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St Mary The Virgin
Church of England
Nativity
This window entitled 'Nativity', was designed by John Piper and made by David Wasley. It was given to Iffley Church in 1995 by Myfanwy Piper in memory of her husband.
The idea was taken from an Elizabethan wall painting in Shulbrede Priory in Sussex.
The Latin words put into the mouths of the birds are:
COCK - Christus natus est (Christ is born),
GOOSE - Quando? Quando? (When? When?),
CROW - In hac nocte (On this night),
OWL - Ubi? Ubi? (Where? where?),
LAMB - Bethlehem! Bethlehem!
The sounds of the Latin words resemble the noises made by the animals and birds. Underneath is a line from Christopher Smart: "Let man and beast appear before him and magnify his name together."
The window has a dual motif. There are the birds and the lamb proclaiming the birth of Christ, and there is the Tree of Life round which they are grouped. The idea that on the night of Christ's Nativity birds and animals gained the power of speech was a widespread medieval legend. The Tree of Life is referred to in the Book of Genesis but also in the Book of Revelation: "On either side of the river there stood a Tree of Life which yielded twelve crops of fruit, one for each month of the year. The leaves of the trees serve for the healing of the nations, and every accursed thing shall disappear."
Alternatively it may be seen as a window of the Creation. It has an immediate appeal through the passionate intensity of its colours, the slight touch of humour and the joy it expresses in the natural world.
Sculpture entitled "La Main Créatrice" (The creative hand) showing Adam and Eva in God's hand. Masterpiece by Michel Serraz in 1989.
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Church built for the numerous workers in charge of Paris World's Fairs (Expositions Universelles) at the turning of the 20th century.
Location: rue Vercingétorix / rue Guilleminot, 75014 Paris near Montparnasse railway station
Construction: 1897-1902
Architect: Jules-Godefroy Astruc (1862-1955)
Highlights: the metallic structure (just like in a factory)
www.unjourdeplusaparis.com/en/paris-culture/eglise-notre-...
Optimistically entitled, this treaty promised an alliance between England and Scotland, sealed with a marriage alliance. James IV of Scotland was betrothed to Princess Margaret, the daughter of Henry VII of England. The borders of this document illustrate the thistle (James’ emblem), the Tudor rose and the marguerete representing Margaret.
This document is held in the National Archives.
A picture by Vic Millington, entitled Wenford Farewell, bought in Cornwall in 1985, while I was visiting for the GWR anniversary celebrations, it is now displayed in my railway room. Note the ghost of a Beattie well tank.
The gentleman with the beard and hat I believe to be Samuel Worth, born at St Mabyn in 1815. He joined the Bodmin & Wenford Railway when it opened in 1834 as a look-out man on the front of the engine, opening and shutting gates and chasing stray cattle off the line. The following year he was seriously injured in a shunting accident at Helland Bridge; despite being absent for over a year, the Company held him in such high regard that they paid him full wages, surly a very early example of such benevolence. He became a Wharfinger at Bodmin in 1839, a position he held for 58 years until his retirement at the age of 80 in 1895.
Published by Pictures (Cornwall) Ltd.
Mural entitled “Roots” 根 by Lauren Ys aka @squid.licker, seen at 2120 Blake Street in the Five Points area of Denver, Colorado.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee
The fireworks show entitled "Stadium Spectacular" lights up the night sky over Qualcomm Stadium after the 2015 Poinsettia Bowl on December 23, 2015 in San Diego.
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
Cordova Lake in the City of Kawartha Lakes is about two hours northeast of Toronto. Karen the kids, the grandkids and I rented a cottage at Cordova Lake for the first week of August. This is the second year we've been there.
Condensed from "History of Cordova Village and Cordova Mines"
www.google.com/url?sa=t&source=web&ct=res&cd=...
It’s unsure just who discovered gold at Cordova Mine, but the property eventually came into the hands of H. Strickland. In 1897 it was acquired by The Cordova Exploration Company, in 1897, and was worked between 1898 and 1903. In 1911, it was purchased by Cordova Gold Mines Ltd. The mine site included housing as well. Its head office was in Toronto. The mine shut again in 1917 when it was again reopened under the ownership of Consolidated Mining and Smelting Company of Canada (COMINCO). It remained open only until 1940, and has been closed since
www.clrm.ca/cottages_haliburton_kawartha/cordova_cottage....
Cordova Lake is just 15 minutes north of Highway 7 so is very easily accessible. Explore the surrounding area and visit the delightful riverside town of Campbellford to the south, take a drive to Bon Echo Provincial Park or visit the ‘rocks that speak’ in Petroglyphs Provincial Park. And if you haven’t visited Kingston or Ottawa, it’s an easy day trip to both.
From Wikipedia
en.wikipedia.org/wiki/Kawartha_Lakes,_Ontario
The City of Kawartha Lakes (2006 population 74,561) is a city in east-central Ontario, Canada. Although designated as a "city", it is a largely rural area. The municipality is named for the Kawartha lakes ("Kawartha," shortened from Gaa-waategamaag, means "shining waters" in the Ojibwe language).
The main population centres are:
* Omemee
* Lindsay
* Fenelon Falls
* Woodville
* Bobcaygeon
The municipality was created in 2000 by the Progressive Conservative government of Ontario through the amalgamation of the constituent municipalities of the former County of Victoria, and officially came into effect on January 1, 2001.
In a close vote (51% for, 49% against), the citizens of Kawartha Lakes voted to de-amalgamate in a November 2003 local plebiscite, but the provincial and municipal governments have not taken any steps since the vote to initiate de-amalgamation.
I've included links to Cordova Lake cottage rentals, not because I want to rent you cottages, but because the ads feature great pictures of the lake and of cottage exteriors and interiors.
www.atthecottage.com/forrent/cordova/index.html
www.clrm.ca/cottages_haliburton_kawartha/cordova_cottage....
The KOM League
Flash Report
for
April Fool’s Day
(a couple of days early)
2019
If this report were a song it could be entitled “Rambling Rose.” There were a lot of different comments received and some tangents I got on this past week so thought I’d share them and see if anyone would be interested in any of it. If this report bores you it is likely you are in good company. But, I was surprised at the number of times the report for last week was checked out on the Flickr site.
When readers are frank with me it is refreshing. “John - I have read all this about McKibben (hopefully, Neil did too). I’m addled. Guess I’m too old to absorb historical facts, dates, people, etc. I’m waiting for Neil to condense it for me. But it was interesting. I admire your perseverance.” Dave in Texas
Ed note:
Dave isn’t into necromancy but rather into remembering an old friend who talked him into reading the KOM league material. Referring to Neil is his way of keeping our mutual friend’s memory alive.
Favor:
It you have the fortitude to get there, read the story about the milk can at the terminus of this report. It will go into great detail as to why the photo in this edition was selected.
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Comments on an old book.
In recent weeks I’ve mentioned the issue of a book I wrote a couple of decades ago and how it “gets around.” An E-bay site offered it for more money than a KOM leaguer made in a full summer of traveling in broken down buses, eating all meals on $1.50--$2.00 a day while on the road and playing every day unless the game was cancelled due to rain.
Following is a comment from a long-time reader: Hi John. Two things..... the current Flash Report mentions a lady who is looking for a copy of the book. I have an extra copy, which I bought at auction, after my friend "Big John" Dingley passed away. It has an inscription signed by you & #'d as one for the first ones published. I am asking $115 for it, which is quite less than the other one she found. My eBay id is : ____ if you wish to pass that on to her, or to give her my email address: ________.
Second, & somewhat connected, is this note I received from someone who saw the book on eBay: "My dad played center field for the Indians in '49 & maybe '50, I think. His name is Bill Hahn-- Is his name on the replica score card?"
I replied that while his name is not on the '49 scorecard that day, I did find him on the '50 roster. I'm wondering if you might have any other interesting info that I might pass on to his son? (he's not bought the book....) I also do not have the son's full name or email, as I can contact him only thru eBay.) Thanks. Bob M
Ed reply:
Boy, I hate to quote anyone a price over its selling price but I guess antiques are worth more. The soft cover is cheaper than the hardcover in many ways.
Bill Hahn played for Iola in 1950. He lives in Independence, Mo. He was a big golfing buddy of Buck Walz, former KOM leaguer, of Jefferson City prior to his passing.
I have considerable information on Hahn but quite frankly he never wanted to talk about his KOM days or even his year, in 1949, with the infamous Leavenworth, Kansas Braves of the Western Association.
Ed comment:
If anyone cares to contact Bob M. regarding the book he has for sale I will send along his e-mail address. I guess anyone with Internet access could figure out how to locate that book on E-bay.
The following is an article I placed in a 1998 Flash Report that is a decent segue from the foregoing.
IT'S ALL OVER:--A story carried in a 1998 Flash Report and reproduced by the permission of the author…me.
Last time I mentioned that the book, "Majoring in The Minors" was nearly a thing of the past. Well, now I can report that it officially is. The Mid-Continent Library in Independence, Missouri bought 12 of them to officially deplete the stock. Someone asked if I planned a reprint. I thought maybe having 50 or so reprinted would be a cheap proposition. I called the printer and asked for a price quote on 50 or 100. When the printer didn't call back that same day I knew I was in trouble.
On the second day the printer called back and said 50 would cost $101.50. I said, "That's not bad for 50." The printer replied, "No that is $101.50 per copy." $5,000 seemed a little steep. I dared to ask what a 100 of them suckers would cost and didn't get off the floor for a few seconds after hitting my head from fainting. As it turned out it is about as cheap to buy 500 as it is 50. The 500 rate is about $9,000. Of course, 500 is the number originally purchased and it took 2 years to sell them. So, those of you who got in on the original order take care of those books, they are like gold.
Post Script:
A couple of years later, upon great insistence from the late Dr. Eldon Yung who had played for the Miami, Okla. Eagles in 1950, an update rather than a reissue to that book was undertaken. Over 5,000 changes were made in the second edition and Yung and I spent scores of hours at the book publishing company in Sedalia, MO making those changes. That was the end of my fascination with book publishing and the last time Yung ever volunteered to work with me on any project.
Here is my opinion on purchasing any copy of Majoring in The Minors. If it isn’t falling apart I would say it is worth the expenditure of funds. It is without any doubt the best book ever written on the subject of the KOM league. However, for the price of shipping the set of many years of KOM league Flash Reports, being offered by Bill Clark, probably contains more history of the KOM league, in print, outside of the KOM League Remembered Newsletter, which clogged the United States Postal Service facilities for 16 years.
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Comments from previous report:
•
Man, that McKibben story was really something. Bizarre, strange, fascinating. I couldn't stop reading it! Jerry Hogan—Fayetteville, Ark.
Ed comment:
That Hogan, not the late Bob Crane, is my “Hogan’s Hero.”
Reply:
Do you think I ought to continue it? I could make up a different plot each week.
Jerry’s reply:
Works for me!
Reply to Jerry
If I were a novelist I would write a tale where McKibben was actually the father or grandfather of Beto O’Rourke...both were in El Paso and both were budding musicians and each had/have a penchant for political office. I have an old photo of him as well as one for McKibben. Beto’s was as a member of the ”El Paso Pussycats” musical group.
•
Speaking of barred owls, we had one gnawing on a dead deer in the ditch right opposite our driveway. We’ve lived here over 30 years and that is only the second one we have seen. Bruce May—Son of Wilbert of the same last name who pitched for the 1946 Carthage, MO Cardinals.
•
A reader with a bad week.
Thanks for a great story John. Very disappointed that the trail of the McKibben lad went cold. Was hoping for a happier ending. Nevertheless, it sounds like he had a very heart wrenching life.
Just now getting around to reading the latest FR, as we have a rash of deaths here this past week. My Aunt in KC and at least six friends. Everything from cancer to auto accident to suicide to a tree falling on and crushing its victim. Hope all is well with you and Noel. Take care.
•
That's quite a fantastic story (about McKibben) thanks John. Sal Nardello—Berlin NJ—Shortstop 1949 Pittsburg, Kansas Browns
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Have it your way:
Bill Clark to John Hall: I tried to print out the long Flash report on e-mail and it refused to print. Gave me 10 blank pages. Is flicker the only way to read Flash Reports now? If I must use Flicker, can’t print without registering with yahoo. I didn’t even try to do so. I use yahoo all the time as a data source. I assumed I was already registered. I hate reading things I can’t hold in my hands. I always print out what you write so I can read it when and where I want.
THE CURMUDGEON
Ed reply:
There wasn't time to send the long version when the Flickr version was posted two days ago. So, this is the Special edition. Only a few readers will know that Harold John McKibben would have been 113 years in another 23 days. I'm aware of that since he and my father were born just two months apart. Also, have found in the last couple of days that McKibben's mother died in 1908, not in Joplin but in Picher, OK. So, keep all that in mind when you come to that feature, in this report. And, if you want to feel especially informed the young McKibben's mother’s maiden name was Lucille Belle Harper.
Even older Flash Reports:
For those of you working on your graduate degree in KOM league history you can go back 21 years for information at sites such as this.
groups.google.com/forum/#!topic/rec.sport.baseball/BB5DyO...
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We now pause for a reader’s submitted URL
Walt Babcock shared this for all readers who attend track and field competitions.
mail.google.com/mail/u/0/#inbox/FMfcgxwBWKbBjnMhkqKbFGHVh...
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Editor’s attempt to write about current events.
Johnny: In some of us, good poetry just runs through the veins. Stay with me on this ....
At times it seemed to me all you heard from the TV was "Mueller, Mueller, Mueller." Frankly, I got tired of it.
But it reminded me of a rally cry of the San Francisco Giants 50 or 60 years ago when their roster included Stu Miller, Chuck Hiller and Tom Haller. The rally cry was called the "Miller, Hiller, Haller Holler."
So, it occurred to me a commemorative denomination of paper money might be issued by the U.S. Government honoring Mr. Mueller, Ferris Bueller and Gustav Mahler. It would be ....
The Mueller, Bueller, Mahler Dollar.
What do you think, Johnny? -- Famous sportswriter and friend.
Ed comment:
No name was attached to his note because the famous writer didn’t give me permission to do so. Knowing the environment in which we live people get upset even if they suspect someone of having a differing opinion on any subject. Notice I have said this came from a famous writer. He is far beyond my pay grade for there are a couple of names listed I haven’t even heard of. I read the note to my wife, the famous writer sent, and her remark was “That’s good.” I can guarantee you she never heard of three of the six names cited.
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The Very Best Documentary on My Hero
For those who have known me the longest I’m known more for one thing, than anything else…my admiration for Stan Musial. God even allowed me to spend time in his (small case “his” represents the mortal— upper case “His” is the immortal one) presence three different times from the 1950’s to the 1990’s Recently, in clicking around on the Internet, I discovered the following and shared it with some of the people who have known me since Franklin Roosevelt was president or at least while Harry Truman occupied the throne. Here is a link to over an hour of pure delight. www.youtube.com/watch?v=Bw64-b1TlgI&feature=youtu.be
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A great surprise about an item from 69 years ago ---The old milk can
In early April from 1949 through 1952 great excitement descended on the baseball fans of Carthage, Mo. Chicago Cub farm teams from faraway places with some strange sounding names, with ball players with even weirder names descended on my hometown. Teams by the name of Canaries, Cubs and Owls took up all the hotel and motel space in town. When that happened Our Lady of the Ozarks Catholic school opened up their facilities for the players. Since only two blacks ever showed up in those years with Cub farm teams Solly Drake and Milton Bohanian stayed in the home of the Claude Redmond family. Drake was my favorite of all the guys who ever attended spring training of any club. He didn’t come along until 1952.
Not until 1950 did I know anything about spring training going on in my hometown. I never saw a real baseball game until 1949. After that season I was hooked. Upon the initiation of the 1950 spring drills I was surprised to see fellows from the 1949 Cubs in different uniforms. The names that stand out were Bob Speake, Johnny LaPorta and Phil Costa. Sioux Falls had a third baseman who had played for Miami, Okla., in 1949, and I immediately recognized Harry Bright who nearly a decade later saw major league service.
An item that was scare in any newspaper was photos of the ballplayers. A team photo would appear each year and some individual photos in a few publications but there were no photographers to cover any game action. If something out of the ordinary happened a plea would go out for someone adept at photography, meaning anyone with a camera, get to the ballpark immediately. That happened in 1947 when Jim Morris of Miami threw a no-hitter against the Carthage Cardinals. The negative of that photo was given to an Associated Press employee who attended that game and he hurried it off to Kansas City. The next day it was available on the AP photo wire and became the only photo of the KOM league to ever go nationwide.
Slowly I’m getting to the point
Upon subscribing to Newspaper.com in recent weeks I have been surprised at some of the things that have been found by accident. This week I keyed in “Sioux Falls Canaries.” Now that list of references is very lengthy. However, just a few items into the list page 31 of the Argus-Leader for April 23, 1950 appeared. Having absolutely nothing to lose I clicked on the URL. The first image that I saw on a page filled with photos led me to know that photo and probably all the rest were taken at Carthage.
On that page were “the brass” of the Canaries sitting in the native rock grandstand seats viewing what was transpiring on the field. Other shots were of the players going about their training activities and even stopping for a drink from the water cooler.
Confession time for this writer
One of the most embarrassing moments of my boyhood transpired one hot evening, in June of 1951, prior to the game. The Carthage team had been taking batting practice and had gone to the water cooler for a drink. I saw them surrounding that cooler, which was a cream can, and trying to solve a perplexing problem. What they were trying to figure out was how to extract the white enamel drinking cup from the bottom of the cream can. As those brilliant ballplayers attempted to fetch that cup a “bright” and daring lad stepped forward and exclaimed “I know how to get it.” Thereupon my right arm went into that can like an arrow and when I pulled it out, the cup was attached to my hand.”
At that moment I knew I hadn’t done the right thing. There were no “thank you” or atta-boys in the days prior to that slang term. The first person to speak up was Walt Babcock who said “Go show Biebel your arm.” I asked why that bit of admonition should be followed. Babcock assured me that if I showed Biebel he would understand.
I must confess that my hesitation, after that 1951 season, to contact any of those Carthage Cubs, might have been due to the fact I grew to know that sticking your arm in the water bucket isn’t good from any aspect.
Over 40 years later I had supper with Biebel in Sacramento, Calif. In the course of the meal I brought up that incident. He chuckled and said “Your skinny, dirty arm in that water can was not half as unsanitary as all the Carthage Cubs drinking from the same cup.” Biebel was always one of my favorites and after that comment, made at the meal it insured, that he would remain in that esteemed slot as long as we live.
How the mind was jogged.
While in Carthage for the 1950 spring training session of the Sioux Falls Canaries the Argus News Leader sent their sports scribe, Bill Ening to cover the activities. Ening brought along his assistant, Rumpelstilzchen, who went by the abbreviated name of “Rump.” Rump was a boxer of the canine family and went about any place he liked and Ening went along with his camera.
Hopefully, it has been made clear that not many photos were ever taken of anything happening inside old KOM league ballparks. However, in the middle of the page of the April 23, 1950 of the Sioux Falls paper was a photo that I recognized immediately. The caption to the photo read “Spring training is sometimes hot work and that cool jug of water gets plenty of attention from perspiring ball players. On the day the temperature at Carthage was in the 70s. Dick Heitholt, fixture at first base who played for the Canaries last year, is just winding up his drinking session while Manager Lee Eilbracht waits to take a belt at the bowl.”
Never did I ever think I would ever see that milk can and cup after 1951. In fact, I don’t suppose I wished to be reminded of that long ago arm in the can incident. However, being reminded of a long ago childhood incident led me to share it with my wife and daughter and now to a wider reading audience. I hope someone enjoys hearing the story more than my family members did. This photo has already been shared with some of the 1951 Carthage Cubs. Too bad there aren’t more of those guys left.
Now, that you know what the photo posted on the Flickr site is about here is further information.
The location of that can was on the north end of the third base dugout. That pipe against the wall was part of the frame that held the wire protective barrier for box seat holders sitting on the third base side. The dugout top was made of tar and many things got etched into it. One such inscription was “Stan Musial.” Whoever scratched that on there did a great job of forging Musial’s signature. Of course, Musial hadn’t played in the Carthage park for ten years and his dugout, as a member of the visiting team, was on the first base side.
Meaning of spring training for this editor
Of all the spring training camps held at Carthage the one in 1950 was the most memorable. The teams started arriving on April 6th and didn’t leave for three weeks. Each school day I would eat lunch at my grandfather’s house and I would see the teams with black players go past his home on their way to pick up or deposit the black players at the Claude Redmond home.
Upon spotting those buses I knew where I would spend each Saturday and Sunday for the remainder of April. Let it be known that I wasn’t all that enthusiastic to watch bunch of teenagers and old 24-year old guys managed by ancient 37-year old managers get in shape for the upcoming season.
