from another pandemic/lockdown walk...

Le jardin botanique de Thoutmôsis III est une représentation, exécutée avec un remarquable souci du détail, de la faune et surtout de la flore de l'empire égyptien à son apogée. Celle-ci se trouve sur les murs de la pièce contiguë à la salle des fêtes de Thoutmôsis III. Ce dernier, grand pharaon guerrier, repousse les frontières de l'Égypte dans le nord comme dans le sud et crée le plus grand empire que l'Égypte ait jamais connu, avec outre un butin considérable des essences rares, des animaux et des plantes luxuriantes.

 

Sur les terrains situés à l'arrière du naos, jugé trop exigu, il fait bâtir un nouvel ensemble appelé Akhmenou : temple de la régénération du souverain, représentation magnifiée et sublimée du jardin sacré du temple d'Amon, où animaux et oiseaux avaient l'habitude de se côtoyer, protégés par un enclos. Un autre enclos identique se situait à côté du lac sacré, à proximité des magasins. De cet endroit partait une galerie couverte permettant aux oies sacrées d'aller s'ébattre dans le lac et de rentrer au bercail à l'abri des regards (cf. wikipédia, merci Isabel Fagg pour la photo).

Revenge! The redcoats are executing their pirate prisoners, to avenge their fallen comrades. All seems lost for the pirates as the last three of the crew line up down range of the imperial muskets. In a last ditch effort Peg-leg Pasco kicks a banana peel under the foot of his executioner and jumps off the side of the building into the churning seas below. He begins swimming for land with one thought on his mind, Revenge!

 

Other than that, this is a normal day in the city filled with fishing, toads, drinking and much much more

Preaching is God’s great institution for the planting and maturing of spiritual life. When properly executed, its benefits are untold; when wrongly executed, no evil can exceed its damaging results. It is an easy matter to destroy the flock if the shepherd be unwary or the pasture be destroyed, easy to capture the citadel if the watchmen be asleep or the food and water be poisoned. Invested with such gracious prerogatives, exposed to so great evils, involving so many grave responsibilities, it would be a parody on the shrewdness of the devil and a libel on his character and reputation if he did not bring his master influences to adulterate the preacher and the preaching. In face of all this, the exclamatory interrogatory of Paul, “Who is sufficient for these things?” is never out of order.

 

Paul says: “Our sufficiency is of God, who also hath made us able ministers of the new testament; not of the letter, but of the spirit: for the letter killeth, but the spirit giveth life.” The true ministry is God-touched, God-enabled, and God-made. The Spirit of God is on the preacher in anointing power, the fruit of the Spirit is in his heart, the Spirit of God has vitalized the man and the word; his preaching gives life, gives life as the spring gives life; gives life as the resurrection gives life; gives ardent life as the summer gives ardent life; gives fruitful life as the autumn gives fruitful life. The life-giving preacher is a man of God, whose heart is ever athirst for God, whose soul is ever following hard after God, whose eye is single to God, and in whom by the power of God’s Spirit the flesh and the world have been crucified and his ministry is like the generous flood of a life-giving river.

 

The preaching that kills is non-spiritual preaching

 

Edward M. Bounds, Power through Prayer (Oak Harbor, WA: Logos Research Systems, Inc., 1999).

Executed with a Rapidograph, in high school.

Ten people were arrested and thousands of pounds worth of drugs seized following raids across Manchester this morning.

 

On Tuesday 11 April 2017 over 100 officers from Greater Manchester Police executed warrants at eight addresses in Chorlton, Whalley Range, Moss Side, and Withington.

 

Ten men, were arrested on suspicion of a number of drugs offences including possession with intent to supply Class A drugs.

 

Drugs, including what is believed to be cocaine and ecstasy, with a street value of thousands of pounds were seized and £20,000 in cash was recovered from the properties.

 

A Taser and stolen drivers licenses were also recovered.

 

It follows concerns raised to the police by the community and falls under Challenger Manchester team which is dedicated to targeting organised crime in Manchester.

 

Superintendent Dave Pester from GMP’s City of Manchester team said: “This morning we successfully executed warrants at eight addresses.

 

“We targeted those involved in the supply of Class A drugs and managed to recover thousands of pounds worth of what we believe is cocaine and ecstasy, which was destined for the streets of Manchester.

 

“These warrants couldn’t have been done without the help from the community. You gave us the intelligence we needed to get the drugs and the people who supply them off the streets.

 

“We will continue to work with our partners and the local communities to keep our streets safe and bring those who bring crime to our doorsteps to justice.”

 

Anyone with information should contact police on 101 or Crimestoppers, anonymously, on 0800 555 111.

 

To find out more about Greater Manchester Police please visit our website. www.gmp.police.uk

 

You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.

 

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

 

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.

 

Crimestoppers is an independent charity who will not want your name, just your information.

 

Your call will not be traced or recorded and you do not have to go to court or give a statement.

  

Observed in the backyard at the fishing house in Cotter, Arkansas.

Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.

The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.

Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]

Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.

© 2019 Thousand Word Images by Dustin Abbott

 

The Fujinon XF 90mm F2 LM WR is one of Fuji's better executed portrait lenses, with fast, quad linear focus motors, weather sealing, a nice, compact size, and beautiful image quality. It's a great option for those looking for a good portrait lens covering the traditional 135mm (full frame) focal length. You can see my coverage of the lens here:

 

Fujinon XF90 Gallery: bit.ly/XF90ig

Text Review: bit.ly/FujiXF90Review

Video Review Part 1: bit.ly/FujiXF90Part1

Video Review Part 2: bit.ly/FujiXF90Part2

 

#photodujour #dustinabbott #dustinabbott.net #photography #2019 #fuji #fujifilm #fujinon #XF90 #90mmF2 #xt3 #winterportrait #portrait #magnification #video #stills #fujicolor

 

Technical Info | Fujifilm X-T3 + Fujinon XF 90mm F2 | Check me out on:  My Patreon  | Dustin's Website |  Instagram |  YouTube Channel

London headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young), 1992-1994. Structural engineers Ove Arup and Partners.

