. (fn. 40) It again came into the king's hands in 1212, perhaps the most important date in the history of Godmanchester, for in that year King John granted the manor to 'the men of Godmanchester' to hold at the fee-farm rent of £120 a year. (fn. 41) Subsequent grants of the manor by Henry III in 1217 to Faulkes de Breauté, (fn. 42) in 1224 to the Master of the Templars for a debt, (fn. 43) and in 1236 to Eleanor of Provence as part of her dower, (fn. 44) were presumably grants of the rent only. In 1267 the fee-farm rent was granted to Edmund Earl of Lancaster, the king's second son, to hold by military service. (fn. 45) Queen Eleanor, as a widow, unsuccessfully sued her son in 1278 for the manor. (fn. 46) The possession of the rent was also complicated by the claims of Margaret Countess of Derby, one of the eventual co-heiresses of David of Huntingdon. (fn. 47) She seems to have obtained a grant of the manor from Edward I, and a similar grant was made by Edmund for her life at the annual rent of 12d. (fn. 48) Many of her receipts to the town for the fee-farm rent are still in existence. (fn. 49) On her death it reverted to the earls of Lancaster and the manor formed part of the Duchy of Lancaster, finally merging in the crown on the accession of Henry IV. (fn. 50) In 1662, Charles II granted the annual fee-farm rent to Edward Earl of Sandwich, (fn. 51) and it is still paid by the borough to the present Earl of Sandwich.

The charter of 1212 had transferred all the manorial rights at Godmanchester to the men of the manor to hold from the king and his heirs. (fn. 52) The privileges attached to the manor are not specified, but David Earl of Huntingdon had sac and soc, toll and theam and infangenthief, (fn. 53) and these, with possibly further rights, were exercised by the men of Godmanchester. The grant made the town, what is somewhat rare, a self-governing manor or liberty. It did not become a borough, and except the right of self-government, and the custom of borough-English, had none of the usually accepted marks of a borough. The charter was confirmed by Edward I, Edward III, Richard II, Henry IV, Henry V, Henry VI, Edward IV, Henry VII, Henry VIII, Edward VI, Mary and Elizabeth. (fn. 54) Richard II, however, added a definite list of the privileges enjoyed by the men of Godmanchester. In 1381 he recognised that they and their predecessors in virtue of the charter of 1212 had the chattels of felons and fugitives and waifs and strays, (fn. 55) but in his charter of 1392 they were to have chattels of felons, fugitives, suicides, outlaws and those who renounce the realm of England, infangenthief, outfangenthief, and all forfeitures within the manor, both from residents and foreigners. (fn. 56) He also expressly confirmed their privilege as tenants of ancient demesne, of freedom from toll and similar dues throughout the kingdom. (fn. 57)

The earlier development of the manor from pre-Conquest days, which enabled the men of Godmanchester to obtain a grant of self-government, is unfortunately obscure. We learn little from the Domesday Survey (1086) as to the status of the inhabitants, but it seems probable that the 80 villiens and 16 bordars of Godmanchester, there recorded, (fn. 58) had been a community of free sokemen, holding their lands for a rent payable to the king; indeed in 1279 the tenants of Godmanchester all claimed to be and were accepted as free sokemen, with no bondmen among them. (fn. 59) The pre-Conquest organisation seems to have persisted to some extent during the 12th century, when payments to the sheriff are entered on the Pipe Rolls as due from the commonalty (communis) of Godmanchester. (fn. 60) As already pointed out, the payment of £40 from the manor in 1066 represented the amount received by the king, and it is possible that each holding was already assessed to pay its share of this sum annually. Such a practice was certainly established after 1212, and in 1279 over 500 tenements were assessed for payment of the fee-farm rent, generally at the rate of 8d. an acre. (fn. 61) The system i still in existence, each acre now paying 1d. towards the rent.

The most important result of the grant of the manor was that the king's officers ceased to hold the courts, though the phrases 'the King's manor' or in Elizabeth's reign 'the Queen's court' remained in use. (fn. 62) In 1286 the two town bailiffs claimed on behalf of themselves and the commonalty of the town to have gallows and to hold the view of frankpledge freely, but it was proved that they paid an annual fine of 20s. to the sheriff for the privilege. (fn. 63) In the 15th century the Duchy court decreed that this payment should no longer be made to the sheriff. (fn. 64) The bailiffs also held the usual three-weeks court of the manor, which was peculiarly important on the ancient demesne of the crown. The court rolls are preserved at Godmanchester from 1271; at first no distinction is made in the headings of the rolls between the two courts, the view only being distinguished by the presence of the 12 jurors. (fn. 65) By 1324, however, the roll of the view was kept separately, (fn. 66) though the regular series of rolls does not begin until the reign of Edward III.

The privileges of the liberty of Godmanchester oelonged to the tenants of holdings assessed to the payment of the fee-farm rent, their sons, daughters and widows. (fn. 67) Sons were admitted on reaching the age of twenty, daughters at sixteen. (fn. 68) Foreigners, or those living outside the manor, were also admitted to the freedom of the town at the three-weeks court, by the consent of the commonalty, on payment of a fine and the taking of an oath. (fn. 69) Sureties were required during the 15th century, but the custom disappeared in the reign of Henry VII. (fn. 70) All tenants were bound to be present at the view of frankpledge, and they elected the twelve jurors for the year, but it is not clear whether the tenants or all admitted to the freedom made this election. (fn. 71) Besides the ordinary business of the view, the bailiffs and jurors declared the customs or by-laws of the manor and acted as a town council. The earliest enrolled declaration is in 1278–9, (fn. 72) but in 1324 the commonalty empowered the two bailiffs and the jurors to draw up a custumal which should be accepted by all. The result represents the codification of ancient usage rather than the introduction of new rules. (fn. 73)

A second edition of the custumal was made in 1465, and later additions of the following century have been added on the same roll. (fn. 74) In 1324, for administrative purposes, the town was divided into four quarters or wards named after the chief streets of Godmanchester. The government consisted of two bailiffs, elected for one year by the twelve jurors. The bailiffs were chosen one year from Post Street and Erning (Arning) Street and in the alternate year from West Street and East Street. The elections of all officers took place in the court held next before the Nativity of the Blessed Virgin. All rolls were given into the custody of four keepers of the common chest. The complete list of other officials is not given, but mention is made of the collectors of the fee-farm rents and the chief warden of the mills. All officials were to render account of their year of office to the two bailiffs and the jurors. (fn. 75) The rolls of the coroners of Godmanchester exist for the reign of Edward II, so that they must have been functioning in 1324, although their election is not recorded till 1482. (fn. 76) In the 15th century, the election of the officers is regularly recorded in the court books of the threeweeks court. The officials then consisted of the two bailiffs, two constables, eight collectors of the farm, two from each street, two churchwardens, four collectors of amerciaments of the view, the collectors of the aletoll, the warden of the water and the subbailiff. (fn. 77) In 1484, the record shows that three jurors of the leet were elected from each street; (fn. 78) in 1485, the warden of the swans appears, (fn. 79) and in 1486 the bellman. (fn. 80) The clerk of the court is mentioned in 1376, (fn. 81) but no election is shown till 1497, (fn. 82) and it was probably a permanent and not an annual office. The business at the three weeks court consisted of the admission of freemen, landsuits and the surrenders of land, peculiar to manors of the ancient demesne, and civil cases where the damages claimed were under 40s. (fn. 83) In 1592 it was ordained by the bailiffs and jurors that in future cases in this court should be heard by the two bailiffs, three of the twelve suitors at the court on the day of trial and three or four ex-bailiffs. (fn. 84) Appeals from the manorial court were made to the Chancellor of the Duchy of Lancaster and were heard in the court of the Duchy. (fn. 85) All land in Godmanchester, except the original endowment of the church, (fn. 86) was, and still is, held in socage of the ancient demesne of the crown. (fn. 87) The tenure was never merged, as elsewhere, in copyhold, although in the 16th century land is occasionally described as held by copy of court roll. (fn. 88) Every tenement when it changed hands was surrendered in court into the hands of the bailiffs, who gave seisin to the incoming tenant on payment of a fine or gersom. (fn. 89) This procedure is still followed, but the surrenders are not made in court, but only to the mayor of the borough and, under the Law of Property (Amendment) Act of 1924, this very rare survival of socage of the ancient demesne is disappearing. Each tenement when it is surrendered to the mayor passes to the incoming tenant as ordinary freehold property. All land suits were heard in the three-weeks court; (fn. 90) the cases were begun by the king's little writ of right close. The first writ appears on a 13th-century court roll (fn. 91) and the actual writs are generally attached to the roll on which the case was recorded. (fn. 92) A writ was brought into the Court of Pleas as late as 1805. (fn. 93) The procedure closely followed that of the royal courts in freehold suits. In the early cases in the 13th and 14th centuries, an assize was held with twenty-four jurors, (fn. 94) but later fines and recoveries 'according to the custom of the manor' were more common. (fn. 95) The town was very jealous of its rights, and there were many complaints in the Duchy Courts that tenants had been impleaded in the common law or other royal courts instead of the manorial court. (fn. 96) Except in the use of the little writ of right close, the Godmanchester tenure approximated to free socage and all the terms of a freehold tenure were used: a daughter was given her land in free marriage; (fn. 97) a widow obtained her dower; (fn. 98) no servile services were paid and the land was held for suit of court and a money rent, without even the boonwork often due from freehold land. (fn. 99) From the customal of 1324, it appears that a tenant could assign, sell or bequeath his land by will, saving only the right of the widow to her dower. (fn. 100) This right of the widow persists at the present day, so that a man still cannot sell his land without his wife's consent. The only other restriction in 1324 was the rule forbidding the sale of land to a foreigner or an ecclesiastic. (fn. 101) Land still descends by the rule of Borough English to the youngest son of the first wife, unless testamentary dispositions have been made bequeathing it differently. (fn. 102)

BOROUGH

Godmanchester remained a selfgoverning manor for nearly 400 years, but in the 16th century the town was increasingly prosperous and the townspeople wished for the privileges of incorporation. In their documents the use of such terms as corporation and burgess crept in, (fn. 103) and during a lawsuit in 1569 it was claimed that Godmanchester was 'an ancient borough time out of mind.' (fn. 104) The town used a common seal, (fn. 105) but legally they were not incorporated and when, in 1585, a newly admitted tenant, named Richard Fairpoint, defied the authority of the bailiffs and commonalty, he threatened to sue the bailiffs, officials, and chief inhabitants one by one. (fn. 106)

A charter of incorporation was obtained from James I in 1604, and Godmanchester became a free borough, under the name of 'the Bailiffs, Assistants and Commonalty of the borough of Gumecestre, alias Godmanchester.' (fn. 107) The government of the town, however, was but slightly altered, the Common Council being formed of two Bailiffs and twelve Assistants, who replaced the jurors of the view of frankpledge in matters of town legislation. The first officials were appointed by King James, but the bailiffs after a year of office were in the future to be elected in the Court next before the Nativity of the Virgin Mary by the existing bailiffs and assistants. The assistants were appointed for life and were replaced from the burgesses of the borough by election by the bailiffs and remaining assistants. (fn. 108) It may be noticed that the new constitution was less democratic and placed the power of election in the hands of the Common Council instead of the tenants and freemen. Even the jurors of the leet were in 1615 to be impanelled by the bailiffs. (fn. 109) Other officials under the new charter were the steward, (fn. 110) recorder and town clerk. The borough and manor were granted to the corporation to hold as previously at a fee-farm rent of £120 of lawful English money. (fn. 111)

During the Commonwealth, preliminaries were begun for obtaining a new charter, but nothing was actually done. (fn. 112)

In 1684, the charter of James I was surrendered to Charles II, but it was not restored before his death (fn. 113) and the following year James II granted a new charter. (fn. 114) The differences in it were small and, after the Revolution of 1688, all corporations were ordered to resume their former charters (fn. 115) and the corporation acted under the charter of 1604 until the Municipal Corporations Act of 1835. (fn. 116)

The lesser officials, though not named in the charter, were unchanged after the incorporation of the borough and the jurisdiction of the courts remained the same, though they became the courts of the bailiffs, assistants and commonalty instead of the courts of the King. (fn. 117) The manorial court became known as the Court of Pleas. (fn. 118)

A new edition of the by-laws was promulgated in 1615, repeating the main provisions of the older custumals of 1324 and 1465 and later enactments. Considerable additions had been made in the regulations of common rights; the most important, enacted in 1607, provided that only tenements constituted or divided before 28 September 1601 should have the right of common attached to them. (fn. 119) In consequence of these common rights, the freedom of the borough became of considerable value, and large sums were paid by foreigners for admission. (fn. 120) The curious custom by which a freeman gave a bucket and two scoops on admission is mentioned in 1635. (fn. 121) Afterwards the gift was commuted for money, but the system of purchasing the freedom of the borough came to an end in 1875, and the last payment instead of the bucket and scoops was made in 1876. (fn. 122) Now the freedom is an hereditary right and freemen only sign the roll on admission.

In 1835 the old constitution was swept away under the Municipal Corporations Act; a mayor and 4 aldermen and 12 councillors replaced the two bailiffs and assistants and the franchise was vested in the ratepayers. (fn. 123) The Court of Pleas had been growing of less and less importance, a few cases of debts and surrenders of land being its only business, but it continued as the mayor's court till 1847. (fn. 124) Special courts, however, were held for surrenders and giving seisin of land, (fn. 125) but latterly these have taken place in the mayor's presence only. The business of the court leet is now confined entirely to the stocking of the commons. It is held once a year by the mayor, when the 'grass-hirers' are appointed for the year, but the twelve jurors are no longer impanelled. (fn. 126) The limitation of the enjoyment of common rights to freemen tenants of commonable houses has led to a good deal of litigation, while the gradual exclusion of the freemen from the government of the borough has brought about outbreaks of discontent on their part. (fn. 127)

The seal of the borough is circular, 15/8 in. in diameter, with the device of a fleur de lis, possibly in reference to the dedication of the Parish Church, with the legend 'Commune Sigillum Gumecestre.' It seems to be of 13th century date. The mace is of silver of excellent design and bears the date 1745. The mayoral chain is of gold with enamel medallions, given by different donors since 1896.

For parliamentary purposes the borough was united to Huntingdon, which sent two members to Parliament. In 1867 the representation was reduced to one member and in 1885 it was merged into the county constituency.

No right to hold a market appears to have been granted to Godmanchester, but it seems probable that a market was held at the Horseshoe corner. In the bailiffs' accounts for 1533, there is an item paid for crying a cow and two stray horses in the market, (fn. 128) and in 1615 it certainly was the custom to bring fish to the 'Common Market' on Fridays. (fn. 129)

A fair on Easter Tuesday and the following Wednesday was granted by James I in the charter of 1604, together with a court of pie-powder. (fn. 130) It developed into an important horse and cattle fair held in the streets of the town near the old Court Hall. The cattle and sheep disappeared by 1870 after the rinderpest outbreak of the previous years, (fn. 131) but the horse fair continued till Easter 1914. It had been lessening in importance for some years and has never revived since the war. The charter of James II granted a second fair on the Tuesday after the Feast of SS. Simon and Jude, but the right to hold it ceased after the resumption of the old charter in 1688. (fn. 132) The court of pie-powder was held during the 17th century, (fn. 133) but it certainly was no longer held in 1834. (fn. 134)

¶The control of the waters of the Ouse has always been a matter of great importance to the town of Godmanchester. In the 13th century, the obstructions in the river put up by the Abbot of Ramsey, the Prior of Huntingdon and Reginald de Grey as lords of the mills respectively at Houghton, Hartford and Hemingford Grey led to complaints on the part of Huntingdon and not of Godmanchester, (fn. 135) but in the 15th century the latter town suffered severely by the continual flooding of its meadows. A series of complaints were made to the Court of the Duchy of Lancaster by the bailiffs and commonalty (fn. 136) and finally in 1524 the right to control the floodgates at Houghton and Hemingford was transferred from the Duchy authorities to the men of Godmanchester. (fn. 137) This right still exists and has been safeguarded in the various schemes for the improvement of the Ouse navigation, begun by Arnold Spencer in 1638. (fn. 138) It was finally confirmed to the borough in a judgment of the House of Lords in 1897 against Mr. Simpson, who had in 1893 acquired by purchase the entire rights of navigation granted to Spencer, and in the following year began an action against the corporation to prevent them from opening the sluice gates at Godmanchester, Hemingford and Houghton in times of flood. (fn. 139)

In 1279, the bailiffs of Godmanchester claimed that the town held a free fishery by the grant of King John and that they formerly had the right, as appurtenant to the manor, of fishing from Hayle to Swiftiswere, but were prevented by the Bishop of Lincoln and others from doing so. (fn. 140) The right to the free fishery continued, and from the borough custumal drawn up in 1615, it appears that the 'common fishers' of the town were bound to bring their fish to the common market at the Horseshoe corner every Friday and whenever they had fish to sell, on pain of a fine of 6s. 8d. (fn. 141).

In 1086 three water-mills were attached to the manor of Godmanchester, rendering 100s. yearly to the king. (fn. 142) The mills passed with the manor (q.v.) to the men of Godmanchester and in 1279 they paid 15s. a year to the fee-farm rent and a holm containing 8 acres was attached to them. (fn. 143) At the close of the 15th century they were let on lease, and this system seems to have been continued by the corporation until 1884. (fn. 144) At that time no tenant could be found. The corporation applied for leave to sell the property, but opposition was made on the ground that the freemen had the right to have their corn ground freely on the grist stone. No sale took place and the old mill stood derelict (fn. 145) and has been finally pulled down since 1926. A windmill is mentioned in 1599, when it was sold by Robert Green to Oliver Cromwell, alias Williams. (fn. 146)

CHURCH

The Church of ST. MARY consists of a chancel (44 ft. by 20 ft.) with organ chamber and two vestries on the north side, nave (72 ft. by 27 ft.), north aisle (15 ft. wide), south aisle (19 ft. wide), west tower and spire (19 ft. by 17½ ft.) and north and south porches. The walls are of stone and pebble rubble with stone dressings, except the tower, which is of ashlar. The roof coverings are of lead.

¶The church is mentioned in the Domesday Survey (1086) but, except for a few stones in the walling, nothing of this early building remains. The church seems to have been rebuilt about the middle of the 13th century, and of this period are the chancel, the west wall of the nave, and small parts of the west walls of the aisles. About 1340 a north vestry was added to the chancel, and at the end of this century and extending into the next a further reconstruction took place, beginning at the west end of the aisles and embracing the arcades, clearstory and porches, and the raising and altering of the chancel. The tower and spire, being ruinous, were taken down and rebuilt in 1623. The upper part of the south porch was rebuilt probably in 1669. The roofs and parapets were repaired early in the 19th century; the church was generally restored in 1853, the vestry rebuilt and the organ chamber and choir vestry added in 1860. A general restoration took place in 1885, and the chancel was restored in 1912.

The 13th-century chancel, reconstructed and raised c. 1510, (fn. 147) has an east window of three modern lancets. The north wall has a 15th-century two-light window, a 14th-century doorway to the clergy vestry, a 13th-century doorway (visible in the choir vestry), and a modern arch to the organ chamber. The south wall has three 15th-century windows of two-lights, the western set within an earlier opening, and a 15th-century doorway.

The chancel arch is two centred and of two chamfered orders resting on similar responds; most of the stones are of the 13th century, but the arch has been reconstructed and raised, c. 1490, (fn. 148) cutting into the sills of two 13th-century lancets in the gable above, the splays of which still retain some original painted decoration. Under it is a modern; screen. The low-pitched roof is practically all modern; the jack-legs rest on modern shafts and corbels.

The organ chamber and the two vestries on the north are modern, but in the east wall of the former is a reset 15th-century two-light window doubtless from the north wall of the chancel; and the vestry has a 14th-century single-light window reset.

The nave arcades, c. 1500, are of five bays, with two-centred arches of two moulded orders supported by narrow piers formed by the continuation downward of the outer orders of the arch between two attached shafts with moulded capitals and bases. The contemporary clearstory has five two-light windows on each side. The contemporary roof is of low pitch, has moulded beams, jack-legs and braces, but has been much restored.

The north aisle, c. 1500, has a five-light transomed east window with remains of niches in the splays, which now opens into the organ chamber; (fn. 149) at the extreme south end is a broken piscina. The north wall has four three-light transomed windows, and a reset 13th-century doorway, above which is a blocked doorway opening into a chamber over the porch. The west wall has a four-light transomed window, to the south of which is the splay of an earlier window. The pent roof has plain beams and curved braces, and the jack-legs are supported on carved corbels.

The south aisle, c. 1500, has in the east wall a fivelight transomed window, and a blocked doorway to the rood staircase. The south wall has three threelight windows and a two-light window, all transomed, a doorway with a moulded arch and jamb-shafts flanked on the outside by two niches, and a squareheaded doorway to the stairs leading to the chamber over the porch. The west wall has a four-light transomed window, to the north of which is the jamb and splay of an earlier window. The stairs to the rood loft were in a circular turret outside the wall at the north-east corner, now used as a smoke flue. The roof is similar to that of the north aisle.

The west tower, built in 1623, (fn. 150) has a 13th-century tower arch of three chamfered orders supported on semi-octagonal responds with carved stiff-leaf capitals and moulded bases. The west doorway has a moulded two-centred arch on sunk chamfered jambs and moulded imposts; (fn. 151) above it is a sunk panel with a shield bearing a fleur de lis and a scroll inscribed 'BVRGVS GVMECESTRE,' and above this another panel with date '1623.' Still higher are a pair of twolight windows with semicircular heads. In the next stage the north and south walls have each a two-light; and the belfry has coupled two-light windows with transoms. The tower has buttresses square at the angles, and is finished with an embattled parapet with pinnacles at the angles and a large fleur-de-lis on the central merlons. Behind the parapet rises an octagonal spire with three tiers of lights all on the cardinal faces; the top is 151 ft. 3 in. above the ground. The whole of the details are strongly tinged with Renaissance feeling, but a successful attempt has been made to harmonize with the architecture of the church.