Primarily, my objective was being the procurement officer to summer supplies for “John Hall Stadium.” That edifice was a lot beside my home on Valley Street where a bunch of boys gathered, most every day for a baseball battle. Guys showing up were Ted Williams, Stan Musial, Enos Slaughter, Red Schoendienst. Well, not actually, but the young boys who played endless hours at 1226 Valley Street thought they were going to be just like them.
A summer of baseball required numerous baseballs and bats. Thus, each spring I’d head off to the site of training camps for the Carthage Cubs, Topeka Owls, Janesville Cubs and Sioux Falls Canaries. My assistant was Corky Simpson. I placed him in that role for I owned the only bicycle between us. It was about 4 or 5 miles to the three baseball sites where spring training was occurring.
Each day my “designated peddler” of the bicycle and I had to determine where we would shag balls during batting practice and then during a game. There were definite advantages in knowing where to be at each moment of spring drills. In order to obtain the most baseballs the Twi-light league diamond was selected due to it having no fences. Simpson and I would position ourselves from the right field line to right centerfield and wait for balls to roll off the designated field. Between us was a hollowed out tree stump. As those balls came our way we’d throw the majority of them back into the field of play. However, some mysteriously made their way into the tree stump.
It was a good day when a bat was broken for we knew where it would be going. One cold afternoon stands out in my mind of all the days of the spring of 1950. The weather had gone from 70 degrees, the day before, to the 30’s. At game time it began to snow. Janesville was playing Sioux Falls. The first batter for Janesville grounded the ball to Harry Bright at third base. As it rolled slowly down the line it picked up the snow as it went and by the time Bright got to the thing was as big as a grapefruit. Bright picked up the ball, shook off the snow and threw to first base. And, that is all I recall from that game.
What transpired after the game is as vivid now as it was 69 years ago. When the Janesville and Sioux Falls teams cleared out Corky and I went to the tree stump and gathered up the loot. There were 12-15 baseballs, all old ones, in that stump. We didn’t have anything to put them in so Corky convinced me to give him my jacket and he placed the balls in there and tied the sleeves. Then, he took the broken bat we got that day and got it placed in a position that made it look like a hobo with his pack at the end of a stick.
My job was to carry the loot and he would peddle us both home. A short distance from the ballpark Corky suggested we stop at a local grocery store. He wanted to experiment with something he had seen some of the ballplayers use. When the grocer asked if he could help us Corky said “I want some chewing tobacco.” The grocer, already suspicious replied “Who is it for?” Corky, always quick on the comeback said “For my grandpa.” The grocer now having fun with us inquired “What is your grandpa’s name?” Now, Corky was taken off guard for the first time, stuttered at bit, and he looked at me and said “Bob Ling.” Bob Ling was a young man my sister was dating at the time who had gone out to one of the spring training games, with me, earlier that month. I knew he wasn’t the man for my sister because of his evaluation of Class D and C ballplayers. My sister didn’t find out what I knew in 1950 until 1952 went that “happily ever after” came to a screeching conclusion.
Well, by now the grocer knew what was up and asked what type of tobacco Grandpa Ling chewed. Corky hadn’t researched the subject of tobacco brands and replied “Any kind will do.” The grocer reached into the case and brought out a plug of “Red Man.”
If my memory is correct the grocer got 25 cents that Corky and I had scraped together for the item that would make us “Just like the ballplayers.” As Corky got in his place of designated drive for the bicycle he handed me the plug. He urged me to take a bit. I pulled off a sliver less than the size of a dime, got a taste of it and spit it out. Handing the plug back to Corky he took a big bite and off we went.
Less than two blocks down the road we came to a culvert and Corky alit from the mode of transportation and said that he was going to throw up. He gagged a bit and the last I saw of the “Red Man” it was flying through the air. After a few minutes of recuperation at the culvert off we went toward our respective homes with the balls and bat. What a trip that was. About every block we’d have to get off the bicycle and go chasing a baseball that had escaped from the coat and headed for freedom.
Looking back I suspect some of the balls made it to either the Simpson or Hall house. I’m sure the bat made it for Corky was proficient at first tacking the broken places and then wrapping them with white tape. The baseball’s lasted for a few weeks before the covers started coming off. However, from necessity I learned to stitch a baseball with the exception I could never hide the last stitch. My mother never could find her darning needles for I used them and heavy thread, rubbed in candle wax in putting those “Humpty Dumpties” together again.
Now, almost everyone who showed up at the 1950 Spring training camps of those four Chicago Cub farm teams are gone. Some who were there made it to the big leagues like Don Elston and Bob Speake. There were legendary baseball scouts and managers who were lending their expertise to help those young players reach their ultimate goal of playing big league baseball. But, that summer the Korean War broke out and the lives of most of those young men at Carthage in April were changed forever.
One person at that 1950 camp who was in charge of putting those teams together was legendary in the world of baseball. I didn’t realize who he was at the time. If I gave his name very few people of today would recognize Tony Lucadello. He was one of those people who loved baseball more than anything in life, even his own. I won’t go into that story now but if you have a scintilla of interest look up that name on the Internet and don’t stop until you come across his final act. It is a story that not even Hollywood could top and I don’t imagine they would even try. (Brandy Davis, former KOM leaguer was in the Philadelphia Phillies administration, with Lucadello, and told me to how Lucadello’s life was changed when the Carpenter family relinquished ownership of that franchise.)
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I now have to go. Get in touch if you have any comments.
Mural entitled "Queen Isabella" by Diana "Didi" Contreras aka @didirok located at 261 NW 36th Street in Miami, Florida.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
An exhibition entitled “Brazil – In the Footsteps of Innovation and Creativity”, co-organized by WIPO and Brazil, was held on the sidelines of the WIPO Assemblies, which met in Geneva from October 3 to 11, 2016.
The exhibition showcased some of Brazil’s well-known geographical indications, including alcoholic drinks, coffee and lace. It also featured notable Brazilian innovations and designs in the field of aviation (Embraer jets), as well as precision engineering, handicraft and clothing.
Delegates to the WIPO Assemblies were also treated to a musical performance of “Capoeira” – an Afro-Brazilian mix of martial art and dance that was recognized as an intangible cultural heritage by UNESCO in 2014.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
A sculpture entitled “Perhaps (An Investigation Outside the Laws of Thought)” which was temporary positioned in 2016 alongside Brayford Pool in Lincoln, Lincolnshire.
It was created by New Delhi-based Raqs Media Collective and it was inspired by George Boole, the Lincoln-born mathematician whose work laid the theoretical foundations for the digital age. It was commissioned by Gymnasium, the contemporary art commissioning programme that presents new works in public locations.
The artwork, composed of two interlocking arcs coated in a sheer reflective surface which mirrors both the structure itself and the surrounding water and foliage. Two arcs rise and fall by the water of the Brayford Pool, facing the University of Lincoln. Coated by a sheer reflective surface, the two arcs mirror each other, the water and their environs, creating an illusion of a fold in space, a thickening of air.
Lincoln was George Boole’s birthplace. He must have walked by Brayford Pool, asking questions that needed answers in yes, no, and perhaps, perhaps. This work remembers those moments outside the boundaries of yes and no, just outside the limits placed by the laws of thought.
Information Source:
St Peter's Catholic Church at 24th and Florida Sts. in the Mission District, San Francisco. This social justice driven mural, entitled "Our America: 500 Years of Resistance", is by renowned Salvadoran muralist, Isaias Mata. Mata lived in San Francisco in the early 1990's and taught art at San Francisco State University and the Mission Cultural Center. He painted this mural to mark the 500th anniversary of Christopher Columbus’ arrival in Hispaniola — the beginning of the Spanish conquest.
The Mata mural was the brainchild of the late Father Jack Isaacs and is an integral part of the “cultural corridor” that celebrates and preserves Latin culture, art and history in San Francisco. Father Isaacs was pastor of St. Peters’ parish located in the heart of the Latin Mission district. He believed deeply in the power art and beauty to heal and inspire. He especially sought to create a public reference point for young immigrant youth caught in cycles of poverty, anti-immigrant sentiment, and rising gang violence and for the broader community. Isaacs and Mata aimed to depict the Conquest from the perspective of the indigenous and victims of empire, then and now. At the same time, the priest and the muralist sought to celebrate and honor the faith and resilience of the people and their descendants in the face of overwhelming violence. They viewed the mural as a powerful counterpoint to the negative cultural narratives dominating popular culture and as an offering that could spark the imagination and provide alternative reference points of identity and possibility, especially for youth.
The Mission District is located in east-central San Francisco and is the oldest neighborhood in the city. It was in this area that a Spanish Franciscan missionary, Father Francisco Palóu (1723-1789), founded Mission San Francisco de Asis in June, 1776.
St. Peter's is the fifth oldest Episcopal congregation in the city of San Francisco. It was founded in 1867.
Diverse City Theater Company (DCT) presents it’s inaugural series entitled THE GREEN ROOM: a festival of staged readings featuring original plays that portray social diversity from various cultural perspectives. DCT will present the works throughout August and September, 2005 at Ensemble Studio Theatre.
This year's crop includes:
ONE-ACT PLAYS:
* Susan Tammany's monologue ARIA I, a confessional portrait of a wheelchair-bound woman who refuses to be defined by her disability; directed by Triangle Theater’s Nancy Rogers and featuring Deepti Gupta.
* Stuart Harris's COLLEEN IRELAND, a gentle comedy about being old and Irish; directed by Lee Errickson and featuring Shirley Bodtke and Danielle Savin.
* Jorshinelle Taleon-Sonza's HOW TO COOK ADOBO, a cultural comedy about being young and Filipino; directed by Victor Lirio and featuring Liz Casasola, Lydia Gaston, Bing Magtoto and Benjamin Schmoll.
* Joe Byers’ aptly called I AM JOE'S PROSTATE, an edgy comedy about two young men talking about their prostates; directed by The Working Theater’s Mark Plesent and featuring Nicholas Blue and Randy Falcon.
* Lee Errickson's FINDING THE MANGO, a quirky piece about a struggling gallery owner and her savior Mexican employee; directed by KEF Productions’ Adam Fitzgerald and featuring Allison Easter and Andrew Eisenman.
* Linda Faigao-Hall’s THE A-WORD, an abstract play about abortion; directed by Lee Errickson and featuring Victor Lirio and Kathryn Rossetter.
FULL LENGTH PLAYS:
* Linda Faigao-Hall’s WALKING IRON, which explores homophobia in a working class setting; directed by Jamie Richards and featuring Tim Davis, Andrew Eisenman, Ernest Mingione, David Newer, Dean Stapleton, Rodney To, and Anne Winkles.
* Michael Gurr’s multi-award winning play SEX DIARY OF AN INFIDEL, a complex story of lies, fantasies and shifting realities, the play presents a prize-winning journalist pursuing a story about Australia's involvement in the lucrative and booming sex tours trade in Manila; directed by Obie Award winner Ching Valdes-Aran and featuring Denny Bess, Alexis Camins, Randy Falcon, Suzanne Lynch, Natasha Marco, and David Stott.
* Warren Bodow's HARRY THE HUNK ON HIS WAY OUT, set in a workingman's bar in Ohio where amiable Harry, a 64-year old factory foreman, and three friends gather to celebrate his imminent retirement into a life of leisure, comfort and contentment; directed by The Working Theater’s Mark Plesent and featuring Paul O'Brien, Nelson Adams, Randy Falcon, Fulani Hart, Desiree Maumus, Kathryn Rossetter and Dean Stapleton.
Website:
Press:
www.diversecitytheater.org/pressandnews/20050715.htm
www.diversecitytheater.org/pressandnews/20050801.htm
www.diversecitytheater.org/pressandnews/20050809.htm
Enhancements have been made to the Batman Armory by GeeWhiz Customs and it has been expanded to depict the Dark Knight's subterranean portside hideout in The Dark Knight Movie.
Entitled "Batcave 2.0", the scaled model set was entered into the annual diorama contest and was given the "Toycon's Choice" Award in the recently concluded 10th Philippine Toy Convention.
The new armory features a movie-accurate design with a weaponry display and an optional 1/6 scale empty cowl mask. A Second-level diorama of the Portside Ground Level featuring a Wayne Enterprises Container Van and perimeter fencing is an optional addition.
For inquiries on the Dark Knight Armory 2.0 or the Batcave 2.0 set, please eMail geewhizcustoms@gmail.com
Read more about this diorama HERE
The Bugatti Veyron EB 16.4 is a mid-engined sports car, designed and developed in Germany by the Volkswagen Group and manufactured in Molsheim, France, by Bugatti Automobiles S.A.S.
The original version had a top speed of 407.12 km/h (252.97 mph). It was named Car of the Decade and best car award (2000–2009) by the BBC television programme Top Gear. The standard Bugatti Veyron also won Top Gear's Best Car Driven All Year award in 2005.
The current Super Sport version of the Veyron is recognized by Guinness World Records as the fastest street-legal production car in the world, with a top speed of 431.072 km/h (267.856 mph), and the roadster Veyron Grand Sport Vitesse version is the fastest roadster in the world, reaching an averaged top speed of 408.84 km/h (254.04 mph) in a test on 6 April 2013.
Name origin
The Veyron EB 16.4 is named in honour of Pierre Veyron, a Bugatti development engineer, test driver and company race driver who, with co-driver Jean-Pierre Wimille, won the 1939 24 hours of Le Mans while driving a Bugatti. The "EB" refers to Bugatti founder Ettore Bugatti and the "16.4" refers to the engine's 16 cylinders and 4 turbochargers.
World record controversy
A controversy developed in 2013 over the Veyron Super Sport's status as the world’s fastest production car, ultimately resolved in the Veyron's favor.
In early April 2013, driving.co.uk (also known as Sunday Times Driving) began an investigation following claims from US car maker Hennessey that its 928 kW (1,244 bhp) Hennessey Venom GT was entitled to the Guinness World Record. With a recorded speed of 427.6 km/h (265.7 mph) the Hennessey was 3.4 km/h (2.1 mph) slower than the Veyron but Hennessey dismissed Bugatti’s official record saying that the Veyron Super Sport was restricted to 415 km/h (258 mph) in production form and that for it to achieve its record top speed of 431.0 km/h (267.8 mph), the car used was in a state of tune not available to customers. Hennessey said its Venom GT was road-ready and unmodified and was therefore a production car in the strict sense of the term.
Driving.co.uk requested clarification from Guinness World Records, which investigated this claim and found that the modification was against the official guidelines of the record. Upon finding this, Guinness World Records voided the Super Sport's record and announced it was "reviewing this category with expert external consultants to ensure our records fairly reflect achievements in this field."
After further review, Shelby SuperCars, the producers of the Ultimate Aero TT, said that they had reclaimed the record, however Guinness reinstated the Super Sport's record after coming to the conclusion that "a change to the speed limiter does not alter the fundamental design of the car or its engine."
Bugatti Veyron 16.4 Super Sport, World Record Edition (2010–)
The Bugatti Veyron 16.4 Super Sport is a faster, more powerful version of the Bugatti Veyron 16.4. Production is limited to thirty units. The Super Sport has increased engine power of 1,200 PS (880 kW; 1,200 bhp), a torque of 1,500 N·m (1,100 lbf·ft), and a revised aerodynamic package. The Super Sport has a 431.072 km/h (267.856 mph) top speed, making it the fastest production road car on the market although it is electronically limited to 415 km/h (258 mph) to protect the tyres from disintegrating.
The Bugatti Veyron 16.4 Super Sport World Record Edition is a version of the Bugatti Veyron 16.4 Super Sport. It is limited to five units. It has an orange body detailing, and a special, black, exposed, carbon, body.
The vehicle was unveiled in 2010 at The Quail, followed by the 2010 Monterey Historic Races at Laguna Seca, and the 2010 Pebble Beach Concours d'Elegance.
[Text taken from Wikipedia]
This Lego MotorCity-scale 2010 Bugatti Veyron Super Sport has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. In the case of the Veyron Super Sport, the fastest road car in the world - 431.072 km/h (267.856 mph).
Harper Collins has just published a novel entitled Displaced Persons, the debut novel by civil rights litigator Ghita Schwarz. I was commissioned to take Ghita's author portrait so I am quite pleased to announce that I have been published too along with her! We had a great shoot together last year, it's wonderful to be a small part of her considerable accomplishment.
The reviews are terrific - can't wait to read the book for myself!
Sculpture entitled Lunchbreak (see plaque) outside the Custom House Museum in Key West, Florida.
Tenuous Link: work → lunchbreak.
The KOM League
Flash Report
For
September 20, 2018
Plea:
Be understanding regarding this report for it isn’t much about the KOM league or baseball. I direct your attention to the last item in this report entitled “More of the Story.” It is one of the most amazing tales I have been able to share in all the years this publication has cluttered up the Internet.
This report is on Flicker at: www.flickr.com/photos/60428361@N07/29853875597 If you don’t like this report, all that much, keep looking at the photos I’ve recently posted.
The photo of the week:
Obviously, I had to “dig deep” to come up with something to share this time around. My writing efforts have taken a holiday, in recent days. Maybe I have run out of true stories to report and the ability to “create” fiction has eluded me.
A couple of decades ago a visit was paid to Colonel Robert Dale (Led the Missouri National Guard during the 1968 riots in Kansas City) was the son of the late E. L. Dale, who first brought baseball to Carthage, Missouri, in 1938, and then spearheaded the founding of the KOM some seven years later and it began operation a year after that, in 1946.
Kansas City race riots: www.google.com/search?q=Kansas+City+race+riots+1968&o...
Col. Dale had asked me to meet him at his home and after our conversation concluded he gave me many priceless items including, but not limited to, a baseball glove Gabby Street presented him following the 1930 World Series that the St. Louis Cardinals won over Connie Mack’s Philadelphia Athletics. Over the years I have shared some of that memorabilia at KOM league events and written about it in numerous missives.
However, one thing that I don’t ever recall mentioning was a drawing done in the early spring of 1938 when Carthage was preparing to join the Arkansas/Missouri league. The reader can look at the Flickr image and see that the cartoonist didn’t know how to spell Pittsburgh, Penn. but rather had the spelling of the town in nearby Kansas that left off the “H.” The drawing was depicting the young “Hopefuls” who were preparing to make their entry into organized baseball.
That drawing was recently pulled out of the frame and examined. It was found that Jack E. Murray did the artwork on that item. It was finally given by the Rotary Club to the Dale family as the “Award of the Month” for 1964-65 by the president of that service organization, Ted Evans. Yours truly knew Ted Evans but wasn’t familiar with the artist, Jack E. Murray, or so I thought.
Guess what? I now know about Mr. Murray and realize I was aware of him for most of my young life. He was born John Edward Murray on May 13, 1919 in Willard, Missouri. The young cartoonist was obviously a baseball fan and celebrated the entry of baseball into Carthage with his artistic ability. His depiction of E. L. Dale was a dead ringer for the Carthage Press editor. When he drew that image he was nearly 19 years of age. He attended the University of Missouri in 1940. Jack was busy drawing things, for fun and making a living as the owner of the John E. Murray-- Earth Mover Company located at 1102 South River Street.
Those “Hopefuls” who tried out for the Carthage club, in 1938, did well. They finished two games out of first place in the pennant race and then won the playoffs, four games to one over Neosho. Neosho was a rival in baseball during the Arkansas/Missouri league history that lasted 2.5 years. Over my time of being aware of the world, Neosho and Carthage were rivals in high school athletics. Then, in a twist of fate the Neosho Daily News began printing the Carthage Press in recent years and then shipped the 20 miles, or so north, for distribution. If anyone paid attention to a recent report, the Carthage Press that E. L. Dale and his son Robert worked so hard to keep Carthaginians informed, bit the dust, just like the Arkansas/Missouri league did in 1940 and the KOM league did after the 1952 season.
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Putting things together
This is a note from a lifelong friend, so far, who I’m going to do my best to link to the previous article. He wrote “Just looking at your book on sale at Amazon. Lots of people give it an excellent review. I think you should write another, this time on Eno Slaughter. I would write one but kinda short on necessary skills. My grand pappy always said, "when it comes to buying a book, always by the thickest one you can find, that was you always get your money's worth.” Anyway, you gave me one of your books and I really enjoy it. (If you recall it was over ten years ago at the class reunion.”) Gary Wayne Smith-Nixa, Missouri
As it turns out I do recall giving away some of my “Mickey Mantle Before the Glory” books to prove to some former classmates that I didn’t totally sleep through Mrs. Webster’s English classes. Shortly after receiving that note I headed off for a dental appointment and on the reading table was a copy of the Mantle book. I gave away some there as well. Upon returning home I went downstairs to my basement to see how many were still awaiting a good home and I’m back to the old saying “That book is a million seller, there are a million of them in my cellar.”
If you go on the Internet you can search for owners of that book who are attempting to dump them and the price ranges from $5 - $44. www.amazon.com/Mickey-Mantle-John-G-Hall/dp/1585973173 If you want one that is still in my basement, signed, sealed and shipped, send a request for a quote. How is that for a shameless advertisement?