 

The mapping of the listed building does not reflect the full extent of its below-ground footprint.

Reasons for Designation

124-126 Horseferry Road, built as the headquarters of Channel Four Television to designs by Richard Rogers Partnership 1992-94, is listed at Grade II for the following principal reasons:

 

Architectural interest:

 

* as an elegant work of the High-tech movement, displaying many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services; * for its logical L-plan with a dynamic, highly articulated corner composition and entrance sequence, dominated by a curved, top-hung, structural glass wall; * for the sophistication of its design, in which intricate details, executed in a consistent palette of materials, are integrated into a rigorous modular framework; * for its sequence of three linked interior spaces, centring on the dramatic full-height entrance atrium, to which are connected the fan-shaped restaurant and the subterranean screening room and foyer; * as a late-C20 exemplar of both a prestigious, owner-occupied headquarters building and a television centre, equipped primarily for the commissioning, but not the production of television programming, as per Channel 4’s remit; * for its designed flexibility to allow for changing technologies and operational needs, combining set-piece interiors with adaptable office workspaces; * for its degree of survival, with little alteration externally or to its key interior spaces.

 

Historic interest:

 

* as the purpose-built headquarters of Channel 4, a key player in television broadcasting history, commercially funded but with a public-service remit to provide innovative and diverse programming; * as an important British work by Richard Rogers Partnership, a practice of international renown led by one of Britain’s most celebrated architects.

History

124-126 Horseferry Road was built in 1992-1994 as the headquarters for Channel 4, a publicly owned, commercially-funded public service broadcaster, established with a remit to make innovative, experimental and distinctive programmes. After launching on 2 November 1982, its audience share gradually increased and the station soon outgrew its collection of rented offices in the West End. The switch to digital broadcasting also loomed. The chief executive, Michael Grade, and the chairman, Sir Richard Attenborough, took the decision to build a new headquarters. A suitable site was found at the junction of Horseferry Road and Chadwick Street, and a limited competition held in late 1990.

 

The commission was won by the Richard Rogers Partnership (RRP), who then explored the organisation’s needs through a series of workshops. As Channel 4 was a commissioner and transmitter, but not a producer of programmes, their main requirements were for offices and prestigious spaces to receive clients. The office space was specified to institutional standards so that the building could be readily let or sold in the event of a future move. A 10m deep basement already existed from a previous stalled development, so production and transmission facilities and a minimal studio occupied two subterranean levels, with provision made in the design for adding windows to the lower ground floor in the future, and flooring over the double-height studio to make the space more flexible.

 

RRP proposed a perimeter plan that reinforced the street pattern. Office wings at right angles were hinged by a ‘knuckle’, containing an entrance atrium and restaurant, with offices above. Behind the building a public garden was created, framed to the south and east by a separate housing development which fulfilled a planning condition set by Westminster City Council. In 2007 ‘the big 4’, a metal sculpture designed by Nick Knight and based on the channel’s current on-air identity was erected in the small piazza at the front of the building.

 

Richard Rogers was one of a group of British architects responsible for the High-tech movement, which originated in the 1960s with in a series of loose-fit industrial structures. By the 1980s High-tech architecture was increasingly being translated into urban contexts and cultural commissions. 124-126 Horseferry Road demonstrates many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services. It was Rogers’ first central London job after the Lloyd’s Building (1978-1986, listed Grade I), a seminal work of High-tech architecture. The image of Lloyds’ seems to have loomed large. For John Young, partner in charge, 124-126 Horseferry Road is ‘a building in the Lloyds mould.’ (Powell, 2001, 173).

 

The building’s drama is focussed on the entrance front; its transparency revealing the principal interior spaces, giving views right through the building to the public garden, and glimpses of working life within. ‘The effect, especially at night, is televisual’, commented Jonathan Glancey, (The Independent, 1994). The office wings are conventional in their planning and the building was designed to meet the bespoke needs of the client, as well as to be sufficiently adaptable should those needs change, or the building be sold.

 

124-126 Horseferry Road was a BBC Design Awards Finalist 1996 and won a RIBA National Award 1995; Royal Fine Art Commission Award 1995 and Civic Trust Award 1996. Since its opening the building has undergone several phases of internal refurbishment, including, in about 2010, the flooring-over of the double-height basement studio and repurposing of the space for various other uses. Externally, the building is largely unaltered.

 

Television as a broadcasting phenomenon began in the 1930s, with the first regular television service in the world introduced on 2 November 1936 by the BBC. The BBC’s monopoly was broken by the Television Act 1954, which created commercially funded Independent Television (ITV), served by regional franchised networks. Channel 4 arrived in 1982, established under the provisions of the 1980 Broadcasting Act. The act provided for a new, fourth, channel with a remit to ‘encourage innovation and experiment in the form and content of programmes’; its output was to be distinctive, offering programming for tastes not catered for by the commercial broadcaster ITV.