The 15th-century north porch has a moulded two-centred arch on jambs with engaged shafts; the side walls have each a two-light window. Single-light windows in the east and west walls light the chamber above, and there is now a modern single-light window in the north wall. There is a small chamber over this porch, but the present roof and parapets are modern.

The 15th-century south porch has a four-centred outer archway with lily-pot at the apex of the label; on each side of it are large niches. Each side wall has two two-light windows. The chamber above, which is of later date, has a small single-light window in each of the outer walls, and a beam in the roof is dated 1669.

The 13th-century font (fn. 152) is an irregular octagon with crude carved heads projecting from the diagonal faces; the stem and base are modern.

There are eight bells, inscribed (1) Intactum sileo percute dulce cano: T. Osborn, Downham, fecit, 1794; (2) and (3) T. Osborn, founder, 1794; (4) Thomas Osborn, fecit. Our voices shall with joyful sound. Make hills and valleys eccho round. 1794; (5) T. Osborn, fecit, 1794; (6) J. Taylor & Co., Founders, Loughborough, 1870. F. T. Mc.Dougall, D.C.L., Vicar. P. E. Tillard, Henry Quince, Churchwardens; (7) T. Osborn, founder, 1794; (8) Revd. Castle Sherard, Rector, (fn. 153) Jno. Martin, Robt. Waller, Bailiffs, Jno. Scott, Richd. Miles, Ch. Wardens, T. Osborn, fecit: 1794. A sanctus bell seems to have remained as late as 1763. (fn. 154) Osborn had cast the whole peal of eight in 1794, using the metal of an earlier set of five; (fn. 155) the old fourth bell had been cast in 1710, by a shepherd at the Angel Inn in Godmanchester. (fn. 156) The bells were rehung and the 6th bell recast in 1870; it apparently had no inscription on it.

The 15th-century chancel stalls have shaped divisions with carved elbows, poppy heads and misericords, and panelled and traceried fronts. The carvings on the misericords include a falcon displayed, a dog with collar and resting on a cushion, a fleur-de-lis on a shield, a hare in the midst of a sun-in-splendour, (fn. 157) an ape, a wyvern, a fox and goose, the letters W.S. on a shield, (fn. 158) a cat and mouse; on the elbows a jester, angels, crowned heads, &c.; on the poppy heads two owls back to back, four birds, wyverns, etc.

Some of the fronts and backs of the modern seating and some of the bench ends have 15th-century tracery inserted in them.

In the nave is a chained oak poor-box, circular, bound with metal, and with a painted inscription. (fn. 159)

On one of the south buttresses of the chancel is a late 13th-century carved wheel-dial; and on the gable of the south porch is a small dial inscribed 'G. 1623. W.S.'

Lying loose in the porch is a portion of a 12th-century circular stone shaft with scale ornament.

On the floor of the nave is an early 16th-century brass figure of a civilian, with indents for two wives, two groups of children, and inscription panel; and in the chancel is the indent of an inscription plate.

There are the following monuments: In the chancel, to the Rev. Geoffrey Hawkins, Rector of Higham Gobion, Beds, d. 1727 (son of Geoffrey Hawkins, Rector of Chesterton, Hunts), Mary, his wife, d. 1750, and Hannah Worley, widow, d. 1771; Martha (Maylam) wife of George Rowley, d. 1765; John Hawkins, d. 1806; the Rev. Charles Gray, Vicar, d. 1854; and windows to the Rev. Charles Gray, Vicar, 1854; the Rev. W. P. E. Lathbury, Vicar, d. 1855; the Rev. John Hartley Richardson, curate, d. 1863; and the Rev. Henry Hart Chamberlain [d. 1899]. In the nave to Elizabeth (Meadows) wife of Edward Martin, d. 1805, and Edward Martin, d. 1853; Robert Hicks, d. 1825, Mary, widow of Rev. S. Hicks, Rector of Wrestlingworth, Beds, d. 1805, John Hicks, d. 1827, and Mary widow of Robert, d. 1862; floor slabs to Alured Clarke, d. 1744, Ann, his widow, d. 1755, and John Clarke, d. 1745; William Mehew, d. 1772, and Ann his wife, d. 1793; William Mehew, d. 1792; and Richard Miles, d. 1834. In the north aisle, to Alured Clarke, d. 1744, and family; Jos. Bull, d. 1764, Ann his wife, d. 1780, and Elizabeth their daughter, d. 1791; Thomas Townsend, d. 1792, Martha his wife, d. 1789, John, their son, d. 1799, and Ann, widow of John, d. 1817, James Stratton, d. 1800, son-in-law of Tho. Townsend, Ann his wife, d. 1835, Ann their daughter, d. 1826, George Turney her husband, d. 1825, and George Turney their son, d. 1835; John Chapman, d. 1858, and Edward Theodore, his son, d. 1859, Mary Chapman, widow of John, d. 1899; War Memorial 1914–18; and windows to Bishop Francis Thomas McDougall, Vicar, erected 1903; Frederick Robert Beart, d. 1905; Emma Frances Amelia Baumgartner, d. 1911. In the south aisle, to Thomas Betts, d. 1696, and Elizabeth his wife, d. 1700; Edward Martin, d. 1799, Alice his relict, d. 1801, and Harriet their infant daughter, d. 1788; John Martin, d. 1822, and Mary his wife, d. 1854; Henry Percy Tillard, d. 1858; John Thomas Baumgartner, d. 1874; Algernon Tillard, d. 1887; Francis Bonham Tillard, d. 1903, Helen wife of General Robert Julian Baumgartner, d. 1911; Mary Emily (Tillard) wife of Col. I. F. R. Thompson, d. 1915, and Lt.-Col. Ivan Frank Ross Thompson, d. 1917; Allen Victor Herbert, d. 1918; floor slabs to Thomas Bentley, d. 1709; John Martin, d. 1752; Elizabeth daughter of Samuel and Elizabeth Fox, d. 1755; Jane, relict of John Martin, d. 1789; and windows to two children of J. T. and P. Baumgartner, d. 1827 and 1844; Phoebe, wife of John Lancaster, d. 1833; John Thomas Baumgartner, d. 1874; Philipa Julia (Baumgartner) wife of Philip Tillard, d. 1885; Philip Tillard, d. 1887; the Rev. Preston John Williams, Vicar, erected 1894; General Robert Julian Baumgartner, d. 1895. In the tower, windows to Edward Martin, d. 1835, and Elizabeth his wife, d. . . . .; and William Beart, d. 1852. In the south porch to the wife and children of the Rev. H. H. Chamberlain.

The registers are as follows: (i) Baptisms, 23 Dec. 1604 to 3 Jan. 1642–3; marriages, 3 Jan. 1603–4 to 30 Aug. 1653, and 6 March 1742–3 to 8 Sept. 1754; burials, 1 Feb. 1604–5 to Dec. 1647, and 1653; (ii) baptisms, 30 Sept. 1653 to 5 Aug. 1660, and three entries in 1669, 1671 and 1674; marriages, 9 Jan. 1653–4 to 16 April 1718; burials, 3 Oct. 1653 to 14 May 1717; (iii) marriages, 13 April 1718 to 11 Jan. 1753; burials, 31 March 1718 to 24 Dec. 1751; (iv) baptisms and burials, 20 Oct. 1754 to 22 April 1798; (v) the official marriage book, 1 Aug. 1754 to 5 Nov. 1783; (vi) the same, 10 Nov. 1783 to 28 Feb. 1811; (vii) baptisms and burials, 13 Jan. 1798 to 30 Dec. 1812; (viii) the official marriage book, 6 March 1811 to 25 Oct. 1812. The first two books are in considerable disorder and apparently several years are missing, and the second book is much damaged by damp. The first book has been rebound and the second requires similar treatment.

The church plate consists of: A silver cup of Elizabethan date, no date letter; a silver gilt cup and cover paten, hall-marked for 1559–60; a silver plate engraved 'Benedicamus Patrem et filium cum spiritu,' and inscribed 'To the Glory of God and the use of St. Mary's Church, Godmanchester, 1848. E. I. W. dedit,' hall-marked for 1846–7; a silver alms-dish, engraved 'hilarem datorem diligit Deus,' and inscribed as last, hall-marked for 1847–8; a plated dish and flagon, the latter inscribed 'The gift of Charles Gray, M.A., Vicar, to the Parish Church of Godmanchester, A.D. 1834.'

ADVOWSON

The Church of St. Mary (fn. 160) is stated to have been given with 3 hides of land by King Edgar (c. 969) to the monks of Ramsey, (fn. 161) but it was no longer in their possession at the time of the Domesday Survey (fn. 162) and they never seem to have laid claim to it. In 1086 a church and priest were attached to the manor (fn. 163) and remained in royal possession until Stephen gave the church to Merton Priory in Surrey. (fn. 164) In 1284, the endowment of the church consisted of 48 acres of land and also 15 acres of meadow held by the Prior of Merton in commutation for all tithes of hay. (fn. 165) He held other lands, but these were assessed to the fee-farm rent and were not spiritualities. (fn. 166) After the Dissolution of the Monasteries, the rectory was granted in 1542 to the dean and chapter of Westminster (fn. 167) and except during the reign of Mary and the Commonwealth they have owned it ever since. (fn. 168) It has been held by a succession of lessees and in a lease of 1640 the dean and chapter stipulated for entertainment for two days and two nights for themselves or their officers at the lessee's expense. (fn. 169)

Between 1209 and 1219 the vicarage was instituted and two houses, land and meadow, as well as the vicarial tithes were assigned to it. (fn. 170) The advowson of the vicarage has always been held with the rectory, (fn. 171) although the first recorded presentation by the dean and chapter of Westminster was not till 1599. (fn. 172) A custumal of the vicar's tithing was drawn up in 1599 in great detail and is specially interesting in showing the payments made from parishioners who were not landholders. (fn. 173) In the 17th century the vicarage was too poor to support a suitable vicar for the town and consequently in 1655 the Town Council decided to purchase a house called the Star, next to the vicarage, which was ruinous. (fn. 174) The Star was finally annexed to the vicarage when the dean and chapter had recovered the patronage after the Restoration. (fn. 175) The purchase of the Star is an illustration of control of church affairs by the governing body both before and after Godmanchester became a borough. In 1532 the town officials appointed an organist and the expenses incurred over his engagement were charged to the bailiffs' account. (fn. 176) In the reign of Henry VI the two churchwardens appear amongst the elected officials of the town (fn. 177) and they accounted to the bailiffs and jurors. (fn. 178) Throughout the 16th, 17th, and 18th centuries the churchwardens' accounts were presented to the Town Council, although in the 18th century protest was apparently made against the practice. In 1712 a churchwarden, apparently not a freeman of the borough, brought the matter into the spiritual courts to the great indignation of the Council, who decreed that he was never to be admitted to the freedom and also indemnified his successors against any damages they might incur during the trial. (fn. 179) In 1824, the Common Council enacted a careful table of precedence for its members in the corporation pews in the chancel. (fn. 180)

CHANTRIES

The Chantry of the Blessed Mary (fn. 181) or Roode's Chantry, (fn. 182) in the parish church, was in existence in 1297 (fn. 183) and possibly earlier, since in 1279 Martin the chaplain was a town tenant of 4½ acres of land and some meadow, though his benefice is not named. (fn. 184) In 1307, Roger de Strateshill, probably the chaplain of the chantry, wished to endow it with 31 acres of land and 4 acres of meadow to provide a daily celebration of mass, but difficulties appear to have arisen with John Dalderby, Bishop of Lincoln (1300–1329). (fn. 185) The matter was taken up by the town, and at the request of Henry Roode, apparently one of the bailiffs, licence was obtained from the king in 1316 for Roger de Strateshill's gift. (fn. 186) Further gifts of land are recorded (fn. 187) and each incumbent was seemingly given seisin for his life by the bailiffs, 'who reserved the right to annul the grant, thus avoiding any grant of the lands in mortmain. (fn. 188) The chantry was thus especially associated with the town and the chaplain was bound to pray, in English, at the daily mass 'for the good state, welfare and prosperity of the Bayliffs of this town, and all the Comynalty of the same, fundars of this Chauntre.' (fn. 189) At the time of the dissolution of the chantries, the chaplain both provided assistance to the vicar and was also master of a grammar school. (fn. 190) The possessions of the chantry, together with those of the Gilds of Corpus Christi (q.v.) and the Holy Trinity (q.v.) were seized by the crown and in 1553 were leased to John Shepherd and others of the royal household for twenty-one years at an annual rent of £35 16s. 10d. (fn. 191) The fee-farm rents of £5 15s. 5d. due to the bailiffs of Godmanchester were paid by the crown until 1592, (fn. 192) when Elizabeth, in a new lease to Peter Proby, remitted the fee-farm rent and a charge of 4s. payable to the poor and received a lower rent from the lessee. (fn. 193) Soon after the grant of the charter of 1604, the borough unsuccessfully attempted to recover the chantry lands and were involved in lawsuits in the Duchy courts and considerable expenses, (fn. 194) the issue being complicated by the grant in fee, in 1606–7 by James I, of the disputed lands to Edward Newport. (fn. 195) In 1657, they were held by Robert Barnard, (fn. 196) but it seems possible that they were seized by the Commissioners for the sale of fee-farm rents during the Protectorate, (fn. 197) since at some subsequent date they were attached to the Rectory on whose 'lessee the old crown rent of £30 per annum is charged as an annuity in augmentation of the vicarage as also with the sum of £5 19s. 5d. to the annual fee-farm rent of the town.' (fn. 198)

The Gild of Corpus Christi is first mentioned in 1366, (fn. 199) and the fraternity was an established body in 1396. (fn. 200) It consisted of brothers and sisters governed by two wardens. (fn. 201) A later benefactor was John Copegray, chaplain of the gild and vicar of Alconbury (1463–69). (fn. 202) After the dissolution of the chantries, the endowments, which amounted in 1536 to £11 7s. 4d. a year, (fn. 203) passed with those of Roode's Chantry (q.v.). The name is still preserved in Corpus Christi Lane.

The Gild of the Holy Trinity was founded before 1279, when William, chaplain of the Trinity, held 1½ acre of land. (fn. 204) It was governed by two wardens (fn. 205) and is mentioned in wills of Godmanchester inhabitants, (fn. 206) but its endowments were small and at its dissolution amounted to only £3 4s. 9d. a year. (fn. 207) Edmund Archpole was then chaplain of both Corpus Christi (q.v.) and Holy Trinity Gilds, (fn. 208) but there does not seem to have been any formal amalgamation of the gilds. The lands of the gild followed the descent of those of Roode's chantry (q.v.).

Little is known of the origin of the Gild of St. John the Baptist, (fn. 209) but it was founded before 1359, when William Balle seems to have been the chaplain. (fn. 210) Possibly the gild had a separate chapel, since 'land next to the chapel' are mentioned at the same date. (fn. 211) The fraternity appears in the town rentals until 1549, (fn. 212) but all trace of it is afterwards lost and its lands do not appear in the certificate of chantry lands at the dissolution of the chantries. Nine acres of land formed the endowment of certain lights and lamps in the church, and they were valued at 22s. 2d. a year after deducting the fee-farm rent. (fn. 213) In 1553, obit lands appear in the lease of chantry lands to John Shepherd and to later tenants (fn. 214) and a payment of 1s. 10½d. a year to the bellman was chargeable on the chantry lands. (fn. 215)

At the present time there is a Particular Baptist Chapel, founded in 1815, and the Union Chapel, built in 1844, to replace an older chapel. (fn. 216)

CHARITIES

The following charities are regulated by a scheme of the Charity Commissioners dated 12 February 1926:—

Christopher Fisher in 1674 gave a piece of land containing 2 a. and 3 r. in Reed Meadow, and John Dryden by a declaration of trust dated 17 Dec. 1708 gave the sum of £200 which was laid out in the purchase of 24 a. 1 r. 20 p. of land, the rents to be applied in apprenticing poor children of the parish. The endowment of the charities now consists of £1,578 8s. 9d., 2½ per cent. Consols and various other sums of stock with the Official Trustees, the whole producing about £60 annually in dividends which are applied in apprenticing.

John Banks by will dated 19 November 1707 charged his lands and hereditaments in Dunton with a yearly payment of £12 to be applied for apprenticing and for the poor. The endowment now consists of a rentcharge of £12 per annum issuing out of Millow Hall Farm, Dunton, £21 1s. 5 per cent. War Stock and £25 4 per cent. Victory Bonds with the Official Trustees. £5, part of the rentcharge, is applied for the benefit of the poor and the residue £7 is applied for apprenticing.

Note.—Under clause 19 of the above-mentioned scheme the trustees are empowered to apply that part of the income applicable for apprenticing and not required for that purpose in assisting poor persons in the case of Banks's charity and in assisting poor boys for their advancement in life in the case of Fisher's and Dryden's charities.

Fishbourne's Charity. This charity consists of a rentcharge of 10s. per annum issuing out of hereditaments at Hartford. The rent is distributed by the mayor to four poor widows not in receipt of parish relief.

Anonymous Charity for Poor founded in 1727. The endowment of this charity consists of a rentcharge of 3s. 4d. per annum charged upon or issuing out of hereditaments in Post Street. This sum is distributed in bread amongst the poor of the parish.

Grainger's Gift. Robert Grainger by will dated 10 October 1578 charged his mansion-house in Godmanchester with one comb of wheat to be made into bread and distributed among the poor. The value of one comb of wheat is now charged upon property in Godmanchester now in the occupation of Mr. W. F. Beart and distributed to the poor of the parish in bread.

¶The charity known as the Rectory Charge was founded by deed dated 27 January 1443 for the benefit of the poor of the parish. The endowment consists of four quarters of wheat and three quarters of barley charged on the Rectory Farm, Godmanchester. Under the provisions of the above-mentioned scheme the vicar and the mayor (ex-officio trustees) and six representative trustees appointed by the Borough Council, were appointed the trustees of the charities.

Almshouses. These consist of four almshouses in East Chadleigh Lane, Godmanchester, built with money given in 1723 by Mr. Dryden, together with two small almshouses in Penfold Lane (known as Manser's Charity) formerly four houses but converted into two. There are no endowments in connection with these almshouses, which are kept in repair at the parish expense.

www.british-history.ac.uk/vch/hunts/vol2/pp286-296

Snorkeling. Xel-Ha Park, Solidariedad, Mexico. Oct/2016 by EKatBoechat

DCIM\101GOPRO

Snorkeling. Xel-Ha Park, Solidariedad, Mexico. Oct/2016

Xel-Ha Park (Parque Xel-Há) is a commercial aquatic theme park and ecotourism development located on the Caribbean coast of the state of Quintana Roo, Mexico, in the municipality of Solidaridad. It is part of Experiencias Xcaret Group which also owns Xplor Park and Xcaret Park. It is situated within the "Riviera Maya", a region promoted as a tourism corridor along Highway 307. It is approximately 240 kilometres (149 mi) to the north of Chetumal, and 122 kilometres (76 mi) south of Cancun.[1] The park is named after the site of Xelha, an archaeological site of the pre-Columbian Maya civilization, part of which is located within the lands leased to the park. The Maya site of Tulum is nearby, some 13 kilometres (8.1 mi) to the south

The theme park was founded in 1984,[3] and is under the management and marketing of the Mexican-owned Experiencias Xcaret Group.[4]

The park is centered around the natural inlet and lagoon, which is promoted as one of the main attractions of the park that forms with the flow of the river through rocks mixing salty waters with fresh underground water currents.

The inlet of Xel-Há is a natural aquarium where hundreds of species inhabit; such as tropical fish and an abundant flora. In the park there is also a turtle reserve, where research is constantly carried out to learn more about marine life and contribute with the ecological maintenance of the area.

A shark fence extends across the lagoon's entrance, and the public is permitted to swim and snorkel in the lagoon. Underwater the limestone has been eroded into a myriad of small caves and grottos.

A variety of aquatic-based activities are offered by the theme park, including snorkelling, scuba diving, and swimming with dolphins.

Source: Wikipedia

Xel-Há [ʃel.'ha] é um parque ecológico situado no estado de Quintana Roo, México. É caracterizado por uma calheta na qual a água dum rio se une ao Mar do Caribe, formando um espaço apropriado para a convivência de 70 espécies marinhas e de água doce. Por esta razão Xel-Há é conhecido como o maior aquário natural do mundo. Além disso, por ser o espaço de vários exemplares de flora e fauna da região, o parque foi premiado com o título de Maravilha Natural do México em uma chamada nacional recente.

Há está localizado em pleno coração da Riviera Maia, 122 km a sul de Cancún, e a 13 km a norte da zona arqueológica de Tulum, pela estrada Cancún-Tulum.

Xel-Há é composto de duas palavras maias que juntas significam "entrada da água", uma referência clara à sua estrutura geográfica, ou seja "lugar onde as águas nascem".

Uma lenda sobre a origem de Xel-Há conta que os deuses maias, depois de terem reunido num só lugar o melhor que tinham criaram três guardiões: Huh, a iguana - guardiã da terra; Mo, a arara - a guardiã dos céus, e Kay-Op, o peixe-papagaio - guardião das águas. Em seguida, os deuses decidiram entregar esse paraíso natural para a humanidade.