Oh, I’ll bet you thought I had strayed off topic and wasn’t going to mention how Gary Smith and Jack Murray were connected. If you paid close attention you know that Murray lived in the 1100 block of South River and Smith lived on the same block. I know the exact address of each of the aforementioned but have decided to leave some things for independent researchers to investigate.
Smith mentioned “Eno” Slaughter in his note. This was my response. “The Eno reference reminded me of a leather lung Cardinal fan. He sat in the left field bleachers at Sportsman’s Park. When Slaughter would come to bat he could be heard above Harry Caray's announcing yelling ‘Come on Eno’ and he'd hold the ‘o’ for what seemed like a minute, or so. Do you remember that?”
As it turned out Smith has the same memory of the “Eno” fan as I do. I wonder if anyone would know that old fan’s name?
______________________________________________________________________________
Now, more of the story
When we last met, in this forum, mention was made of Kenneth Eugene Gladhill who played in the KOM league and later made his living in professional wrestling. It was mentioned in that report a lot more was known about him and a lot of things not intuitively obvious even to the most casual observer, upon first glance, were available. I wish there was room to share all the details uncovered on the life of Ken Gladhill
After distributing the last Flash Report I had the following message from Ken Gladhill’s daughter. “I am glad to know who you are. Will email you this evening about some of my info. You wrote a nice article on him after he had died in 1985. You had spoken to my mother Monta Lee Gladhill to obtain some information. She is still living at age 98. She has poor recall, due to her age. Will get back in touch asap.”
It was nice knowing that Monta Gladhill is still living and that her daughter wished to communicate regarding the past. A whole lot of messages have gone back and forth and I’ll touch on just a few of them.
To say that Ken Gladhill lived an exciting life might be an understatement. As I suspected, in my last report, he wasn’t born in Lusk, Wyoming but rather Kansas City, Missouri He came into this world at the Willows, which was a home for unwed mothers. To get some idea of what the Willows was about read this link. bedgie.tripod.com/newspaper-articles.html
Kenneth, with no last name at the time, was placed on an orphan train and headed west out of Kansas City. His daughter is about 99% sure of all the facts of her father’s early life but believes he was adopted by John Gladhill who was a depot agent at one of the places where that particular train stopped. Shortly, thereafter the elder Gladhill married a woman ten years his senior and they eventually made their way to Noel, Missouri.
Most likely this story would have ended by this point. However, I mentioned to Gladhill’s daughter that I started a church in Noel, in 1959. She began asking questions of who I knew and threw out the names of Mayor Kile and a school superintendent by the name of Dean Scott. Well, that got my attention. The aforementioned was Amandus Dean Scott, a native of Kentucky, who attained the rank of Sergeant in World War II. He and his wife, Mattie, looked after the welfare of the children in that town just as they did a young preacher when I showed up in the summer of 1959. To gain some appreciation for the Scott’s I share this link, please read it.
stanfine.wordpress.com/2017/10/13/churning-butter-in-the-...
Gladhill’s daughter told of how Dean Scott encouraged her dad, when he was young, regarding developing his baseball skills. Mayor Charles Blaine Kile and his wife took the young boy under their wing and in Mayor Kile’s obituary, in 1960, it listed him as a foster son. There are some moving stories Gladhill’s daughter shared and it was evident the town of Noel, Missouri and its residents were great influences on youngsters. From my own experience I knew that Dean Scott was badly burned during his time in WW I and it disfigured his facial appearance. But, he didn’t allow it to affect how he would live the rest of his life. Mayor Kile also had lost an arm in a hunting accident so those things may have brought the two even closer together. They forged a friendship that surely wasn’t based on common religious tenants for Scott was a Nazarene and Kile a Christian Scientist.
After the summer of 1959 I went back to college and a year later returned there to spend my honeymoon at the nearby Ginger Blue resort and went into Noel to eat my meals. I never saw the Scott’s after that time but they had a distinct influence on my wife, Noel’s, life a couple of years later. Upon graduation from college I was approached by a church official and he asked me to pastor the denomination’s church at Davenport, Oklahoma. I went, not knowing how people in Davenport would have any idea who I was. It turned out that Mrs. Scott had family members in that town and that is why I ended up there.
Time marched forward and a decade after I left there, the hard work and sacrifice that those folks in Noel put forth in starting a small church was gone in an instant. A mighty explosion hit that town and blew much of it into oblivion. Here is one account of the disaster.
pa-rocks-ramble.blogspot.com/2008/07/great-train-blast.html The aforementioned link apprised me of something I didn’t know , in 1959. The little cabin where I lived was one of a cluster of a half-dozen or less. When a Jesse James movie was filmed there, in 1939, it was home for the actors Henry Fonda and Tyrone Power. That place wasn’t much in 1959, I trust it was better two decades earlier when the “big names” stayed there.
Over the 59 years that have transpired since setting foot in Noel and the places that led to, I haven’t forgotten much. Davenport was an interesting place that I never appreciated until I started reminiscing regarding the people I met. I met people in Davenport who at the time I didn’t know were connected to the Mickey Mantle family or a fellow called “Lightning” who was actually Doss K. Herd, who was one of the forces in making the Mickey Owen Baseball School such a success. He lived in Davenport but during the summer he spent most of it in Miller, Mo at the Owen facility. At the time I pastored at Davenport I was on the ministerial alliance and the minister’s in that group had the last names of; Sinn, Divine, Angel and Heavin. I told them if I would change the vowel in my last name from “a” to “e” I’d be a “real’ member of the group. Some forty plus years after leaving Davenport I learned that Rev. Heavin was really Rex Heavin who pitched for the Baxter Springs Whiz Kids when Mickey Mantle was the shortstop.
So, it turns out to be a small world. Fifty eight years ago there wasn’t much ancestry work being done on the scale as we now know it. One Sunday morning two elderly gentlemen showed up in Davenport for a church service. After a while only one of the gentleman appeared but I felt a real kinship to him. I told wife that he reminded me of my grandfather on the maternal side. When my wife started looking up things on ancestry it was discovered that the old gentleman who reminded me of my grandfather, John Bailey Harrison, was a cousin of my grandfather. They probably never knew each other.
So, it’s time to bring this shaggy dog report to a conclusion. As I was trolling the Internet this week I pulled up the town of Davenport, Oklahoma. It listed the names of recent deaths that have occurred there. The first name on that list was Mary Faye Tucker. I had no idea she would still be alive on this date in history. She passed away at age 98, just two months ago, and was the sister-in-law of “Lightning” Herd who was mentioned earlier as the “Mickey Owen” guy.
BREAKING NEWS
Just as I was finishing this report I had the following message from the daughter of Kenneth Gladhill.
“After 2 years of search from the courts I have finally found out who is the biological mother of my father. I received a call from the courthouse in Kansas City to confirm this to be true. This has been a long journey. I had a 99.9% suspicion, but to hear it that I was right makes my journey well worth it. The lady died in 1988. Therefore, she was alive when he died. Often wondered if she had felt as though she had a missing link in her life. It was her only son. I finally have closure. Just wanted you to know.”
Upon reading that note I shared what I had written with Gladhill’s daughter and asked if what I had already written would meet with her approval. This is what I received in return. “Your article is awesome. For editing purposes mom is 88 instead of 98. You are accurate on all the data I had sent. You sure are an excellent writer. Feel free to use the info you wrote about my dad. It makes me proud that my dad overcome the odds he had against him growing up. I sent a text to my brother and sister about the call from the courthouse in Kansas City. They were thankful for my perseverance to find out about dad's mom. I ended my text to them with this comnent. ‘I am hoping dad is looking down from heaven laughing. He knew that I was stubborn and would never quit if I was challenged to do something.' I had to laugh with my thoughts about him…I am hoping you are well. ..You sound like an awesome person that I wish I had known before now. You have touched so many lives I am certain. I have been a Registered Nurse for 35 years. I am hoping I have touched someone's life in my career somehow. Put it to press! Thanks again for your wisdom and friendship.”
Parting shot. I’m not sure writing about the KOM league has had much of an impact, over the years. However, I’m sure that in a 35-year nursing career Sharon, yes, that’s her name, has been a comfort and blessing for many people needing those things in their hour of need.
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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.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--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
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.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
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Tara (Sanskrit: तारा, tārā; Tib. སྒྲོལ་མ, Dölma) or Ārya Tārā, also known as Jetsun Dölma (Tibetan language:rje btsun sgrol ma) in Tibetan Buddhism, is a female Bodhisattva in Mahayana Buddhism who appears as a female Buddha in Vajrayana Buddhism. She is known as the "mother of liberation", and represents the virtues of success in work and achievements. In Japan she is known as Tara Bosatsu (多羅菩薩), and little-known as Duōluó Púsà (多羅菩薩) in Chinese Buddhism.
Tara is a tantric meditation deity whose practice is used by practitioners of the Tibetan branch of Vajrayana Buddhism to develop certain inner qualities and understand outer, inner and secret teachings about compassion and emptiness. Tara is actually the generic name for a set of Buddhas or bodhisattvas of similar aspect. These may more properly be understood as different aspects of the same quality, as bodhisattvas are often considered metaphors for Buddhist virtues.
The most widely known forms of Tārā are:
Green Tārā, (Syamatara) known as the Buddha of enlightened activity
White Tārā, (Sitatara) also known for compassion, long life, healing and serenity; also known as The Wish-fulfilling Wheel, or Cintachakra
Red Tārā, (Kurukulla) of fierce aspect associated with magnetizing all good things
Black Tārā, associated with power
Yellow Tārā, (Bhrikuti) associated with wealth and prosperity
Blue Tārā, associated with transmutation of anger
Cittamani Tārā, a form of Tārā widely practiced at the level of Highest Yoga Tantra in the Gelug School of Tibetan Buddhism, portrayed as green and often conflated with Green Tārā
Khadiravani Tārā (Tārā of the acacia forest), who appeared to Nagarjuna in the Khadiravani forest of South India and who is sometimes referred to as the "22nd Tārā"
There is also recognition in some schools of Buddhism of twenty-one Tārās. A practice text entitled In Praise of the 21 Tārās, is recited during the morning in all four sects of Tibetan Buddhism.
The main Tārā mantra is the same for Buddhists and Hindus alike: oṃ tāre tuttāre ture svāhā. It is pronounced by Tibetans and Buddhists who follow the Tibetan traditions as oṃ tāre tu tāre ture soha.
EMERGENCE OF TARA AS A BUDDHIST DEITY
Within Tibetan Buddhism Tārā is regarded as a Bodhisattva of compassion and action. She is the female aspect of Avalokiteśvara and in some origin stories she comes from his tears:
Then at last Avalokiteshvara arrived at the summit of Marpori, the 'Red Hill', in Lhasa. Gazing out, he perceived that the lake on Otang, the 'Plain of Milk', resembled the Hell of Ceaseless Torment. Myriads of being were undergoing the agonies of boiling, burning, hunger, thirst, yet they never perished, but let forth hideous cries of anguish all the while. When Avalokiteshvara saw this, tears sprang to his eyes. A teardrop from his right eye fell to the plain and became the reverend Bhrikuti, who declared: "Son of your race! As you are striving for the sake of sentient beings in the Land of Snows, intercede in their suffering, and I shall be your companion in this endeavour!" Bhrikuti was then reabsorbed into Avalokiteshvara's right eye, and was reborn in a later life as the Nepalese princess Tritsun. A teardrop from his left eye fell upon the plain and became the reverend Tara. She also declared, "Son of your race! As you are striving for the sake of sentient beings in the Land of Snows, intercede in their suffering, and I shall be your companion in this endeavour!" Tara was also reabsorbed into Avalokiteshvara's left eye, and was reborn in a later life as the Chinese princess Kongjo (Princess Wencheng).
Tārā is also known as a saviouress, as a heavenly deity who hears the cries of beings experiencing misery in saṃsāra.
Whether the Tārā figure originated as a Buddhist or Hindu goddess is unclear and remains a source of dispute among scholars. Mallar Ghosh believes her to have originated as a form of the goddess Durga in the Hindu Puranas. Today, she is worshipped both in Buddhism and in Shaktism as one of the ten Mahavidyas. It may be true that goddesses entered Buddhism from Shaktism (i.e. the worship of local or folk goddesses prior to the more institutionalized Hinduism which had developed by the early medieval period (i.e. Middle kingdoms of India). Possibly the oldest text to mention a Buddhist goddess is the Prajnaparamita Sutra (translated into Chinese from the original Sanskrit c. 2nd century CE), around the time that Mahayana was becoming the dominant school of thought in Indian and Chinese Buddhism.[dubious – discuss] Thus, it would seem that the feminine principle makes its first appearance in Buddhism as the goddess who personified prajnaparamita.
Tārā came to be seen as an expression of the compassion of perfected wisdom only later, with her earliest textual reference being the Mañjuśrī-mūla-kalpa (c. 5th–8th centuries CE). The earliest, solidly identifiable image of Tārā is most likely that which is still found today at cave 6 within the rock-cut Buddhist monastic complex of the Ellora Caves in Maharashtra (c. 7th century CE), with her worship being well established by the onset of the Pala Empire in Northeast India (8th century CE).
Tārā became a very popular Vajrayana deity with the rise of Tantra in 8th-century Pala and, with the movement of Indian Buddhism into Tibet through Padmasambhava, the worship and practices of Tārā became incorporated into Tibetan Buddhism as well. She eventually came to be considered the "Mother of all Buddhas," which usually refers to the enlightened wisdom of the Buddhas, while simultaneously echoing the ancient concept of the Mother Goddess in India.
Independent of whether she is classified as a deity, a Buddha, or a bodhisattva, Tārā remains very popular in Tibet (and Tibetan communities in exile in Northern India), Mongolia, Nepal, Bhutan, and is worshiped in a majority of Buddhist communities throughout the world (see also Guanyin, the female aspect of Avalokitesvara in Chinese Buddhism).
Today, Green Tara and White Tara are probably the most popular representations of Tara. Green Tara (Khadiravani) is usually associated with protection from fear and the following eight obscurations: lions (= pride), wild elephants (= delusion/ignorance), fires (= hatred and anger), snakes (= jealousy), bandits and thieves (= wrong views, including fanatical views), bondage (= avarice and miserliness), floods (= desire and attachment), and evil spirits and demons (= deluded doubts). As one of the three deities of long life, White Tara (Sarasvati) is associated with longevity. White Tara counteracts illness and thereby helps to bring about a long life. She embodies the motivation that is compassion and is said to be as white and radiant as the moon.
ORIGIN AS A BUDDHIST BODHISATTVA
Tārā has many stories told which explain her origin as a bodhisattva.
In this tale there is a young princess who lives in a different world system, millions of years in the past. Her name is Yeshe Dawa, which means "Moon of Primordial Awareness". For quite a number of aeons she makes offerings to the Buddha of that world system, whose name was Tonyo Drupa. She receives special instruction from him concerning bodhicitta - the heart-mind of a bodhisattva. After doing this, some monks approach her and suggest that because of her level of attainment she should next pray to be reborn as a male to progress further. At this point she lets the monks know in no uncertain terms that from the point of view of Enlightenment it is only "weak minded worldlings" who see gender as a barrier to attaining enlightenment. She sadly notes there have been few who wish to work for the welfare of beings in a female form, though. Therefore she resolves to always be reborn as a female bodhisattva, until samsara is no more. She then stays in a palace in a state of meditation for some ten million years, and the power of this practice releases tens of millions of beings from suffering. As a result of this, Tonyo Drupa tells her she will henceforth manifest supreme bodhi as the Goddess Tārā in many world systems to come.
With this story in mind, it is interesting to juxtapose this with a quotation from H.H. the Dalai Lama about Tārā, spoken at a conference on Compassionate Action in Newport Beach, CA in 1989:
There is a true feminist movement in Buddhism that relates to the goddess Tārā. Following her cultivation of bodhicitta, the bodhisattva's motivation, she looked upon the situation of those striving towards full awakening and she felt that there were too few people who attained Buddhahood as women. So she vowed, "I have developed bodhicitta as a woman. For all my lifetimes along the path I vow to be born as a woman, and in my final lifetime when I attain Buddhahood, then, too, I will be a woman."
Tārā, then, embodies certain ideals which make her attractive to women practitioners, and her emergence as a Bodhisattva can be seen as a part of Mahayana Buddhism's reaching out to women, and becoming more inclusive even in 6th-century CE India.
TARA AS A SAVIOURESS
Tārā also embodies many of the qualities of feminine principle. She is known as the Mother of Mercy and Compassion. She is the source, the female aspect of the universe, which gives birth to warmth, compassion and relief from bad karma as experienced by ordinary beings in cyclic existence. She engenders, nourishes, smiles at the vitality of creation, and has sympathy for all beings as a mother does for her children. As Green Tārā she offers succor and protection from all the unfortunate circumstances one can encounter within the samsaric world. As White Tārā she expresses maternal compassion and offers healing to beings who are hurt or wounded, either mentally or psychically. As Red Tārā she teaches discriminating awareness about created phenomena, and how to turn raw desire into compassion and love. As Blue Tārā (Ekajati) she becomes a protector in the Nyingma lineage, who expresses a ferocious, wrathful, female energy whose invocation destroys all Dharmic obstacles and engenders good luck and swift spiritual awakening.
Within Tibetan Buddhism, she has 21 major forms in all, each tied to a certain color and energy. And each offers some feminine attribute, of ultimate benefit to the spiritual aspirant who asks for her assistance.
Another quality of feminine principle which she shares with the dakinis is playfulness. As John Blofeld expands upon in Bodhisattva of Compassion, Tārā is frequently depicted as a young sixteen-year-old girlish woman. She often manifests in the lives of dharma practitioners when they take themselves, or spiritual path too seriously. There are Tibetan tales in which she laughs at self-righteousness, or plays pranks on those who lack reverence for the feminine. In Magic Dance: The Display of the Self-Nature of the Five Wisdom Dakinis, Thinley Norbu explores this as "Playmind". Applied to Tārā one could say that her playful mind can relieve ordinary minds which become rigidly serious or tightly gripped by dualistic distinctions. She takes delight in an open mind and a receptive heart then. For in this openness and receptivity her blessings can naturally unfold and her energies can quicken the aspirants spiritual development.
These qualities of feminine principle then, found an expression in Indian Mahayana Buddhism and the emerging Vajrayana of Tibet, as the many forms of Tārā, as dakinis, as Prajnaparamita, and as many other local and specialized feminine divinities. As the worship of Tārā developed, various prayers, chants and mantras became associated with her. These came out of a felt devotional need, and from her inspiration causing spiritual masters to compose and set down sadhanas, or tantric meditation practices. Two ways of approach to her began to emerge. In one common folk and lay practitioners would simply directly appeal to her to ease some of the travails of worldly life. In the second, she became a Tantric deity whose practice would be used by monks or tantric yogis in order to develop her qualities in themselves, ultimately leading through her to the source of her qualities, which are Enlightenment, Enlightened Compassion, and Enlightened Mind.
TARA AS A TANTRIC DEITY
Tārā as a focus for tantric deity yoga can be traced back to the time period of Padmasambhava. There is a Red Tārā practice which was given by Padmasambhava to Yeshe Tsogyal. He asked that she hide it as a treasure. It was not until the 20th century, that a great Nyingma lama, Apong Terton rediscovered it. This lama was reborn as His Holiness Sakya Trizin, present head of the Sakyapa sect. A monk who had known Apong Terton succeeded in retransmitting it to H.H. Sakya Trizin, and the same monk also gave it to Chagdud Tulku Rinpoche, who released it to his western students.
Martin Willson in In Praise of Tārā traces many different lineages of Tārā Tantras, that is Tārā scriptures used as Tantric sadhanas. For example a Tārā sadhana was revealed to Tilopa (988–1069 CE), the human father of the Karma Kagyu. Atisa, the great translator and founder of the Kadampa school of Tibetan Buddhism, was a devotee of Tārā. He composed a praise to her, and three Tārā Sadhanas. Martin Willson's work also contains charts which show origins of her tantras in various lineages, but suffice to say that Tārā as a tantric practice quickly spread from around the 7th century CE onwards, and remains an important part of Vajrayana Buddhism to this day.
The practices themselves usually present Tārā as a tutelary deity (thug dam, yidam) which the practitioners sees as being a latent aspect of one's mind, or a manifestation in a visible form of a quality stemming from Buddha Jnana. As John Blofeld puts it in The Tantric Mysticism of Tibet:
The function of the Yidam is one of the profound mysteries of the Vajrayana...Especially during the first years of practice the Yidam is of immense importance. Yidam is the Tibetan rendering of the Sanskrit word "Iṣṭadeva" - the in-dwelling deity; but, where the Hindus take the Iṣṭadeva for an actual deity who has been invited to dwell in the devotee's heart, the Yidams of Tantric Buddhism are in fact the emanations of the adepts own mind. Or are they? To some extent they seem to belong to that order of phenomena which in Jungian terms are called archetypes and are therefore the common property of the entire human race. Even among Tantric Buddhists, there may be a division of opinion as to how far the Yidams are the creations of individual minds. What is quite certain is that they are not independently existing gods and goddesses; and yet, paradoxically, there are many occasions when they must be so regarded.