 

Its organisational model was equally distinctive, funded by advertising but adhering to a public service remit, it didn’t produce its own programming, instead commissioning and purchasing material from independent production companies. It employed commissioning editors to nurture the various strands and genres of the channel’s output and made particular efforts to employ people outside the television industry who could bring new and non-traditional perspectives. This meant new voices and new talents, and a greater plurality of programming and representation, including minorities. Channel 4 still proclaims its role as a ‘disruptive, innovative force in UK Broadcasting’ (Channel4.com, accessed 3 December 2021). Channel 4 has been major contributor to the British cultural landscape of the last four decades.

 

Richard Rogers, later Lord Rogers of Riverside, (1933-2021) was born in Florence. He trained at the Architectural Association and Yale University before setting up the Team 4 practice with Norman Foster and others in 1962. Their house for his in-laws, Creekvean in Feock, Cornwall (1964-1967) was listed Grade II in 1998 and upgraded to Grade II* in 2002. Rogers subsequently formed an architectural practice with his then wife, Su Rogers, and from 1970-1977, worked with the Italian architect Renzo Piano. Their Pompidou Centre building in Paris, which opened in 1977, is a major landmark of the High-tech style. Richard Rogers Partnership was formed the same year, with John Young, a veteran team member from Team 4 days, as one of several partners. The Lloyd’s Building together with the Pompidou sealed an international reputation. Other major works by Rogers include: the European Court of Human Rights, Strasbourg (1989-1995), Terminal 4 at Barajas Airport in Madrid (2004), the National Assembly of Wales in Cardiff (2005) and Terminal 5 at Heathrow Airport (2008). Rogers won the RIBA Royal Gold Medal in 1985, was knighted in 1991 and was created Baron Rogers of Riverside in 1996. In 2007 the Richard Rogers Partnership was renamed Rogers Stirk Harbour and Partners to reflect the practice‘s succession plan.

Details

Once national, now regional, headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young),1992-1994. Structural engineers Ove Arup and Partners.

 

MATERIALS: the majority of the building has a reinforced concrete frame with metal and glass cladding. The conference rooms have a steel pin-jointed frame and the atrium frontage is of glass, suspended from above and held in tension by a steel cabling system devised by Arup.

 

PLAN: the building is L-shaped in plan, occupying the corner between Horseferry Road to the west and Chadwick Street to the north, with rectangular office wings fronting each road and a concave quadrant knuckle connecting the two and framing a small piazza facing the road junction. The building has four floors above a basement and lower-ground floor levels. To the rear are two terraces; one at ground-floor level, above the larger footprint of the two lower floors, and one at third floor, where the footprint of the central knuckle is set back from the floors below.

 

Each office wing has two internal service cores and externally-expressed stair towers at each end. There is a lift tower at the far end of the Chadwick Street wing and three wall-climber lifts facing Horseferry Road, adjacent to the piazza. The basement level is given over to plant, storage, staff well-being facilities and edit suites. The lower-ground floor is a mixture of open-plan office space, meeting rooms and staff facilities; the main area of interest is the fan-shaped screening room with its circular foyer beneath the piazza, and stair connecting it to the atrium above. The ground floor contains the atrium reception area and large curved restaurant on a slightly lower level behind, overlooking the garden; the office blocks are given over to open-plan work space and a loading bay. First, second and third floors are mainly open-plan work space, with some meeting rooms and private offices as well. Key aspects of the building’s layout are original, including the screening room and foyer, reception atrium and restaurant. There has been reconfiguration in other parts, in particular the flooring-over of the studio, reconfiguration of the editing-suites and the removal of rows of perimeter offices.

 

EXTERIOR: the building’s key aspect faces onto the Horseferry Road/ Chadwick Street junction. The ends of the office wings are pulled back from the corner and the piazza is framed by a High-tech composition of glass and graphite-coloured steel, aluminium and cladding panels, punctuated by vertical flashes of red-painted structural steelwork. The full-height, concave, structural glass wall of the atrium is at the centre, suspended from above by a steel frame. Flanking it to either side are radiused stair towers. The stair towers have bands of glazing following the line of the stair within, almost uninterrupted by vertical supports because the cladding is supported internally on rods hung from above. To the left is a stack of conference rooms with glazed end walls, elevated and supported by a red pin-jointed steel frame. To the right is a stack of glazed lift lobbies serving a bank of three external ‘wall-climber’ lifts running along red steelwork; above are boxed-out service elements and a quasi-Constructivist transmission tower, creating a strong vertical element in the composition. Boiler flues add further interest to the roofline.

 

The piazza has shallow steps and flanking ramps which lead to a circular space immediately in front of the building. The centre of this is occupied by a circular skylight lighting the foyer of the screening room below; a bridge sheltered by a glass canopy stretches across it to a pair of revolving entrance doors. The sculpture, ‘the big 4’* stands towards the front edge of the piazza.

 

The office wings are clad with glazed panels of powder-coated aluminium, at ground floor these are set back behind the exposed concrete posts of the building’s frame, and above they are jettied out slightly, meeting at the corners with narrow, vertical, fully-glazed units. The panels each have four rebated horizontal glazed units divided by a fin-like transom, the lowest unit also having a band of sunscreen steel mesh in front. The floor plates are faced with panelled steel units. The facing components meet with a narrow shadow gap and the overall effect is of a modelled grid with a horizontal emphasis. The rear elevations, both to the office wings and the convexly curved knuckle, follow this aesthetic.

 

INTERIOR: the atrium is the building’s key public-facing interior space. The curved, full-height glazed wall is held in tension by a complex network of steel cables and suspended from above by exposed red steelwork. Set back from the wall, and above the ground-floor reception area, are curved cantilevered walkways at each floor, open to the atrium and floored in concrete panels set with circular glass blocks; behind, offices are enclosed by glazed walls.