Fonte: Wikipedia

Circles: Linked by Joseph King

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Contributed by Nina Mettler

5000 piece puzzle, 'Military Order Celebration' by Siegmund L'Allemand. Progress #4. by Billsville Mike

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Completed today. Some info on the painting, as found on the back of the puzzle box:

"Glittering chandeliers, elaborately decorated table centres and heavily gold-braided military uniforms all contribute to the splendour of this sumptuous State occasion. The Military Order of Maria Theresa became Austria's senior award for war services when it was founded by the Empress Maria Theresa in 1757. The Order is in the shape of a symmetrical jewelled cross with the simple inscription, Fortitudini (for bravery) on the reverse. Worn with the Order is a scarlet edged white sash, which in this 1861 Anniversary painting can be seen worn by the Archduke raising his glass in a final toast.

This impressive canvas was painted by Siegmund L'Allemand, a notable Austrian artist. Born in Vienna in 1840, L'Allemand had his first painting lessons from his uncle Fritz L'Allemand. He later studied under Ruben and Karl Blaas and eventually in 1883 he succeeded them as professor of the Viennese Academy. L'Allemand has successfully humanised his portrayal of this very formal banquet. Chairs have been pushed back from the table, upon which many already empty decanters can be seen. In the foreground the waiters anxiously scan the room, ready with more full wine bottles. Plumed military helmets are piled on side tables; the faces of the military officers around the huge table are clearly recognisable. In this very masculine scene the only feminine touch is the sculpture of the Empress herself, presiding majestically over the proceedings. Siegmund L'Allemand died in 1910."

****

As mentioned in an earlier post, Siegmund's uncle Fritz L'Allemand was also a prominent artist from the period, and one of Siegmund's earliest teachers.

The original painting, which is quite massive, can be found in the Billiard Room of the Schloss Schönbrunn museum in Vienna.

From 1883 Siegmund L'Allemand served as a professor, and later the head of the Academy of Fine Arts in Vienna. An interesting footnote is that he chaired the admissions committee that in 1907 rejected admission to a young aspiring art student named Adolf Hitler.

then & now by NCinDC

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The top photo was taken in 1900. (via the Library of Congress) The bottom photo was taken in 2009 by yours truly. (originally uploaded to Wikipedia) Click here for a larger size.

The top photo is Stewart's Castle, the Second Empire style mansion owned by Nevada Senator William Morris Stewart. The house was designed by architect Adolf Cluss in 1873. From 1886 to 1893, the building housed the Chinese legation. (here's a photo of the diplomats in the house) Stewart's Castle was demolished in 1901.

The bottom photo is the Dupont Branch Building for PNC Bank, located at 1913 Massachusetts Avenue NW. Constructed in 1923, the Classical Revival style building was previously a branch for Riggs Bank. The building is designated a contributing property to the Dupont Circle Historic District, listed on the National Register of Historic Places (NRHP) in 1978, and the Massachusetts Avenue Historic District, listed on the NRHP in 1974.

_PK13781 by Live Action Hero

LENS TEST: Asahi Opt. Cp. Super-Takumar 150mm f4 (Early Model - Versiono II).

One more foundling. Actually I was after one of the same early type of the previous I reviewed and sold last week. But it is OK: this will contribute to completing my personal survey of all the models of this series.

Again, the barrel shows some wear due to a sloppy handling by previous users. But you really have to run them over with a tank to compromise Takumar series seriously. The first two lenses had some light fungus, which cleaned away smoothly (probably also thanks to the fact that they were not multi-coated).

As mentioned for the previous model, this unusual focal length series was produced in a modest number of copies between 1965 and 1967 and it can be considered a sort of collectible; just like the 120mm f2.8. This appears to be 'version II" of the early type. You can clearly verify that from the engraved 43741 factory number inscribed under the manual/auto switch tab. The previous 'early type' instead had no numbers and it is said to have 5 lenses in 4 groups against 5 to 5 as this one (unfortunately I forgot to check that before selling the other model). The extra half-stop between f=5.6 and f=4 of the previous version is gone - it will reappear in the SMC version. Light seal on the back is said to be screwed instead of glued (couldn't check it on the other one). No 'LENS MADE IN JAPAN' engraved on the back of the black barrel, above the aperture ring, and 'AUTO' instead of 'A' as indication on the manual/auto switch. Others specs should be similar to the reviewed one: six blades; min. focus distance of +/- 180 cm.

Same solid build quality and feel, with a long silky focus movement and quite sharp and vivid already from f4. The bokeh, not as creamy as for the 85mm, is IMO extremely pleasant, with evanescent lines and small cat-eyes popping up from time to time; very fit for lines and shapes background patterns or also for portraits. Just a touch of bluish CA on contacts with whites. Classic natural color canvas, with relatively good colors and a slightly blu cast. Not sure if it was because of the light/weather or the hour of the test (or predominant colors of the location), but the impression is that this second 'improved' version needed less attention to WB/highlight-shadows/color tuning as the other one. Shots are almost straight out of camera.

I love her far horizons by gervo1865_2 - LJ Gervasoni

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Image availabe for purchase from www.ballaratheritage.com.au

Information from the Australian Heritage Places inventory

Port Campbell National Park

Source: Go to the Register of the National Estate for more information.

Identifier: 3778

Location: Great Ocean Rd, Port Campbell

Local

Government: Corangamite Shire

State: VIC

Country: Australia

Statement of

Significance: The rugged coastline with sheer cliffs and rocky island stack formations contributes to the outstanding scenery of the park. There are a large number of these formations including London Bridge, the Twelve Apostles, Loch Ard Gorge, the Blowhole and the Arch. They graphically represent the geomorphological processes of coastal erosion that are constantly taking place.

The area has representative communities of coastal heath, grass and scrub vegetation on calcareous soils. Morning flag (ORTHROSATHUS MULTIFLORUS) grows here.

Significant fauna of the area includes a small colony of fairy penguins, the only penguins native to the mainland and nesting sites for muttonbird (PUFFINUS TENUIROSTRIS). Ninety one species of bird have been recorded in the park eg. swamp harrier, Australian gannet, white goshawk, singing honey eater.

Between 1855-1908 there were five shipwrecks off the park coastline. In 1878 the Loch Ard went down, losing fifty lives. A small cemetery near the Gorge still remains.

Description: Port Campbell National Park is a linear coastal reserve between Peterborough and Princetown on the south western coast of Victoria. The Park's sheer cliffs, gorges, arches and offshore stacks form one of the most scenic and best known sections of coastline in Australia. Marls (calcareous silts) and marine limestones of the Miocene Port Campbell Limestone are overlain by Pleistocene dune limestone in the place. The dominant coastal landform is precipitous and undercut cliffs up to 60 metres in height. Erosion of the cliffs by strong wave action is guided by vertical joints in the limestone, producing elongated bays and narrow gorges including caves between rectilinear promontories such as Loch Ard Gorge and the Grotto. These promontories pass through various stages of evolution under the influence of marine erosion. Caves are the first features to form, followed by arches, and when these collapse, isolated stacks, such as the Twelve Apostles, remain. The stacks are then gradually worn down to offshore platforms of limestone. Horizontal notches occur on the exposed cliffs and stacks where softer material is eroded from between harder bands of rock. Shore platforms are uncommon, but narrow benches at the base of cliffs occur where harder rock has developed.

The cliffs are backed by an undulating plateau of red-brown clay and Pleistocene dune calcarenite. The larger streams that dissect the plateau have cut down to sea level. These include the Curdies River, Port Campbell Creek, and Sherbrooke River. Smaller streams that cross the plateau emerge from the cliffs as waterfalls. Another feature of the plateau are the circular sinkholes that are often filled by ponds and swamps. In some cases these sinkholes have intersected areas of cliff recession such as caves.

Few beaches occur along the Port Campbell coast, and those that are present are usually narrow and backed by steep cliffs. Beaches are more extensive where there are sandy calcarenite dunes on the cliff crest. A sandy barrier occurs at the mouth of the Curdies River which separates the lagoon from the sea during times of low river flow.

Port Campbell National Park contains several broad vegetation communities, some of which are the largest and most important areas of native vegetation remaining between Portland and the Otways. The first line of vegetation along the seaward edge of the coast mainly consists of tussock grasslands and shrublands. The grasslands are dominated by blue tussock-grass POA POIFORMIS, cushion bush CALOCEPHALUS BROWNII, black-anther flax-lily DIANELLA REVOLUTA, coast saw-sedge GAHNIA TRIFIDA, coast sword-sedge LEPIDOSPERMA GLADIATUM and Australia salt-grass DISTICHLIS DISTICHOPHYLLA. Further inland are shrublands of coast beard-heath LEUCOPOGON PARVIFLORUS, coast daisy-bush OLEARIA AXILLARIS and coast everlasting HELICHRYSUM PARALIUM.

Soils on the coastal plateau that include a hardpan support species-rich closed heaths. These communities are dominated by scrub sheoke ALLOCASUARINA PALUDOSA, prickly tea-tree LEPTOSPERMUM CONTINENTALE, manuka L. SCOPARIUM, silver banksia BANKSIA MARGINATA, common heath EPACRIS IMPRESSA, prickly moses ACACIA VERTICILLATA and dusty miller SPYRIDIUM PARVIFOLIUM. The diverse understorey includes bare twig-sedge BAUMEA JUNCEA, sword-sedges LEPIDOSPERMA spp., bog-sedges SCHOENUS spp., and grass-trees XANTHORRHOEA spp. These communities may include an overstorey of messmate EUCALYPTUS OBLIQUA and shining peppermint E. WILLISII on better soils, or swamp gum E. OVATA and tree everlasting OZOTHAMNUS FERRUGINEUS on wetter sites.

The catchments of some of the larger streams include open forests of swamp gum and rough-barked manna-gum E. VIMINALIS ssp. CYGNETENSIS, with a heath and bracken PTERIDIUM ESCULENTUM dominated understorey. These forests may grade into riparian communities dominated by swamp gum, manna gum E. VIMINALIS, mountain grey gum E. CYPELLOCARPA, and blackwood ACACIA MELANOXYLON. The understorey includes a number of damp forest shrubs such as hazel pomaderris POMADERRIS ASPERA and musk daisy-bush OLEARIA ARGOPHYLLA.

The native mammal fauna of the Port Campbell includes eastern grey kangaroo MACROPUS GIGANTEUS, swamp antechinus ANTECHINUS MINIMUS, white-footed dunnart SMINTHOPSIS LEUCOPUS, echidna TACHYGLOSSUS ACULEATUS and broad-toothed rat MASTACOMYS FUSCUS. The avifauna includes a mix of species associated with the coast, estuaries, heathlands, open forests, and surrounding farmland. Some characteristic birds include the rufous bristlebird DASYORNIS BROADBENTI, ground parrot PEZOPORUS WALLICUS, little penguin EUDYPTULA MINOR, short-tailed shearwater PUFFINUS TENUIROSTRIS, Australasian gannet MORUS SERRATOR, grey goshawk ACCIPITER NOVAEHOLLANDIAE, peregrine falcon FALCO PEREGRINUS, striated thornbill ACANTHIZA LINEATA, singing honeyeater LICHENOSTOMUS VIRESCENS, white-eared honeyeater L. LEUCOTIS and beautiful firetail STAGONOPLEURA BELLA. The inlets along the coast support a variety of waterbirds and shorebirds.

Reptiles found in the place include the swamp skink EGERNIA COVENTRYI, glossy grass skink PSEUDEMOIA RAWLINSONI, jacky lizard AMPHIBOLURUS MURICATUS, White's skink EGERNIA WHITII, blotched blue-tongued lizard TILIQUA NIGROLUTEA and lowland copperhead AUSTRELAPS SUPERBUS. Eight species of frogs have been recorded in the park, including the smooth frog GEOCRINIA LAEVIS and southern toadlet PSEUDOPHRYNE SEMIMARMORATA.

Vollrath Park Bowl by Zach Korb

Sheboygan, WI

Contributed in 1930 - Along Lake Michigan (background)

The center of frisbee golf action in Sheboygan County and a great public park and space.

Contributed Tweets for @O_Cinema_France are delivered by @RoundTeam https://t.co/7yyoy1Gwij by O Cinéma

Philae Temple Complex, Agilkia Island, Egypt. by PHOTOGRAPHY by DM & DBM.

The Philae temple complex is an island-based temple complex in the reservoir of the Aswan Low Dam, downstream of the Aswan Dam and Lake Nasser, Egypt.

Until the International Campaign to Save the Monuments of Nubia, the temple complex was located on Philae Island, near the expansive First Cataract of the Nile in Upper Egypt. These rapids and the surrounding area have been variously flooded since the initial construction of the Aswan Low Dam in 1902. The temple complex was dismantled and moved to nearby Agilkia Island as part of the UNESCO Nubia Campaign project, protecting this and other complexes before the 1970 completion of the Aswan High Dam. The hieroglyphic reliefs of the temple complex are being studied and published by the Philae Temple Text Project of the Austrian Academy of Sciences, Vienna (Institute OREA).

The ancient Egyptian name of the smaller island meant "boundary". As their southern frontier, the pharaohs of Egypt kept there a strong garrison, and it was also a barracks for Greek and Roman soldiers in their turn.

The first religious building on Philae was likely a shrine built by Pharaoh Taharqa of the 25th Dynasty, which was probably dedicated to Amun. However this structure is only known from a few blocks reused in later buildings, which Gerhard Haeny suspects may have been brought over for reuse from structures elsewhere.

The oldest temple to have undoubtedly stood on the island, as well as the first evidence of Isis-worship there, was a small kiosk built by Psamtik II of the 26th Dynasty. This was followed by contributions from Amasis II (26th Dynasty) and Nectanebo I (30th Dynasty). Of these early buildings, only two elements built by Nectanebo I survive– a kiosk that was originally the vestibule of the old Isis temple, and a gateway which was later incorporated into the first pylon of the current temple.

More than two thirds of Philae's surviving structures were built in the Ptolemaic era, during which the island became a prominent site of pilgrimage not only for Egyptians and Nubians but for pilgrims from as far as Anatolia, Crete, and the Greek mainland. In this way, Philae gradually overtook Elephantine as the most important sanctuary in southern Egypt. Some of these pilgrims marked their presence with inscriptions on the temple walls, including votive inscriptions known as proskynemata, as well as other types. Among these are inscriptions left by three Romans (maybe ambassadors) at the first pylon in the summer of 116 BC, which represent the oldest known Latin inscriptions in Egypt.

Along with the various contributions of Ptolemaic rulers, Philae also received additions from the Nubian king Arqamani, who contributed to the Temple of Arensnuphis and the mammisi, and his successor Adikhalamani, whose name has been found on a stela on the island. Some experts have interpreted these additions as signs of collaboration between the Nubian and Ptolemaic governments, but others consider them to represent a period of Nubian occupation of the region, likely enabled by the revolt of Hugronaphor in Upper Egypt. The cartouches of Arqamani were later erased by Ptolemy V, while the stela of Adikhalamani was eventually reused as filling under the floor of the pronaos.

The Roman era saw an overall decline in pilgrimage to Philae, especially from Mediterranean regions, as evidenced by the reduced number of inscriptions. Nevertheless, it remained an important sacred site, especially for Nubians, who continued to visit both as individual pilgrims and in official delegations from their government in Meroë.

Several Roman emperors made artistic and architectural contributions to Philae. While most of the architectural additions date to the Julio-Claudian dynasty, the island continued to receive contributions to its temples up to the time of Caracalla as well as a triple arch built by Diocletian. In AD 298, Diocletian ceded Roman territory south of the First Cataract as part of an agreement made with the neighboring Nobades, withdrawing the border to about the area of Philae itself. The Kushite king Yesebokheamani made a pilgrimage to Philae in this period and may have taken over the Roman hegemony.

During the Roman era, Philae was the site of the last known inscription in Egyptian hieroglyphs, written in AD 394, and the last known Demotic inscription, written in 452.

Christianity seems to have been present at Philae by the fourth century, at which point it coexisted with traditional Egyptian religion. According to the Coptic hagiography Life of Aaron, the first bishop of Philae was Macedonius (attested in the early fourth century), who is said to have killed the sacred falcon kept on the island, though modern experts question the historicity of this account. By the mid fifth century, a petition from Bishop Appion of Syene to co-emperors Theodosius II and Valentinian III indicates the presence of multiple churches on the island functioning alongside the pagan temples.

Traditional worship at Philae appears to have survived into at least the fifth century, despite the anti-pagan discrimination at times. In fact, the fifth-century historian Priscus mentions a treaty between the Roman commander Maximinus and the Blemmyes and Nobades in 452, which amongst other things ensured access to the cult image of Isis.

According to the sixth-century historian Procopius, the temple was closed down officially in AD 537 by the local commander Narses the Persarmenian in accordance with an order of Byzantine emperor Justinian I. This event is conventionally considered to mark the end of ancient Egyptian religion. However, its importance has recently come into question, following a major study by Jitse Dijkstra who argues that organised paganism at Philae ended in the fifth century, based on the fact that the last inscriptional evidence of an active pagan priesthood there dates to the 450s. Nevertheless, some adherence to traditional religion seems to have survived into the sixth century, based on a petition from Dioscorus of Aphrodito to the governor of the Thebaid dated to 567. The letter warns of an unnamed man (the text calls him "eater of raw meat") who, in addition to plundering houses and stealing tax revenue, is alleged to have restored paganism at "the sanctuaries", possibly referring to the temples at Philae.

Philae retained significance as a Christian centre even after its closure as a pagan site. Five of its temples were converted into churches (including the Temple of Isis, which was dedicated to Saint Stephen), and two purpose-built churches were constructed on the north side of the island.

The island of Philae attracted much attention in the 19th century. In the 1820s, Joseph Bonomi the Younger, a British Egyptologist and museum curator visited the island. So did Amelia Edwards, a British novelist in 1873–1874.

The approach by water is quite the most beautiful. Seen from the level of a small boat, the island, with its palms, its colonnades, its pylons, seems to rise out of the river like a mirage. Piled rocks frame it on either side, and the purple mountains close up the distance. As the boat glides nearer between glistening boulders, those sculptured towers rise higher and even higher against the sky. They show no sign of ruin or age. All looks solid, stately, perfect. One forgets for the moment that anything is changed. If a sound of antique chanting were to be borne along the quiet air–if a procession of white-robed priests bearing aloft the veiled ark of the God, were to come sweeping round between the palms and pylons–we should not think it strange.

— Amelia B. Edwards, A thousand miles up the Nile / by Amelia B. Edwards, 1831–1892, p. 207.

These visits are only a small sample of the great interest that Victorian-era Britain had for Egypt. Soon, tourism to Philae became common.

In 1902, the Aswan Low Dam was completed on the Nile River by the British. This threatened to submerge many ancient landmarks, including the temple complex of Philae. However, the British prioritized the advancement of Modern Egypt at the expense of the complex. The height of the dam was raised twice, from 1907 to 1912 and from 1929 to 1934, and the island of Philae was nearly always flooded. In fact, the only times that the complex was not underwater was when the dam's sluices were open from July to October.

It was proposed that the temples be relocated, piece by piece, to nearby islands, such as Bigeh or Elephantine. However, the temples' foundations and other architectural supporting structures were strengthened instead. Although the buildings were physically secure, the island's attractive vegetation and the colors of the temples' reliefs were washed away. Also, the bricks of the Philae temples soon became encrusted with silt and other debris carried by the Nile.

The Abbey Church of the Blessed Virgin Mary and St Sexburgha, Minster, Sheppey, Kent by Jelltex

It is a long, long time ago that we were last here. I did manage to take about a dozen shots that day.

You'll be glad to know I took more this time.

Sheppy is other-worldly. It is an island, but now there are two bridges onto it, the last being a dual carriageway, getting you to the delights of Sheerness and Queensborough doubly quickly.

Away from the western end, the island barely rises above the waters of the Thames and Swale that surround it, except at one place; Minster, where a monastery was built to look down on the fenland all around.

As we were nearby in Iwade, it was a ten minute drive to get to Minster, find our way up the hill and a vacant parking space. The museum in the gatehouse was open, but we pass by that to the church and mister beyond, with its wide and squat tower rising from the graveyard.

I pushed the door of the church, and it swung open, revealing a huge space; once two churches, but now full of details worthy of investigating.

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The large, almost square, medieval gatehouse to the west of the church tells the visitor that here is no ordinary parish church. For nearly a thousand years this was both Minster Abbey and Minster parish church. Today it is one building, but formerly the present south aisle formed the parish church, whilst the north aisle belonged to the nuns and was part of the monastic enclosure. The parish church side has a distinct nineteenth-century feel to it, the result of a much-needed restoration of 1879 by Ewan Christian to which Queen Victoria contributed. It contains some notable old monuments; especially interesting is that to Sir Robert de Shurland (d. 1310) which is an effigy of a knight under a wall recess. Between the nuns' aisle and the parish church is the Cheyne tomb, commemorating Sir Thomas Cheyne (d. 1559). This imposing marble and alabaster table tomb shows him wearing his Order of the Garter. The north aisle - or nuns' church - has altogether more atmosphere with substantial remains of the original church built by St Sexburga, widow of King Erconbert of Kent in AD 670. The arched heads of two Saxon windows survive in the southern wall, and the 'chancel' of the nuns' church has had its plaster removed to show the early rubble construction. It is separated from the rest of the church by a fine oak screen of about 1400. The whole church has a well-cared-for atmosphere and should be near the top of all visitors' lists.

www.kentchurches.info/church.asp?p=Minster+in+Sheppey

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Minster Abbey or, to give it its full title, The Abbey Church of the Blessed Virgin Mary and Saint Sexburgha, occupies the highest hilltop position on the otherwise flat Isle of Sheppey in Kent and has been a place of worship for over 1,400 years.