SADHANAS OF TARA
Sadhanas in which Tārā is the yidam (meditational deity) can be extensive or quite brief. Most all of them include some introductory praises or homages to invoke her presence and prayers of taking refuge. Then her mantra is recited, followed by a visualization of her, perhaps more mantra, then the visualization is dissolved, followed by a dedication of the merit from doing the practice. Additionally there may be extra prayers of aspirations, and a long life prayer for the Lama who originated the practice. Many of the Tārā sadhanas are seen as beginning practices within the world of Vajrayana Buddhism, however what is taking place during the visualization of the deity actually invokes some of the most sublime teachings of all Buddhism. Two examples are Zabtik Drolchok and Chime Pakme Nyingtik.
In this case during the creation phase of Tārā as a yidam, she is seen as having as much reality as any other phenomena apprehended through the mind. By reciting her mantra and visualizing her form in front, or on the head of the adept, one is opening to her energies of compassion and wisdom. After a period of time the practitioner shares in some of these qualities, becomes imbued with her being and all it represents. At the same time all of this is seen as coming out of Emptiness and having a translucent quality like a rainbow. Then many times there is a visualization of oneself as Tārā. One simultaneously becomes inseparable from all her good qualities while at the same time realizing the emptiness of the visualization of oneself as the yidam and also the emptiness of one's ordinary self.
This occurs in the completion stage of the practice. One dissolves the created deity form and at the same time also realizes how much of what we call the "self" is a creation of the mind, and has no long term substantial inherent existence. This part of the practice then is preparing the practitioner to be able to confront the dissolution of one's self at death and ultimately be able to approach through various stages of meditation upon emptiness, the realization of Ultimate Truth as a vast display of Emptiness and Luminosity. At the same time the recitation of the mantra has been invoking Tārā's energy through its Sanskrit seed syllables and this purifies and activates certain psychic centers of the body (chakras). This also untangles knots of psychic energy which have hindered the practitioner from developing a Vajra body, which is necessary to be able to progress to more advanced practices and deeper stages of realization.
Therefore even in a simple Tārā sadhana a plethora of outer, inner, and secret events is taking place and there are now many works such as Deity Yoga, compiled by the present Dalai Lama, which explores all the ramifications of working with a yidam in Tantric practices.
The end results of doing such Tārā practices are many. For one thing it reduces the forces of delusion in the forms of negative karma, sickness, afflictions of kleshas, and other obstacles and obscurations.
The mantra helps generate Bodhicitta within the heart of the practitioner and purifies the psychic channels (nadis) within the body allowing a more natural expression of generosity and compassion to flow from the heart center. Through experiencing Tārā's perfected form one acknowledges one's own perfected form, that is one's intrinsic Buddha nature, which is usually covered over by obscurations and clinging to dualistic phenomena as being inherently real and permanent.
The practice then weans one away from a coarse understanding of Reality, allowing one to get in touch with inner qualities similar to those of a bodhisattva, and prepares one's inner self to embrace finer spiritual energies, which can lead to more subtle and profound realizations of the Emptiness of phenomena and self.
As Chagdud Tulku Rinpoche, in his Introduction to the Red Tārā Sadhana, notes of his lineage: "Tārā is the flawless expression of the inseparability of emptiness, awareness and compassion. Just as you use a mirror to see your face, Tārā meditation is a means of seeing the true face of your mind, devoid of any trace of delusion".
There are several preparations to be done before practising the Sadhana. To perform a correct execution the practitioner must be prepared and take on the proper disposition. The preparations may be grouped as "internal" and "external". Both are necessary to achieve the required concentration.
The preparations are of two types: external and internal. The external preparations consist of cleaning the meditation room, setting up a shrine with images of Buddha Shakyamuni and Green Tara, and setting out a beautiful arrangement of offerings. We can use water to represent nectar for drinking, water for bathing the feet, and perfume. For the remaining offerings - flowers, incense, light, and pure food - if possible we should set out the actual substances. As for internal preparations, we should try to improve our compassion, bodhichitta, and correct view of emptiness through the practice of the stages of the path, and to receive a Tantric empowerment of Green Tara. It is possible to participate in group pujas if we have not yet received an empowerment, but to gain deep experience of this practice we need to receive an empowerment. The main internal preparation is to generate and strengthen our faith in Arya Tara, regarding her as the synthesis of all Gurus, Yidams, and Buddhas.
TERMA TEACHINGS RELATED TO TARA
Terma teachings are "hidden teachings" said to have been left by Padmasambhava (8th century) and others for the benefit of future generations. Jamyang Khyentse Wangpo discovered Phagme Nyingthig (Tib. spelling: 'chi med 'phags ma'i snying thig, Innermost Essence teachings of the Immortal Bodhisattva [Arya Tārā]).
Earlier in the 19th century, according to a biography, Nyala Pema Dündul received a Hidden Treasure Tārā Teaching and Nyingthig (Tib. nying thig) from his uncle Kunsang Dudjom (Tib. kun bzang bdud 'joms). It is not clear from the source whether the terma teaching and the nyingthig teachings refer to the same text or to two different texts.
WIKIPEDIA
Boy oh boy, those 'entitled' government types really do take the cake. Now get this, these dudes are
(1) fishing for walleye (out of season)
(2) fishing in a sanctuary
(3) stunning the fish by electrocuting them and then scooping them up with nets
(4) taking way more than the legal limit!
(5) using publicly owned boat, motors, and generator to carry out their nefarious deeds.
And furthermore, these scoundrels are are performing their dastardly deeds in plain sight of women and children. Disgusting. Should an ordinary citizen, me f'rinstance, try any one of those things and it would be a firing squad at dawn.
They didn't even have the decency to wear camouflage clothing.
electricFish_1334.psd
This photograph was published in an online article in 'THE DAILY SIGNAL' ON February 18, 2021 entitled:
'' If France Can Reject Wokeness, So Can We '' - by Jarrett Steman in the 'SOCIETY/COMMENTARY' section of the news and commentary website based at 214 Massachusetts Ave NE, Washington, DC 20002-4999, USA.
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©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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Photograph taken at an altitude of Fifty eight metres at 08:40am on Saturday 25th August 2018, between Avenue Marceau and Avenue d'lena in Place Charles de Gaulle in front of the Arc de Triomphe de l'Etoile in Paris, France.
Here we see the sculpture known as, 'Le Triomphe de 1810' by Jean-Pierre Cortot which celebrates the treaty of Schonbrunn between the French and Austrians (October 14th 1809), with Napoleone di Buonaparte (Napoléon Bonaparte), being crowned by the Goddess of victory.
The Arc de Triomphe de l'Etoile stands at the Western end to the Champs-Elysees and the star or etoile in it's name is formed by it's twelve radiating avenues. The arc is based upon the Arc de Titus in Rome, and honours those who fought and died in the French Revolutionary and Napoleonic wars. It stands 50 metres tall and 45 metres wide and was commissioned in 1806 by Napoleon after the victory at Austerlitz. The original architect, Jean Chalgrin died in 1811 and it was a not completed until 1836. The tomb of the unknown warrior resides at the Arc and the flame is relit every evening at 6.30pm.
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Nikon D850 38mm. Hand held with Nikkor VR vibration reduction enabled on Normal setting. Shutter speed 1/640s f/4.0 iso64 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Colour space. Adobe RGB. AF-C focus 51 point with 3-D tracking. Manual exposure. Matrix metering. Auto 0 white balance (8030K). Nikon Distortion control on. Vignette control Normal.
Nikkor AF-S 24-120mm f/4G ED VR. Phot-R ultra slim 77mm UV filter. Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.
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HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
Mural entitled "On lâche rien" by MTO aka @mtograff, seen at 1276 West Adams Street in Jacksonville, Florida.
Drone photo by James aka Urbanmuralhunter on that other photo site.
Edit by Teee.
Detail about the artist-- www.perplexity.ai/page/mto-mural-artist-on-instagram-RvlR...
A cultural event co-organized by WIPO and Morocco was held on the sidelines of the WIPO Assemblies, which met in Geneva from October 3 to 11, 2016.
The event featured an exhibition entitled "The Centenary of Industrial Property in Morocco" showcasing the history of industrial property in Morocco, as well as a musical performance by blind and visually impaired performers from around the world.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
From a YouTube video entitled CATHEDRAL AMBIENCE: VOL III | 1 HOUR of Calming Pipe Organ Music for Meditation, Study, and Sleep
youtu.be/5U2FK4iAHCM?si=Vk9WhMm1qU1E2mKQ
The extended organ improvisation that accompanies the images was performed by Mr. Shows at First United Methodist Church, Pasadena, California on a 1923 Aeolian Skinner organ with cathedral reverb added in editing, giving the listener the experience of being in a massive acoustic space and hearing this music wash over you.
If this experience appeals to you as it does to me, then be sure to check out the performer's other volumes in this series:
Cathedral Ambience (first volume)
youtu.be/ZLliXV4eI6o?si=f81LJaUWMV8xOleI
Cathedral Ambience Volume II
youtu.be/oTEIdDfKoxs?si=Fb14e_0MV3rAe_Up
Cathedral Ambience Live
This photograph was published online in an article in IN YOUR AREA - COMMUNITY NEWS on March 8th 2024 entitled:
'' Wood pigeon quandary and a trip to remember - Writer Sean Wood casts his mind back to a fortuitous trip to Dublin '' by Emma Boff.
With headquarters located at Reach Plc, Floor 23, One Canada Square, Canary Wharf, London E14 5AB this is a UK news and community website for many areas of the country.
The image had previously been selected for sale in the GETTY IMAGES COLLECTION on June 27th 2020 CREATIVE RF gty.im/1252613682 MOMENT ROYALTY FREE COLLECTION, becoming my 5,289th published (I now have 7000+).
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
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Photograph taken at an altitude of Seventy metres at 08:02am on Friday 26th June 2020, of a an adult Male Woodpigeon (Columba palumbus)off Chessington Avenue in Bexleyheath, Kent.
Wood pigeons are the largest and most common pigeon in the UK, and forms part of the Dove and pigeon family, genus Columba, family Columbidae. Known locally as the 'Culver' in Southeast England, their name is often written in two forms, either as Woodpigeon or as Wood pigeon. Polumbus is the ancient Greek for “a diver”, derived from kolumbao meaning “to dive, swim, or plunge”. κόλυμβος is the Ancient Greek for Columba, which means “a diver”. These game birds are a protected by The Wildlife and Countryside Act 1981 and with over five and a half million breeding pairs in the UK, they are classed as he UK conservation status, meaning they are of least concern.
They can weigh between 480-550g with a length from 40-42cm and a wingspan of 75-80cm.The common wood pigeon was originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 tenth editions of 'SYSTEMA NATURAE', where it was placed with all the other pigeons in the genus Columba and coined the binomial name Columba palumbus which is from the Latin palumbes for a wood pigeon. Of the five subspecies recognised worldwide, the Madeira species is now extinct.
Wood pigeon is also eaten regularly in the UK, a meaty bird with a distinctive deep gamey flavour. It is low in fat and high in protein and iron with a delicate texture that can be enjoyed at any time of the year. Commercially bought whole Wood pigeons sell from as little as a few pounds each.
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Nikon D850 Focal length 600mm Shutter speed: 1/200s Aperture f/6.3 iso320 Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) Image size L (8256 x 5504 FX). Focus mode AF-C focus. AF-C Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points.AF-Area mode single point & 73 point switchable. Exposure mode: Shutter Priority mode. Matrix metering. Auto ISO sensitivity control on (Max iso 800/ Minimum shutter speed 125). White balance on: Auto1. Colour space: RGB. Active D-lighting: Normal. Vignette control: Normal. Nikon Distortion control: Enabled. Picture control: Auto (Sharpening A +1/Clarity A+1)
Sigma 60-600mm f/4.5-6.3DG OS HSM SPORTS. Lee SW150 MKI filter holder with MK2 light shield and custom made velcro fitting for the Sigma lens. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch.Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.Manfrotto MT057C3-G Carbon fibre geared tripod. Neewer Gimbal tripod head with Arca Swiss quick release plate.055XPROB Tripod 3 Sections (Payload: 5.6kgs). Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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LATITUDE: N 51d 28m 28.12s
LONGITUDE: E 0d 8m 10.47s
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Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Second weekend of the annual Heritage event. It seems wrong to call it a weekend as it now compromises two weekends and many meedweek events too.
And scanning the events, there were some in Canterbury, so we decide to head to the city for a wander: jools would go shopping while I would go and do some snapping.
Of course there is always shopping first. Off to Tesco to fill the car, then fill the fridge and larder. I am away for three days, nearly four, so not much needed on top of some ready meals for Jools. Still came to seventy quid, mind.
A tub of cheese footballs did fall into the trolley, which helped.
Back home for breakfast of fruit and more coffee, and then off to Canterbury, parking near St Augustine's Abbey, walking to the centre via a subway. We parted, Jools went to Body Shop and a couple of other shops, while I walked down High Street, past the Eastbridge Hospital, Westgate Tower, Canterbury West station to St Dunstan's.
I could say I walked straight there, but I had a quarter of an hour to play with, so when I walked past a pasty shop, I went in for a coffee, and although wasn't really hungry, I did have a pasty anyway.
Once fed and watered, I walk on, up the hill past the station, and on the left was the church, the door already open despite it being only five to nine.
I went in, and found I had the church to myself.
Last time I was here, the Roper Chapel was being renovated and so I couldn't get inside. Important as it is in the chapel that the head of Thomas Moor, beheaded on Tower Hill on orders of Henry VIII. The windows of the chapel have several representation of him and scenes from his life. I snap them all.
I go round with the wide angle lens, now the church is fully open again.
That done, I walk back down into the centre heading for Eastbridge Hospital.
I have been here before, a decade ago, when I went round with just my wide angle lens, and go a few poor shots. So, with it being open for the Heritage Event, it seemed a good idea to go.
The hospital is ancient, it goes without saying, and is still in use.
I have walked up and down High Street in Canterbury dozens of times, and never really thought about what lay behind buildings on the west side.
At Eastbridge the ancient hospital straddles the Stour, or one branch of it, on the other is the timber framed house, Weavers, with the ducking stool further downstream.
I re-visited the hospital, and on the way out was told I could visit the gardens and Greyfriars Chapel at the same time.
A shop, former pawnbrokers, is now a charity shop for the gardens, and through the shop there is an exit to a path beside the river.
This opens out into two acres of gardens, still used to feed the patients in the hospital, and the monks who still live and work here.
There used to be a large priory church here, and there are parts of ancient walls and ruins to be seen, as well as a bridge of the same age.
Over the river, a former lodging building from the 13th century, as been converted into a chapel, Greyfriars, with pillars supporting the building as the river passes through a tunnel under it.
It was rather like walking through a wardrobe into a magical place, with the Stour gently flowing through it, and a few other visitors making their was to the Chapel and surrounding gardens.
We sat for 45 minutes in the meadow waiting for a service to end, so I could get shots. So, we people watched and delighted in Migrant Hawkers flying by.
Franciscan Gardens, Canterbury, Kent The sounds of the city seemed a hundred miles away.
I got the shots once the group of ladies left, and once I had the three shots, we followed sign to the exit, leaving the garden through a plane gate beside the old post office.
Two hundred and sixty Now what?
Well, nothing. Really.
So, we walk back slowly to the car, pay for three hours parking and drive back out of the city, down the A2 to the coast and home.
Back in time to listen to the footy, have a brew and try to avoid eating as we were going out in the evening. As, on Monday, it will be 14 years since we married, and as I will be in another country Monday, we celebrated it two days early.
Or would do come six.
Norwich were going for seven wins in a row, but never really got going against WBA, and fell a goal behind early on. Better in the second half, and drew level thanks to a deflection, but no win. But also, no defeat either.
Franciscan Gardens, Canterbury, Kent I had a shower and put on some clean clothes and a splash of aftershave.
Ready.
I drive us to Jen's, picked her up, then drove slowly to Sandwich, then over the marshes through Preston to Stourmouth.
We were not the only customers; there was a wedding reception, and there were gentlement and boys in three piece suits, and ladies and girls in glamourous gowns and neck-breaking heels. Occasionally the bride would literally sweep through the bar, the train of her dress cleaning as it went. Not sure if what was the right colour.....
We had ordered when I booked the table, a huge pan of paella with chorizo, chicken, ham and shrimp. Jen and I shared a bottle of red, and we ate and watched the comings and goings as the wedding party got ever more rauocus.
We rounded off with a cheeseboard between the three of us, and that was it.
Jools drove us back to Jen's, dropping her off, then back home.
I had decided to open the bottle of port once home, and did. This has been on the shelf since my last trip to Denmark and I saw it at the airport duty free.
It was every bit of good that I hoped it would be.
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The Hospital of St Thomas the Martyr of Eastbridge was founded in the 12th century in Canterbury, England, to provide overnight accommodation for poor pilgrims to the shrine of St Thomas Becket. It is now one of the ten almshouses still providing accommodation for elderly citizens of Canterbury[1] and is a grade I listed building.
The hospital is situated on the King's-bridge, near the Westgate, in Canterbury. It was established sometime after the death of Thomas Becket (1170), possibly as early as 1176, when Canterbury Cathedral became a site of pilgrimage; the hospital provided accommodation for the pilgrims. The earliest name recorded as founder is that of Edward FitzOdbold c. 1190, with further endowments by Archbishop Hubert Walter about 1203.[1] For many years, no special statutes were enacted, nor were any rules laid down for the treatment of pilgrims.
The original building consists of an entrance hall, undercroft, refectory and chapel, all built in around 1190. Like the ancient Entrance Hall beneath it, the Pilgrims’ Chapel dates from the twelfth century, but assumed its present proportions in the fourteenth century. The roof of the Pilgrims’ Chapel is a fine example of its kind: the style of woodwork and joinery indicate that it was built around 1285. The Undercroft's original function was as a dormitory, and architecturally shows the period of time where the round-headed arch was giving way to the Gothic style of pointed arch.
The Refectory is a large open room originally used as a dining space. On the north wall is a painting of Our Lord in Glory between the symbols of the four Evangelists dating from the thirteenth century. This fresco was only uncovered when the chimney and fireplace installed around the time of the dissolution were removed in 1879, and it has been conserved since its revelation.
Approval for the funding of a Chantry Chapel was sanctioned by Archbishop Sudbury in 1375; the original document confirming this endowment is housed in the Canterbury Cathedral archives. (Chantries were abolished in 1547, and this fell into disrepair until it was reclaimed and restored for its original use in 1969.)
Hospital of St. Thomas, Canterbury, old engraving.
In the fourteenth century the hospital was reformed by Archbishop John de Stratford, during the reign of Edward III; he created ordinances, as well as a code of regulations to be acted on concerning pilgrims. He ruled that every pilgrim in health could rest in the hospital for one night at the cost of four pence, that weak and infirm applicants were to be preferred to those with better health, and that women "upwards of forty" should attend to the bedding and administer medicines to the sick. He also appointed a Master in priest's orders, under whose guidance a secular chaplain served. Further lands and revenues from parishes were given by Stratford and by Archbishop Simon Sudbury.[1]
This institution survived the Dissolution of the Monasteries and other religious houses during the reigns of Henry VIII and Edward VI, although the pilgrimage to St Thomas of Canterbury did not survive this period. In 1569 Archbishop Matthew Parker issued new ordinances governing the Hospital and its Master which specified the maintenance of twelve beds for the 'wayfaring poor' and established a school in the chapel for twenty boys. This arrangement was confirmed by Archbishop John Whitgift by Act of Parliament in 1584.[1]
The school survived until 1879. The chapel was then little used until its restoration by the Master in 1927. Further restoration work has taken place during the twentieth century. Much of this work was financed by sale of some of the hospital's lands at Blean at the foundation of the University of Kent in the 1960s.[1] A list of the Masters of the Eastbridge Hospital up to the end of the eighteenth century is given by Edward Hasted.
Between 2014–2019, extensive restoration took place to preserve those rooms situated directly over the River Stour. This work was supported by the Viridor Credits scheme, which funds community, heritage, and biodiversity projects. It was formally opened to the public by the Bishop of Dover on 23 March 2019, and named after Archbishop William Juxon, who was a generous benefactor during his tenure, and gave money for an earlier restoration of this part of Eastbridge.
Eastbridge is a functional almshouse to this day, providing accommodation in eight individual apartments in areas of the buildings inaccessible to the public. Eastbridge is administered by Trustees whose main aims are the maintenance of the ancient buildings, which are of national historic interest, and the welfare of the almshouse residents (Indwellers).
en.wikipedia.org/wiki/Eastbridge_Hospital_of_St_Thomas_th...