 

Behind the reception, at a slightly lower level, is the staff restaurant. This has been refurbished a number of times but retains its distinctive fan shape, exposed concrete ceiling and glazed walls looking out onto the terrace.

 

The screening room, beneath the piazza, has a fan-shaped auditorium and circular foyer. Both spaces have been refurbished but retain perforated steel acoustic panelling and exposed concrete structural elements. The walls of the anti-room are hung with a chain curtain and the space is lit from above by the circular skylight in the piazza pavement; the glazing is held in a steel, umbrella-like structure. A concrete stair with steel balustrade leads from the foyer up to the atrium above.

 

The stairs in the four towers are dog-legged, red with stainless steel tubular balustrades; the treads and risers are of folded steel, supported at the half landings by flanged I-beam newels.

 

The interior most relevant to the building’s special interest are addressed in the paragraphs above. Throughout the rest of the building, the smooth round concrete posts and other concrete structural elements are visible, but spaces have been reconfigured and refurbished to suit operational needs.

 

* Pursuant to s1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that ‘the big 4’ sculpture on the building’s piazza is not of special architectural or historic interest, however any works which have the potential to affect the character of the listed building as a building of special architectural or historic interest may still require LBC and this is a matter for the LPA to determine.

"J. W. Dolliver's Café, 111 State & 5 Broad Streets, choice fruit & cigars. All orders for catering promptly executed."

 

The Boston Globe for Monday, February 1, 1875, p. 5, reported that a "fire in the cellar of James Dolliver's café on the corner of State and Broad streets" the previous Saturday caused damage to the café and to the Western Union Telegraph Company office located next door.

 

James W. Dolliver was also listed in city directories as the proprietor of a restaurant at the Custom House in Boston, but I'm not certain if or for how long he continued to operate his café at State and Broad Streets after the fire in 1875. And I'm not sure why "5 Broad Street" was crossed out on this copy of his business card.

 

There's no longer any trace of a café at the corner of State and Broad streets in Boston. Perhaps Mr. Dolliver would be satisfied to know, however, that the Google Street view dated August 2017 does show a Dunkin' Donuts at that location. I doubt, though, that the fonts on DD's business cards are as elaborate as the ones on Dolliver's.

"Eshley had conceived and executed a dainty picture of two reposeful milch-cows in a setting of walnut tree and meadow-grass and filtered sunbeam, and the Royal Academy had duly exposed the same on the walls of the Summer Exhibition... His 'Noontide Peace', a study of two dun cows under a walnut tree, was followed by 'A Mid-Day Sanctuary', a study of a walnut tree, with two dun cows under it. In due succession there came 'Where the Gad-Flies Cease From Troubling', 'The Haven of the Herd', and 'A Dream in Dairyland', studies of walnut trees and dun cows." - Saki, The Stalled Ox

 

Yes, these are getting repetitive, and yes, there will no doubt be many more. I can't help it because I love reflections, especially reflections of flora on water. Its beyond my control.

 

My next tree on water shot will be entitled 'Wispy'.

Credits listed here:

 

mystiquemoyet.blogspot.de/2017/12/sometimes-dresses-want-...

Sleeping Faun (also known as the drunken faun or the Barberini faun)

Marble, 1726-1730

Edme Bouchardon

Chaumont-in-Bassigny, 1698 - Paris, 1762

This work, executed in Rome, is a copy of a famous antique of the Barberini collection.

(today in Glyptotheque of Munich). For one and a half centuries, It was moved around several parks (the garden of Monceau, the park of Saint-Cloud, the garden of Luxembourg), and this long stay outside has damaged the surface of the marble irremediably.

The construction of the early Baroque château began in 1679. The project was executed by an architect of French origin, Jean Baptiste Mathey, whose design exploited his experiences from his sojourn to Italy and was inspired by a typical Roman suburban villa. The central and dominant feature of the entire mass of the construction is a large hall with a corridor running to both sides and with an enfilade of adjoining salons. On the sides, the building is both vertically and horizontally enclosed by two-storey towering belvederes. The sculptural decoration of the two-armed staircase leading to the garden was entrusted to the Dresden artists Georg and Paul Hermanns. The monumental sculptures on the staircase symbolize the Titans fighting the Classical gods. The individual sculptures along the perimeter of the staircase represent Classical gods, allegories of periods of the day and year and allegories of continents.

Most of the paintings found on the ground floor of the château were created by Carpoforo Tencalla, while Francesco Marchetti and his son Giovanni Francesco worked on the first floor. The Flemish painters Abraham and Isk Godyns were summoned by the builder to execute the illusive decoration of the large main hall.

This meticulously executed drawing only came to light in London, at a Sotheby's sale in 1989 (July 3), where it was correctly attributed to Bronzino and recognized as a preparatory study for the Portrait of a Young Man in the Nelson-Atkins Museum of Art, Kansas City (plate 56). X-ray and other technical examination of the painting reveal that it went through several stages of execution.' In the first of these, the sitter was shown bareheaded and with an antique-styled suit of armor, visible underneath the collar and shoulder outline (fig. 54-1). The Getty drawing clearly was made in connection with this first version, in which the features of the face and hair are conceived in a somewhat idealized and Roman manner. lt also shows a bit more breadth in the cheeks and more pronounced irises, the latter conveying a starker expressive quality than is found in the final painting.