Founded as a nunnery by the widowed Queen Sexburgha in 664AD it was endowed with land given by her son Ercombert, King of Kent. With no stone on the island the building material was hewn at Boughton Monchelsea and brought down the River Medway and the Swale. Examples of early Saxon stone and Roman tiles, (from an earlier Roman outpost of the garrison at Reculver which earlier occupied this hilltop,) can also be found in the walls of the St Sexburgha chapel. Three still functioning wells from the priory are located by the Gatehouse, under a shop in Minster High Street and in the garden of a house in the adjacent Falcon Gardens.

The priory was badly damaged, but not destroyed, by Danish Vikings in the ninth century and was further damaged in the 11th century.

Following the Norman invasion of 1066, King William the Conqueror partly rebuilt the church and priory and allowed nuns from Newington to take up residence. It remained impoverished, though, until Archbishop de Corbeuil rebuilt it between 1123 and 1139. He is credited with the unusual arrangement of two adjacent 'churches' with the northern church for the nuns and the southern for the parishioners. It is thought curtains were originally hung to cover the arches which separate the two churches. The stone for the Norman part of the church was imported from Caen from the same quarry that provided the stone for Canterbury Cathedral

During the Dissolution of the Monasteries by Henry VIII the two adjacent churches led directly to the saving of the Abbey church. Because the two churches shared a common wall and were linked by arches in the wall, the Abbey church was spared the destruction wrought on the rest of the Abbey

Following the Dissolution, the abbey came into the ownership of Sir Thomas Cheyne (or Cheney) and he was first buried in the now lost chapel of Saint Katherine on this site in 1559. Most of the Abbey was eventually demolished except for the church and the adjacent Abbey Gatehouse. The gatehouse survived because it was used as a private residence and now contains an interesting local history museum.

Repairs to the church were neglected in the mid 19th century, but Rev William Bramston restored the church in 1881 and the Abbey is now a Grade 1 listed building which provides protection but also limits the modernisation work which can be done (e.g. the installation of a disabled toilet)

Internally there is no chancel arch in the southern aisle while the northern aisle retains both chancel arch and a carved timber screen. At the eastern end of the southern aisle there is a niche which has traces of a medieval wall painting of St. Nicholas.

The north-east Sexburgha chapel (also known as the Nuns' chapel) is separated from North aisle by a 12th century oak screen

The church has an interesting array of monuments displaying English armour from the 14th to the 16th centuries. The earliest is Baron Robert de Shurland [died 1327] who reclines on an altar tomb on the southside. At his feet is the head of his horse, Grey Dolphin. According to local legend, Sir Robert killed a monk and resolved to ask the King for a pardon. In 1326 he rode to where the King's ship was anchored, off the Isle of Sheppey, and rode out through the water to gain forgiveness from the King. Returning, he met a witch who said that de Shurland's horse, Grey Dolphin, which had borne him so bravely to the ship, would be the death of him. Sir Robert immediately killed the horse and cut off its head. A year later Sir Robert was walking along the shore when a shard of the horse's bone pierced his foot. Blood poisoning set in and Sir Robert died, killed by his horse as predicted by the witch.

In the arches between the two churches is the final resting place of Sir Thomas Cheyne KG [1485-1558]. As Sherriff of Kent from 1516 and Lord Warden of the Cinque Ports from 1536 until his death, (a position he held through the reigns of all five of the Tudor monarchs), he became one of the most powerful men in the South-East of England. For many years he served as Treasurer of the Household for Henry VIII and remarkably retained this post under Mary 1.

In the north-east corner of the northern aisle there is the effigy of a man dressed in high Gothic armour from the late 15th century. Some sources suggest it might be Sir Hugh de Badlesemere, a Yorkist soldier who fought in the War of the Roses. However others say that it might be George, 1st Duke of Clarence, as George was constable of nearby Queenborough Castle. Supposedly executed at the Tower of London by drowning in a Butt of Malmsley, there is evidence, though, that George was buried with his wife in Tewksbury. The effigy is of very high quality and clearly reflects wealth, but all the shields and heraldry have been hacked off, which might suggest Tudor vandalism of a supposed Yorkist tomb. This could support the 'Clarence' theory, but the effigy also rests with his feet on a curly haired ram and not a bull - the bull badge being traditionally associated with George, Duke of Clarence.

Another effigy of early 15th century date was dug up in the churchyard in 1833 and this lies against the north wall. Some sources suggest this is General Geronimo who appears in the Register as being buried in December 1591. He was captured in a Spanish galleon by Sir Edward Hoby in 1588 and held hostage in Queenborough Castle. The ransom was never paid and he died in captivity. He clasps a small egg shaped image in his hands which is said to represent his soul

Other rough hewn tombs recovered at this time are thought to be tombs of abbesses of the Abbey.

www.minsterabbey.org.uk/3.html

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MINSTER

IS the principal parish in the Island of Shepey. It lies on high ground near the middle of the north side of it.

The parish takes its name from the monastery founded very early within it, Minstre in the Saxon language signifying a monastery or religious house.

The manor of Newington claims over a small part of this parish, but the paramount manor over the whole of it is that of Milton.

THE PARISH of Minster is by far the largest of any in the island. The village is situated on high ground near the middle of it, with the church, and ruins of the monastery close on the northern side of it; of the latter there is little more than the gate-house remaining.

THE VILLE of Sheerness is situated at the western bounds, as well of this parish as of the whole island, a further account of which will be given hereafter. It was formerly accounted as part of this parish, but it has long since been made a ville of itself, and as to its civil jurisdiction, entirely separate from this parish.

The cliffs on the northern side of this island, are likewise the northern boundaries of this parish; Queenborough and Sheerness bound it towards the west, and the Swale and the island of Elmley southward.

In June 1756, a monstrous fish, thought to be a young whale, was driven on shore at this place. It measured thirty-six feet and upwards in length, twentytwo feet in circumserence, and eight feet from the eyes to the tip of the nose. It was supposed to yield twenty hogsheads of oil.

King Edward III. in his 17th year, granted a fair to be held here on Palm Monday, which is still continued for toys and such like merchandize.

SEXBURGA, one of the daughters of Annas, king of East Anglia, and widow of Ercombert, king of Kent, between the years 664 and 673, having obtained lands in this parish of her son king Egbert, founded A MONASTERY here, which she finished and got well endowed for seventy-seven nuns, whom she placed in it, king Egbert himself adding several lands to it, and she became herself the first abbess. Soon after which, about the year 675, she resigned her government of it to her daughter Ermenilda, who became the second abbess, and then retired, in the year 699, to the Isle of Ely, to the monastery there, over which her sister Etheldred presided. (fn. 1)

During the times of the Danish invasions, the religious of this monastery were subject to continual instances of cruelty and oppression, and at last their house was in a great measure destroyed by them, and the nuns dispersed. In which situation it seems nearly to have remained till the reign of the Conqueror, who, on the prioress of the nunnery of Newington near Sittingborne having been strangled in her bed, consiscated their possessions, and removed the few remaining nuns to this ruinated monastery, which continued but in a very mean condition till the year 1130, when it was reedified and replenished with Benedictine nuns, by archbishop Corboil, and dedicated to St. Mary and St. Sexburg.

In the 8th year of king Richard II. anno 1384, the temporalities of this monastery were valued at 66 l. 8s. and the spiritualities at 73l. 6s. 8d. Total 139l. 14s. 8d.

¶In the 27th year of king Henry VIII. an act having passed for the suppression of all religious houses, whose revenues did not amount to the clear yearly value of two hundred pounds, this monastery, whose revenues amounted to no more than 129l. 7s. 10½d. annual re venue, or 122l. 14s. 6d. clear yearly income, being then ten pounds less than they were near two hundred years before, was surrendered up to the king, at which time it was in so indigent a state, that there were but a prioress and ten nuns in it. To the former, Alicia Crane, the king granted a pension of fourteen pounds for her life, towards her proper support and maintenance.

MINSTER is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

The church, which is dedicated to St. Mary and St. Sexburg, (as was the monastery) is supposed by some to have been the very church of it, but by others, that it only adjoined to it; at present it consists of two isles and two chancels. The steeple is at the west end, being a large square tower, with a turret at the top, in which there is a clock, and a ring of five bells. It was formerly higher than it is at present, as appears by the remains. There was formerly a building adjoining to the east end of the north chancel, as appears by a doorcase and some ornaments on the outside of it. In the north chancel, on the south side, is the tomb of Sir Thomas Cheney, knight of the garter, &c. who was buried with great state, in a chapel which had been the conventual church, adjoining to the north east part of this parish; but his son Henry, lord Cheney, having in 1581, anno 24 Elizabeth, obtained a licence to remove the coffins and bones of his father and ancestors from thence, he having sold the materials of the chapel to Sir Humphry Gilbert, and placed them in this parish church, the coffin of his father was, among others removed, and deposited in this chancel. On the north side, under an arch in the wall, on a grey marble, lies the figure of a man, habited in armour. In the south, or high chancel, against the south wall, is an antient tomb, with the effigies of a man lying at length crosslegged, and in armour; on his right side is the figure of a horse's head, carved alike in alabaster, and fixed to the tomb, concerning which many idle reports are current. (fn. 10) On a stone in the middle of the chancel, are the figures in brass of a man and woman; his in armour, cross-legged, with large spurs, his sword by his side, and this coat of arms, Ermine, a pale, engrailed, (perhaps it might have been originally a cross, the rest of it having been rubbed out); on her mantle, Three bars, wavy; under his feet a lion, under her's a talbot; the inscription underneath is gone, except the word Hic at the beginning of it. At the upper end of the north isle is a small stone, seemingly very antient, with a cross bottony on it.

In the year 1489, there was a chapel, dedicated to St. John Baptist, Situated within the cemetery of Minster, in Shepey.

The church of Minster seems to have been part of the endowment of the monastery at the first foundation of it.

¶This church was not many years afterwards appropriated to it, (fn. 11) the cure of it being esteemed as a donative, in which state it continued at the time of the dissolution of the monastery, when it came, together with the rest of the possessions of it, into the king's hands, where it remained till the king granted the rectory of Minster, with its rights, members, and appurtenances, and the advowson of the church there, to Sir Thomas Cheney, knight of the garter, &c. to hold in capite by knight's service, whose son Henry, lord Cheney, of Tuddington, alienated this rectory, with the advowson, to Robert Levesey, esq. in whose descendants it continued sometime afterwards, till at length it was sold to Gore, and William Gore, esq. of Boxley, died possessed of the rectory impropriate, with the advowson, in 1768. He died s.p. and by his will devised it to his relation Robert Mitchell, esq. who dying likewise. s.p. in 1779, gave his estates to his three nephews, Robert, Christopher, and Thomas, sons of his brother Thomas, the eldest of whom, Robert Mitchell, esq. became afterwards the sole proprietor of them.

The parsonage at present consists of a house, barns, &c. and one hundred and eighty-eight acres of arable, meadow, and pasture belonging to it, together with all the great and small tithes of the parish, of all kinds whatsoever.

The ecclesiastical jurisdiction of this parish extends over the ville of Sheerness, the populousness of which adds greatly to the burials in it, insomuch that in some years of late, they have amounted to between two and three hundred.

The church of Queenborough was formerly esteemed as a chapel to this church, but it has long since been independent of it. The cure of it is still esteemed as a donative, the yearly stipend of the curate being 16l. 13s. 4d. In 1578 the communicants were three hundred and eight.

In 1640 the stipend of the curate was 16l. 13s. 4d. Communicants two hundred and sixty-five. It is not in charge in the king's books.

Roger, abbot of St. Augustine's, in 1188 let to Agnes, prioress, and the convent of St. Sexburg, certain tithes within this parish, to hold in perpetual ferme at fourteen shillings yearly rent, &c. These tithes were those of Westlande; being those of Sir Adam de Shurlande, and of Adam Rusin (fn. 12)

www.british-history.ac.uk/survey-kent/vol6/pp216-229

Take Heart by Christian Udarbe

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Finally upgraded my previous Littmann stethoscope, the Classic II, with a Littmann Cardiology III. I then decided to take a photo of it since I haven't contributed in Flickr for so long.

Also, I had the option of gettng the Master Cardiology or the Cardiology IV stethoscopes, but my previous stethoscope has a brass finish. That finish is associated with me in the institutions I work in so I decided to get Cardiology III since it is the only one that also comes in brass.

Shooting Information:

Nikon D5000

Nikkon 18-55mm f/3.5-5.6

Manual

1/30th @ f/5.6

ISO 1000

Off Shoe Flash Fired

Post Processing Information:

Adobe Lightroom CC 2015

Not Cropped

Off Shoe Flash Information:

Yong Nuo RF602 Trigger

1 x Yong Nuo YN465 Flash @ 1/64th Power

Directly on top, pointed downwards

No flash modifiers used

-+o+-

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Grant Creek Schoolhouse, Fort Missoula, MT (3) by Tim Stewart

Missoula,MT (Missoula County)

The Fort Missoula Historic District is composed of 32 contributing structures, a post cemetery, two historic parade grounds, and two groupings of foundations (those of the 19th Century Officers' Row and those of the World War II internment camp barracks) that date from the district's period of significance from 1877-1944 and are directly associated with the historical development of the Fort.

Fort Missoula, the only permanent military post in Montana west of the Continental Divide, was established in June, 1877. The strategic intent of the choice of the Fort location was for greater military control of the Indian tribes of western Montana and to assure the protection of white settlers from hostile Indian attack. By 1877, however, reservation lands had been established in western Montana and few major uprisings occurred which involved the soldiers.

Fort Missoula's significance rests less with its direct military role in quelling uprisings and more with the sequence of non-combative military uses of the property by the federal government and the consistent contribution Fort personnel have made to local economic development. Through the years, Fort Missoula has been used as the headquarters for the Black 25th Infantry Regiment, the place from where the potential military applications of the bicycle were explored, a government training school for skilled mechanics to aid in the World War I effort, the largest Civilian Conservation Corps Headquarters in the United States during the 1930's, a detention camp for Italian artists and seaman as well as Japanese-Americans during World War II, and, for a short time following World War II, Fort Missoula became a medium security prison camp for American soldiers. (1)

This rural one-room schoolhouse was built in 1907 by John Rankin, father of Jeanette Rankin. It was originally located north of Missoula in the lower Grant Creek drainage, a farming area that it served until 1937. It is used to interpret the history of the region’s one-room schoolhouses. (2)

References (1) NRHP Nomination Form npgallery.nps.gov/pdfhost/docs/NRHP/Text/87000865.pdf

(2) Fort Missoula Walking Tour buildings.fortmissoulamuseum.org/grant-creek-schoolhouse/

Dorothy I. Height Building by NCinDC

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The Dorothy I. Height Building, historically known as the Central National Bank or Apex Building, is the national headquarters of the National Council of Negro Women. It's located at 633 Pennsylvania Avenue NW in the Penn Quarter neighborhood of Washington, D.C. Built in 1860 and renovated in 1887 by noted architect Alfred B. Mullett, the Late Victorian style building is listed on the National Register of Historic Places. In addition, the building is designated a contributing property to the Pennsylvania Avenue National Historic Site and the Downtown Historic District.

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This is one of my older photos I originally uploaded to Wikimedia Commons.

Cherry Blossoms by Tommie

Contributed to Floral Friday

Exctracteur Format @Venice Biennale 2011 . by Biennalist by Thierry Geoffroy / Colonel : Artist

Biennalist

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

Biennalist :

-------------------------------------------

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi

5267 Main Street by NCinDC

7 5

A home located at 5267 Main Street (US 11) in Stephens City, Virginia. The building is designated a contributing property to the Newtown-Stephensburg Historic District, listed on the National Register of Historic Places (NRHP) on August 18, 1992.

Via the NRHP nomination form:

"5267 Main Street: mid-19th-century, 2-story, log (German lap), gable-roofed, 3-bay, vernacular dwelling with 1-story Folk Victorian front porch and 2-story frame rear ell."

_PK13772 by Live Action Hero

LENS TEST: Asahi Opt. Cp. Super-Takumar 150mm f4 (Early Model - Versiono II).

The Bride of Frankenstein,(Universal, 1935)11 by Morbius19

Son of Frankenstein/Bride of Frankenstein Combo (Realart, R-1948). One Sheet (27" X 41").Full Feature. www.veoh.com/watch/v68308074se9ajHpk

When Realart acquired the Universal sound film library (1930-1946) in 1948, this was one of the first of their many successful double-bills. An entire new generation got to feast on all the best Universal Golden Age monster films ever made, two at a time...and on the cheap. Bride of Frankenstein

Universal Pictures followed up their highly successful Frankenstien with what has to be one of the best sequels out of Hollywood. James Whale's Bride of Frankenstein (BoF) had many factors contributing to its success. For some of those, see the Notes section below. It is a bigger, richer tale. Two key cast members reprised their roles. Colin Clive again played the obsessed and tormented Henry Frankenstein. Boris Karloff again played the monster. Other lesser characters were picked up by new faces. A couple of new characters were added. To some, BoF surpasses the original. Few sequels get such acclaim.

Synopsis

The film opens on a suitably dark and stormy night in the early 1800s. Mary Shelley, Percy Shelley and Lord Byron sit around a fire talking of Mary's story. Was that how it ended? No. Mary tells what happened next. (cross fade to burning windmill). The crowds filter on home. Maria's father insists on seeing the body of the monster, so goes into the smoking rubble. He falls into the water filled cellar. The monster is there too, much alive. He drowns Hans. The monster emerges. The crowd took Henry back to his family castle, thinking he was dead, but he moves his hand. He's Alive! He swears to never dabble in man-making again. Just then, a sketchy former classmate arrives. Dr. Pretoreous heard of Henry's work and wants him to partner, to make a perfect man. Henry goes to Pretorious' lab to see his work. Six glass jars, each with a miniature person inside. A queen, a king, a bishop, a devil, a ballerina and a mermaid. Pretorious makes them from raw materials, not dead body parts, but can only make smaller things. He wants Henry to make a full-sized body again. Pretorious would supply the brain. Meanwhile, the monster roams the woods. A shepherdess sees him, screams and falls in a river. The monster rescues her, but hunters heard her screams and shoots the Monster in the arm. A new mob combs the woods finally capturing the monster. They haul him into town and chain him in a jail cell. Stronger than his chains, the monster escapes and rampages around the village awhile before fleeing into the woods again. Tired, hurt and hungry, the monster comes to the shack of an old blind hermit. The hermit befriends the monster, eventually teaching him to talk. Hunters find the monster in the shack, so he flees again. Yet another mob chases him through the woods. The monster goes down into a crypt to hide. There, he sees Pretorious and henchmen stealing body parts (bones). When henchmen leave, Pretorious entertains the monster and suggests Henry should build him a woman, a mate. The monster likes that idea. Pretorious tells Henry it's time to start building. Henry refuses. Pretorious has the monster kidnap Elizabeth and take her to a cave. Her ransom is to build the new woman. Henry, under duress, starts working in the old tower again. They have the "bride" done and exposed to dramatic sparks. She's Alive! When the monster comes in to meet his bride, she screams and runs from him. Enraged that even his own kind rejects him, the monster rampages around the lab. This lab is equipped with a self-destruct lever, (for some reason). The monster starts to pull it. He tells Henry to get away with Elizabeth (now free). "You go. You live." He pulls the lever and the tower blows up dramatically, crumbling to rubble. Henry and Elizabeth embrace on an adjacent hilltop. The End.

Much of Henry's prior electro-biology technology is reused. The equipment is ramped up a bit, though. Henry uses two 3-winged kites (ala Ben Franklin) to gather lightening. Pretorious' process is more akin to alchemy, and in that way similar to the "science" used in Edison's 1910 version.

The plot in BoF is an expansion on elements in Mary's original novel. In her story, the monster demands that Victor create a mate for him. In BoF, it was Pretorious who pushes the idea. The scene with the hermit befriending the monster is a good parallel to the DeLacy family whom Mary's monster lived with for awhile, there learning to talk, etc.

BoF is such a close sequel, it is more like the second part of a single story. It picks up immediately where the first film left off. After all the action, things return to pretty much where they started. A notable exclusion is Henry's father, the old baron. Suddenly, even though it is the "same night", the old baron is gone and Henry is "now" the baron. Despite all the action, BoF ends as it began. Henry and Elizabeth survive and want to put all the nastiness behind them. The monster is, again, presumed to have died in a dramatic architectural collapse.

Superior Sequel -- Where most sequels falter is that they try to do the same thing as the original, with just a little variation. It is as if the writers or producers don't dare tamper with "success". James Whale was bold. He continued the story in the same time line. He kept the 2 main characters. They start out as they left off, but change (grow) during the film. Whale introduces a key antagonist and some potent sub-plots. The 1931 film was spartan and a bit claustrophobic, with two worlds -- one sane, one unstable. This befit the birth of the creature. BoF is a wider tale, with more characters and much more going on. This is befitting the monster's growth into personhood. BoF is clearly not just a retread, Frankenstein II.

Ernest Thesiger plays Dr. Pretorious, who is a Mephistopheles-like character. This lends a very Faustian flavor to the saga. When Pretorius is showing off his miniature people, he shows off his miniature bishop, the voice of morality. Then he shows his fourth. "This one is the very devil. There is a certain resemblance to me, don't you think? Or do I flatter myself?"

In a broadening of the monster character from the first movie, the monster learns to speak. Granted, they're rudimentary sentences. "Friend…Good." But, even with just a few words, a deep range of the monster's thoughts and desires become known. It is said that Boris Karloff objected, at first, to having "his" monster speak. But he did and it made the monster much more "human" and sympathetic.