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THE HOSPITAL OF KING'S BRIDGE, ALIAS EASTBRIDGE
IS likewise situated in the same hundred, being exempt from the liberties of the city, and within the jurisdiction of the county of Kent at large. It takes its name from its situation close on the south side of King's bridge. This hospital was formerly called, by both the names of Eastbridge hospital and the hospital of St. Thomas the martyr of Eastbridge; which latter it had, from its being at first erected and endowed by the charity and piety of St. Thomas Becket, in king Henry II.'s reign. (fn. 1) For this we have the testimony of one of his successors, archbishop Stratford; who, upon his new ordination of the hospital, and in the charter of it, acknowledged archbishop Becket to be the first founder and endower of it; besides which, there is no other record extant, or to be found concerning the foundation of this hospital, or the intent why it was erected. (fn. 2) But to look back to the times intervening between these two founders, in which it is recorded, that archbishop Hubert, who sat in this see in king John's reign, was an especial benefactor to it, by the gift of several mills, tithes, and other premises, which were confirmed by the prior and convent of Christ church. In this archbishop's time there was another hospital, neighbouring to this of King's, alias Eastbridge, called Cokyn's hospital, built and en dowed by one William Cokyn, a citizen of Canterbury, whose name in his posterity long survived him, in this city. (fn. 3) This hospital was dedicated to St. Nicholas and the Virgin and martyr St. Catherine; and was situated in the parish of St. Peter, almost directly opposite to the late Black Friars-gate, having had a lane by it, once called Cokyn's lane, though long since shut up, and built upon. This hospital lastmentioned, was built on the scite of a house adjoining to the above William Cokyn's dwelling, or else was turned into one by him. Afterwards, by his charter, he united these two hospitals, and then by another charter, entitled them to all his lands, possessions and chattels, and made them his heirs. This union was confirmed by the bull of pope Innocent III. anno 1203, in which it is called the hospital of St. Thomas of Canterbury; and in Cokyn's grant of union, it is stiled the hospital of St. Nicholas, St. Catherine, and St. Thomas the Martyr of Eastbridge. (fn. 4) Eastbridge hospital becoming thus by union or consolidation possessed of and owners of Cokyn's hospital, it ceased soon afterwards, probably, to be used as one, and was hired or rented out, among the possessions of the hospital of Eastbridge; in which state it continues at this time. (fn. 5)
To return now again to the hospital of St. Thomas of Eastbridge, for which there being no statutes for the government of it, archbishop Stratford, anno 15 Edward III. drew up certain ordinances for that purpose, (fn. 6) the effect of which was, that the hospital being founded for the receiving, lodging and sustaining of poor pilgrims, was then, owing to the negligence of the masters, who had wasted the revenues of it, but meanly endowed, and that the buildings of it were in a ruinous condition: to remedy which, and to continue the charitable intent of it, he decreed, that the church of St. Nicholas, Harbledown, should be for ever appropriated to it; that for the government of this hospital, there should be a master in priest's orders, appointed by the archbishop and his successors, who should keep a proper secular chaplain, or vicar, under him, to be removed at the master's will and pleasure. That such poor pilgrims as happened to die within this hospital, should be buried in Christ church yard, in the place heretofore allotted to them there. That every pilgrim, in health, should have no more than one night's lodging and entertainment, at the expence of 4d. that there should be twelve beds in the hospital, and that some woman, upwards of forty years of age, should look after the beds and provide all necessaries for the pilgrims; that those who were not in health, should be preferred to such as were; that no lepers should be received into it; that if there was a smaller number of pilgrims reforting to the hospital, at any one time, a greater number should be received into it, in lieu of such deficiency, at other times, as far as the revenues of the hospital would allow of it; and further, he inhibited them from having any common seal in the hospital, with several other particular orders and injunction, as may be seen in the instrument more at large.
This hospital had several very liberal benefactors in early times. Among others, Hamo de Crevequer gave the church of Blean to it, which gift was afterwards confirmed by archbishop Stephen Langton, and was afterwards appropriated to it by archbishop Sudbury in 1375, Thomas, lord Roos, of Hamlake, in the 33d year of king Edward III. gave the manor of Blean to it, and the year afterwards Sir John Lee, as appears by the ledger of the hospital, gave to it a messuage, with 180 acres of land and divers rents of assize, in the same parish, for the increase of vorks of piety in it. (fn. 7)
In the year 1362, archbishop Islip founded a perpetual chantry in this hospital, and transferred to it, for the benefit of it, at the request of Bartholomew de Bourne, the chantry founded in the church of Livingsborne, alias Beaksborne, by his ancestor James de Bourne. (fn. 8)
By the instruments of the archbishops Islip and Sudbury, dated in the above year, it appears, by the former, that there was founded in this hospital, a perpetual chantry for divine services; the priest of which was to receive a yearly stipend of ten marcs, of the master of the hospital, out of the revenues of it; for which he was to celebrate divine service, and minister the sacraments and sacramentals in it, to such poor and infirm as should resort hither; and that the priest and his successors should possess the mansion, within the bounds of the hospital, between the infirmary and the great gate of it, and the chamber over it. After which king Edward III, having given a messuage, called the Chaunge, at the time almost wholly in ruins, to Thomas Newe de Wolton, then master of this hospital, and his successors, in aid of the maintenance of the priest who should celebrate in it for his health, for his soul afterwards, and that of John at Lee, who in part founded the chantry, &c. and the said messuage having been repaired and rebuilt by the executors, and at the cost, though charity, of his predecessor, the value of the rent amounted to seven marcs yearly, and would, as it was presumed, amount still higher in future; and it being difficult at that time to find a proper priest, who would undergo the duty and residence required in it, for the salary of ten marcs, the king's piety in augmenting the priest's stipend, was as yet frustrated—Archbishop Simon Sudbury, therefore, by his instrument dated in 1375, in which he recited the above ordination of his predecessor, ordained and decreed, in addition to that before-mentioned, and by the consent of the said Thomas, master of this hospital, and the executors of his predecessor, that the endowment of this chantry of ten marcs, should be augmented with five marcs and an half out of the seven marcs of rent of the messuage given by the king as aforesaid, with power of distress, &c. and whereas the presentation of the chantry of Bourne, united to this hospital, as in the ordination of the first chantry aforesaid made by his predecessor, more plainly appeared, belonged to Bartholomew de Bourne, his heirs, or assigns, before the union; he therefore decreed and ordained, that the presentation and collation to be made to the same, when vacant, should belong to him and his successors, and to the said Bartholomew de Bourne, his heirs, or assigns, alternately; the first turn to belong to the archbishop, because the assigns of Bartholomew de Bourne (fn. 9) had presented the then incumbent to it, &c. (fn. 10)
Though the revenues of this hospital lay chiesly in the parish of Blean, yet it was possessed of other rents, lands and tenements in Canterbury, Harbledown, and in Birchington. It was likewise possessed of lands in Herne, Reculver, Swaycliffe, Chistlet, and Bekesborne, belonging to the before-mentioned chantry, which at the suppression of it were seized on, as such.
By a bull of pope Honorius III. this hospital had the privilege of not paying tithes of their gardens. (fn. 11)
By the return made to the king's commissioners in king Henry VIII.'s reign, it appears, that there was here a neat handsome chapel, dedicated to the Virgin Mary, to which had belonged two bells, to ring to service, as was reported to them by the parson and churchwardens of All Saints; who said further, that this hospital was a parish church, in which there was ministred all sacraments and sacramentals, to the poor people resorting thither, and to the keeper of it, and his household, and all others remaining within the precinct of it, by the chantry priest; the matter of fact was, that this chapel was formerly served by the chantry priest of the chantry in it, mentioned before, to have been transferred to it, who had 10l. 6s. 8d. yearly stipend or wages, besides his mansion or dwelling, which was at the west end of the hospital, of all which it was deprived at the suppression of it by the statute of the 1st year of king Edward VI. (fn. 12) when a pension of six pounds per annum was granted to Nicholas Thompson, alias Campion, the incumbent of it, which was remaining anno 1553. (fn. 13)
The value of the revenues of the hospital itself, as returned anno 26 Henry VIII. according to both Dugdale and Speed, were 23l. 18s. 9⅓d. per annum, but this must have been the clear income, for according to Sancrost's manuscript valor, they amounted in the whole to 43l. 12s. 3d. (fn. 14)
The state of this hospital, as it stood in the time of cardinal Pole, at archdeacon Harpsfield's visitation in 1557, was, as appears by the entry in the book of it; that they were bound to receive way faring and hurt men, and to have eight beds for men, and four for women; to remain for a might, and more, if they were not able to depart; and the master of the hospital to be charged with their burial, and they had twenty lords of wood yearly allowed, and 26s. a year for drink, that there was 10l. land a year, with a mansion, which the priest always had for officiating in the chapel, taken away by the king, and that it was the head church to St. Cosmus and St. Damian Blean, but that they had no ornaments but organs. (fn. 15)
This hospital, though it outlasted the general suppression of most of the foundations of the like sort in the reigns of king Henry VIII. and king Edward VI. yet in the beginning of queen Elizabeth's reign, the lands and tenements belonging to it, as well as the hospital itself, then converted into tenements, were occu pied and possessed by private persons, until archbishop Parker, in the 10th year of that reign, recovered, by his prudent care, some of the lands and possessions, and restored the house again to pious and charitable uses. He framed new ordinances for the government of it, which he wisely contrived should be suitable to those times, as well as agreeable to the first foundation of the hospital, and the former statutes of archbishop Stratford, as far as might be; reserving nevertheless, a power to his successors, archbishops of Canterbury, to revise, alter, abolish and new make all, or any part of them; they are dated May 20, 1569. (fn. 16)
In them it appears, that in consequence of the ordinances of archbishop Stratford, the master of the hospital might take all the profits of it to his own use, bestowing only for the relief of wandering and wayfaring brethren, and poor, in bread and drink, after the rate of 4d. a day, and one night's lodging for twelve persons, if so many came there at one time, in the whole not above 6l. 2s. 6d. per annum, but the archbishop (Parker) by the authority in the above former ordinance concerning the disposition of the profits of this hospital, to him and his successors reserved, to alter and change the same, did by these ordinances in that behalf made, under his hand and seal, not only increase the above sum, to be from thenceforth bestowed on certain poor inhabiting within the county of the city of Canterbury, but also appointed other sums of money thereout, yearly to be paid towards the keeping of a freeschool, for a certain number of poor children of the county of the said city, to be taught to write and read freely within the hospital.
By the same ordinance, as well as by an indenture, between the master of this hospital and the master of Corpus Christi, or Benet college, in Cambridge, dated May 22, anno 11th Elizabeth, the archbishop founded out of the revenues of this hospital, two scholarships, each of the yearly value of 3l. 6s. 8d. that sum to be paid yearly from thence, by the master of the hospital to the master of the college; the two scholars to be chosen, named, examined and approved by the master of this hospital and the dean of Canterbury, if any such there should be; if not, then by the master only, and to be taken from the free-school in Canterbury, being such of the scholars there as were born within Kent, and being sent to Cambridge, should be called Canterbury scholars; who, after their admittance and receipt there, should remain and continue in that college, according to the orders and statutes of it, and should have of the provision of it, convenient chambers, commons, reading and other necessaries, as other scholars in it, according to common custom, for the term of two hundred years next, from the date of the indenture, with other rules and regulations in it relating to them. (fn. 17)
Not long after this, queen Elizabeth issued a commission of charitable uses, to enquire into the state and condition of this hospital, which was done, and a return thereof made accordingly; and again, soon after the death of archbishop Parker, there was a second commission, directed to Sir James Hales and others, who certisied, that the hospital house stood ruinated, and neither master nor brethren were resident, or dwelling of long time. The house was let out into tenements for yearly rent. The beds that were wont to lodge and harbour poor people resorting thither, were gone and sold, contrary to the old order and foundation of the same; and that the hospital was relinquished and concealed from the queen, &c. Upon which, she granted it, with all its revenues, by letters patent, dated July 20, in her 18th year, to John Farnham, one of her gentlemen pensioners, to hold in see farm for ever. —He soon afterwards conveyed his interest in it for 550l. and the release beside of a debt owing by him, to Geo. Hayes. After this, archbishop Whitgift recovered this hospital, with the revenues of it, from Hayes, and then settled it upon a new foundation, so firm and sure, that it has continued to the present time, and remains a perpetual monument of the archbishop's piety and prudence, who may be justly reputed the sounder and restorer of it; (fn. 18) and he framed new ordinances and statutes, for the better government of it, by which the hospital is now ruled. In these it is, among other things, ordered and decreed, that the archbishop should collate the master, who should be in holy orders, and should be instituted and inducted according to the usual form and custom, who should have the lodging known by the name of the master's lodging, in the hospital; and a yearly stipend of 61. 13s. 4d. and twenty loads of wood from the lands belonging to it, to be delivered cost free. That the master should appoint a school-master, who by himself or deputy, should freely instruct twenty poor children of this city, above the age of seven years, to write, read and cast accompts, and to have books, paper, &c. provided for them, out of the prosits of the hospital, and not to remain in the school above three years. The school-master to have a lodging in the hospital, and a stipend of four pounds, and for his further relief, if the master approved of it, to be receiver of the rents, &c. of the hospital; for which he should receive 26s. 8d. and two loads of wood yearly, to be delivered cost free, and one summer livery cloth. That out of the prosits of the hospital, there should be paid for ever, to the two scholars to be taken out of the common school at Canterbury, commonly called the mynte, by the master of the hospital, with the consent of the archbishop, and placed in Benet college, 3l. 6s. 8d. each, according to the former ordinances made of it. That whereas by former ordinances, the master of the hospital was only tied to pay in time of peace, unto the poor passengers, or to such other poor people as the master should think good, thirty pence a week; and in time of war that payment ceasing, to provide twelve beds for the lodging of poor soldiers, passing through this city, within the hospital, for the space of one night only, which is now grown wholly out of use, especially since the loss of Calais; therefore, for the better relief of the poor inhabiting within this city and the suburbs of it, it was ordered, that the former last recited orders should cease, and instead of them, there should be five inbrothers, and five in-sisters, to be permanent and have their habitation in the hospital; and after the space of twenty years next ensuing, there should be five other out-brothers, and five others called out-sisters; each of the said in-brothers and in-sisters to have a several dwelling and lodging within the hospital, and 26s. 8d. by the year, and one load of wood to be delivered cost free, between Midsummer and Michaelmas; and each of the out brothers and out-sisters to have 26s. 8d. by the year only; that the mayor of this city should from time to time, nominate to the master of the hospital for every of the brothers and sisters rooms, when they should be void and unfurnished, two poor persons, men or women, as the places should require, being lame, impotent, blind, or aged, above fifty years of age, who should have inhabited within the city, of suburbs, seven years before; of which two, the master should chuse and admit one; and in default of the mayor's nomi nating for the space of three months, the master to make choice, and admit any, qualisied as above-mentioned. That in the room of every out-brother and sister, the mayor should nominate such persons as above specisied, whereof one at least should be such as had dwelt in the city or suburbs, by the space of three whole years at least, to the end that such as dwelt there, and not within the county of the city, should receive the whole benefit of these ordinances. That the master, out of the profits of the hospital, should repair and sustain it, and every part within the precincts of it, and also sufficiently sustain and maintain the bridge, called the king's bridge, alias Eastbridge, within the city of Canterbury; (fn. 19) and pay to the queen, her heirs and successors, 7l. 10s. yearly, due to her for the pension of a chantry, sometime within the hospital, and all other dues and payments going out of it. That the master should not let for years or lives, the lands or tenements, nor make any woodsales of the wood, without the express consent, in writing, of the archbishop, and should yearly make an accompt to him, if demanded, so that of the surplusage all charges deducted, the portions of the brethren and sisters might be increased at the will of the archbishop, as theretofore had been used. That the in-brethren or sisters, master or schoolmaster, who should die within the precincts of the hospital, might be buried within the church-yard of the cathedral, according to a former agreement made between the archbishop, his predecessor and the then prior and convent of Christ church, with many other orders and re gulations mentioned in them, (fn. 20) all which were confirmed and ordered to be inrolled in chancery, by an act passed in the 27th year of that reign, (fn. 21) by the means of which, the rights of this hospital have been preserved to this time.
There have been some few modern benefactors to this hospital.
Mr. Avery Sabin, sometime an alderman of this city, by his will in 1648, gave a rent charge out of his estate at Monkton, in Thanet, of 20l. per annum, for charitable uses to the poor of this city, of which, ten marcs were assigned yearly to be paid to the five in-brothers and five in-sisters of this hospital. (fn. 22)
Mrs. Elizabeth Lovejoy, widow, by her will in 1694, gave, out of her personal estate, the sum of five pounds yearly to this hospital, to be shared and divided among the poor of it, in like manner as her gift to Cogan's hospital, above-mentioned. Besides which, this hospital receives yearly the sixth part of the interest, due from 1631. 16s. 3d. being the sum due from Mrs. Masters's legacy, who died in 1716, which is vested in the mayor and commonalty, in trust, for the several hospitals in Canterbury, of which a full account may be seen among the charitable benefactions to this city.
In 1708 John Battely, D. D. archdeacon of Canterbury, and master of this hospital, new built three of the sisters lodgings, and did several other great repairs, and at his death left by his will, to the in-brothers and sisters, one hundred pounds, the interest of which he ordered should be proportioned by Mr. John Bradock, of St. Stephen's, and Mr. Somerscales, vicar of Doddington.
Mr. John Bradock, master of this hospital, in 1719 gave by his will, 25l. 13s. 4d. for the better payment of the poor people, at Lady-day and Michaelmas.
Mr. Matthew Brown, of St. Peter's, in Canterbury, in 1721, gave by his will 10s. per annum for ever, to the in brothers and sisters of this hospital.
In 1768, Thomas Hanson, esq. of Crosby-square, London, gave by will, the interest of 500l, for ever, to the in brothers and sisters of this hospital; which being now invested in the 3 per cents. reduced Bank Annuties, produces 17l. 1os. per annum.
Besides these, the hospital had many temporary benefactors, as well towards the repairs of it, as in money; among which were, the archbishops Juxon, Sheldon and Sancrost. The yearly tenths of this hospital amounting to 2l. 7s. 10d. are payable to the archbishop.
In 1691, the yearly revenues of this hospital amounted in the whole to 101l. 5s. 9d. besides which were the fines upon the renewals of the leafes, and alderman Sabine's gift of 13s 4d. a piece, by the year, which came not into the master's hands, but was paid by one of the aldermen of the city.
The present building is antient; it has a decent hall and chapel, where the schoolmaster, who has a good apartment in the house, and is called the reader, instructs twenty boys gratis, in reading, writing, and arithmetic. There are rooms also for five in brothers, and five in-sisters, but some of these rooms are subject to be flooded in a very wet season. (fn. 23) The master has a neat handsome house, sitauted in a court near the hospital, but on the western or opposite side of the river.
¶The antient common seal of this hospital having been for a long time missing, the late master, Dr. Backhouse, at his own expence, supplied the hospital with another in the year 1783.
Roadside view of the old Bishop Bank Waikiki Branch on Lewers St. makai of Kalakaua Avenue. Built 1951, demolished mid-1960s and replaced by the 14 story Holiday Isle Hotel. The famous Jean Charlot mural entitled "Early Contacts of Hawaii with Outer World" over the teller desk can just barely be made out through the glass. Vintage red-bordered cardboard mounted “Kodachrome Transparency Processed by Kodak” slide produced between 1955 and 1959.
Entitled Play On (2007) by Robert Dawson
It comprises approximately 2,500 tiles and through seven discrete panels spans 28 metres, almost covering the upper area of the building’s façade. In this multi-sectioned mural the original black and white grid of a chessboard goes from small to large with Escher-esque corners, twists, and impossible angles. As with much of his work, the optical illusions have multi- stability, the images move inwards and outwards, being visually neither stable nor totally unstable.
Originally posted for GuessWhereUK
Malaysian-registered, of course. Cozy kitty and some sort of rickshaw hawker is included. Funnily, I didn't see those people waving when I took the photo, only just spotted them today.
Just checked closer, "EX" prefix plates such as these were used in Singapore between 1973 and 1984, meaning that this car has had its Certificate of Entitlement (mad expensive) renewed at least twice when this photo was taken.
This is my first MOC entitled "Brickopolis: The Commute Home." It will be displayed at the Baybrook Mall LEGO Store in Friendswood, Texas during April, 2013. The display is 48 studs wide, 40 studs deep and about 24 bricks high. It is micro scale with the citizens of Brickopolis being about half the height of a mini figure. In this scene the citizens of Brickopolis are heading home after a days work at the corporate offices of Technic Corp. A few "micro figs" live in the apartment building across the street. One has hailed a taxi home. Some relax in and around a park commemorating the site in which Brickopolis was founded. Others make their way to the bus stop while many hustle down the stairs to catch the arriving subway at Billund Station. I enjoyed making this MOC because it gave me the opportunity to build a wide variety of mini-scenes in one display. I hope you enjoy seeing the photos too.