 

This is one of only three surviving drawings by Bronzino securely identifiable as portraits, so caution is necessary in generalizing about his methodology. lt has been suggested that this work was made from life, but the classicized features and small scale tend to argue that it was developed from a more naturalistic study. Both painting and drawing fit well into Bronzino's work

Source:

The drawings of Bronzino The Metropolitan Museum of Art, 2010 - ISBN 978-1-58839-354-8 - (plate 56)

 

*******************************************************************************

Head of a Man; Agnolo Bronzino (Italian, 1503 - 1572); about 1550–1555; Black chalk; 13.8 × 10.3 cm (5 7/16 × 4 1/16 in.); 90.GB.29; No Copyright - United States (rightsstatements.org/vocab/NoC-US/1.0/)

LA1304 was executing a manouvre which would be impossible nowadays as it turns from Bath Street into Renfield Street in Glasgow City Centre. FSU121T was a Leyland Atlantean AN68A/1R / Alexander AL Type H78F purchased new by Greater Glasgow PTE in May 1979. It was carrying an all-over advert for Lloyd Bros. Motorcycles who were based in Hamilton. The bus would last into Strathclyde Buses days.

Executed in lilac and served with a smile.

Shisen-dō (詩仙堂) is a Buddhist temple of the Sōtō Zen sect in Sakyō-ku, Kyoto, Japan. It is registered as a historic site of Japan. It stands on the grounds of its founder, the Edo period intellectual Ishikawa Jōzan (1583–1672), who established the temple in 1641.

A room in the main temple displays portraits of thirty-six Chinese poets. The selection of the poets was based on the opinion of Hayashi Razan. The portraits were executed by Kanō Tan'yū. This and some other parts of the building date to the time of Ishikawa Jōzan.

The temple's gardens are considered masterworks of Japanese gardens.[1] One of them includes a device called a sōzu, a type of shishi-odoshi designed to scare away wild animals such as deer by making a loud noise. Water trickles into a bamboo tube, and when it reaches a certain level, it upsets the balance of the tube. The tube tips over on a pivot, discharging the water, and turns upright, striking a rock and emitting a loud clapping noise.

en.wikipedia.org/wiki/Shisen-dō

Solid Brass Engraving Executed by the Official Regalia maker of the Basilica Minore del Sto. Nino de Cebu, Mr. Orlando Abellanosa.

 

For those interested in his works, PM me, I'l give u his contact number.

 

The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.

Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.

 

The sketches very often executed in such a way further are drawn in the graphic editor as it would be on a canvas a brush. Plug-ins and filters are not used.

When a man is convicted as a traitor to "his" country and executed by hanging his remaining family must have had very mixed experiences. On the one hand those loyalist acquaintances must have viewed him in a bad light and therefore the family might have felt shame. On the other hand those who supported his cause would see him as a hero and his death as a sacrifice so the feelings would have been those of reflected glory? The sisters of Sir Roger Casement must have gone through all of those feelings/experiences and a lot more!

 

Photographers: H.L. Lloyd

 

Collection: Roger Casement Photographic Collection

 

Date: Undated After 1910-ish

 

NLI Ref: NPA CAS94A

 

You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.

 

Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.

Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:

 

Continuum, 2002.

Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.

 

Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.

 

Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.

 

Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.

 

de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.

 

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Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.

 

Cambridge: MIT Press, 2003.

Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.

 

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Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.

 

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----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

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for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

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critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

By Sir William Bruce (Architect), executed by Robert Mylne (Master-Mason) for Charles II, 1671-8. Classical articulation of superimposed Doric, Ionic and Corinthian pilasters in ascending order at each floor respectively. Colonnaded piazza of nine arches, pedimented to centre. Elaborate double-headed lantern with octagonal base to courtyard centre.

 

Of exceptional national and international architectural and historical significance, the Palace of Holyroodhouse is a key example of 17th century Scottish architecture, exceptionally well executed. Bruce’s classicising design for the quadrangle introduced the Doric, Ionic and Corinthian orders to Scottish architecture. The plain Doric order is used for the services at ground floor, the Ionic order is used for the state apartments on the first floor while the elaborate Corinthian order is used for the royal apartments on the second floor. It is the Queen's official residence in Edinburgh.

The painting was executed in Auvers not long before van Gogh's death. He repeated the motif of peasant huts on many occasions: "In my opinion, the most marvellous of all that I know in the sphere of architecture is huts with their roofs of moss-grown straw and a smoky hearth," wrote van Gogh in one of his letters. The thatched roofs seem to be just as much an organic part of nature as the hills, fields and sky. The hilly relief of the distance allowed the artist to accentuate the dynamics of space, which he reinforced through the use of colour contrasts. The tense, wavy brushstrokes and lines convey the dramatism of the artist's perception of life and the world.

 

[Oil on canvas, 59 x 72 cm]

 

gandalfsgallery.blogspot.com/2010/09/vincent-van-gogh-cot...

Designed by respected architect John Lessels, executed John Watherston and Sons, 1880-82. Terrace comprising 4-storey and basement plain classical townhouses with main-door and common stair flats behind; angled and pilastered splayed corner to W; recessed 3-bay section (angled to side) to E end with advanced 2-storey bay in re-entrant angle. Basement area to street including some vaulted cellars and retaining walls. Sandstone ashlar, channelled at ground floor. Entrance platts oversailing basement. Banded base course, moulded cill courses at 1st and 2nd floors with cornice at 3rd floor and corniced eaves course. Architraved consoled and corniced doorways with rectangular fanlights. Corniced and consoled 3-light, 2-storey canted bays. Moulded architraved surrounds to ground, 1st 2nd and 3rd floors.

 

Opposite is a c. 1930 Police Box designed by city architect Ebenezer MacRae. These have now been sold off and this one operates as a kiosk selling hot drinks.