Consider how the screenwriters and Whale made the monster an allegory of Jesus. Note these parallels. He did not have the usual mom-dad-birth, but has a creator. He was befriended by the poor, but rejected by the better-off. Some of the visuals are too obvious to ignore. He was hung on a pole (half a cross). Watch the scene where they're hammering in the chain rings in the jail. This is a strong parallel to the nailing of Christ's hands. Then, note at the end of the film, the monster acts noticeably out-of-character for a horror film monster. Instead, he (again) parallel's Christ, in that he voluntarily gives up his own life to save someone else, and to wipe away that person's "sins" and the devilish power of temptation over them. All this Christ-parallel is a very curious inclusion, but it clearly adds depth to the BoF story.

BoF exacerbates the name confusion over who is "Frankenstein" -- the man or the monster. When the female creature is unveiled, Pretorious declares, "Behold, the bride of Frankenstein." Most people take that to mean the bride of the monster. Yet, it could still mean the "bride" that Henry created. The poster adds another layer of ambiguity, by suggesting that the monster ("frankenstein") might chose either Elizabeth or the new woman as his bride. (The monster does kidnap Elizabeth at one point -- the primeval bride-selection method). Yet, Elizabeth is also the bride of Henry. More ambiguity!

James Whale made his sequel much more complex by weaving in occasional comic moments. Some of it verges on camp, as with most of the scenes with Minnie (Henry's old biddy house keeper). Even the monster drinking and smoking, saying lines like "Smoke… Good." were designed to get a laugh. Some humor was more subtle, such as Pretorious saying that each vice, wine, cigars, etc. were "his only weakness." Happily, the humor and camp did not overtake the deeper plot. This early bit of comic relief, though, does open the door for later films like Abbott and Costello Meet Frankenstein.

BoF is another classic that should be seen. Perhaps the best way is to watch the 1931 film and BoF as a double feature. Much of what "worked" in the original is still in the sequel, but BoF adds new, vibrant material. Whale weaves a complex, yet not confusing, plot and paces it very quickly. Bride of Frankenstein is a movie milestone that even all old movie fans should experience.

Street Art/Graffiti, Brown Street, Sheffield, South Yorkshire, England. by PHOTOGRAPHY by DM & DBM.

Graffiti is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire.

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

FC/MC Media Center G20 Hamburg by Rasande Tyskar

reinventing media - fc/mc the alternative G20 protest media experiment.

FC/MC– International Media Center

++ Conclusions of the FC MC ++

++ FC MC will contribute to the evaluation of the events ++

A week after the end of the G20 summit in Hamburg, the International Media Center FC/MC draws its conclusions. The volunteer crew of the FC/MC self-organized a platform for over 1000 accreditated media workers, non-commercially and professionally. Workers were almost equally spread between freelancers, employees and media activists. The journalists came out of two dozen countries from South Africa to Russia. All types of media were present: print, online, television and radio. “At this G20 summit in Hamburg, we have experienced something that will keep us occupied for a long time. Our goal was to contribute to a differentiated perception of the G20 summit and the protests. This work wasn't something that we simply wanted to do - it was political necessity”, says Maren Grimm from the organizing team of the independent, international Media Center FC/MC, that for six days reported critically about the G20 from the FC St. Pauli stadium.

Conclusions of the FC MC

The FC/MC offered space to work, produced a live stream with reports from the streets, daily press conferences, facilitated interviews with representatives of social movements and NGOs, and integrated local and international media workers into the production process: Anybody who wanted to, could edit the materials there or work with the editorial team. New cooperations and a

productive, temporary community developed, which resulted in diverse content, in many formats - from documentaries to satire to video essays.

Multilingual twitter accounts of the FC/MC showed (and still show) not only the diverse produced materials, but also delivered timely reports of the

protests with checked and verified facts. The video ticker continously showed the current situation. Oliver Leistert from the organizing team said: “Our starting point and slogan was simply an monumental endavour: Re-invent critical journalism in times of affective populism. This still continues to be our task. The FC/MC has at least given an impetus, it has offered a proposal and

has shown that the way out of the journalistic crisis needs to be taken by the media workers themselves.” The FC/MC looked critically at the 'battle for the pictures in a fight about who has the power to interprete the events': “The FC/ MC editorial teams repeatedly discussed whether also to focus on the images that other channels such as n-tv and NDR streamed for hours. We decided against the 'riot porn', against focusing on the display of violence.” Without a broad support it would have been impossible to set up the FC/MC in such a short time from scratch - Solidarity came in the form of work time, materials and donations. We want to thank everybody who helped us: the members of the Chaos Computer Club and everyone from radical tech collectives who

kept network, servers and streams up and running; the many local companies that lent equipment and brought their expertise; the security crews who were available around the clock; the Mecklenbörgern who fed us, as well as the coffee collectives Aroma Zapatista and El Rojito; and the numerous people who gave the FC/MC their power and their sweat. Last but not least: 'You'll never walk alone' is real. About our cooperation with the FC St. Pauli we can only say one thing: “St. Pauli is the only option!”

And now?

The work of the FC/MC did not finished with the summit. There is still a lot of material that needs to be anaylised, processed and presented to the public. Also the editorial work continues: “It is now important to analyse the so-called 'display of modern police work' in the broader context of the events. We also set up the FC/MC because it was already obvious before the summit, that it would be used to move the discourse about security to set new standards for police operations in Germany. It now needs to be assessed in detail how far this procedure created the desired reality. The violations of fundamental rights,

and the breaches of the law, by the Police, must have consequences. We want to contribute to this with the material available at the FC/MC,” said Maren Grimm at the closing press conference of the FC/MC on 9 July. Our future work aims at documenting events, as well as rejecting the hegemonic discourse and its diffusion through the mass media, countering it with an insistence on the essential legitimacy of protest, it's urgency and its foundational importance. Beside the diverse protests and the violent clashes, there was police violence, attacks against lawyers, disregard for the freedom of the press and the freedom of assembly, and last but not least massive restrictions on the daily lives of people living in Hamburg. The G20 summit in Hamburg, its side effects, the political decisions and the police operation needs to be investigated and resolved.

Press contact: press@fcmc.tv

FC MC: fcmc.tv/

Recordings: media.ccc.de/c/fcmc17

YouTube channel: www.youtube.com/channel/UCHDTjtjyMFJqAhE4DxjAg9Q

Twitter: @fcmc_tv, @fcmc_info, @fcmc_n

realistic painting art by raphael perez all articles that tell the story of the painter by Raphael Perez Israeli Artist

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Pride and Prejudice: on Raphael Perez's Artwork

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

Daniel Cahana-Levensohn, curator.

Interview with the painter Raphael Perez about his family artist book

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

Question: Raphael Perez, tell me about the family artist book you created

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

Question: Tell me when you were born, where, and a little about your family

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

Question: Tell us a little about your parents

Answer: My parents were new immigrants from Morocco, both immigrated young.

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

Question: What did your parents Shimon and Aliza Peretz work for?

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

Question: A book about the brothers and sisters

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

My mother still gets confused and can't remember who was born first :-)

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

The personification of the flower couple paintings by the Israeli painter Raphael Perez

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

The characteristics of the naive painting of the painter Raphael Perez

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

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רפי פרץ צייר אמן ישראלי ראליסטי ראליסטים הראליסטי הראליסטים הריאליסטים הריאליסטי ריאליסטי פיגורטיבי הפיגורטיבי פיגורטיבית הפיגורטובית דיוקן הדיוקן הדיוקנאות בדיוקן ודיוקן מדיוקן לדיוקן דיוקנאות ודיוקנאות מדיוקנאות לדיוקנאות מדיוקנאות פנים הפנים פני עכשווי מודרני הצייר הישראלי העכשווי המודרני אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית אומנות העכשוויות הישראליות העכשוויות המודרניות ציור ציורים הציור הציורים וציור וציורים לציור לציורים מציור מציורים מצייר מציירים ומצייר ומציירים שמצייר שמציירים של עם גדול גדולים הגדול הגדולים והגדול והגדולים תערוכה תערוכות התערוכה התערוכות והתערוכה והתערוכה לתערוכה לתערוכות גלריה גלריות והגלריה והגלריות הגלריה הגלריות לגלריה לגלריות מהגלריה מהגלריות אדום כתום צהוב ירוק כחול סגול שחור לבן האדום הכתום הצהוב הירוק הכחול השחור הסגול הלבן שחורים לבנים אדומים כתומים צהובים ירוקים סגולים האדומים הכתומים הצהובים הירוקים הסגולים השחורים הלבנים צבעים צבע הצבעים הצבע בצבעים בצבע לצבע לצבעים והצבע והצבעים צובע צובעים הצובע הצובעים האמן האמנים האומנים לאמנים לאומנים והאומנים ציירים הציירים והציירים לציירים מהציירים מהאמנים אומנות האמנות באמנות לאמנות ואמנות באומנות לאומנות והאומנות אמנותי האמנות האומנותי האומנות תערוכה תערוכות התערוכה התערוכות הגלריה הגלריות בגלריה בגלריות והגלריה והגלריות מהגלריה מהגלריות מהתערוכה מהתערוכות חדש חדשני החדש החדשני חדשנית החדשנית מקורי המקורי המקורית מקורית מיוחד המיוחד המיוחדים מיוחדים המפורסמים המפורסם מפורסם מפורסמים בישראל ישראל וישראל מלאי בציורי ציורי וציורי לציורי מציורי אקריליק באקריליק על בד קנווס קנבס קנוס בקנווס בדים חזקים עזים החזקים העזים לבית לסלון למשרד בית סלון משרד לבתים למשרדים משרדים בתים למכירה מכירה המכירה מכירות מוכר המוכר קונה הקונה קונים הקונים בקנייה במכירה פומבית הפומבית לרכוש רכוש ברכישה ישירה

realism art realistic painting رئالیسم هنر نقاشی واقعی Realismus Kunst realistische Malerei realisme art realistische schilderkunst realismo da arte da pintura realista 现实主义艺术的现实主义绘画 رئالیسم هنر نقاشی واقعی Realismus Kunst realistische Malerei realisme art realistische schilderkunst

raphael perez rafi peretz israeli painter artist painters artists artwork artworks fine art colorful colorist colorfull israel picture pictures image flickr flickriver hive mind interesting tagged bizmakebiz photos images large big size painting paintings beautiful amazing famous realism realistic portrait portraits face figurative faces

U. S. Army, Fort Leavenworth, Kansas, Memorial Chapel by Earl C. Leatherberry

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Memorial Chapel was constructed in 1878 using prison labor from the nearby military prison at Fort Leavenworth. Architectural elements of both the Carpenter Gothic style and Victorian Gothic style were incorporated in the chapel's construction. The church is located in the Fort Leavenworth Historic District listed on the National Register of Historic Places and is a contributing property. Fort Leavenworth is a National Historic Landmark.

Billy Fury by Jelltex

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Another highlight from Mum's collection. There used to be regular rock n roll shows at The Windmill in Great Yarmouth.

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Ronald Wycherley (17 April 1940 – 28 January 1983), better known by his stage name Billy Fury, was an English singer from the late 1950s to the mid 1960s, and remained an active songwriter until the 1980s. Rheumatic fever, which he first contracted as a child, damaged his heart and ultimately contributed to his death.[4] An early British rock and roll (and film) star, he equalled the Beatles' record of 24 hits in the 1960s, and spent 332 weeks on the UK chart, without a chart-topping single or album.[5]

AllMusic journalist Bruce Eder stated, "His mix of rough-hewn good looks and unassuming masculinity, coupled with an underlying vulnerability, all presented with a good voice and some serious musical talent, helped turn Fury into a major rock and roll star in short order".[4] Others have suggested that Fury's rapid rise to prominence was due to his "Elvis Presley-influenced hip swivelling and, at times, highly suggestive stage act.

Ronald Wycherley was born at Smithdown Hospital (later Sefton General Hospital, now demolished), Smithdown Road, Liverpool. He commenced music lessons on the piano before he was a teenager, and was bought his first guitar by the age of 14. Wycherley fronted his own group in 1955, but simultaneously worked full-time on a tugboat and later as a docker. He entered and won a talent competition, and by 1958 had started composing his own songs.[4]

Wycherley went to meet pop manager and impresario Larry Parnes at the Essoldo Theatre in Birkenhead,[7] hoping to interest one of Parnes' protégés, well-known singer Marty Wilde, in some of the songs he had written. Instead, in an episode that has become pop music legend, Parnes pushed young Wycherley up on stage right away.[4] He was such an immediate success that Parnes signed him, added him to the tour, and renamed him 'Billy Fury'.[8] However, his early sexual and provocative stage performances received censure, and he was forced to tone them down.[4] In October 1959, the UK music magazine, NME, commented that Fury's stage antics had been drawing much press criticism.[9]

He released his first hit single for Decca, "Maybe Tomorrow", in 1959.[8] He also appeared in a televised play Strictly for Sparrows, and subsequently on Oh Boy![4] In March 1960, he reached No. 9 in the UK Singles Chart with his own composition "Colette",[5] followed by "That's Love" and his first album The Sound of Fury (1960),[8] which featured a young Joe Brown on lead guitar,[4] with backup vocals by the Four Jays.

After securing more hits and jettisoning his band Georgie Fame and the Blue Flames,[8] Parnes held auditions in Liverpool for a new group. Among those who auditioned were the Beatles,[4] who at this time were still calling themselves the Silver Beetles. They were offered the job for £20 a week on condition that they sacked their bassist Stuart Sutcliffe. John Lennon refused and the band left after Lennon had secured Fury's autograph.[10]

The Tornados were recruited as Fury's backing band and toured and recorded with him from January 1962 to August 1963. The Puppets were another band that backed Fury at a couple of gigs for 12 months.

Fury concentrated less on rock and roll and more on mainstream ballads, such as "Halfway to Paradise" and "Jealousy"[8] (which reached No. 3 and No. 2 respectively in the UK Singles Chart in 1961). Fury confessed to the NME that "I wanted people to think of me simply as a singer – and not, more specifically, as a rock singer. I'm growing up, and I want to broaden my scope. I shall continue to sing rock songs, but at the same time my stage act is not going to be as wild in the future".[11] It was Decca's decision to mould Fury into a teen idol after his last self-penned song, "My Christmas Prayer", had failed to chart. The years 1961 through 1963 were Fury's best years chartwise. In 1962, he appeared in his first film, Play It Cool, modelled on the Elvis films.[4] It featured Helen Shapiro, Danny Williams, Shane Fenton and Bobby Vee, who appeared with the Vernons Girls. The hit single from the film was "Once Upon a Dream". There were other notable performances by several British actors and performers such as Richard Wattis, Lionel Blair and Dennis Price.

Fury's We Want Billy! (1963) was one of the first live albums in UK rock history, and featured renditions of his hits and cover versions of several R&B songs such as "Unchain My Heart".

In 1965 he appeared in the film I've Gotta Horse,[8] which also featured his backing group the Gamblers, the Bachelors, Amanda Barrie, Michael Medwin and Jon Pertwee. The album from the film was made available in stereo. Fury left Decca Records in 1966, after signing to a five-year recording contract with Parlophone.[4]

Having had more UK hits, such as "It's Only Make Believe" and "I Will" (written by Dick Glasser, not to be confused with the Paul McCartney song), both in 1964, and "In Thoughts of You" (1965), Fury began a lengthy absence from the charts in 1967, and underwent surgery for heart problems in 1972 and 1976 which led to his abandoning touring.[4][8] Despite spending many weeks in the charts, Fury never achieved a number one single, but he remained popular even after his hits stopped. "I Will" became a US hit for Dean Martin (1965) and for Ruby Winters (1977).

en.wikipedia.org/wiki/Billy_Fury

Hidden Camera - The Contributer by TBTAOTW2011

Spotted this hot Daddy in his nice black leather shoes who was moderating a training course for a company. Just had this quick shot, no chance to ask about his shoes -.-

Basilique Cathédrale Sainte-Croix d'Orléans - Orleans Cathedral, Orleans, Centre-Val De Loire, France. by PHOTOGRAPHY by DM & DBM.

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Orléans Cathedral (French: Basilique Cathédrale Sainte-Croix d'Orléans) is a Roman Catholic church located in the city of Orléans, France. The cathedral is the seat of the Bishop of Orléans.

It was originally built from 1278 to 1329. It was partially destroyed in 1568 by the Huguenots during the French Wars of Religion, but was rebuilt between 1601 and 1829. The edifice is in the Gothic architectural style.

During the Siege of Orléans, the cathedral was visited frequently by Joan of Arc. The cathedral's stained glass windows now depict the story of Joan's actions that contributed to the lifting of the siege.

Orléans is a city in north-central France, about 120 kilometres (74 miles) southwest of Paris. It is the prefecture of the department of Loiret and of the region of Centre-Val de Loire.

Orléans is located on the river Loire nestled in the heart of the Loire Valley, classified as a World Heritage Site, where the river curves south towards the Massif Central. In 2020, the city had 117,026 inhabitants within its municipal boundaries Orléans is the center of Orléans Métropole that has a population of 290,346.The larger metropolitan area has a population of 454,208, the 20th largest in France.

The city owes its development from antiquity to the commercial exchanges resulting from the river. An important river trade port, it was the headquarters of the community of merchants frequenting the Loire. It was the capital of the Kingdom of France during the Merovingian period and played an important role in the Hundred Years' War, particularly known for the role of Joan of Arc during the siege of Orléans. Every first week of May since 1432, the city pays homage to the "Maid of Orléans" during the Johannic Holidays which has been listed in the inventory of intangible cultural heritage in France. One of Europe's oldest universities was created in 1306 by Pope Clement V and re-founded in 1966 as the University of Orléans, hosting more than 20,000 students in 2019.

Orléans is located in the northern bend of the Loire, which crosses from east to west. Orléans belongs to the vallée de la Loire sector between Sully-sur-Loire and Chalonnes-sur-Loire, which was in 2000 inscribed by UNESCO as a World Heritage Site. The capital of Orléanais, 120 kilometres southwest of Paris, is bordered to the north by the Beauce region, more specifically the Orléans Forest (French: forêt d'Orléans) and Orléans-la-Source neighbourhood, and the Sologne region to the south.

Five bridges in the city cross the Loire: Pont de l'Europe, Pont du Maréchal Joffre (also called Pont Neuf), Pont George-V (also called Pont Royal, carrying the commune tramway), Pont René-Thinat and Pont de Vierzon (rail bridge).

To the north of the Loire (rive droite) is to be found a small hill (102 m (335 ft) at the pont Georges-V, 110 m (360 ft) at the Place du Martroi) which gently rises to 125 m (410 ft) at la Croix Fleury, at the limits of Fleury-les-Aubrais. Conversely, the south (on the rive gauche) has a gentle depression to about 95 m (312 ft) above sea level (at Saint-Marceau) between the Loire and the Loiret, designated a "zone inondable" (flood-risk zone).

At the end of the 1960s, the Orléans-la-Source neighbourhood was created, 12 kilometres (7 mi)to the south of the original commune and separated from it by the Val d'Orléans and the river Loiret (whose source is in the Parc Floral de la Source). This quarter's altitude varies from about 100 to 110 m (330 to 360 ft).

In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.

The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping.[16] In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.

With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.

Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.

The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.

An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.

Every two years, the Festival de Loire recalls the role played by the river in the commune's history.

On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.

Cenabum was a Gaul stronghold, one of the principal towns of the tribe of the Carnutes where the Druids held their annual assembly. The Carnutes were massacred and the city was destroyed by Julius Caesar in 52 BC. In the late 3rd century AD, Roman Emperor Aurelian rebuilt the city and renamed it civitas Aurelianorum ("city of Aurelian") after himself. The name later evolved into Orléans.

In 442 Flavius Aetius, the Roman commander in Gaul, requested Goar, head of the Iranian tribe of Alans in the region to come to Orleans and control the rebellious natives and the Visigoths. Accompanying the Vandals, the Alans crossed the Loire in 408. One of their groups, under Goar, joined the Roman forces of Flavius Aetius to fight Attila when he invaded Gaul in 451, taking part in the Battle of Châlons under their king Sangiban. Goar established his capital in Orléans. His successors later took possession of the estates in the region between Orléans and Paris. Installed in Orléans and along the Loire, they were unruly (killing the town's senators when they felt they had been paid too slowly or too little) and resented by the local inhabitants. Many inhabitants around the present city have names bearing witness to the Alan presence – Allaines. Also many places in the region bear names of Alan origin.

Early Middle Ages

In the Merovingian era, the city was capital of the Kingdom of Orléans following Clovis I's division of the kingdom, then under the Capetians it became the capital of a county then duchy held in appanage by the house of Valois-Orléans. The Valois-Orléans family later acceded to the throne of France via Louis XII, then Francis I. In 1108, Louis VI of France became one of the few French monarchs to be crowned outside of Reims when he was crowned in Orléans cathedral by Daimbert, Archbishop of Sens.

High Middle Ages

The city was always a strategic point on the Loire, for it was sited at the river's most northerly point, and thus its closest point to Paris. There were few bridges over the dangerous river Loire, but Orléans had one of them, and so became – with Rouen and Paris – one of medieval France's three richest cities.

On the south bank the "châtelet des Tourelles" protected access to the bridge. This was the site of the battle on 8 May 1429 which allowed Joan of Arc to enter and lift the siege of the Plantagenets during the Hundred Years' War, with the help of the royal generals Dunois and Florent d'Illiers [fr]. The city's inhabitants have continued to remain faithful and grateful to her to this day, calling her "la pucelle d'Orléans" (the maid of Orléans), offering her a middle-class house in the city, and contributing to her ransom when she was taken prisoner.