St. Michael's Orphanage or Belvedere Orphanage as it is also known, located in St. John's, Newfoundland. This building is currently unoccupied and awaiting redevelopment. The building I posted entitled "No Way Out" can be seen attached at the right.
St. Michael's Orphanage is a four storey, Second Empire style, brick building. Built in 1885, the building is located off Bonaventure Avenue in St. John’s, Newfoundland, in an area once known as Belvedere. This designation is confined to the footprint of the building.
Heritage Value
St. Michael's Orphanage is designated as a Registered Heritage Structure due to its architectural and historic values.
St. Michael's Orphanage is architecturally valuable as an excellent example of the Second Empire style employed in an institutional building. Furthermore, St. Michael's Orphanage is, along with the Benevolent Irish Society, the only surviving Second Empire masonry institutional building in Newfoundland. St. Michael's Orphanage is a four storey building with a central tower and ornate detailing in the trim. The window hoods in this building are the most important architectural feature of the building both for their rarity and their detailing. Made of cast iron, the window hoods on the first floor are different from those on the second floor. Other intricate Second Empire details include quoining, hooded dormers and elaborate eaves brackets.
St. Michael's Orphanage is also architecturally valuable for its association with Bishop M. F. Howley. Howley is associated with designing a number of ecclesiastical buildings in St. John’s, but St. Michael's Orphanage is likely the last remaining of these buildings.
St. Michael's Orphanage was built in 1885 to meet the demands for an orphanage for young girls. St. Michael's Orphanage was run by the Sisters of Mercy and is historically valuable for its association with this order. This Order was formed in Dublin in 1831 by Sister Catherine McAuley. The Sisters of Mercy have made a very important contribution to the community of St. John’s through their work in various fields. The Mercy Sisters are known for their work in health care at St. Clare’s Mercy Hospital, as well as their work with the elderly at St. Patrick’s Mercy Home, and especially their work in education. St. Michael's Orphanage serves as a reminder of the community work of the Sisters of Mercy.
Character-Defining Elements
All those elements that are representative of the building's age, construction and design in the Second Empire style, including:
-mansard roof, eaves brackets, dormers;
-ornate cast iron window hoods;
-central tower with mansard roof;
-original porch with pedimented entrance;
-arched windows in central tower;
-brick construction;
-quoining;
-window size and placement; and,
-building height, size, and massing.
Source: Heritage Foundation of Newfoundland and Labrador, file C-002-351, St. John's - Belvedere Orphanage
I'm still officially down for a bit, but I posted these for my extended families and friends. I don't really expect comments since I won't be commenting on yours for a bit.
From my set entitled "Mississauga Santa Claus Parade 2008"
farm4.static.flickr.com/3245/3075199413_9773a5e13b_s.jpg
In my collection "Places"
www.flickr.com/photos/21861018@N00/collections/7215760074...
In my photostream
www.flickr.com/photos/21861018@N00/
Taken from Wikipedia
en.wikipedia.org/wiki/Hazel_McCallion
Hazel McCallion, CM (born February 14, 1921) is the mayor of Mississauga, Ontario, Canada, the sixth largest city in the country. McCallion has been Mississauga's mayor for 30 years, holding office since 1978. She is affectionately called "Hurricane Hazel"[1] by supporters as well as the media at large for her vibrant outspoken style of no-nonsense politics.
She is one of Canada's best known and longest-serving mayors. At the age of 86, she was easily re-elected in November 2006 for her 11th consecutive term, holding a 91% majority of the votes, and has often been reelected without even needing to conduct an actual campaign.
Hazel McCallion was born in Port Daniel on the Gaspé Coast of Quebec. Her father owned a fishing and canning company. Her mother was a homemaker and ran the family farm. She had two sisters, Linda, and Gwen and two brothers, Lorne, and Lockhart. After high school she attended business secretarial school in Quebec City and Montreal. She has stated, especially while receiving university honours, that she would have wanted to attend university, but financially her family could not afford it. After working in Montreal, she was transferred by Canadian Kellogg company to Toronto.
Mississauga's Streetsville Neighbourhood, where Mayor McCallion is often seen walking and shopping.
She met and married her husband, Sam McCallion, soon after in an Anglican Church congregation. As a marriage present from McCallion’s in-laws, a piece of land in what would later become Mississauga, near the village of Streetsville, was given to the newlyweds. She has two sons, Peter and Paul, one daughter Linda and a granddaughter Erika. McCallion has often stated, such as on TVOntario's Studio 2, that her husband was always encouraging and supportive of her political career. Prior to becoming Mayor, Hazel and her husband founded The Mississauga Booster community newspaper, a paper that her son now edits and publishes. In 1997, Sam McCallion died of Alzheimer's disease. The Sam McCallion Day Centre was created by the Alzheimer Society of Peel to honour Sam, the founder of the annual Streetsville Bread and Honey Festival. Hazel still resides in Streetsville.
McCallion is well known in Canada for her love of hockey. She played for a professional women's team while attending school in Montreal. One of her friends is Hockey Night in Canada commentator Don Cherry, who joked during her 87th birthday that while 98 per cent of the city voted for her, he was looking for the remaining 2 per cent that didn't.
In a first-person account for Canadian magazine Confidence Bound, McCallion credited her faith with giving her the energy her job demands. "Having a life filled with purpose and meaning and living my life in a Christian-like manner helps to motivate me and keep me energized," she said.
She also revealed that she does everything around the house herself. "I do my own cleaning, grocery shopping, gardening… The assumption is that people in my position have others doing all these things for them but I like to be self sufficient. Housework and gardening are great forms of exercise and keep one humble."
At the age of 85, she was involved in an accident when her car crashed into a signpost around McLaughlin and Cantay. The front of her vehicle was badly damaged but she walked away from the accident without any major injuries. McCallion said she was looking at papers on her lap when the car hit the post.[2][3]
McCallion began her political career in Streetsville, Ontario, a village which has since merged into the city of Mississauga. Beginning as the chairman of the Streetsville Planning Board in 1967, she later became deputy reeve of Streetsville and was appointed reeve soon after. She was elected as Streetsville's mayor in 1970, serving until 1973. By the time she was elected mayor of Mississauga, she had sat on virtually every committee in the Peel Region and the city of Mississauga. She has also served on the executive of many federal and provincial committees and associations.
McCallion's leadership helped build a new city hall.
She was first elected Mayor in 1978, narrowly defeating the popular incumbent Ron A. Searle. McCallion had been in office only a few months when a public health and safety crisis occurred during the 1979 Mississauga train derailment. On November 10 a Canadian Pacific train carrying toxic chemicals derailed in a heavily populated area of Mississauga near Mavis Road. A large explosion and fire ensued as hazardous chemicals spilled. McCallion, along with the Peel Regional Police and other governmental authorities, oversaw an orderly and peaceful evacuation of the entire city. She sprained her ankle early in the crisis, but continued to hobble to press conferences and update briefings. There was no loss of life or serious injuries during the week-long emergency, and Mississauga gained international renown for the peaceful evacuation of its then 200,000 residents.
McCallion has overseen the growth of Mississauga from a small collection of towns and villages to one of Canada’s largest cities. This dynamic growth of the Toronto area occurred after the 1976 election of René Lévesque's Parti Québécois government sparked an exodus of Anglophones and corporations from Montreal to Toronto.[4][5][6] As Toronto grew in national standing, Mississauga politicians worked to define their community beyond a bedroom community of Toronto.
Today, Mississauga is home to a mix of commercial, residential, industrial, and recreational areas. According to a Canadian relocation service, "Mississauga has 9,730 businesses, widely diversified in manufacturing, distribution and business services."[7] As well, there are approximately 9,000 retail businesses." The McCallion government also spearheaded the development of a 'downtown' Mississauga area. The building of the shopping centre Square One in the Hurontario Street and Burnhamthorpe Road section of the city during the 1970s has evolved into a centre of commercial and recreational activity.
Mississauga's Central Library.
The Civic Centre, including a new city hall, Central Library, and Mississauga Living Arts Centre, along with a Mississauga Transit terminal and shopping and entertainment options now populate the former fallow farm land. This city centre helped unite residents of the different towns that made up Mississauga without destroying the smaller villages. The construction of Highway 403 in the 1980s eased access to this area of the city. In the 1990s, the Hershey Centre, a hockey arena and concert venue, was built near Matheson and Tomken Road facilitating the creation of the Ontario Hockey League's expansion team Mississauga IceDogs.
Some of McCallion's initiatives have been unsuccessful. Under Ontario law, Mississauga is part of Peel Region, along with Brampton and Caledon. McCallion and Mississauga council have asked that their city be made a single tier municipality, but so far that request has been denied by the Ontario government. Mississauga has so far obtained two additional seats on the regional council which still gives it less representation than its proportionate share by population or by municipal tax base. This has created controversy within the region. Brampton and Caledon politicians argued against McCallion, saying that Mississauga's growth has slowed down and it was the chief beneficiary of Peel's 1970s infrastructure projects.
McCallion has also been unsuccessful in collecting the taxes owed[citation needed] to the City of Mississauga, when the federal government appropriated land for Terminal 3 of Toronto Pearson International Airport, which has cost the city millions directly. Others argue that it can be considered an investment towards helping expand Canada's largest international airport which benefits Mississauga. Gridlock on the arterial roads continues to plague Mississauga as in the rest of Peel Region. There are other issues affecting residents, such as a lack of affordable housing—another Peel Region responsibility. Currently, residents who qualify to receive social housing must wait many years before units are made available by Peel Region, which is instead directing the region's $1.2 billion accumulated tax reserves toward the provincial mandate for water treatment expansion and repairs, which must be completed by 2010 to comply with environmental regulations developed as a result of the Walkerton Commission reports.[8]
In 1982, McCallion was found guilty of a conflict of interest on a planning decision by the Ontario High Court of Justice due to not absenting herself from a council meeting discussing a matter in which she had an interest. However, it was found to be a bona fide error of judgment and she was not required to vacate her seat.[9]
McCallion has been easily elected for the last twenty years, with no serious challengers coming close to unseating her as mayor of the city. Due to her popularity, she does not campaign during elections and refuses to accept political donations, instead asking her supporters to donate the money to charity. She is currently beginning her eleventh consecutive term as mayor.
She was lauded as a hero in April 2006 during a police standoff involving a distraught man threatening to kill himself. The five hour standoff promptly came to a peaceful end when McCallion showed up on the scene and demanded he stand down so that police, paramedic and fire personnel could attend to more important matters.[citation needed]
Mayor McCallion has worked with a variety of federal and provincial governments, and has not expressed a consistent party preference, preferring to work with each elected official.[citation needed]
Her principles are grounded in the belief that a city should be run like a business; thus, she encourages the business model of governance. Her family's business background, her education and prior career in a corporation prepared her to approach government with a business model. Mississauga is one of the few cities in Canada that is debt-free; it has not had to borrow money since 1978.[10] She has been described as a "small-c" conservative.[11]
Although McCallion is one of the most prominent women currently holding political power in Canada, it is difficult to categorize her as a feminist. She is able to express support for women's equality in Canada, and internationally, without being typecast ideologically.[12] She was chosen one of the "American Women of the Year" in Who's Who of American Women[13] as well as "Women of the Year 2001" by an international business lobby.[14]
McCallion's spiritual home is Trinity Anglican Church on Queen Street in Streetsville.
Her Christian faith also contributes to her concern for the public good. A member of Trinity Anglican Church in Streetsville, her charitable work now includes Hazel's Hope, a campaign to fund health care for children afflicted with AIDS and HIV in southern Africa. Accordingly, she has been lauded as "an international ambassador for the city and a world citizen" by a non-partisan, not-for-profit organization advancing the concerns of cities internationally.[15]
In 2007, McCallion responded to the federal government's refusal to give one cent of the GST to the cities, a funding source long requested by many municipalities across Canada, by planning to levy a five per cent surcharge on property taxes in the city. She was able to have the levy introduced and approved on the same day by Mississauga council, in contrast to Mayor David Miller of Toronto who was unable to get increased tax revenue approved for months. Most media coverage, as well as Toronto mayor David Miller, noted that McCallion was arguably one of the only mayors in the country with the political capital to implement such a strategy.[16]
McCallion has also expressed pessimism over Miller's 'One-cent now', saying that "I can assure you our citizens [of Mississauga] can’t point out to us where there’s a lot of waste. Toronto, unfortunately, has that situation, in which their citizens are saying it, as well as their board of trade has been saying it and even their own councillors are saying it. If my councillors were saying we were wasting money, I'd be really concerned. I think we give value for tax dollars; we run our city like a business." Toronto councillor Denzil Minnan-Wong made a comparison; "Hazel McCallion runs a tight ship. David Miller’s ship has leaks all over the place,” and some commentators suggested this allowed Mississauga to make a more credible case to the federal government. She unveiled her own plan known as 'Cities Now!' to get federal funding for municipal infrastructure.[17][11]
McCallion hosts an annual gala in Mississauga to raise money for arts and culture in the city. Attendees at the 2008 gala, which also marked the 30th anniversary of McCallion's election to the mayoralty of Mississauga, included former Lieutenant Governor of Ontario Lincoln Alexander and American talk show host Regis Philbin.[18]
* In 2005 she was made a Member of the Order of Canada.
* She ranked second in the 2005 international World Mayor poll, behind only Dora Bakoyannis of Athens.
* The University of Toronto at Mississauga has named their new library and academic learning centre after McCallion, in appreciation for the support offered the campus in its growth and development.
* The Peel Board of Education has named a school after her: the Hazel McCallion Senior Public School.
* Four different Hazel McCallion bobblehead dolls have been made.[19]
* Bell Mobility commemorated her achievements with a ringtone featuring her saying "Answer the phone! This is Hazel McCallion calling from the great city of Mississauga." All proceeds from the ringtone sale will go to charity.[20]
* She was named "American Woman of the Year" in Who's Who of American Women, as well as "Woman of the Year 2001" by an international business lobby.[21]
* The Delta Meadowvale Hotel has a Hazel McCallion Room in her honour
This is a Glass Slide simple entitled 'portrait of the Mayors Head.'
The slide is from some time between the Late 19th and early 20th Century. It would have been viewed through a Magic Lantern, an early type of image projector.
This image is part of the Tyne & Wear archives & museums set South Shields Art Gallery Social History collection.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email adam.bell@twmuseums.org.uk
Mural entitled "Hermanas" by @lillipore for Pow! Wow! Worcester 2019 mural festival in Worcester, Massachusetts.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
“This series is entitled ‘The Beauty of Rome’. The title came from a television photography competition I participated in ('Master of Photography’ on Sky Arts) which aired across Europe during summer 2016. All images were shot in January 2016. This shoot was my first time in Rome. I travel often, so dropping into a new city and attempting to capture its essence is a familiar situation for me. However, being part of a TV competition, there were 11 other photographers, all operating in the same area at the same time, all trying to get a “winning” shot in one of the most photographed places in the world. Finding a unique and new perspective on the city seemed like a greater challenge than normal. Nevertheless, I have long believed that it is an artist’s duty to add fresh perspectives to the world, so I embraced it as an opportunity. On this occasion, I did so by seeking to characterise Rome through its people, rather than through its well-known monuments and history. What do Romans’ expressions, mannerisms and appearance say about the city and their relationship to it? How do they interact with their city? In all of the people I found a warm humility and openness, which perhaps contrasts with the hard, powerful grandeur of the architecture.” The Beauty of Rome by Neal Gruer (1/5)
From the Queensland Heritage Register.
Officially opened in October 1888, this sandstone building survives as evidence of the consolidation of Warwick as a business and administrative centre for the surrounding district during the late nineteenth century.
Warwick township developed slowly during the 1850s and by 1857 the population of the parish of Warwick had reached just over 1 300. Under the provisions of the 1858 Municipalities Act (NSW), any centre with a population in excess of 1000 was entitled to petition the colonial government for recognition as a municipality. Brisbane was the first town in what was soon to become Queensland to receive municipal status under the 1858 Act, and was proclaimed a municipality on 7 September 1859.
By 1859, the year in which Queensland separated from New South Wales, the township of Warwick was recognised as a major urban centre on the Darling Downs, and when Queensland's new electoral districts (settled areas only) were proclaimed on 20 December 1859, the electorate of the Town of Warwick had its own representative in the Legislative Assembly.
In February 1861 a petition calling for municipal status for the town of Warwick, with 110 signatures appended, was sent to the Queensland Governor, and on 25 May 1861 Warwick was proclaimed a municipality under the 1858 NSW legislation. The municipal boundary followed the original Warwick Town Reserve of five square miles. Warwick was the fifth corporation created in Queensland outside of Brisbane, being preceded by Ipswich, Toowoomba, Rockhampton and Maryborough. The first Warwick municipal election was conducted on 5 July 1861, and at its first meeting on 15 July 1861, the Warwick Municipal Council elected John James Kingsford as the first mayor of Warwick.
In 1861 the first Warwick Town Hall was established in a slab building at the northern end of Albion Street, which had been constructed in the early 1850s as Warwick's first Court House. In 1873 the Council purchased the Masonic Hall, a brick building in Palmerin Street, and this served as the Warwick Town Hall until imposing new premises were constructed in 1887.
A competition for the design of the new Town Hall was held in 1885, expenditure not exceeding £3 500. First place in the competition was won by Clark Bros, a partnership formed in Sydney in 1883 between architect brothers John J and George Clark; the design by Clark Bros coming closest to Council's budget. However it was the design of second place getter Willoughby Powell which although more costly, was eventually chosen for the new Town Hall.
Powell had arrived in Queensland c1873, and practiced as an architect until c1913. During Powell's architectural career in which he alternated between employment in the Queensland Public Works Department and periods of private practice, he was responsible for the design of a number of substantial buildings in Toowoomba, Maryborough and Brisbane including churches, private residences, shops hotels, and the Toowoomba Grammar School. Powell was also responsible for the winning design in a competition for the (third) City Hall in Toowoomba, although he subsequently had to give up supervision of its construction to Toowoomba architects James Marks and Son in order to take up an appointment in the Works Department.
Tenders for the building were called in 1887. Although tenders were called for brick and stone, Council accepted the tender of Michael O'Brien for a stone building, and the contract with O'Brien was signed in March 1887. Shortly after the commencement of construction, O'Brien advised the Council he was insolvent, and arranged for the firm of Stewart, Law and Longwill to take over the work. The stone work was sub-let to John McCulloch, a Warwick stonemason responsible for the stone work on a number of prominent buildings in the town including Pringle Cottage [600945], the Court House [600949], St Marks Church [600943], St Andrews Church, Central School, the Sisters of Mercy Convent [600953], the Railway Goods Shed [600955] and the former Albion Street Post Office.
The foundation stone of the new Town Hall was laid in August 1887 by Lady Griffith, wife of then Premier of Queensland, Sir Samuel Walker Griffith. A bottle, sealed with the Corporation seal and containing a copy of a commemorative scroll, copies of the local papers and coins, was placed in a cavity in the stone.
A clock tower was not part of Powell's original design for the new Town Hall. In late 1887 however, it had been suggested that the building would be enhanced by the addition of a clock tower. At a meeting of ratepayers in December 1887, a vote was carried in favour of the addition of a tower which was subsequently incorporated into the building. The clock itself was not installed until c1892. As part of the striking apparatus, it is understood that the Council acquired a bell from St Mary's Church in Warwick which was eventually installed on the outside of the tower.
Occupied by the Council from September 1888, the new Town Hall was formally opened in October that year by the Mayor of Warwick, Ald Arthur Morgan. The event was marked with a concert given by the local Philharmonic Society. In his remarks, Morgan described the new Town Hall as ...a credit to the town and If there were any truth in the saying that the history of a town was known by the character of its buildings, then the Municipal Council of Warwick had no reason to be ashamed of the page they had contributed to the history of their town.
Gas lighting was installed in the building in 1889, subsequently replaced by electricity c1912.
In early 1917 a movement was initiated by James Brown, Patron of the Warwick and District Amateur Rugby Football League, to erect a memorial to honour the Warwick league football heroes, who have given their lives for their King and country (and those who may yet fall). A committee was formed, subscriptions collected and a tablet unveiled at a ceremony in May 1917. Inscribed with names and placed at the entrance to the Town Hall, the tablet was the work of Warwick masons Troyahn, Coulter and Thompson. In unveiling the tablet, the then Mayor of Warwick Ald. Gilham drew contemporary parallels between war and sport, suggesting that There were worse places for young fellows to be than on the football field and places that were not such good training grounds to fit the young fellows for service to the Empire. It was said that Waterloo was won on the cricket fields of England. Probably some of the glories of the war had been contributed to, and to some extent made possible by, the previous practice the boys had received on the football fields of sunny Queensland.
A tablet/plaque to the memory of Colonel William James Foster CB, CMG, DSO, Australian Staff Corps is also located at the entrance to the Town Hall. Colonel Foster was born in Warwick in 1881 and died in England in 1927. The memorial was erected by Colonel Foster's Brother Officers, Australian Staff Corps and Australian Light Horse.