 

These terraced houses form part of a well-detailed street incorporated into one of the later parts of the former Walker Estate. The design by John Lessels is characteristic of later Victorian planning, with large canted bays and fluent use of the classical language. The well detailed doorpieces and canted bay windows give the composition good rhythm and are a key characteristic of the surrounding streetscape.

 

John Lessels secured the control over the Walker Estate in 1850, only 4 years after he had set up practice on his own in 1846. He later went on to work for the City Improvement Trust in Edinburgh, and gained a wide experience of residential design with further designs in both the old and new towns of Edinburgh as well as some large commissions such as significant alterations to George Watson's Hospital.

Cette mosaïque murale exécutée par les ateliers Martin de Paris rappelle le vœu du roi auprès de la Vierge pour enfin concevoir un fils qui sera Louis XIV qui naîtra après plus de 20 ans de mariage.

 

Le décor intérieur exubérant et diversifié est constitué de mosaïques de style néo-byzantin. La basilique Notre-Dame de Fourvière fut construite entre 1872 et 1896, suite à un vœu durant la guerre franco-prussienne de 1870 comme le Sacré-Cœur de Montmartre. Elle fut consacrée à la Vierge Marie représentée par cette statue qui couronne normalement le clocher en tour-lanterne qui se dresse sur le flanc gauche à la Basilique. Elle-même accueille une statue de saint Michel comme c’est souvent le cas des sites religieux catholiques situés au sommet d’une colline. Sorte d'acropole de la cité avec ses murailles crénelées et ses 4 tours octogonales (architecture romano-byzantine), la basilique est devenue une image forte de Lyon.

 

Située dans le sud-est de la France, au confluent du Rhône et de la Saône, la ville de Lyon, ancienne capitale des Gaules du temps de l'Empire romain, fut le siège d'un archevêché dont le titulaire porte le titre de primat des Gaules. Lyon devint une ville très commerçante et une place financière de premier ordre à la Renaissance. Sa prospérité économique a été portée successivement par la soierie, puis par l'apparition des industries notamment textiles.

 

La ville a donc conservé un patrimoine architectural important allant de l'époque romaine au 20e siècle en passant par la Renaissance et, à ce titre, les quartiers du Vieux Lyon, de la colline de Fourvière, de la Presqu'île et des pentes de la Croix-Rousse sont inscrits sur la liste du patrimoine mondial de l'UNESCO (WHL-872) depuis 1998.

 

By the riverside, surrounded by young trees, in a quiet secluded corner of the National Memorial Arboretum, is a memorial called 'Shot at Dawn' - a memorial to the 306 British and Commonwealth soldiers executed by firing squad for, so called, cowardice and desertion during World War 1. This was my third visit and each time I have been profoundly moved and saddened by this memorial.

 

I don't want to get political but these young boys, some only 15,16 or 17 years old, were suffering from what is now known as post-traumatic stress syndrome. Not only that, they were not allowed any representation and were given, what is now generally accepted to be, unfair trails in the field.

 

In 2007 they were finally, posthumously, pardoned!

 

The main sculpture is modelled on 17 year old Private Herbert Burden who is tied to the stake and blindfolded ready for the firing squad. Like many others, he lied about his age so that he could proudly serve his country! He is surrounded by a semicircle of stakes, each one bearing the name of each one of the 306 who were executed.

 

I thought carefully about angle, effects and tone in my own tribute, it doesn't do justice to the emotional surge of being there but I wanted to try and convey some of my own thoughts about the place and subject.

A bit of fun executing an idea I had for an image with a Christmas feel at the old doocot(dovecot) on the Gartshore Estate near Kirkintilloch. I was on my own so this image was produced by using my fisheye lens & stacking seven separate 30sec exposures - one for each different element (the santa, the green lighting, the blue lights, the yellow star effect at the top and then 3 for the red torch lighting up pigeonholes).

 

When I envisaged this image the green circles represented a Xmas tree and the red & blue were fairy lights with a yellow star atop it all... (Maybe it's time to go easy on the decongestant meds!!)

 

I had to park up on a quiet country road away from some isolated houses and cross a field before entering the forest where this abandoned doocot sits in a dense clump of rhododendrons. On my return I think I frightened the beejezus out of one of the residents of one of the houses who'd opened their front door to let their dog out. I'm sure they saw me striding across the middle of the adjacent field in the darkness. I wondered what they thought because I was in full Santa costume at the time with a pack on my back! Ho! Ho! Ho!

 

A very Merry Christmas to everyone here on Flickr and especially all my contacts . Have a great 2018.

The Capuchin Friars first arrived in Dublin in 1615, but it was not until 1624 that the first friary was established, in Bridge Street. They came to Church Street in 1690, shortly after the Battle of the Boyne and opened a “Mass house” at the site of the present Church. The Mass house was enlarged in 1796. The present Church dates from 1881. The architect was James J.McCarthy. The altar and reredos was designed by James Pearse, the father of Pádraig and Willie Pearse who were executed after the 1916 Rising. It was friars from the Church Street community that attended those executed in 1916 and administered the last rites.

 

Today the friars serve the local community through parish work and through the Capuchin Day Centre. The Capuchin Mission Office which supports the work of the Irish friars overseas, in Zambia, South Africa, New Zealand and Korea is also located in Church Street. St Mary of the Angels is not a parish church, however, the Friars also have responsibility for Halston Street Parish, one of the oldest in Dublin City Centre.

Barrel vaulting is common in the Great Temple, here seen in the southern exit from the complex. The true arch with voussoirs had yet to be invented, and these vaults are instead executed with corbelling.