1453 to 1699

Once the Hundred Years' War was over, the city recovered its former prosperity. The bridge brought in tolls and taxes, as did the merchants passing through the city. King Louis XI also greatly contributed to its prosperity, revitalising agriculture in the surrounding area (particularly the exceptionally fertile land around Beauce) and relaunching saffron farming at Pithiviers. Later, during the Renaissance, the city benefited from its becoming fashionable for rich châtelains to travel along the Loire valley (a fashion begun by the king himself, whose royal domains included the nearby châteaus at Chambord, Amboise, Blois, and Chenonceau).

The University of Orléans also contributed to the city's prestige. Specializing in law, it was highly regarded throughout Europe. John Calvin was received and accommodated there (and wrote part of his reforming theses during his stay), and in return Henry VIII of England (who had drawn on Calvin's work in his separation from Rome) offered to fund a scholarship at the university. Many other Protestants were sheltered by the city. Jean-Baptiste Poquelin, better known by his pseudonym Molière, also studied law at the University, but was expelled for attending a carnival contrary to university rules.

From 13 December 1560 to 31 January 1561, the French States-General after the death of Francis II of France, the eldest son of Catherine de Médicis and Henry II. He died in the Hôtel Groslot in Orléans, with his queen Mary at his side.

The cathedral was rebuilt several times. The present structure had its first stone laid by Henry IV, and work on it took a century. It thus is a mix of late Renaissance and early Louis XIV styles, and one of the last cathedrals to be built in France.

1700–1900

When France colonised America, the territory it conquered was immense, including the whole Mississippi River (whose first European name was the River Colbert), from its mouth to its source at the borders of Canada. Its capital was named la Nouvelle-Orléans in honour of Louis XV's regent, the duke of Orléans, and was settled with French inhabitants against the threat from British troops to the north-east.

The Dukes of Orléans hardly ever visited their city since, as brothers or cousins of the king, they took such a major role in court life that they could hardly ever leave. The duchy of Orléans was the largest of the French duchies, starting at Arpajon, continuing to Chartres, Vendôme, Blois, Vierzon, and Montargis. The duke's son bore the title duke of Chartres. Inheritances from great families and marriage alliances allowed them to accumulate huge wealth, and one of them, Philippe Égalité, is sometimes said to have been the richest man in the world at the time. His son, King Louis-Philippe I, inherited the Penthièvre and Condé family fortunes.

1852 saw the creation of the Compagnies ferroviaires Paris-Orléans and its famous gare d'Orsay in Paris. In the Franco-Prussian War of 1870, the city again became strategically important thanks to its geographical position, and was occupied by the Prussians on 13 October that year. The armée de la Loire was formed under the orders of General d'Aurelle de Paladines and based itself not far from Orléans at Beauce.

1900 to present

During the Second World War, the German army made the Orléans Fleury-les-Aubrais railway station one of their central logistical rail hubs. The Pont Georges V was renamed "pont des Tourelles". A transit camp for deportees was built at Beaune-la-Rolande. During the war, the American Air Force heavily bombed the city and the train station, causing much damage. The city was one of the first to be rebuilt after the war: the reconstruction plan and city improvement initiated by Jean Kérisel and Jean Royer was adopted as early as 1943, and work began as early as the start of 1945. This reconstruction in part identically reproduced what had been lost, such as Royale and its arcades, but also used innovative prefabrication techniques, such as îlot 4 under the direction of the architect Pol Abraham.

The big city of former times is today an average-sized city of 250,000 inhabitants. It is still using its strategically central position less than an hour from the French capital to attract businesses interested in reducing transport costs.

Heraldry

According to Victor Adolphe Malte-Brun in La France Illustrée, 1882, Orléans's arms are "gules, three caillous in cœurs de lys argent, and on a chief azure, three fleurs de lys Or." Charle Grandmaison, in the Dictionnaire Héraldique of 1861, states that it is "Or, with three hearts in gules", without the chief of France. Faulty designs sometimes describe it as "gules, three fleurs de lys argent, and on a chief azure three fleurs de lys Or."

The "cœurs de lys", or heart of a lily, is not a true lily, which would have 6 tepals, but a stylized or symbolic lily. Certain authors solve the problem by calling this symbol a "tiercefeuille", defined as a stemless clover leaf, with one leaf at the top and two below, thus making this coat of arms "gules, with three reversed tiercefeuilles in argent, etc".

Motto

"Hoc vernant lilia corde" (granted by Louis XII, then duke of Orléans), meaning "It is by this heart that lilies flourish" or "This heart makes lilies flourish", referring to the fleur de lys, symbol of the French royal family.

Orléans is the birthplace of:

Sophie Adriansen (born 1982), French writer

Patrick Barul (born 1977), football player

Joelly Belleka (born 1995), basketball player

Raoul Blanchard (1877–1965), geographer

Maxence Boitez (Ridsa) (born 1990), singer

Patrick Bornhauser (born 1957), racing driver

Raymond Brugère (1885-1966), diplomat.

Jean-Baptiste Marc Bourgery (1797–1849), anatomist

Félix Cazot (1790–1857), classical pianist and composer

Philippe Chanlot (born 1967), football player

Marion Cotillard (born 1975), actress, not born in Orléans, but grew up there

Gilles Delouche (1948–2020), linguist

Étienne Dolet (1509–1546), scholar and printer

Joël-François Durand (born 1954), composer

Jean-Louis Ferrary (1948–2020), historian

Georges Fleury (1878–1968), cyclist

Albert Gombault (1844–1904), neurologist

Guillaume Gomez (born 1969), racing driver

Jacques Guillemeau (1550–1613), physician

Albert Guyot (1881–1947), racing driver

Étienne Hubert (1567–1614), Arabist

Gaston d'Illiers (1876–1932), sculptor

Isaac Jogues (1607–1646), Jesuit missionary

Stanislas Julien (1797–1873), orientalist

Gustave Lanson (1857–1934), historian

Pierre Levesville (1570–1632), Renaissance architect

Anatole Loquin (1834–1903), writer and musicologist

Yven Moyo (born 1992), football player

Yves-Marie Pasquet (born 1947), composer

Charles Péguy (1873–1914), poet and essayist

Antoine Petit (1722–1794), physician

Lamine Sambe (born 1989), basketball player

Yacine Sene (born 1982), basketball player

Florian Thauvin (born 1993), football player

Christophe Tinseau (born 1969), racing driver

Jean Zay (1904–1944), jurist and politician

Historical landmarks

The Gallo-Roman town-wall on the north side of the cathedral (4th century AD) and along the rue de la Tour-Neuve

The Hôtel Groslot, built between 1550 and 1555 for Jacques Groslot, "bailli d'Orléans" by Jacques Ier Androuet du Cerceau. King François II of France died there in 1560. Kings Charles IX, Henri III of France and Henri IV of France stayed there. The "Hôtel" was restored in 1850. The building became the town Hall of Orléans in 1790 (weddings are still celebrated inside).

The hôtel de la Vieille Intendance (early 15th century) (otherwise named hôtel Brachet, formerly "The King's house"), real gothic-renaissance style château made of bricks.[27] Nowadays housing the Administrative Court of Orléans. One can admire its frontage from the entrance in the rue de la Bretonnerie. Yet, the building – which sheltered the highest figures of the kingdom passing by the city, and maybe some kings themselves (Henri IV, Louis XIII, Louis XIV of France) – can easily be observed from its gardens, opened to the public (entrance rue d'Alsace-Lorraine).

The hôtel de la Motte-Sanguin (18th century) and its gardens, manor built at the behest of Louis-Philippe, Duke of Orléans (1747–1793), cousin of the King Louis XVI. He was surnamed "Philippe Égalité" / "equality" referring to his support to the 1789 revolutionaries. Nicknamed "the richest man on earth" he voted in favour of the death penalty against his own cousin the king Louis XVI, and suffered the same fate himself. This is a classic style princely residence (and even royal, since Philippe Égalité's heir accessed the throne of France under the name of Louis-Philippe Ier). It is part of a public park opened to the public (via the Solférino street).

The school of artillery, next to the Hôtel de la Motte-Sanguin which it is often confused with, formerly housing a military school, it was built in the 19th century near the Loire.[28]

Remains of the University of Orléans (a 15th-century building housing the thesis room), founded in 1306 by pope Clement V, in which, among many other great historical figures, the Protestant John Calvin studied and taught. The University was so famous that it attracted students from all over Europe, particularly Germany. The city of Orléans is one of the cradles of Protestantism.

The House of Louis XI (end of the 15th century), on Saint-Aignan square. Built at the behest of the king, who particularly revered Saint Aignan.

The House of Joan of Arc, where she stayed during the siege of Orléans (this is actually an approximate reconstitution, the original building being bombed in 1940 during the Battle of France).

Place du Martroi, heart of the city, with the equestrian statue of Joan of Arc at its centre, made by Denis Foyatier. This statue was damaged during the Second World War, then repaired by Paul Belmondo, father of the famous 1950s to 1980s French actor.

Duke of Orléans' Chancellerie (XVIIIe), located next to the Place du Matroi, also bombed during the Second World War, only the frontage resisted.

The Bannier gate-house, discovered in 1986 under the statue of Joan of Arc (Place du Martroi). It was built in the 14th century. It can be seen through a window in the subterranean car-park under the square, or visited under certain conditions.

The rue de Bourgogne and surrounding streets, Orléans' main street since the Antiquity, it's the former Roman decumanus, crossing the city from east to west. Joan of Arc entered the city in 1429 by the "Bourgogne" gatehouse situated at its Easter end. Until today it is still giving access to the "Prefecture", where the "Prefet" (officer who represents the French State in the Region) lives, many pubs, night clubs, restaurants and shops such as the "Galeries Lafayette". It is more than a mile long. One can admire many medieval houses on its sides.

The Tour Blanche / White Tower, it is one of the only medieval defensive towers remaining in the city (still in use at the time of the siege of Orléans). It nowadays houses the city's archaeological department.

The Docks, (Port of Orléans) once the most important inland port of France (18th century). While boats could not sail on the river Seine because of the windings, they could sail to Orléans on the river Loire with the wind in their back. Then the merchandise was brought to Paris by roadways. Wine, and sugar from the colonies, were shipped to Orléans where they were stored and refined. Vinegar is still a city speciality due to the lapsing of wine stocks during the shipment. One can admire the old pavement of the docks (18th and 19th centuries) on the north bank of the river in the city and on the island in the middle, that was used to channel the water

The Hôpital Madeleine (former hospital), built by King Louis XIV (18th century) and his successors (notably an important part of the 18th century).

Saint-Charles chapel, located within the grounds of the Madeleine Hospital, it was built in 1713 by Jacques V Gabriel, one of Louis XIV's architects.

The Hôtel Cabu, otherwise named house of Diane de Poitiers, built at the behest of Philippe Cabu, barrister, in 1547, famous architect Jacques Ier Androuet du Cerceau providing the plans.

The Hôtel Hatte, 16th century. Today's Charles-Péguy Center.

The Hôtel Toutin, 16th century

The Hôtel Pommeret d'Orléans, 16th century

The Hôtel Ducerceau, 16th century

The maison de la coquille, 16th century

The Hôtel des Créneaux, former city hall, flanked by its bell tower (15th century). It nowadays houses the city's school of music. This is a magnificent piece of late gothic secular architecture (15th century) that calls to mind the famous and much more recent Parisian city hall.

The House of Jean Dalibert, 16th century

The Study of Jacques Bouchet (16th century), which can be admired from the public square "Jacques Bouchet"

The mansions, rue d'Escure (17th and 18th centuries)

The "Préfecture" : former Benedictine monastery, built in 1670 and housing the "Préfecture du Loiret" since 1800.

The Pont de l'Europe, designed by Santiago Calatrava, is an inclined bow-string ark bridge particularly original.

The Pont Royal / George V Royal bridge, the oldest bridge of the city. Built between 1751 and 1760, at the request of Daniel-Charles Trudaine, administrator and civil engineer. It was renamed in honour of King George V after the World War I out of respect of Britain's role in the war.

The Pont des Tourelles, built in 1140 and demolished in 1760, was the first stone-made bridge of Orléans. When the river Loire is low, one can see remains of it in the water

The Palais épiscopal d'Orléans, former Bishop's Palace. It was built between 1635 and 1641. Napoléon stayed there. It is nowadays housing the international centre for research, part of University of Orléans.

The courthouse (18th to 20th centuries)

The "salle de l'Institut", located on the "place Sainte Croix", is a small concert hall which can be converted into a ballroom. Its acoustics are remarkable.

Mansions, rue de la Bretonnerie. This street concentrates many particular mansions, of all styles and ages (15th to 20th centuries). High society members, politicians, barristers, doctors... continue to live there.

Mansions, rue d'Alsace-Lorraine, 19th-century bourgeoisie style houses.

Statue La Baigneuse by Paul Belmondo, aside the rue Royale (1955).

Statue of Calvin, by Daniel Leclercq, facing the Calvinist temple (2009).

The FRAC Centre building named "Les turbulences", an advanced piece of architecture covered with L.E.Ds.

Memorial Museum to the Children of Vel d'Hiv at the Centre d'étude et de recherche sur les camps d'internement du Loiret (Study and Research Centre on the Internment Camps in Loiret), commemorating over 4,000 Jewish children who were concentrated at the Vélodrome d´Hiver cycling arena in Paris in July 1942, after which they were interned at either Pithiviers or Beaune-la-Rolande, and eventually deported to the Auschwitz extermination camp.

Many historical houses and mansions (hundreds) can still be admired in the city centre, which is one of the largest in France due to the great importance of the city until the 20th century. The historical centre dating back to the 15th century extends far beyond the limits of the pedestrian sector that has been extensively restored in the past few years. In fact it corresponds to the portion of the modern city which is enclosed by the Boulevards. Many historical monuments remain in the non-pedestrian sectors of the city (for example, at rue Notre-Dame-de-Recouvrance, at rue des Carmes, at rue de la Bretonnerie, at Square Saint-Aignan).

An Excessively Rare, Exceptional, and Important Greek Silver Tetradrachm of Gela (Sicily), the Finest of Two Examples Known of this Issue by Ancient Art & Numismatics

Gela. Tetradrachm circa 415-405, AR 16.48 g. ΓΕ – ΛΩ – [ΙΩ – Ν] Fast quadriga driven r. by Nike, holding kentron and reins; above eagle flying r. and, in exergue, large pellet. Rev. ΓΕΛΑΣ retrograde Forepart of man-headed bull (the river-god Gela) advancing l. through reeds; ibis and garlanded altar before his mid section. In l. field, fish swimming upwards and above, barley grain. Jenkins O 96 / reverse unlisted.

Of the highest rarity, the finest of only two specimens known. A spectacular reverse

composition, undoubtedly one of the most interesting of the mint of Gela.

Perfectly struck on a full flan. Old cabinet tone and about extremely fine

Ex SBV Zürich 1, 1977, 52 and NAC 9, 1996, 155 sales. From the A.D.M. and Harald Salvesen collections.

In 689/8 BC, Gela was jointly founded by colonists from the Rhodian city of Lindos and a group of Cretans. Despite conflicts with the native Sicanian peoples, Gela prospered and by the early sixth century BC the city was extending its influence into western Sicily by founding Acragas. By the end of the century, however, political discord in the city had permitted Cleander, the son of Pantares, to overthrow the traditional oligarchic government and establish himself as tyrant in 505 BC. Although Cleander was later assassinated by the city’s democratic faction, this did not prevent his son, Hippocrates, from becoming the new tyrant of Gela in 498 BC. Under Hippocrates the power of Gela expanded immensely as his mercenary armies conquered the Greek cities of Callipolis, Leontini, Naxos, and Zankle. Victory over Syracuse also resulted in the addition of Camarina to Hippocrates’ Geloan empire. Although the Geloans still desired a return to constitutional government, after the death of Hippocrates in 491 BC, the tyranny was assumed by Gelon, a former bodyguard of Hippocrates. Gelon not only preserved previous gains but even captured Syracuse, where he became the founder of the city’s Deinomenid dynasty of tyrants. Syracuse became Gelon’s new capital and Gela was left to be administered by his brother, Hieron. When Gelon died in 485 BC, Hieron succeeded to the tyranny at Syracuse and Gela was ruled in turn by his brother, Polyzelos. However, by the mid-fifth century BC the tyranny was abolished and the old oligarchic government was restored at Gela. In the late fifth century BC, Gela was notable as one of the first Sicilian Greek cities to contribute military aid to Syracuse when it became the primary target of the Athenian Sicilian Expedition in 415–413 BC. When the Carthaginians besieged Gela’s old colony, Acragas, in 406 BC, the Geloans also dispatched reinforcements and, after the city fell, provided refuge to the homeless Acragantines. The Geloans faced the same tidal wave of Carthaginian arms in 405 BC, but received little aid from Syracuse and its tyrant, Dionysios I. The city was overwhelmed and destroyed, but the Carthaginians permitted those who had fled to return on the condition that they would not rebuild the fortification walls and pay tribute to Carthage—cold comfort for a people who had once been the preeminent power in Sicily. The present tetradrachm, which is the better of just two known, was struck in the period between the Sicilian Expedition and the Carthaginian conquest probably to finance the numerous military campaigns in which Gela was engaged. The types of quadriga and man-faced bull are traditional at Gela, going back to the early fifth century BC and the age of the great tyrants; however, here they have been updated to keep pace with the artistic developments of Syracusan coinage. Whereas the old quadriga was of the slow variety and driven by a human charioteer crowned by Nike, here Nike drives the chariot herself at what seems to be breakneck speed. Likewise, while the man-faced bull reverse, representing the local river-god, Gela, was a commonplace image on previous Geloan coins, here he is placed in context. The man-faced bull advances out of his comfortable river-bed surrounded by reeds and bulrushes in the company of an ibis to receive the sacrifice made at a nearby altar. This type is remarkable not only for its artistry but also for the way it illustrates the depth of Greek belief in nature deities like river-gods. Gela was considered a real divine presence that, if a worshipper was fortunate, might actually come forth to accept the gifts offered to him.

NAC114, 44

Nova Scotia / Cape Breton Postal History - 25 October 1881 - WEST ARICHAT (Richmond County) N.S. (split ring / broken circle cancel / postmark) with Fancy Cork EM Signet Ring Cancel / Postmaster Initials to Halifax, N.S. via Arichat (Richmond County) N.S. by Treasures from the Past

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WEST ARICHAT, was founded in 1863 - it is a community in Nova Scotia, Canada which was once called Little Arichat and before that Acadiaville. It contributed to the seafaring history of the island through its ship-building, coastal trading, and local sea captains. West Arichat was a mission of Arichat. It became a parish in 1862. The Immaculate Conception church burnt in and was rebuilt in the 1970s. West Arichat is located on Isle Madame 3 miles west of Arichat. This location was likely the site of the Little Arichat Way Office. The population in 1881 was 1,586, in 1911 was 1,004. In 1956 it was 441.

The WEST ARICHAT Postal Way Office was established in 1867 - it was upgraded to a Post Office - 1 November 1874.

- sent from - / WEST • ARICHAT / OC 25 / 81 / N.S / - split ring cancel - this split ring hammer is not listed in the Proof Book.

- with fancy cork cancel - the intaglio "EM" is an example of the hand made cork obliterator of Postmaster Emile Mouchet containing his initials.

- via - / ARICHAT / OC 2? / 81 / N.S. / - split ring transit backstamp

Canada Post Card was addressed to:

Messr's Seeton & Mitchell / Halifax / Nova Scotia

They were wholesale grocers / Canadian Grocer Agent

39 Upper Water

Message on postcard reads - West Arichat - 25th October 1881 - Gentlemen - Please send me by next steamer 4 barrels corn meal - 6 bags of rice - 1 barrel oat meal. Yours respectively - Emile Mouchete

EM - Emile Mouchete was Postmaster at West Arichat from - 1 July 1872 to 1 July 1873 and from 1 October 1874 to 16 November 1889.

Emile Mouchet prospered in his adopted community of West Arichat. After he left teaching, he opened a general store and Post Office in West Arichat. Before Emile’s death in 1889, he sold the house to master mariner Capt. Abraham LeBlanc, a friend and neighbour, on condition that his widow could continue living there. Jane Mouchet then lived as a lodger in the house that had once belonged to her husband. she ran the store for a year, and served as postmistress until 20 July 1897. Capt Abraham LeBlanc was Postmaster at West Arichat from - 1 October 1897 to 18 October 1912.

CANCELLATION "E.M." (WEST ARICHAT N.S.) By W. M. C. WILLCOCK (599) Some few years ago I was interested in collecting early Canadian cancellations on stamps. and of the many varieties to be found, the one classified as Post Office or Postmaster's Initials was particularly intriguing. Many of these markings appear in "Jarretts," and I was fortunate enough to get together an album page of this classification, and often wondered where and how they originated. Little recorded information is to be found, but the above illustration of a postcard clears up one of these cancels it shows a most attractive marking, dated 23rd August, 1880, generally referred to as the " signet ring," which may have left other collectors wondering. Cancellations of this sort often originate at some of the smallest and most out of the way Post offices, and this is no exception. The Postmaster at West Arichat evidently decided to use a more attractive device for cancelling mail instead of the usual well named "killer" supplied for general use in Post Offices at that date. Arichat, well known to collectors of squared circle postmarks, is located on an island, which enjoys the name of " Madame," off the coast of Cape Breton in Nova Scotia. West Arichat, doubtless of less importance, is listed as a "Way Office" in 1875, and from 1876 to 1888, the last date of which I have the names of postmasters, Mr. Emile Mouchet is listed as the Postmaster. The name brings to mind a rather appropriate French idiom - "Il ne se mouche pas du pied," i.e., "He thinks a lot of himself," an idiosyncrasy for which no doubt collectors are appreciative today. On looking at the other side of the postcard, I find it is an order for goods addressed to Messrs Black Bros. & Co. of Halifax, and it is signed by Mr. Emile Mouchet himself. From the varied items mentioned, Mr. Mouchet evidently owned the local general store, besides being the Postmaster. - this article was written in August 1958 for "MAPLE LEAVES Official Journal of THE CANADIAN PHILATELIC SOCIETY OF GREAT BRITAIN" Page - 120 / 121 - LINK - www.canadianpsgb.org.uk/mpl/mpl-1958-08-v007n05-w055.pdf

99/365 faith, hope, love, luck by An Ozark Girl

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My daughter held this four-leaf clover up for me to capture for day 99. A few photos into our session, the overcast sky opened up for just a moment to contribute a lovely reflection of the sun onto the pool water.