In October 1935 Warwick celebrated (prematurely) 75 years of municipal government, and at this time the local press popularised the idea of the town being proclaimed a city. Under the provisions of the Local Government Acts, Queensland Cabinet approved the granting of city status to Warwick on 2 April 1936, and this was celebrated in Warwick on 29 June.
By the late 1960s, the Town Hall was considered generally inadequate for the purposes of the City Council. A new administration centre was erected at the corner of Fitzroy and Albion Streets, and the last meeting of the Council was held in the Town Hall in August 1975.
The hall was re-roofed in 1975, and a damp course inserted into the main building in 1976. The facades were cleaned in 1978, and the foyer and interior of the hall have been remodelled.
In July 1994 the State government amalgamated the City of Warwick and the surrounding Shires of Allora, Glengallan and Rosenthal to form the Shire of Warwick.
The former Council offices in the Town Hall are now occupied by the Warwick Education Centre. The Town Hall remains in use as a venue for community functions including flower shows, school plays and other entertainment.
This sculpture entitled 'Seated' is on show outside the De La Warr Pavilion, Bexhill from 19th April - 29th October 2023.
It is by Tschabalala Self and she says "Taking a seat is a universal act of leisure and calm. I wanted to create a monumental sculpture for the public that spoke to this simple joy. The woman is strong, beautiful and self-possesses. She represents all individuals, but women in particular, who understand the power and importance of simple gestures that assert their right to take up space." (2022).
Tschabalala Self was born in 1990 and is an American artist
Tschabalala Self's first public sculpture stands three metres high and is made from patinated bronze. This monumental work was an everyday object - a seat - as an entry point for questions of permission and performance within public space. Its subject - poised, immaculately dressed, glancing to her left - emboldens onlooks to sit with confidence and comfort.
Through an expansive practice bringing together painting, printmaking, sculpture and collage, Self's depictions, predominantly of women, traverse different artistic traditions. Bland and femme bodies are particularly prevalent in her work, heating different subjects, or characters, with individual and powerful identities, many of which are reimagined from chance encounters. Through mediations on race and gender, Self's work is concerned with what it means to flourish as a human and how the self is performed and perceived within contemporary life.
Read how the local community came together to make a statement after she was vandalised......
www.theguardian.com/artanddesign/2023/jun/03/uk-seaside-c...
Video of adventure
It was the week before Christmas and I had to use up my remaining holiday entitlement before the end of the year. With the kids at school and my better half working, I had a week to play
Monday had seen me head for a day trip to Ardgour and Tuesday was an indoor day as a large Atlantic weather system swept over Scotland. The forecast for the rest of the week was changeable across Scotland – apart from the far north! So decision made – I was headed for Sutherland! Leaving the house at 6am, I arrived on the shoes of Loch Merkland four hours later at 10am. At this time of the year the days re short (an even shorter the further north you go) so I was aware I needed to get cracking and I had decided on Ben Hee as it would fit in with me getting back before dark. The plan there after was to enjoy some carlife (;)) and spend the next three days in this area.
The forecast was looking good and I set off in glorious sunshine with little wind. Numerous herds of deer greeted me as I headed up the track and towards the Allt Coire a’ Chruiteir burn. The skies were still blue but as the summit of Ben Hee came into view I noticed it was capped in cloud, which was skudding over the summit . The path was ok, but had been eroded away by the burn in places, but I wasn’t complaining as it was dry and nicer than the rest of Scotland. Once out of the wee glen the winds picked up and it was cold!! The pull into the cloud and towards the summit was also the freezing level and a white rim coated the rocks as I approached the cloud capped summit of Ben Hee.
As opposed to coming back down the same way, I decided to drop down over Sail Gharb and hoped to snap a photo of Loch an t-Seilg. I wasn’t sure whether the cloud base would enable this , however the views soon opened out and the views over to Ben Hope and Ben Loyal were fabulous. I was a bit jealous as these near bye peaks were cloud free. A few more snaps and I was soon chasing the unset down the hill to get back to the car before nightfall.
Back at the car and I found a larger parking area to spend a cold night in the car before another adventure on the Thursday
St Pancras New Church (so entitled to differentiate it from an older building that remains several blocks away to the north east) was built in 1819-22 to the designs of William & Henry Inwood and is a remarkable example of the then prevalent taste for Neo-Classical architecture. Few churches can claim to be as Grecian in style as this one, which boasts the unique features of two porticoes flanking the east end copied directly from the famous caryatid porch of the Erectheum on the Athenian Acropolis, complete with column figures in terracotta (molded in sections around cast-iron columns). The spindly octagonal tower is a major landmark to visitors arriving at nearby Euston Station just over the main road (as it has welcomed me on many visits to the capital).
The interior of the church continues the theme of Classical severity, with a broad flat coffered ceiling spanning the nave with the apse beyond adding a touch of enrichment. The Victorian glass in the windows does make the space a little gloomier than it could be. The galleries remain and create side aisles beneath them but otherwise the interior retains the impression of a large unified space.
I am unsure what normal opening times are for this church but I believe it is usually open in office hours during the day.
i wish they had constructed a university at his burrial place - a place oflearning for algebra -sciences and astronomy
Khayyám wrote a book entitled Explanations of the difficulties in the postulates in Euclid's Elements. The book consists of several sections on the parallel postulate (Book I), on the Euclidean definition of ratios and the Anthyphairetic ratio (modern continued fractions) (Book II), and on the multiplication of ratios (Book III).
The first section is a treatise containing some propositions and lemmas concerning the parallel postulate. It has reached the Western world from a reproduction in a manuscript written in 1387-88 AD by the Persian mathematician Tusi. Tusi mentions explicitly that he re-writes the treatise "in Khayyám's own words" and quotes Khayyám, saying that "they are worth adding to Euclid's Elements (first book) after Proposition 28."[13] This proposition[14] states a condition enough for having two lines in plane parallel to one another. After this proposition follows another, numbered 29, which is converse to the previous one.[15] The proof of Euclid uses the so-called parallel postulate (numbered 5). Objection to the use of parallel postulate and alternative view of proposition 29 have been a major problem in foundation of what is now called non-Euclidean geometry.
The treatise of Khayyám can be considered as the first treatment of parallels axiom which is not based on petitio principii but on a more intuitive postulate. Khayyám refutes the previous attempts by other Greek and Persian mathematicians to prove the proposition. And he, as Aristotle, refuses the use of motion in geometry and therefore dismisses the different attempt by Ibn Haytham too.[16] In a sense he made the first attempt at formulating a non-Euclidean postulate as an alternative to the parallel postulate,[17]
Geometric algebra[edit]
Whoever thinks algebra is a trick in obtaining unknowns has thought it in vain. No attention should be paid to the fact that algebra and geometry are different in appearance. Algebras are geometric facts which are proved by propositions five and six of Book two of Elements.
Omar Khayyam[18]
Omar Khayyám's geometric solution to the cubic equation x3 + 200x = 20x2 + 2000.
This philosophical view of mathematics (see below) has had a significant impact on Khayyám's celebrated approach and method in geometric algebra and in particular in solving cubic equations. In that his solution is not a direct path to a numerical solution and in fact his solutions are not numbers but rather line segments. In this regard Khayyám's work can be considered the first systematic study and the first exact method of solving cubic equations.[19]
In an untitled writing on cubic equations by Khayyám discovered in the 20th century,[18] where the above quote appears, Khayyám works on problems of geometric algebra. First is the problem of "finding a point on a quadrant of a circle such that when a normal is dropped from the point to one of the bounding radii, the ratio of the normal's length to that of the radius equals the ratio of the segments determined by the foot of the normal." Again in solving this problem, he reduces it to another geometric problem: "find a right triangle having the property that the hypotenuse equals the sum of one leg (i.e. side) plus the altitude on the hypotenuse.[20] To solve this geometric problem, he specializes a parameter and reaches the cubic equation x3 + 200x = 20x2 + 2000.[18] Indeed, he finds a positive root for this equation by intersecting a hyperbola with a circle.
This particular geometric solution of cubic equations has been further investigated and extended to degree four equations.[21]
Regarding more general equations he states that the solution of cubic equations requires the use of conic sections and that it cannot be solved by ruler and compass methods.[18] A proof of this impossibility was only plausible 750 years after Khayyám died. In this paper Khayyám mentions his will to prepare a paper giving full solution to cubic equations: "If the opportunity arises and I can succeed, I shall give all these fourteen forms with all their branches and cases, and how to distinguish whatever is possible or impossible so that a paper, containing elements which are greatly useful in this art will be prepared."[18]
This refers to the book Treatise on Demonstrations of Problems of Algebra (1070), which laid down the principles of algebra, part of the body of Persian Mathematics that was eventually transmitted to Europe.[19] In particular, he derived general methods for solving cubic equations and even some higher orders.
Binomial theorem and extraction of roots[edit]
See also: History of binomial theorem
From the Indians one has methods for obtaining square and cube roots, methods which are based on knowledge of individual cases, namely the knowledge of the squares of the nine digits 12, 22, 32 (etc.) and their respective products, i.e. 2 × 3 etc. We have written a treatise on the proof of the validity of those methods and that they satisfy the conditions. In addition we have increased their types, namely in the form of the determination of the fourth, fifth, sixth roots up to any desired degree. No one preceded us in this and those proofs are purely arithmetic, founded on the arithmetic of The Elements.
Omar Khayyam Treatise on Demonstration of Problems of Algebra[22]
This particular remark of Khayyám and certain propositions found in his Algebra book has made some historians of mathematics believe that Khayyám had indeed a binomial theorem up to any power. The case of power 2 is explicitly stated in Euclid's elements and the case of at most power 3 had been established by Indian mathematicians. Khayyám was the mathematician who noticed the importance of a general binomial theorem. The argument supporting the claim that Khayyám had a general binomial theorem is based on his ability to extract roots.[23]
Khayyám-Saccheri quadrilateral[edit]
Main article: Saccheri quadrilateral
The Saccheri quadrilateral was first considered by Khayyám in the late 11th century in Book I of Explanations of the Difficulties in the Postulates of Euclid.[24] Unlike many commentators on Euclid before and after him (including of course Saccheri), Khayyám was not trying to prove the parallel postulate as such but to derive it from an equivalent postulate he formulated from "the principles of the Philosopher" (Aristotle):
Two convergent straight lines intersect and it is impossible for two convergent straight lines to diverge in the direction in which they converge.[25]
Khayyám then considered the three cases (right, obtuse, and acute) that the summit angles of a Saccheri quadrilateral can take and after proving a number of theorems about them, he (correctly) refuted the obtuse and acute cases based on his postulate and hence derived the classic postulate of Euclid.
It wasn't until 600 years later that Giordano Vitale made an advance on Khayyám in his book Euclide restituo (1680, 1686), when he used the quadrilateral to prove that if three points are equidistant on the base AB and the summit CD, then AB and CD are everywhere equidistant. Saccheri himself based the whole of his long, heroic, and ultimately flawed proof of the parallel postulate around the quadrilateral and its three cases, proving many theorems about its properties along the way.
Astronomer[edit]
The Jalali calendar was introduced by Omar Khayyám alongside other Mathematicians and Astronomers in Nishapur, today it is one of the oldest calendars in the world as well as the most accurate solar calendar in use today. Since the calendar uses astronomical calculation for determining the vernal equinox, it has no intrinsic error, but this makes it an observation based calendar.[26][27][28][29]
Like most Persian mathematicians of the period, Khayyám was also an astronomer and achieved fame in that role. In 1073, the Seljuq Sultan Jalal al-Din Malik-Shah Saljuqi (Malik-Shah I, 1072–92), invited Khayyám to build an observatory, along with various other distinguished scientists. According to some accounts, the version of the medieval Iranian calendar in which 2,820 solar years together contain 1,029,983 days (or 683 leap years, for an average year length of 365.24219858156 days) was based on the measurements of Khayyám and his colleagues.[30] Another proposal is that Khayyám's calendar simply contained eight leap years every thirty-three years (for a year length of 365.2424 days).[31] In either case, his calendar was more accurate to the mean tropical year than the Gregorian calendar of 500 years later. The modern Iranian calendar is based on his calculations.
Heliocentric Theory[edit]
It is sometimes claimed that Khayyam demonstrated that the earth rotates on its axis[32] by presenting a model of the stars to his contemporary al-Ghazali in a planetarium.[33]
The other source for the claim that Khayyam believed in heliocentrism are Edward Fitzgerald's popular but anachronistic renderings[34] of Khayyam's poetry, in which the first lines are mistranslated with a heliocentric image of the Sun flinging "the Stone that puts the Stars to Flight".[35]
Calendar Reform[edit]
Khayyám is claimed to be a member of a panel that introduced several reforms to the Iranian calendar.[citation needed] On March 15, 1079, Seljuk Sultan Malik Shah I accepted this corrected calendar as the official Persian calendar.[36]
This calendar was known as the Jalali calendar after the Sultan, and was in force across Greater Iran from the 11th to the 20th centuries. It is the basis of the Iranian calendar which is followed today in Iran and Afghanistan. While the Jalali calendar is more accurate than the Gregorian, it is based on actual solar transit, similar to Hindu calendars, and requires an ephemeris for calculating dates. The lengths of the months can vary between 29 and 31 days depending on the moment when the sun crosses into a new zodiacal area (an attribute common to most Hindu calendars). This meant that seasonal errors were lower than in the Gregorian calendar.
The modern-day Iranian calendar standardizes the month lengths based on a reform from 1925, thus minimizing the effect of solar transits. Seasonal errors are somewhat higher than in the Jalali version, but leap years are calculated as before.
Poet[edit]
Main article: Rubáiyát of Omar Khayyám
Omar Khayyám was a notable poet during the reign of the Seljuk ruler Malik-Shah I and his contributions to the developments of mathematics, astronomy and philosophy inspired later generations.
He is believed to have written about a thousand four-line verses or rubaiyat (quatrains). In the English-speaking world, he was introduced through the Rubáiyát of Omar Khayyám which are rather free-wheeling English translations by Edward FitzGerald (1809–1883). Other English translations of parts of the rubáiyát (rubáiyát meaning "quatrains") exist, but FitzGerald's are the most well known.
A well decorated plaque containing poems from the Rubáiyát of Omar Khayyám.
Ironically, FitzGerald's translations reintroduced Khayyám to Iranians "who had long ignored the Neishapouri poet." A 1934 book by one of Iran's most prominent writers, Sadeq Hedayat, Songs of Khayyam, (Taranehha-ye Khayyam) is said to have "shaped the way a generation of Iranians viewed" the poet.[37]
Omar Khayyám's poems have been translated to many languages.[38] Many translations were made directly from Persian and more literal than translation by Edward Fitzgerald.[38]
The Moving Finger writes; and, having writ,
Moves on: nor all thy Piety nor Wit,
Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it.
But helpless pieces in the game He plays,
Upon this chequer-board of Nights and Days,
He hither and thither moves, and checks… and slays,
Then one by one, back in the Closet lays.
And, as the Cock crew, those who stood before
The Tavern shouted— “Open then the Door!
You know how little time we have to stay,
And once departed, may return no more.”
A Book of Verses underneath the Bough,
A Jug of Wine, a Loaf of Bread—and Thou,
Beside me singing in the Wilderness,
And oh, Wilderness is Paradise enow.
Myself when young did eagerly frequent
Doctor and Saint, and heard great Argument
About it and about: but evermore
Came out of the same Door as in I went.
With them the Seed of Wisdom did I sow,
And with my own hand labour’d it to grow:
And this was all the Harvest that I reap’d—
“I came like Water, and like Wind I go.”
Into this Universe, and why not knowing,
Nor whence, like Water willy-nilly flowing:
And out of it, as Wind along the Waste,
I know not whither, willy-nilly blowing.
And that inverted Bowl we call The Sky,
Whereunder crawling coop’t we live and die,
Lift not thy hands to It for help—for It
Rolls impotently on as Thou or I.
Views on religion[edit]
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There have been widely divergent views on Khayyám. According to Seyyed Hossein Nasr no other Iranian writer/scholar is viewed in such extremely differing ways. At one end of the spectrum there are nightclubs named after Khayyám, and he is seen as an agnostic hedonist.[39] On the other end of the spectrum, he is seen as a mystical Sufi poet influenced by platonic traditions.
An Ottoman Era inscription of a poem written by Omar Khayyám at Morića Han in Sarajevo, Bosnia and Herzegovina.
Seyyed Hossein Nasr, after examining the philosophical works of Khayyám, maintains that it is really reductive to just look at the poems (which are sometimes doubtful) to establish his personal views about God or religion; in fact, he even wrote a treatise entitled "al-Khutbat al-gharrå˘" (The Splendid Sermon) on the praise of God, where he holds orthodox views, agreeing with Avicenna on Divine Unity.[5] In fact, this treatise is not an exception, and S.H. Nasr gives an example where he identified himself as a Sufi, after criticizing different methods of knowing God, preferring the intuition over the rational (opting for the so-called "kashf", or unveiling, method):[5]
"... Fourth, the Sufis, who do not seek knowledge by ratiocination or discursive thinking, but by purgation of their inner being and the purifying of their dispositions. They cleanse the rational soul of the impurities of nature and bodily form, until it becomes pure substance. When it then comes face to face with the spiritual world, the forms of that world become truly reflected in it, without any doubt or ambiguity. This is the best of all ways, because it is known to the servant of God that there is no reflection better than the Divine Presence and in that state there are no obstacles or veils in between. Whatever man lacks is due to the impurity of his nature. If the veil be lifted and the screen and obstacle removed, the truth of things as they are will become manifest and known. And the Master of creatures [the Prophet Muhammad]—upon whom be peace—indicated this when he said: “Truly, during the days of your existence, inspirations come from God. Do you not want to follow them?” Tell unto reasoners that, for the lovers of God, intuition is guide, not discursive thought."
—Omar Khayyám[40]
The same author goes on by giving other philosophical writings which are totally compatible with the religion of Islam, as the al-Risālah fil-wujūd (الرسالة في الوجود, "Treatise on Being"), written in Arabic, which begin with Quranic verses and asserting that all things come from God, and there is an order in these things. In another work, Risālah jawāban li-thalāth masāʾil (رسالة جوابان لثلاث مسائل, "Treatise of Response to Three Questions"), he gives a response to question on, for instance, the becoming of the soul post-mortem. S.H. Nasr even gives some poetry where he is perfectly in favor of Islamic orthodoxy, but expressing mystical views (God's goodness, the ephemerical state of this life, ...):[5]
Thou hast said that Thou wilt torment me,But I shall fear not such a warning.For where Thou art, there can be no torment,And where Thou art not, how can such a place exist?The rotating wheel of heaven within which we wonder,Is an imaginal lamp of which we have knowledge by similitude.The sun is the candle and the world the lamp,We are like forms revolving within it.A drop of water falls in an ocean wide,A grain of dust becomes with earth allied;What doth thy coming, going here denote?A fly appeared a while, then invisible he became.
Considering possible misunderstandings about Khayyám in the West and elsewhere, Hossein Nasr concludes by saying that if a correct study of the authentic rubaiyat is done, but along with the philosophical works, or even the spiritual biography entitled Sayr wa sulak (Spiritual Wayfaring), we can no longer view the man as a simple hedonistic wine-lover, or even an early skeptic, but a profound mystical thinker and scientist whose works are more important than some verses.[5] C.H.A. Bjerregaard earlier summarised the situation:
"The writings of Omar Khayyam are good specimens of Sufism but are not valued in the West as they ought to be, and the mass of english-speaking people know him only through the poems of Edward Fitzgerald which is unfortunate. It is unfortunate because Fitzgerald is not faithful to his master and model, and at times he lays words upon the tongue of the Sufi which are blasphemous. Such outrageous language is that of the eighty-first quatrain for instance. Fitzgerald is doubly guilty because he was more of a Sufi than he was willing to admit."[41]
A French orientalist named Franz Toussaint was so dissatisfied with Fitzgerald's translation (and with some works just translating Fitzgerald from English to French) that he wrote his own directly from the Persian texts, trying to express the spirit of the verses rather than to versify.[42] His translation was published from 1924 to 1979 uninterrupted by Editions d'Art Henri Piazza before that editor disappeared. That translation was itself translated in other languages on Internet sites.
Abdullah Dougan, a modern Naqshbandi Sufi, provides commentary[43] on the role and contribution of Omar Khayyam to Sufi thought. Dougan says that while Omar is a minor Sufi teacher compared to the giants – Rumi, Attar and Sana’i – one aspect that makes Omar’s work so relevant and accessible is its very human scale as we can feel for him and understand his approach. The argument over the quality of Fitzgerald’s translation of the Rubaiyat has, according to Dougan, diverted attention from a fuller understanding of the deeply esoteric message contained in Omar’s actual material – "Every line of the Rubaiyat has more meaning than almost anything you could read in Sufi literature".