 

Abydos: New Kingdom, 19th Dynasty, 13th century BC

The Capuchin Friars first arrived in Dublin in 1615, but it was not until 1624 that the first friary was established, in Bridge Street. They came to Church Street in 1690, shortly after the Battle of the Boyne and opened a “Mass house” at the site of the present Church. The Mass house was enlarged in 1796. The present Church dates from 1881. The architect was James J.McCarthy. The altar and reredos was designed by James Pearse, the father of Pádraig and Willie Pearse who were executed after the 1916 Rising. It was friars from the Church Street community that attended those executed in 1916 and administered the last rites.

 

Today the friars serve the local community through parish work and through the Capuchin Day Centre. The Capuchin Mission Office which supports the work of the Irish friars overseas, in Zambia, South Africa, New Zealand and Korea is also located in Church Street. St Mary of the Angels is not a parish church, however, the Friars also have responsibility for Halston Street Parish, one of the oldest in Dublin City Centre.

Sale Details: 50% Off Sale

Primary Genre(s): Accessories, Apparel

Start Date: May 1, 2023

End Date: May 7, 2023

 

Teleport to Drang, Sao and Execute

 

www.seraphimsl.com/2023/05/01/50-off-sale-at-drang-sao-an...

The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.

Building

Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688

Canaletto: View of Palais Liechtenstein

1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.

The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made ​​from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.

For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.

A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .

Sala terrene of the Palais

1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made ​​of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.

After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.

Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.

Use as a museum

Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.

From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .

On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.

 

de.wikipedia.org/wiki/Palais_Liechtenstein_(F%C3%BCrstengasse)

EXECUTION IN THE CHURCHYARD

 

When Bonnie Prince Charlie's Jacobite supporters took over Inverness in 1746 they imprisoned government soldiers in the church tower. When the Jacobites were defeated at the Battle of Culloden just outside Inverness the Duke of Cumberland, the leader of the government troops, was able to take control of the town. Cumberland released the government soldiers from their tower prison and replaced them with captured Jacobite soldiers.

 

The prisoners were led outside into the churchyard, blindfolded and executed one by one. The place of execution was arranged so it could be seen by wounded prisoners being held at Balnain House across the river. You can still see the mark made by musket balls in the wall of the tower.

 

Some prisoners were too weak to stand erect so they were propped up against a small gravestone at the west end of the churchyard while a government soldier rested his musket in the notch of a gravestone nine paces east to assure an accurate shot. The two gravestones are still standing and provide a grim reminder of those dark days.

As my friend Velvetart says: "Everyone has a name."

 

Jean Charles de Menezes (January 7, 1978–July 22, 2005) was a Brazilian electrician living in London. He grew up on a farm in rural Brazil and went to England on a student visa, where he was working to send money back to his family. How do you think they feel today?

 

He was assassinated this weekend by an elite team of Israeli-trained British metro police under orders to "shoot to kill" suspected terrorists. Menezes fled after being trailed and attacked by armed undercover agents who may or may not have identified themselves to him as police. Twenty police officers in plain clothes pursued Menezes into Stockwell station, where he jumped over the ticket barrier, ran down an escalator and tried to jump onto a train. He was pushed to the floor of the carriage. Two officers pinned him down, while a third executed him by shooting him 8 times in the back of the head and shoulders at close range.

 

The murderers explained that they were simply following police policy, which - quite appallingly - states they may summarily execute suspected suicide bombers by shooting them in the head. Unsurprisingly, according to the BBC, this grotesque policy was devised pursuant to the recommendations of the fucking Israelis.

 

Menezes was assassinated, at least to some extent, because he was brown. The police thought he looked "asian" and thought his baggy jacket in 62F weather was suspicious. Someone else reported that this electrician may have had electrical wires with him. But ultimately he was assassinated because the government of Britain has made a disastrous strategic choice.

 

...

  

"Lord Stevens, the former Met commissioner, staunchly defended the tactic of shooting to the head. He had sent officers [of the Metropolitan police's elite S019 firearms team] to Israel, where they learned the "terrible truth" that the only way to stop a suicide bomber was to "destroy his brain, instantly, utterly", otherwise he might still be able to trigger a device."

 

www.guardian.co.uk/attackonlondon/story/0,16132,1535632,0...

 

...

 

People in Britain: please attend the memorial vigil at Stockton tube this evening. Please don't get all huffy if you see someone with a sign saying FUCK THE POLICE. Anger is not the enemy.

 

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

MONTHS LATER, several facts have emerged. He was NOT wearing a baggy jacket. He was not running into the tube station. He was not hailed or asked to stop. He had no idea he was being followed. As he sat in the train, a member of the death squad walked in, stood him up and turned him against the wall, and shot De Menezes in the head at point blank range. Fascinating to observe the completely fictitious "controversy" that was concocted, and even more fascinating, in retrospect, to observe all the people who stood up to bitch about lack of "fairness" and incorrect "facts" and a need for "balance" in my comments - all of them enthusiastically defending a total fabrication. Seemed like every five minutes someone was giving me the old "if the shoe was on the other foot and you had to act fast to save the lives of millions of Londoners" etc., line. Fucking death squads, man. In London. And there are actually people who think that's great.

Irving R. Bacon (1875-1962)

Pen and ink with graphite on paper

 

Executed during Bacon’s Munich period of study at the Royal Academy.

 

Irving Roscoe Bacon was born in Fitchburg, Massachusetts on November 29, 1875.

 

Bacon studied with Wm Chase, F. Luis Mora, and at the Royal Academy in Munich. He spent most of his career in Michigan where he was personal artist for Henry Ford.

 

He died in El Cajon, CA on Nov. 21, 1962.