Adelaide, North Terrace. Entrance of the Elder Conservatorium of Music, University of Adelaide South Australia by Contemplari

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Elder Conservatorium of Music, Australia’s oldest music academy, became a formal identity in 1898 after a bequest by Scottish-Australian pastoralist Thomas Elder (later Sir Thomas).

Elder’s funds guaranteed Adelaide University’s professorship of music that went back to 1883 when the colony’s governor William Robinson, a musician, had initially raised £5000 to employ a professor but only for five years [of that sum the late Sir Thomas Elder contributed £1,500].

But two years before Sir Thomas had shown his zeal for the advancement of culture in music by devoting £3,000 for founding a South Australian Scholarship in the newly established Royal College of Music in London. For fourteen years there had always been, in consequence of that gift, a South Australian student in that institution. And to him it appeared a happy incident that Miss Guli Hack, a former South Australian scholar in the Royal College of Music, shared the task with Mr Bevan in giving teaching in singing in the Conservatorium, which had also been founded by the late Sir Thomas Elder's munificence.

Sir Thomas died 6 March 1897 and his bequests were distributed allowing this building to be started the following year.

*Elder Conservatorium Foundation Stone opened by the Governor

Adelaide's leading citizens mustered in full force in the University grounds on Monday afternoon, when His Excellency the Governor laid the foundation stone of the Elder Conservatorium of Music. The beautiful dresses of the ladies, set off by the rich colouring of the academic gowns of the Professors and the doctors of the University, and the profusion of bunting combined to make the scene brilliant and imposing.

It was only fitting that the giver of the money which is to pay for the building should be represented in some form, and one of the very few portraits of the late Sir Thomas Elder was placed at the back of the orchestra dais, and was wreathed with flowers taken from the dead knight's garden at Mount Lofty.

His Excellency the Governor arrived at 3 o'clock, accompanied by Lady Victoria Buxton, Miss Buxton, and Captain Wallington. They were received by the Chancellor.

The building when erected would form a part of the scheme which the University had adopted for the purpose of giving effect to the princelv bequests of the late Sir Thomas Elder.

Mr F J Naish, architect of the building, presented His Excellency with a silver trowel, and from the University a mallet, and in doing so said that the trowel was a colonial production. The handle was made from a portion of the historic gumtree at Glenelg, and kindly given by His Worship the Mayor and Corporation of Glenelg. The mallet was made from myall wood.

His Excellency, after declaring the stone well and truly laid, said he esteemed it a great privilege, at almost the conclusion of his third year of office and just before he proceeded on a holiday, to take part in the ceremony.

At the end of the ceremony Madame Amy Sherwin sang the first verse of the National Anthem, and the people, led by the Orchestra, joined in the second. Miss Minnie Torode the daughter of the contractor, presented the famous singer with a large bouquet of wildflowers. [Ref: Evening Journal 27-9-1898]

Elder Hall was designed in a Florentine Gothic style by architect Frank John Naish and constructed by North Adelaide-born master builder Walter Charles Torode. Freestone for most of the building came from Torode’s quarry at Stirling West. The dressings, quoins and turrets were made of Mount Gambier freestone. The Hall’s interior featured an open hammer beam roof with 13 large principals and polished timber ceiling. The concert hall was designed to seat 1000 people, with an orchestra and chorus area accommodating up to 300 people. The stage allowed for up to 150 performers. The building also included dressing rooms, teaching rooms on the ground level and in the basement, rooms for the professor and staff, and a smaller performance hall.

Elder Hall was unofficially opened with a concert on 27 April 1900 before a representative and fashionable audience of more than 1000. Elder Hall quickly became an important venue for meetings, concerts, recitals and student balls. It was used for all university exams and degree ceremonies until Bonython Hall was completed in 1936. [Ref: SA History Hub)

*ELDER HALL OFFICIAL OPENING

Lord Tennyson opened the Elder Hall positively for the last time on Wednesday afternoon. His Excellency said he had attended in a similar capacity on several occasions before. The ceremony was witnessed by an exceedingly large gathering, which included Lady Tennyson, Rear-Admiral Pearson, and most of the leading educationists in South Australia, amongst them many of the State school teachers.

The viceregal party were received in the Hall by a guard of honour, composed of members of the Cadet Corps. A special congregation of the Adelaide University was held, the members of the Senate and Council being present in the academic costume proper to their respective degrees and offices. The Chancellor, the Right Hon. Sir Samuel Way, Bart., who presided, mentioned the coincidence that Wednesday was the second anniversary of the laying of the foundation stone of Elder Hall by Sir Thomas Fowell Buxton. [Ref: Adelaide Observer 29-9-1900]

Bound (2015) 00_34_52 by Zip Back

If you have similar interest and would like to contribute, email me at: zipsuptheback@gmail.com

Terminal Commerce Building, Philadelphia, Pennsylvania, United States by Billy Wilson

"Terminal Commerce Building, also known as the North American Building, is a historic building complex located in the Callowhill neighborhood of Philadelphia, Pennsylvania. It was built between 1929 and 1931 by the Reading Company, and is a combined office, showroom, parking garage, warehouse and freight station totaling over 1.3 million square feet. It measures 528 feet by 225 feet. The front section houses offices, and is a 14-story, reinforced concrete, brick and terra cotta faced building in the Art Deco style. The front facade has a central tower with terra cotta ornamentation that houses water tanks. The rear warehouse section is 12-stories and is "H"-shaped.

It was added to the National Register of Historic Places in 1996. It is a contributing property to the Callowhill Industrial Historic District.

Today, the building serves as one of the largest interconnection and colocation facilities on the east coast of the United States with 11 stories and 1.3 million square feet of space. The property was acquired by Netrality Properties in March 2014, and is considered the most fiber-dense, network neutral facility between New York and Virginia.

Philadelphia, often called Philly, is the largest city in the Commonwealth of Pennsylvania, the sixth-largest city in the U.S., the second-largest city in both the Northeast megalopolis and Mid-Atlantic regions after New York City, and the 68th-largest city in the world. Since 1854, the city has been coextensive with Philadelphia County, the most populous county in Pennsylvania and the urban core of the Delaware Valley, the nation's seventh-largest and world's 68th-largest metropolitan region, with 6.245 million residents as of 2020. The city's population as of the 2020 census was 1,603,797, and over 56 million people live within 250 mi (400 km) of Philadelphia.

Philadelphia was founded in 1682 by William Penn, an English Quaker. The city served as capital of the Pennsylvania Colony during the British colonial era and went on to play a historic and vital role as the central meeting place for the nation's founding fathers whose plans and actions in Philadelphia ultimately inspired the American Revolution and the nation's independence. Philadelphia hosted the First Continental Congress in 1774 following the Boston Tea Party, preserved the Liberty Bell, and hosted the Second Continental Congress during which the founders signed the Declaration of Independence, which historian Joseph Ellis has described as "the most potent and consequential words in American history". Once the Revolutionary War commenced, both the Battle of Germantown and the Siege of Fort Mifflin were fought within Philadelphia's city limits. The U.S. Constitution was later ratified in Philadelphia at the Philadelphia Convention of 1787. Philadelphia remained the nation's largest city until 1790, when it was surpassed by New York City, and served as the nation's first capital from May 10, 1775, until December 12, 1776, and on four subsequent occasions during and following the American Revolution, including from 1790 to 1800 while the new national capital of Washington, D.C. was under construction.

During the 19th and 20th centuries, Philadelphia emerged as a major national industrial center and railroad hub. The city’s blossoming industrial sector attracted European immigrants, predominantly from Germany and Ireland, the two largest reported ancestry groups in the city as of 2015. In the 20th century, immigrant waves from Italy and elsewhere in Southern Europe arrived. Following the end of the Civil War in 1865, Philadelphia became a leading destination for African Americans in the Great Migration. In the 20th century, Puerto Rican Americans moved to the city in large numbers. Between 1890 and 1950, Philadelphia's population doubled to 2.07 million. Philadelphia has since attracted immigrants from East and South Asia, Eastern Europe, and Latin America.

With 18 four-year universities and colleges, Philadelphia is one of the nation's leading centers for higher education and academic research. As of 2021, the Philadelphia metropolitan area was the nation's ninth-largest metropolitan economy with a gross metropolitan product (GMP) of US$479 billion. Philadelphia is the largest center of economic activity in Pennsylvania and the broader multi-state Delaware Valley region; the city is home to five Fortune 500 corporate headquarters as of 2022. The Philadelphia skyline, which includes several globally renowned commercial skyscrapers, is expanding, primarily with new residential high-rise condominiums. The city and the Delaware Valley are a biotechnology and venture capital hub; and the Philadelphia Stock Exchange, owned by NASDAQ, is the nation's oldest stock exchange and a global leader in options trading. 30th Street Station, the city's primary rail station, is the third-busiest Amtrak hub in the nation, and the city's multimodal transport and logistics infrastructure, including Philadelphia International Airport, the PhilaPort seaport, freight rail infrastructure, roadway traffic capacity, and warehouse storage space, are all expanding.

Philadelphia is a national cultural hub, hosting more outdoor sculptures and murals than any other American city. Fairmount Park, when combined with adjacent Wissahickon Valley Park in the same watershed, is 2,052 acres (830 ha), representing one of the nation's largest contiguous urban parks and the 45th largest urban park in the world. The city is known for its arts, culture, cuisine, and colonial and Revolution-era history; in 2016, it attracted 42 million domestic tourists who spent $6.8 billion, representing $11 billion in total economic impact to the city and surrounding Pennsylvania counties.

With five professional sports teams and a hugely loyal fan base, the city is often ranked as the nation's best city for professional sports fans. The city has a culturally and philanthropically active LGBTQ+ community. Philadelphia also has played an immensely influential historic and ongoing role in the development and evolution of American music, especially R&B, soul, and rock.

Philadelphia is a city of many firsts, including the nation's first library (1731), hospital (1751), medical school (1765), national capital (1774), university (by some accounts) (1779), stock exchange (1790), zoo (1874), and business school (1881). Philadelphia contains 67 National Historic Landmarks, including Independence Hall. From the city's 17th century founding through the present, Philadelphia has been the birthplace or home to an extensive number of prominent and influential Americans. In 2021, Time magazine named Philadelphia one of the world's greatest 100 places." - info from Wikipedia.

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

Now on Instagram.

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Jekyll or Hyde? by Cassandra Mélena

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This is a collaborative art collection where writers use my portraits to explore individual characters. As a long term project, I am hoping to publish a book containing the photographs and accompanying stories. Art, in both forms, has wonderfully varied interpretations and these are (hopefully) paired examples of how artists can work together to form more complex pieces.

As with my photographs, all stories published here are copyrighted.

Hope you enjoy and, as always, email me if you have questions, feedback, or wish to contribute.

Below is the first combined effort.

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Photography by, Cassandra M. Kammerer

Short story written by, S.J.L.

You will never learn my real name. Some of your predecessors have asked, one even pleaded, but boundaries exist and I am quite particular. You lost all freedom when you told me your name Douglas, even if the loss was not immediately perceptible, and only by extension of my own gracious nature are you able to make these self-indulgent inquiries now. Your struggling questions are amusing, but as fruitless as the group counseling sessions to overcome your substance addiction. My confidence in your ability to fail is complete, but I offer one last recommendation: accept the vast weakness within yourself before I finish my latte and our time is up. Already shaking with confusion? Lamentable, but thankfully this is not really about you.

Hollow. That is the description I first wrote on my notepad about you. I see your skepticism, but here is where I circled it. Right at the top, what does it read? Page One. It took less than one minute to fully diagnose you and I have, on several occasions, encapsulated you to my colleagues as such: hollow. We are professionals and the sharing of such information was done under strict ethical code, of course. They had similar men as patients, celebrities like yourself, and needed comparative data. It is what we do, you see, we aggregate data from the weak to bolster our understanding of how not to be. Then we publish articles and books, creating our canon of behavioral norms and expectations. I choose the word canon carefully, Douglas. Your mother, who was also a patient of mine before she took her own life, was deeply fixated on a canon of her own, the Catholic worldview of her youth: heaven and hell – or, perhaps more simplified, good and evil. It was the great pendulum swinging through the landscape of her mind. Have you ever glimpsed away from yourself to ponder what it might take for a Catholic to commit suicide? How fractured she needed to be?

Are you actually displaying emotions for her suddenly? Where were you when she took the hatchet to her arm? Incidentally, I have always respected her choice in tools. If the magazines are to be believed, you were in Monaco, halfway through a month-long binge. You denied the veracity of those photographs, even to me; but, looking at you now, I think you are ready to admit you left the country knowing she was crumbling before your eyes. You were too weak even to try.

As I was saying, my colleagues and I do not see the evil or good of men. We identify weakness and prescribe strength. People like your mother, taught to worship a collapsed god, cannot be helped because their foundation is based on the archaic treatises of goatherds. Centuries of reinterpretation cannot change the simple fact her savior committed suicide, paving the way for her own. Taught to emulate weakness, and unable to locate conviction, she crawls to me, expecting her terrors and self-hate to disappear – which is not how therapy works, as you now fully appreciate.

How long did you wait after learning of her death before seeking my guidance? Three weeks? I remember you wore a disguise when you came through my office door. Yes, of course it was a disguise. Even in your deepest alcoholic engorgement, you never allowed yourself to be unshaven, let alone wear an Orioles ball cap. Please don’t insult my intelligence by claiming it was grief. Your girlfriend, who you may not realize has been on my weekly itinerary for over a year, told me what you said enroute to the funeral. Do you remember? No? You said, “Mom was a deranged lunatic. I am leaving this sideshow early because La Traviata opens tonight.” And you did.

Why am I saying these things? This is our last session, Douglas, and soon you will have found the cure to your hate-filled anxieties and the logical conclusion to your addiction. No, this is not tough love, for at least two reasons: first, a doctor cannot love her patient and remain objective; second, as previously stated, you are merely the thin shell of a human being and unworthy of anyone’s love. Hollow, remember? I am not passing judgment; I am treating you for an illness, one you have carried since you were eight years old. We have discussed the incident several times, so it should come as no shock the genesis was with the wagon, your friend Christine, and those two boys. She begged for your help when they were chasing her, but the boys threatened to take your wagon. She had even kissed you at the roller rink three weeks prior and you had exchanged valentine’s cards. For such a young age, the two of you had shared much. But you did not get out of your wagon for Christine, and those two boys brutalized her. Her parents moved to Florida shortly thereafter and you never saw her after that day. Your mother told me once she prayed desperately for that girl to pull through her surgeries, but what help did you offer?

You understood the ramifications of sticks and stones, right? Did their yells of victory or her screams of pain hurt you? Did you cry for her or only for yourself? You did not become feeble that day, for all children are; rather, it was the day you learned about the connection between cowardice and survival. Your addiction is the outward manifestation of the fear and weakness permeating your mind – it is the gaseous cloud filling the empty space normal people lack.

No, I don’t mind if you have a drink. I anticipated you might and had my secretary ensure the mini-bar was properly stocked. We are celebrating, after all – me with my latte and you with your bourbon. There is no need to bark obscenities, Douglas. You cannot visit a surgeon and become agitated when her delicate scalpel technique causes tissue to swell. The pain is natural and expected and the disease you have coruscating through your system has had twenty-nine years to fester.

Yes, I am a surgeon. I carve apart the minds and experiences of my patients and remove desiccation when I am allowed. Therapy is artfully complex in this way – regulatory and behavioral obstacles at every turn. Your girlfriend, Evelyn, understands this, but your mother did not. She needed me to cut her, wept for me to do so, but never once gave me permission. You are miserably similar to her in this way, refusing to sign the necessary paperwork. I am, in a sense, your five hundred dollar an hour barfly; or was, since our relationship is now over.

Time, nipping at your ankles, has caught hold finally. You have run dry on individuals to blame and the fiasco of your life will be reprinted for the slathering masses to devour. I know it can be heartbreaking to learn the thoughts you labeled as hope in your mind are false; however, you simply must appreciate those thoughts were never true. You would never consent to hope, not Douglas Clarion. Yes, you may have another drink; in fact, consider all three of those bottles a gift.

Now why would you ask me such a question? Vain until your last breath, Douglas. I grasp why women adore you, but it would be inappropriate for me to officially comment on your attractiveness. No, you may not kiss me, but it was sweet of you to ask. It lets me know you recognize I am in control. Control is the bedrock of civilized life, be it social or technological. Let’s examine your own civility: even now, knowing you will die soon if you continue, you are unable to prevent your own hand from raising that glass to your mouth; your life is chronicled for you by a professional mob armed with telescoping lenses and legally sanctioned deceit; food, clothing, and transportation is handled by servants, much like a toddler; and Evelyn counts herself fortunate if you can manage an erection more than once a month. Has there ever been anything more pathetic than a sagging philanderer?

No need to scowl, Douglas – it makes you seem ill-tempered and foul. I am explaining something critical, if you would pay attention. For all your wealth and luxury, you are remarkably uncivilized. By extension, I cannot in good conscience grant you the rights and privileges I do normal human beings. It is one of the fundamental reasons you are no longer my patient – I am not a veterinarian, after all.

There are tissues on the end-table if you wish to dry up your face, but it is time to stand up from the couch. No, I do not find you contemptible because you are crying. Everyone cries, Douglas, even me. No, I will never cry over you because you are a disgrace, filled with purposeless and unguided shame.

Which brings our session to its inevitable close. My latte is finished and you have managed, amazingly, to consume the entire bottle of bourbon. Be sure to try my other gifts after you arrive home tonight. I pronounce you cured. Yes, just like that. Please, Douglas, do not ruin the moment with more obscenities. I want to remember you exactly as you are right now. My secretary will collect the final payment on your way out.

* * * *

Good Morning, Jenny. Who is my nine o’clock? Mrs. Garnier? Are her files on my desk already? Very well. No, I was running late today and did not read the newspaper, what happened? Mr. Clarion was found dead in his penthouse? Was it an overdose? My my, the paparazzi will have a field day with this tragic story. Call Evelyn Wilson and schedule her tomorrow morning and cancel Garnier and my other morning appointments. I am feeling exultant today, Jenny, and will be at Linney’s having a spa facial – care to join me? My treat… Excellent. I have wanted to pick your brain for ages and this is the perfect opportunity.

Torino - Parco del Valentino by Andrea Mucelli

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Working in the Tobacco Belt of East Lombok by Ivo de Bruijn

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The Tobacco Belt

Lombok in West Nusa Tenggara is one of Indonesia’s three tobacco belts, the others being East and Central Java. The three provinces contribute 90 percent of total tobacco production in Indonesia or about 150,000 metric tons per year.

According to 2010 Basic Health Research (Riskesdas) data, 34.7 percent of Indonesians smoke, with the highest percentage in the 25-64 year old age group. In 2010, there were about 82 million active smokers in the country and about 220 billion cigarettes were produced, placing it third after China and India.

Despite somewhat stricter law enforcement on smoking in public places and the recent Tobacco Law, the number of smokers is not dropping. Health campaigners say smoking is increasing, especially among women and young people.

Even with tighter regulations, cigarettes remain a good business and the tobacco industry is still among the top advertisers in most Asian countries including Indonesia, where cigarettes seem to be everywhere. Tobacco tycoons are routinely listed as among the wealthiest people in the country and the aroma of kretek cigarettes is a defining feature of Indonesian life.

The Little Guys

While high-flying tobacco barons and tireless anti-tobacco campaigners often make news, left out of the spotlight are small-scale tobacco farmers like Fatimah and Papuq.

Munawar, another villager, had a similar story. He was saddled with loans and his tobacco farm earned him nothing. “Every time I see my neighbors bringing home a good harvest, I’m tempted to try because it seems so easy to earn money,” said Munawar, who once fled to Malaysia to escape a Rp 50 million ($5,550) debt. After paying off his loan, he started another failed tobacco farm.

In spite of Lombok’s status as a tobacco haven, many small farmers do not have the infrastructure to benefit from the trade. They lack drying ovens to treat their produce and many of them sell unharvested tobacco to middlemen at a low price.

Muhammad Rusli, an official in the West Nusa Tenggara provincial administration, confirmed the stories of farmers falling into heavy debt. He recalled one who burned himself to death inside the oven he used to dry tobacco leaves.

“It was in 2009,” Rusli said. “The farmer borrowed hundreds of million of rupiah. He tried and tried but never succeeded,” Rusli said.

For one hectare of land a farmer needs about Rp 50 million to harvest 10 tons of tobacco or about two tons of dried leaves. If good quality dried tobacco is sold at the current market rate of about Rp 35,000 per kilo, farmers can make about Rp 70 million per harvest. Deducting the crop loan, they can make Rp 20 million, but out of that must also come fertilizer, labor and fuel to operate their ovens.

365/365 - CONQUERED! by Miguel Armenta

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I finally finished my 365! It only took me a little over a year and a half... I know, It's not a "traditional" 365 in that sense, and I'm okay with that. I still got 'er done.

I tried to keep my stream as fresh, funny, entertaining, and fun to look at as possible over the course of this draining project. I know I didn't always succeed, but I think I put together something to be proud of.