Philosopher[edit]
Tomb of Omar Khayyám Neishapuri in Nishapur, Iran
Khayyám himself rejects to be associated with the title falsafī "philosopher" in the sense of Aristotelianism and stressed he wishes "to know who I am". In the context of philosophers he was labeled by some of his contemporaries as "detached from divine blessings".[44]
It is now established that Khayyám taught for decades the philosophy of Avicena, especially the Book of Healing, in his home town Nishapur, till his death.[5] In an incident he had been requested to comment on a disagreement between Avicena and a philosopher called Abu'l-Barakāt al-Baghdādī who had criticized Avicena strongly. Khayyám is said to have answered "[he] does not even understand the sense of the words of Avicenna, how can he oppose what he does not know?"[44]
Khayyám the philosopher could be understood from two rather distinct sources. One is through his Rubaiyat and the other through his own works in light of the intellectual and social conditions of his time.[45] The latter could be informed by the evaluations of Khayyám's works by scholars and philosophers such as Abul-Fazl Bayhaqi, Nizami Aruzi, and al-Zamakhshari and Sufi poets and writers Attar of Nishapur and Najm-al-Din Razi.
Mathematical philosophy[edit]
As a mathematician, Khayyám has made fundamental contributions to the philosophy of mathematics especially in the context of Persian Mathematics and Persian philosophy with which most of the other Persian scientists and philosophers such as Avicenna, Abū Rayḥān al-Bīrūnī and Tusi are associated. There are at least three basic mathematical ideas of strong philosophical dimensions that can be associated with Khayyám.
1.Mathematical order: From where does this order issue, and why does it correspond to the world of nature? His answer is in one of his philosophical "treatises on being". Khayyám's answer is that "the Divine Origin of all existence not only emanates wujud "being", by virtue of which all things gain reality, but It is the source of order that is inseparable from the very act of existence."[45]
2.The significance of axioms in geometry and the necessity for the mathematician to rely upon philosophy and hence the importance of the relation of any particular science to prime philosophy. This is the philosophical background to Khayyám's total rejection of any attempt to "prove" the parallel postulate, and in turn his refusal to bring motion into the attempt to prove this postulate, as had Ibn al-Haytham, because Khayyám associated motion with the world of matter, and wanted to keep it away from the purely intelligible and immaterial world of geometry.[45]
3.Clear distinction made by Khayyám, on the basis of the work of earlier Persian philosophers such as Avicenna, between natural bodies and mathematical bodies. The first is defined as a body that is in the category of substance and that stands by itself, and hence a subject of natural sciences, while the second, called "volume", is of the category of accidents (attributes) that do not subsist by themselves in the external world and hence is the concern of mathematics. Khayyám was very careful to respect the boundaries of each discipline, and criticized ibn al-Haytham in his proof of the parallel postulate precisely because he had broken this rule and had brought a subject belonging to natural philosophy, that is, motion, which belongs to natural bodies, into the domain of geometry, which deals with mathematical bodies.[45]
The distress in Lancashire: Distributing Bread at the Crooked Lane Depot, Preston.
The following description of the distress in Preston was written by Edwin Waugh. The full account entitled "HOME-LIFE OF THE LANCASHIRE FACTORY FOLK DURING THE COTTON FAMINE" can be accessed Here
AMONG THE PRESTON OPERATIVES.
Proud Preston, or Priest-town, on the banks of the beautiful Ribble, is a place of many quaint customs, and of great historic fame. Its character for pride is said to come from the fact of its having been, in the old time, a favourite residence of the local nobles and gentry, and of many penniless folk with long pedigrees. It was here that Richard Arkwright shaved chins at a halfpenny each, in the meantime working out his bold and ingenious schemes, with patient faith in their ultimate success. It was here, too, that the teetotal movement first began, with Anderson for its rhyme-smith. Preston has had its full share of the changeful fortunes of England, and, like our motherland, it has risen strongly out of them all. War's mad havoc has swept over it in many a troubled period of our history. Plague, pestilence, and famine have afflicted it sorely; and it has suffered from trade riots, "plug-drawings," panics, and strikes of most disastrous kinds. Proud Preston—the town of the Stanleys and the Hoghtons, and of "many a crest that is famous in story"—the town where silly King Jamie disported himself a little, with his knights and nobles, during the time of his ruinous visit to Hoghton Tower,—Proud Preston has seen many a black day. But, from the time when Roman sentinels kept watch and ward in their old camp at Walton, down by the Ribble side, it has never seen so much wealth and so much bitter poverty together as now. The streets do not show this poverty; but it is there. Looking from Avenham Walks, that glorious landscape smiles in all the splendour of a rich spring-tide. In those walks the nursemaids and children, and dainty folk, are wandering as usual airing their curls in the fresh breeze; and only now and then a workless operative trails by with chastened look. The wail of sorrow is not heard in Preston market-place; but destitution may be found almost anywhere there just now, cowering in squalid corners, within a few yards of plenty—as I have seen it many a time this week. The courts and alleys behind even some of the main streets swarm with people who have hardly a whole nail left to scratch themselves with.
Before attempting to tell something of what I saw whilst wandering amongst the poor operatives of Preston, I will say at once, that I do not intend to meddle with statistics. They have been carefully gathered, and often given elsewhere, and there is no need for me to repeat them. But, apart from these, the theme is endless, and full of painful interest. I hear on all hands that there is hardly any town in Lancashire suffering so much as Preston. The reason why the stroke has fallen so heavily here, lies in the nature of the trade. In the first place, Preston is almost purely a cotton town. There are two or three flax mills, and two or three ironworks, of no great extent; but, upon the whole, there is hardly any variety of employment there to lighten the disaster which has befallen its one absorbing occupation. There is comparatively little weaving in Preston; it is a town mostly engaged in spinning. The cotton used there is nearly all what is called "Middling American," the very kind which is now most scarce and dear. The yarns of Preston are known by the name of "Blackburn Counts." They range from 28's up to 60's, and they enter largely into the manufacture of goods for the India market. These things partly explain why Preston is more deeply overshadowed by the particular gloom of the times than many other places in Lancashire. About half-past nine on Tuesday morning last, I set out with an old acquaintance to call upon a certain member of the Relief Committee, in George's Ward. He is the manager of a cotton mill in that quarter, and he is well known and much respected among the working people. When we entered the mill-yard, all was quiet there, and the factory was still and silent. But through the office window we could see the man we wanted. He was accompanied by one of the proprietors of the mill, turning over the relief books of the ward. I soon found that he had a strong sense of humour, as well as a heart welling over with tenderness. He pointed to some of the cases in his books. The first was that of an old man, an overlooker of a cotton mill. His family was thirteen in number; three of the children were under ten years of age; seven of the rest were factory operatives; but the whole family had been out of work for several months. When in full employment the joint earnings of the family amounted to 80s. a week; but, after struggling on in the hope of better times, and exhausting the savings of past labour, they had been brought down to the receipt of charity at last, and for sixteen weeks gone by the whole thirteen had been living upon 6s. a week from the relief fund. They had no other resource. I went to see them at their own house afterwards, and it certainly was a pattern of cleanliness, with the little household gods there still. Seeing that house, a stranger would never dream that the family was living on an average income of less than sixpence a head per week. But I know how hard some decent folk will struggle with the bitterest poverty before they will give in to it. The old man came in whilst I was there. He sat down in one corner, quietly tinkering away at something he had in his hands. His old corduroy trousers were well patched, and just new washed. He had very little to say to us, except that "He could like to get summat to do; for he wur tired o' walkin' abeawt." Another case was that of a poor widow woman, with five young children. This family had been driven from house to house, by increasing necessity, till they had sunk at last into a dingy little hovel, up a dark court, in one of the poorest parts of the town, where they huddled together about a fireless grate to keep one another warm. They had nothing left of the wreck of their home but two rickety chairs, and a little deal table reared against the wall, because one of the legs was gone. In this miserable hole—which I saw afterwards—her husband died of sheer starvation, as was declared by the jury on the inquest. The dark, damp hovel where they had crept to was scarcely four yards square; and the poor woman pointed to one corner of the floor, saying, "He dee'd i' that nook." He died there, with nothing to lie upon but the ground, and nothing to cover him, in that fireless hovel. His wife and children crept about him, there, to watch him die; and to keep him as warm as they could. When the relief committee first found this family out, the entire clothing of the family of seven persons weighed eight pounds, and sold for fivepence, as rags. I saw the family afterwards, at their poor place; and will say more about them hereafter. He told me of many other cases of a similar kind. But, after agreeing to a time when we should visit them personally, we set out together to see the "Stone Yard," where there are many factory hands at work under the Board of Guardians.
The "Stone Yard" is close by the Preston and Lancaster Canal. Here there are from one hundred and seventy to one hundred and eighty, principally young men, employed in breaking, weighing, and wheeling stone, for road mending. The stones are of a hard kind of blue boulder, gathered from the land between Kendal and Lancaster. The "Labour Master" told me that there were thousands of tons of these boulders upon the land between Kendal and Lancaster. A great deal of them are brought from a place called "Tewhitt Field," about seven mile on "t' other side o' Lancaster." At the "Stone Yard" it is all piece-work, and the men can come and go when they like. As one of the Guardians told me, "They can oather sit an' break 'em, or kneel an' break 'em, or lie deawn to it, iv they'n a mind." The men can choose whether they will fill three tons of the broken stone, and wheel it to the central heap, for a shilling, or break one ton for a shilling. The persons employed here are mostly "lads an' leet-timber't chaps." The stronger men are sent to work upon Preston Moor. There are great varieties of health and strength amongst them. "Beside," as the Labour Master said, "yo'd hardly believe what a difference there it i'th wark o' two men wortchin' at the same heap, sometimes. There's a great deal i'th breaker, neaw; some on 'em's more artful nor others. They finden out that they can break 'em as fast again at after they'n getten to th' wick i'th inside. I have known an' odd un or two, here, that could break four ton a day,—an' many that couldn't break one,—but then, yo' know, th' men can only do accordin' to their ability. There is these differences, and there always will be." As we stood talking together, one of my friends said that he wished "Radical Jack" had been there. The latter gentleman is one of the guardians of the poor, and superintendent of the "Stone Yard." The men are naturally jealous of misrepresentation; and, the other day, as "Radical Jack" was describing the working of the yard to a gentleman who had come to look at the scene, some of the men overheard his words, and, misconceiving their meaning, gathered around the superintendent, clamorously protesting against what he had been saying. "He's lying!" said one. "Look at these honds!" cried another; "Wi'n they ever be fit to go to th' factory wi' again?"
Others turned up the soles of their battered shoon, to show their cut and stockingless feet. They were pacified at last; but, after the superintendent had gone away, some of the men said much and more, and "if ever he towd ony moor lies abeawt 'em, they'd fling him into th' cut." The "Labour Master" told me there was a large wood shed for the men to shelter in when rain came on. As we were conversing, one of my friends exclaimed, "He's here now!" "Who's here?" "Radical Jack." The superintendent was coming down the road. He told me some interesting things, which I will return to on another occasion. But our time was up. We had other places to see. As we came away, three old Irishwomen leaned against the wall at the corner of the yard, watching the men at work inside. One of them was saying, "Thim guardians is the awfullest set o' min in the world! A man had better be transpoorted than come under 'em. An' thin, they'll try you, an' try you, as if you was goin' to be hanged." The poor old soul had evidently only a narrow view of the necessities and difficulties which beset the labours of the Board of Guardians at a time like this. On our way back to town one of my friends told me that he "had met a sexton the day before, and had asked him how trade was with him. The sexton replied that it was "Varra bad—nowt doin', hardly." "Well, how's that?" asked the other. "Well, thae sees," answered the sexton, "Poverty seldom dees. There's far more kilt wi' o'er-heytin' an' o'er-drinkin' nor there is wi' bein' pinched."
Christmas and the Distress
Christmas which is just upon us, will necessarily be a cold one for the operatives, the resources of the past are not forthcoming; money is terribly scare, and many a one, who, in former years, have been jubilant at this season, will now have to be content with less than a ‘tithe’ of that cheer which is indissolubly associated with the good old-fashioned carnival of Christmas. Preparations are being made in many quarters for giving treats to the distressed operatives; the ordinary paupers will receive their Christmas dinner, in accordance with custom, and all those in receipt of relief from the charitable committee will, if they get nothing else, have eightpence each to fall back upon from the Mansion House fund. The kitchen in Crooked-lane appears to be as busy a place as ever. The following boilers of soup – each containing 175 gallons, have been made during the week :- Saturday, 4 boilers of meat and 1 and a half of sweet soup, Monday, 4 meat and 1 sweet, Tuesday, 5 meat and 1 sweet, Wednesday, 4 meat 4 scouse, Thursday 6 meat, yesterday 6 meat and half a boiler of sweet meat. The meat soup contained upwards of 4,850lbs beef, mutton, &c., of first-rate quality. During the week, 23,853 loaves of bread have been given out weighing 42 tons 12 cwt; 35,741 quarts of soup, and 9,057 quarts of scouse have been served at the Walker-street and the Crooked-lane establishments. The whole expense of the week, including bedding and clothing will exceed £3,000.
The following presents have been received during the week, for which the committee begs to offer its thanks.
A parcel of clothing from Mrs Foster, Whitehaven.
A parcel of grey flannel from Mrs Tollemache, Portland-terrace, Richmond, Surrey.
A crate of hats from L. Frayne, Bromsgrove.
Two bales and one hamper of clothing from E. Hallett and friends.
A bale of clothing from E.H. Sangley, Chudleign, Devon.
A large bale of clothing from C.S. Bromsgrove.
Three bales of clothing from H. Bell and Sons, Mickelgate, York.
A large bale of clothing from Lady Park, ‘very valuable’.
A truss of clothing from the Ladies Committee, Leeds.
Fifty sacks of rice chaff from W. Williams, Birkenhead.
A bale of clothing from friends at Castle Bromwick, per the Misses Kempson.
Ten bales of clothing from J. W. M’Clure, Manchester.
A sack of flour, one barrel of beef, twenty small barrels of herring, a barrel of fish, J.W. M’Clure, Manchester.
A bag of rice, a barrel of flour from Mr Baxter, Liverpool.
Two hundred plum puddings from the Lord Mayor’s Committee, London.
A quarter of the famous bull ‘Skyrocket’ weighing 419 lbs from Lord Feversham.
A parcel of clothing from Mr Burnett, Liverpool, per Mr Livesey, Preston.
Two carcasses of venison, used in the soup from Cartechy Castle, Scotland.
A box of clothing, tea, sugar &c., from Mrs Reyner, Waterloo.
A parcel of quilting, worsted, &c., from Mrs Jacson, Barton Lodge.
A sack of clothing from H. Rose Clark, Etwall, Derby.
A bale of clothing from George Earle, Hull.
One hamper of clothing from Thomas Cooper, Ulverstone.
3 boxes of clothing from Rossall College
87 lbs of venison from Messrs. Boulours, Marylebone.
A 2nd parcel clothing from United Sunday Scholars of Longsutton, per Rev. J. Nuller.
A case of caps and hats and a parcel of clothing from Penrim.
Preston Chronicle Dec 20th, 1862
This picture, previously entitled Outskirts of a Village, probably depicts a scene from the artist's home town of Auvers-sur-Oise in France. Several other artists also worked in Auvers including Cezanne and Van Gogh who described the area in a letter to his brother as '... the real countryside, characteristic and picturesque'. Daubigny often worked directly from nature in the open air, and the style of his later landscapes was influenced by his friend and fellow landscape painter Corot.
[Oil on wood, 18.7 x 35.9 cm]
gandalfsgallery.blogspot.co.uk/2012/08/charles-francois-d...
When his sculpture reflecting the sheer horror of World War One was lowered onto a seafront just a few miles from his hometown, Ray Lonsdale didn’t expect it to receive the welcome it did.
The imposing metal sculpture entitled 1101 - owing to the fact the armistice went into effect at 11am on November 11, 1918 - stands 9ft 5ins tall at Seaham, in County Durham.
The statue, built out of special corteen steel, was installed to mark the centenary of the start of the Great War and was only expected to remain in place for three months.
But after winning the hearts of hundreds of visitors to the town, it could now be exhibited permanently.
Around £72,000 has been raised to keep the 1.2-tonne statue in the town, and fundraisers are only £12,000 from their target. The Journal included it in its list of 100 great things about the North East - alongside more established landmarks like Hadrian’s Wall and the Tyne Bridge - and regular crowds are flocking to Seaham to take in the artwork.
In the process, Ray’s work has been catapulted into the public eye and his journey from metal worker to fully fledged artist has been completed.
He said: “There was always a big risk with Tommy because there was no sale for it. It was just a case of me biting the bullet and having hope that someone somewhere would buy it. There was no guarantee that it would have sold and it could have ended up sitting around for sometime.
“Finally great things happened and they are just about there with the money now.”
The artwork, which was installed in May has attracted hundreds of visitors to Seaham, many of whom have donated cash to the Save Tommy campaign. A Facebook page called Mission 1101 has attracted more than 4,000 members with many pledging to support to Tommy, which is situated on Terrace Green.
“I was surprised by the level of support 1101 got,” said Ray. “I’ve had a positive reaction to a lot of my work but not by as many people as this. The whole town has pulled together to put money in the buckets and raise cash to keep it here. That is a new experience.”
After leaving school Ray, 49, of South Hetton in County Durham, qualified as a maintenance fitter and began working at Coles Cranes in Sunderland, which closed in 1996.
Following the factory’s closure Ray set up his own steel fabrication business, where he produced bins, seats and railings for local authorities and private clients.
He always had an interest in art and at school he was always encouraged to go onto to art college.
But it wasn’t until 2007 that Ray decided to start his career in art and changed the name of his business to Two Red Rubber Things.
The father-of-two said: “In 2002 I got back into art and drawing on an evening and I decided to try and combine my work and interest. That’s when I produced my first piece. I got into a competition at the Biscuit Factory and I won the competition.
“That gave me the confidence to try and do a bit more and over the next five years I completed more and more art work. There was a gradual change-over from steel to artistic steel work.
“Someone told me that I would never stand a chance making it in the art industry unless I had a degree in art. I started college but I soon realised it wasn’t for me.
“I decided to do things off my own back and that’s how I started and finally things were well received.
“I didn’t feel I had time to do an art degree. It would take seven years and I felt I would be wasting opportunities.
“I just wanted to push myself. I’m big on having a go and I never wanted to get to a point in my life where I would think ‘I wish I would have tried that’.
“I kept the steel work going alongside the art work and it wasn’t until 2007 when I changed the name of the business and decided to take a chance with the art.”
Ray now has 30 life size statues under his belt and another six large scale pieces. These include The Big Dance at Gretna Green - a 14ft depiction of a couple’s hands - which was put in place in time for Valentine’s Day, a soldier on a bench at North Bay, Scarborough and the Filey Fisherman, in Filey.
Ray, who lives with wife Bev, said: “I like to create work that people can take something from it. Public art should be for the public. I don’t agree that it is an artist’s job to educate the public about art but if they like it then it’s been a success.
“I like people to look at it and appreciate it and appreciate the work that’s gone into it. I also like them to look deeper into it and find the story behind it.”
“Previously I would make seats, bins and railings. I had to get used to people buying my work for the way it looked rather than for its functional purpose.
“It felt strange at first. I realised that people were having a positive reaction to my work and that’s something I got used to, which was nice.”
Ray is keeping quite tight-lipped about his next project but he admits he’s been approached by local authorities.
He said: “I have completed a lot of drawings since 1101 and I’ve been approached by a couple of authorities with ideas but nothing has been finalised yet.”
Leaving his full-time profession to concentrate on his dream to make it as an artist was a risk but Ray has not looked back since, citing his family’s support for helping make the leap.
He said: “Bev has been fully supportive. She had a lot of faith in me when I didn’t. If it wasn’t for her I wouldn’t be any of this at all.”
Report, entitled 'Landing of the Army on the Gallipoli Peninsula, April 25-26 1915', written by Vice-Admiral John de Robeck (Commander of Naval Operations at Gallipoli). The first, of the two pages displayed, records his general views on the operation, in which he remarks that "Such actions as the storming of the Seddul Bahr position by the 29th Division must live in history for ever; innumerable deeds of heroism and daring were performed; the gallantry and absolute contempt for death displayed alone made the operations possible…The Australian and New Zealand Army Corps in this, their first battle, set a standard as high as that of any army in history, and one of which their countrymen have every reason to be proud." The second page lists the Royal Navy personnel recommended for the Victoria Cross. ©The Royal Archives
I entitled this Brooklyn because there was a copper Brooklyn Bridge piece behind her head, and I had quite a time trying to cover it up. You can barely see it, but it still pisses me off.. But I love this shot.
Brittany is an amazing model; she brings such energy and life to shoot, and posed in that fur coat for thirty minutes sweating her ass off while I worked to get the shot. =)