I've made a ton of great friends and contacts along the way. You've made me want to be better at what I was doing and strive for more than just a regular picture. You switched me out of automatic mode into manual. You made me upgrade my equipment and step into the world of DSL.

When I 1st started the project I figured how hard could it be? Ha! So young, so foolish... But I was trucking along, Tilt-shifting, practicing some long exposures, and colors and cloning and such... Then, and those of you who have been with me since the start know, I had my junk lifted... But I was just starting to have fun, so I got a new camera and started all over again. Determined! Well, determined-ish. About as determined as I could get, as noted in one of my taggings. I joined a few groups to keep me motivated, got kicked out of a few, and kept on laughing, and hating, cloning, and Shel-ing... I even made a couple of videos, which wasn't as easy as I made it look... Ha ha.

Anyway, I've rambled on enough about this. I've had a BLAST. I might just do it again...but not real soon. I'll just take the occasional picture and contribute when and if my creative juices ever get flowing again... But I know I won't be able to stay away for long. I have way too great of a time here. And the feedback I get is such the best. Heck, I've even been explored about 60 times.

It's been a lot of fun. Thanks SO MUCH for coming along for the ride, you guys.

Stenopogon heteroneurus (Asilidae - Robber Flies) by Simon Oliver

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The species that I was asked to contribute to a paper about, as new to Andalusia and the fourth sighting in Spain.

The Fireplace by NCinDC

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The Fireplace located at 2161 P Street NW in the Dupont Circle neighborhood of Washington, D.C. The former residence, now home to a gay bar, is designated a contributing property to the Dupont Circle Historic District, listed on the National Register of Historic Places in 1978. Here's a 1964 photo of the building when it was home to the Fireplace Restaurant.

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This is one of my older photos I originally uploaded to Wikimedia Commons.

Postcards from the Edge 1. DSC_2533 by Tony Murphy

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It's been a while since I've contributed anything to this space but for the next three months, I'll be posting a photo a day as part of a personal journey I'm presently making. I've yet to work out the 'destination' but I'm hoping that will resolve itself as the set develops.

Day 1. A beautiful afternoon in Dublin and a visit to the strand at Sandymount.

Through the Looking Glass by Abazy

I cannot deny it because unfortunately its very true; I am a perfectionist. The activities I have been involved in my life have contributed to my perfectionism along with demands from my parents and friends. I have been dancing since I was three and tumbling since I was eleven. In both of these activities you’re trained that if you don’t do it right you are not actually doing it and even if you’re doing it right, its not beautiful until its perfect. Through this pressure, which I refuse to realize as pressure, I have become a person that loves perfect or what I think is perfect. I do not consider making things perfect or striving for perfection as pressure however; I merely consider it the necessary demand for anything I do.

My philosophy for perfect photos is really involved in the set up. I like taking a variety of different subjects and capturing them as perfectly as I can. I find myself setting up a photo shoot scene for hours and hours on end to get exactly the kind of lighting I want. Then, I can easily take the photo and it meets the demands I have for it. Demanding perfection from photographs is challenging though because a lot of things are somewhat out of control. I find that the things I have difficulty controlling and producing perfectly directly from the shoot I over-analyze every detail when I bring my picture into editing. I like editing my pictures to get them the way I envisioned them because that is what I feel the perfect photo is; what I wanted it to be. Part of the reason I enjoy digital photography so much is because I am able to set the standard for perfection by myself rather than follow the demands of someone else.

For the self-portrait/alter ego project I immediately saw the scene in the attic of my dance studio. I had no idea what made me think of that place, for I had only been up there a few times in my life but I knew it would create a really visually interesting background and of course if I envisioned it I knew that would be the place I would use. To get this photo the way I wanted it, I actually set up the scene in to total of 5 hours across two days. The biggest problem was dealing with the mirrors. I used three which somehow I was able to set up so that each reflection of myself (starting from the left) seems to be looking at the next self. That was one thing that happened that turned out really well for the overall composition but the main problem was finding a place to put the camera that captured me without being in one of the mirrors. I, demanding perfection from my vision, couldn’t allow for the camera to be in one of the mirrors. I finally worked it out for it to fit between the far right and middle mirror. After I worked out all the technical details and got my two photographs I went into editing overboard. I not only merged two different photos while enhancing levels and contrast but I also created things that weren’t there. In the background I accidently caught some red spray bottle which really detracted from the photo so me, being the perfectionist that I am took them out and added in the wood beams to complete the background.

Grace Jones . Elder Pk by PeterTea

Grace Beverly Jones (b19 May 1948) is a Jamaican singer, songwriter, supermodel, record producer, and actress. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.

In 1977, Jones secured a record deal with Island Records, initially becoming a star of New York City's Studio 54-centered disco scene. In the early 1980s, she moved toward a new wave style that drew on reggae, funk, post-punk and pop music, frequently collaborating with both the graphic designer Jean-Paul Goude and the musical duo Sly & Robbie. Her most popular albums include Warm Leatherette (1980), Nightclubbing (1981), and Slave to the Rhythm (1985). She scored Top 40 entries on the UK Singles Chart with "Pull Up to the Bumper", "I've Seen That Face Before", "Private Life", and "Slave to the Rhythm". In 1982, she released the music video collection A One Man Show, directed by Goude.

Jones appeared in some low-budget films in the US during the 1970s and early 1980s. In 1984, she made her first mainstream appearance as Zula in the fantasy-action film Conan the Destroyer alongside Arnold Schwarzenegger and Sarah Douglas, and subsequently appeared in the 1985 James Bond movie A View to a Kill as May Day. In 1986, she played a vampire in Vamp, and acted in and contributed a song to the 1992 Eddie Murphy film Boomerang. She appeared alongside Tim Curry in the 2001 film Wolf Girl. For her work in Conan the Destroyer, A View to a Kill, and Vamp, she was nominated for Saturn Awards for Best Supporting Actress.

In 1999, Jones ranked 82nd on VH1's 100 Greatest Women of Rock and Roll, and in 2008, she was honored with a Q Idol Award. Jones influenced the cross-dressing movement of the 1980s and has been an inspiration for artists including Annie Lennox, Lady Gaga, Rihanna, Lorde, Róisín Murphy, Brazilian Girls, Nile Rodgers, Santigold, and Basement Jaxx. In December 2016, Billboard magazine ranked her as the 40th most successful dance artist of all time.[10]

1948–73: Early life, and modeling career

Grace Jones was born in 1948 (though most sources say 1952) in Spanish Town, Jamaica, the daughter of Marjorie (née Williams) and Robert W. Jones, who was a local politician and Apostolic clergyman The couple already had two children, and would go on to have four more.[19] Robert and Marjorie moved to the East Coast of the United States,[19] where Robert worked as an agricultural labourer until a spiritual experience during a failed suicide attempt inspired him to become a Pentecostal minister.[20] While they were in the US, they left their children with Marjorie's mother and her new husband, Peart.[21] Jones knew him as "Mas P" ('Master P') and later noted that she "absolutely hated him"; as a strict disciplinarian he regularly beat the children in his care, representing what Jones described as "serious abuse".[22] She was raised into the family's Pentecostal faith,[23] having to take part in prayer meetings and Bible readings every night.[24] She initially attended the Pentecostal All Saints School,[25] before being sent to a nearby public school.[26] As a child, shy Jones had only one schoolfriend and was teased by classmates for her "skinny frame", but she excelled at sports and found solace in the nature of Jamaica.[27]

"[My childhood] was all about the Bible and beatings. We were beaten for any little act of dissent, and hit harder the worse the disobedience. It formed me as a person, my choices, men I have been attracted to... It was a profoundly disciplined, militant upbringing, and so in my own way, I am very militant and disciplined. Even if that sometimes means being militantly naughty, and disciplined in the arts of subversion. ."

— Grace Jones, 2015.[28]

Marjorie and Robert eventually brought their children – including the 13 year old Grace – to live with them in the US, where they had settled in Lyncourt, Salina, New York, near Syracuse.[29][30] It was in the city that her father had established his own ministry, the Apostolic Church of Jesus Christ, in 1956.[31] Jones continued her schooling and after she graduated, enrolled at Onondaga Community College majoring in Spanish.[32][33] Jones began to rebel against her parents and their religion; she began wearing makeup, drinking alcohol, and visiting gay clubs with her brother.[34] At college, she also took a theatre class, with her drama teacher convincing her to join him on a summer stock tour in Philadelphia.[35][33] Arriving in the city, she decided to stay there, immersing herself in the Counterculture of the 1960s by living in hippie communes, earning money as a go-go dancer, and using LSD and other drugs.[36] She later praised the use of LSD as "a very important part of my emotional growth... The mental exercise was good for me".[37]

She moved back to New York at 18 and signed on as a model with Wilhelmina Modelling agency. She moved to Paris in 1970.[33][38] The Parisian fashion scene was receptive to Jones' unusual, androgynous, bold, dark-skinned appearance. Yves St. Laurent, Claude Montana, and Kenzo Takada hired her for runway modelling, and she appeared on the covers of Elle, Vogue, and Stern working with Helmut Newton, Guy Bourdin, and Hans Feurer.[39] Jones also modelled for Azzedine Alaia, and was frequently photographed promoting his line. While modelling in Paris, she shared an apartment with Jerry Hall and Jessica Lange. Hall and Jones frequented Le Sept, one of Paris's most popular gay clubs of the 1970s and '80s, and socialised with Giorgio Armani and Karl Lagerfeld.[40] In 1973, Jones appeared on the cover of a reissue of Billy Paul's 1970 album Ebony Woman.

1974–79: Transition to music, and early releases

Jones was signed by Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Édith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble". The album finished with "I Need a Man", Jones' first club hit.[41] The artwork to the album was designed by Richard Bernstein, an artist for Interview.

In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prévert. The Canadian edition of the vinyl album included another French language track, "Comme un oiseau qui s'envole", which replaced "All on a Summers Night"; in most locations this song served as the B-side of the single "Do or Die". In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. The album was released on compact disc in the early 1990s, but soon went out of print. In 2011, it was released and remastered by Gold Legion, a record company that specialises in reissuing classic disco albums on CD.[42] Jones' live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos."[4]

Muse was the last of Jones' disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse. Originally appearing in the 1976 Italian film, Colt 38 Special Squad in which Jones had a role as a club singer, Jones also recorded a song called "Again and Again" that was featured in the film. Both songs were produced by composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson arranged most of the album and also sang duet with Jones on the track "Suffer". Like the last two albums, the cover art is by Richard Bernstein. Like Fame, Muse was later released by Gold Legion.[43]

1980–85: Breakthrough, Nightclubbing, and acting

With anti-disco sentiment spreading, and with the aid of the Compass Point All Stars, Jones transitioned into new wave music with the 1980 release of Warm Leatherette. The album included covers of songs by The Normal ("Warm Leatherette"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Smokey Robinson ("The Hunter Gets Captured by the Game"), Tom Petty and the Heartbreakers ("Breakdown") and Jacques Higelin ("Pars"). Sly Dunbar revealed that the title track was also the first to be recorded with Jones.[44][45] Tom Petty wrote the lyrics to "Breakdown", and he also wrote the third verse of Jones' reinterpretation.[46] The album included one song co-written by Jones, "A Rolling Stone". Originally, "Pull Up to the Bumper" was to be included on the album, but its R&B sound did not fit with the rest of the material.[47] By 1981, she had begun collaborating with photographer and graphic designer Jean-Paul Goude, with whom she also had a relationship.[48]

The 1981 release of Nightclubbing included Jones' covers of songs by Flash and the Pan ("Walking in the Rain"), Bill Withers ("Use Me"), Iggy Pop/David Bowie ("Nightclubbing") and Ástor Piazzolla ("I've Seen That Face Before"). Three songs were co-written by Jones: "Feel Up", "Art Groupie" and "Pull Up to the Bumper". Sting wrote "Demolition Man"; he later recorded it with The Police on the album Ghost in the Machine. "I've Done It Again" was written by Marianne Faithfull. The strong rhythm featured on Nightclubbing was produced by Compass Point All Stars, including Sly and Robbie, Wally Badarou, Mikey Chung, Uziah "Sticky" Thompson and Barry Reynolds. The album entered in the Top 5 in four countries, and became Jones' highest-ranking record on the US Billboard mainstream albums and R&B charts.

Nightclubbing claimed the number 1 slot on NME's Album of the Year list.[49] Slant Magazine listed the album at No. 40 on its list of Best Albums of the 1980s.[50] Nightclubbing is now widely considered Jones' best studio album.[51] The album's cover art is a painting of Jones by Jean-Paul Goude. Jones is presented as a man wearing an Armani suit jacket, with a cigarette in her mouth and a flattop haircut. While promoting the album, Jones slapped chat-show host Russell Harty live on air after he had turned to interview other guests, making Jones feel she was being ignored.[52]

Having already recorded two reggae-oriented albums under the production of Compass Point All Stars, Jones went to Nassau, Bahamas in 1982 and recorded Living My Life; the album resulted in Jones' final contribution to the Compass Point trilogy, with only one cover, Melvin Van Peebles's "The Apple Stretching". The rest were original songs; "Nipple to the Bottle" was co-written with Sly Dunbar, and, apart from "My Jamaican Guy", the other tracks were collaborations with Barry Reynolds. Despite receiving a limited single release, the title track was left off the album. Further session outtakes included "Man Around the House" (Jones, Reynolds) and a cover of "Ring of Fire", written by June Carter Cash and Merle Kilgore and popularized by Johnny Cash, both of which were included on the 1998 compilation Private Life: The Compass Point Sessions. The album's cover art resulted from another Jones/Goude collaboration; the artwork has been described as being as famous as the music on the record. It features Jones' disembodied head cut out from a photograph and pasted onto a white background. Jones' head is sharpened, giving her head and face an angular shape.A piece of plaster is pasted over her left eyebrow, and her forehead is covered with drops of sweat.

Jones' three albums under the production of the Compass Point All Stars resulted in Jones' One Man Show, a performance art/pop theatre presentation devised by Goude and Jones in which she also performed tracks from the albums Portfolio ("La Vie en rose"), Warm Leatherette, ("Private Life", "Warm Leatherette"), Nightclubbing ("Walking in the Rain", "Feel Up", "Demolition Man", "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)") and from Living My Life, "My Jamaican Guy" and the album's title track. Jones dressed in elaborate costumes and masks (in the opening sequence as a gorilla) and alongside a series of Grace Jones lookalikes. A video version, filmed live in London and New York City and completed with some studio footage, was nominated for a Grammy Award for Best Long-Form Music Video the following year.

After the release of Living My Life, Jones took on the role of Zula the Amazonian in Conan the Destroyer (1984) and was nominated for a Saturn Award for Best Supporting Actress. In 1985, Jones starred as May Day, henchman to main antagonist Max Zorin in the 14th James Bond film A View to a Kill; Jones was also nominated for a Saturn Award for Best Supporting Actress. That same year, she was featured on the Arcadia song "Election Day". Jones was among the many stars to promote the Honda Scooter; other artists included Lou Reed, Adam Ant, and Miles Davis Jones also, with her boyfriend Dolph Lundgren posed nude for Playboy.

After Jones' success as a mainstream actress, she returned to the studio to work on Slave to the Rhythm, the last of her recordings for Island. Bruce Woolley, Simon Darlow, Stephen Lipson and Trevor Horn wrote the material, and it was produced by Horn and Lipson. It was a concept album that featured several interpretations of the title track. The project was originally intended for Frankie Goes to Hollywood as a follow-up to "Relax", but was given to Jones.All eight tracks on the album featured excerpts from a conversation with Jones, speaking about many aspects of her life. The interview was conducted by journalist Paul Morley. The album features voice-overs from actor Ian McShane reciting passages from Jean-Paul Goude's biography Jungle Fever. Slave to the Rhythm was successful in German-speaking countries and in the Netherlands, where it secured Top 10 placings. It reached number 12 on the UK Albums Chart in November 1985 and became the second-highest-ranking album released by Jones. Jones earned an MTV Video Music Award nomination for the title track's music video.

After her success with Slave to the Rhythm, Island released Island Life, Jones' first best-of compilation, which featured songs from most of her releases with Island (Portfolio, Fame, Warm Leatherette, Nightclubbing, Living My Life and Slave to the Rhythm). American writer and journalist Glenn O'Brien wrote the essay for the inlay booklet. The compilation charted in the UK, New Zealand and the United States.The artwork on the cover of the compilation was of another Jones/Goude collaboration; it featured Jones' celestial body in a montage of separate images, following Goude's ideas on creating credible illusions with his cut-and-paint technique. The body position is anatomically impossible.

The artwork, a piece called "Nigger Arabesque" was originally published in the New York magazine in 1978, and was used as a backdrop for the music video of Jones' hit single "La Vie en rose". The artwork has been described as "one of pop culture's most famous photographs". The image was also parodied in Nicki Minaj's 2011 music video for "Stupid Hoe", in which Minaj mimicked the pose.

1986–89: Slave to the Rhythm, Island Life, further films, Jones teamed up with music producer Nile Rodgers of Chic, whom Jones had previously tried to work with during the disco era.[67] The album was recorded at Skyline Studios in New York and post-produced at Atlantic Studios and Sterling Sound. Inside Story was the first album Jones produced, which resulted in heated disputes with Rodgers. Musically, the album was more accessible than her previous albums with the Compass Point All Stars, and explored different styles of pop music, with undertones of jazz, gospel, and Caribbean sounds. All songs on the album were written by Jones and Bruce Woolley. Richard Bernstein teamed up with Jones again to provide the album's artwork. Inside Story made the top 40 in several European countries. The album was Jones' last entry to date on US Billboard 200 albums chart. The same year, Jones starred as Katrina, an Egyptian queen vampire in the vampire film Vamp. For her work in the film, Jones was awarded a Saturn Award for Best Supporting Actress.

In 1987, Jones appeared in two films, Straight to Hell, and Mary Lambert's Siesta, for which Jones was nominated for Golden Raspberry Award for Worst Supporting Actress. Bulletproof Heart was released in 1989, produced by Chris Stanley, who co-wrote, and co-produced the majority of the songs, and was featured as a guest vocalist on "Don't Cry Freedom". Robert Clivillés and David Cole of C+C Music Factory produced some tracks on the album.

1990–2004: Boomerang, soundtracks, and collaborations

In 1990, Jones appeared as herself in the documentary, Superstar: The Life and Times of Andy Warhol. 1992 saw Jones starring as Helen Strangé, in the Eddie Murphy film Boomerang, for which she also contributed the song "7 Day Weekend" to its soundtrack. Jones released two more soundtrack songs in 1992; "Evilmainya", recorded for the film Freddie as F.R.O.7, and "Let Joy and Innocence Prevail" for the film Toys. In 1994, she was due to release an electro album titled Black Marilyn with artwork featuring the singer as Marilyn Monroe. "Sex Drive" was released as the first single in September 1993, but due to unknown reasons the record was eventually shelved. The track "Volunteer", recorded during the same sessions, leaked in 2009.[68]

In 1996, Jones released "Love Bites", an up-tempo electronic track to promote the Sci-Fi Channel's Vampire Week, which consisted of a series of vampire-themed films aired on the channel in early November 1996. The track features Jones singing from the perspective of a vampire. The track was released as a non-label promo-only single. To this day, it has not been made commercially available.[69] In June 1998, she was scheduled to release an album entitled Force of Nature, on which she worked with trip hop musician Tricky.[70] The release of Force of Nature was cancelled due to a disagreement between the two, and only a white label 12" single featuring two dance mixes of "Hurricane" was issued at the time;[71] a slowed-down version of this song became the title track of her comeback album released ten years later while another unreleased track from the album, "Clandestine Affair" (recycling the chorus from her unreleased 1993 track "Volunteer"), appeared on a bootleg 12" in 2004.[72] Jones recorded the track "Storm" in 1998 for the movie The Avengers, and in 1999, appeared in an episode of the Beastmaster television series as the Umpatra Warrior.

The same year, Jones recorded "The Perfect Crime", an up-tempo song for Danish TV written by the composer duo Floppy M. aka Jacob Duus and Kåre Jacobsen. Jones was also ranked 82nd place on VH1's "100 Greatest Women of Rock & Roll".[citation needed] In 2000, Jones collaborated with rapper Lil' Kim, appearing on the song "Revolution" from her album The Notorious K.I.M. In 2001, Jones starred in the made-for-television film, Wolf Girl (also known as Blood Moon), as an intersex circus performer named Christoph/Christine. In 2002, Jones joined Luciano Pavarotti on stage for his annual Pavarotti and Friends fundraiser concert to support the United Nations refugee agency's programs for Angolan refugees in Zambia. In November 2004, Jones sang "Slave to the Rhythm" at a tribute concert for record producer Trevor Horn at London's Wembley Arena

#ThisIsEgypt #ThisIsFashion by Nomad Saleh

Yeah, this is my comeback shoot!

I haven’t been really holding any cameras for the last 5 years, basically since the revolution in 2011. The reasons are many, but one of them is that I felt my passion is diminishing.

The trending hashtag of #ThisIsEgypt, founded by my friend and brother Taimour Othman, intrigued me into contributing by all means. Taimour made a collaboration with the rising fashion designer Mohamed Samy in a way to expose not only the beauty of Egypt through pictures, but also an exposure to unique Egyptian art and designs. The moment I saw Samy’s collections, I knew this project will surely revive my passion for photography again. And I wasn’t wrong at all.

This is his ‘Tally Haute Couture’ collection using Tally fabrics from Sohag with silver embroidery.

#ThisIsEgypt #ThisIsFashion : @taimouro

Photography: @nomadsaleh

Assistant: @ramilsherif

Fashion Designer: @samydesignsegypt

Make-up Artist: @radwahesham_makeupartist

Model: @Nadinematadi

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