 

Exhibits:

Royal Academy, 1909 (medal)

National Academy of Design (New York City), 1910-12

Pennsylvania Academy of the Fine Arts, 1911, 1912

Art Institute of Chicago, 1911, 1912

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

 

Examples of Bacon's paintings can be seen here: www.thehenryford.org/collections-and-research/digital-col...(Irving%20Reuben),%201875-1962&years=0-0&perPage=10&pageNum=1&sortBy=relevance

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FROM THE WEBSITE OF THE HENRY FORD:

 

Irving R. Bacon worked for Henry Ford as an artist. His work ranged from cartoons in the Ford Times to paintings of artifacts and events at the Edison Institute. His papers include photographs, drawings, and correspondence related to his career with Ford Motor Company and the Edison Institute.

Biographical / Historical Note

 

Born in 1875 in Fitchburg, Massachusetts, Irving Bacon received his early art training from Joseph Gies at the Art School of the Detroit Museum of Art.

 

Much of his early work concentrated on illustrations and cartoons, and often his artwork reflected the influence of his travels to the American West.

 

From 1894 to 1900 he worked as an illustrator at the Detroit Evening News and the Detroit Free Press. He first met Henry Ford through a mutual acquaintance in 1898, when he rode to Royal Oak and back to Detroit on Woodward Avenue in Henry's new automobile.

 

In 1902 he went to New York City to study at the Chase School of Art and to illustrate for Harper's Weekly and McClure's.

 

In 1906 he went to the Royal Academy in Munich and studied under Heinrich von Zugel, a noted animal painter. It was there where Bacon acquired his talent for painting landscapes and portraits.

 

After returning to Detroit in 1910, he once again met Henry Ford, who by this time was a millionaire. Henry became interested in art largely due to the interest and talent of his own son, Edsel.

 

He purchased a landscape scene from Bacon-a painting, which, according to Bacon, was "certainly not a masterpiece." It was after this meeting that Bacon gained permission from Henry to utilize his large estate for landscape paintings.

 

In 1913 he received a generous gift of money from his friend Harold Wills (a Ford executive), and once again returned to Munich for further study. His stay was cut short, however, due to the start of World War I.

 

Upon returning to Detroit, he realized the need for a steady salary in order to adequately support his wife and six children, so he met again with Henry Ford and soon became an employee of the Ford Motor Company, drawing cartoons for the Ford Times and later, illustrations for The Dearborn Independent.

 

Henry loved Bacon's cartoons, an area of work which Bacon wanted to discontinue. According to Bacon, "That class of work seemed to conflict with my high aims of art. Little did I realize at the time that I was beginning a thirty three year stretch of work for Henry Ford and his great organization that eventually would wean me away from the art world."

 

Working for Henry at the Ford Motor Company, and later the Edison Institute, Bacon's tasks included painting scenes and portraits that were of great interest to Henry Ford and his Museum and Village. These included portraits of Ford's family and friends, Noah Webster, Luther Burbank, Mark Twain, Dr. George Washington Carver, Stephen Foster, John Burroughs, and others.

 

He was also responsible for creating paintings of the artifacts located at the institute, and he also acted as stage designer for the Museum's theater.

 

His interest in photography and motion pictures led him to become the head of the Photographic Department for several years. Bacon retired from the Edison Institute in 1948, and moved to Miami with his second wife. He died in 1962 at the age of 86.

 

This collection is mainly composed of photographs, drawings, and some correspondence related to Bacon's career with the Ford Motor Company and the Edison Institute. The series within this collection are accordingly arranged to the different aspects involved with the work of Henry Bacon.

 

There are five series in the collection, the Golden Jubilee painting, Irving Bacon personal materials, Greenfield Village and Henry Ford Museum, Henry Ford related work, and Dearborn Independent.

 

Series I, Golden Jubilee painting: This series is comprised of pamphlets, notes, lists, correspondence, and photographs related Bacon’s painting entitled "Celebration of the Golden Jubilee of the Invention of the Incandescent Electric Light" also known as the "The Dedication of the Edison Institute of Technology." The Golden Jubilee occurred on October 21, 1929. It is arranged by the sub-series Printed material (1929), Correspondence (1936-1937), and Photographs (dates unknown, but assumed to be between 1920-1938). The photographs, which are mainly portraits of the individuals who attended the events of October 21, 1929, were obtained by Bacon in the years 1936-1938, for the purpose of recreating the dinner scene, some seven to nine years previous. Over 400 individuals attended this dinner, ranging from Henry Ford's personal friends to contemporary world business and political leaders. The number of dinner guests eventually included in Bacon's painting numbered 266. The filing arrangement for the Photographs subseries was left in much the same way that Bacon had organized it, which was by seating arrangements. He categorized his filing system according to "Tables," "Arches," and "Individuals Standing" e.g., Table 1, Arch 1, etc.

 

Series II, Irving Bacon personal materials: In this series are various materials (1907-1957) which apparently were kept for the personal use and interest of Mr. Bacon. A large portion of this series, theater interests, contains materials on early theater and film actors/actresses. The majority of the materials within this series are photographs, unless otherwise noted.

 

Series III, Greenfield Village and Henry Ford Museum: This series is an assortment of photographs, mixed with notes and sketches related to subjects found at Greenfield Village and Henry Ford Museum. Bacon collected photographs of the various subjects in order to study them and eventually create a likeness within his own paintings.

 

Series IV, Henry Ford related work: This series is an example of yet another type of work that Bacon undertook as an employee of Henry Ford. It reflects the personal interests of Henry Ford. Included are miscellaneous printed materials, photographs, sketches, and maps (photographed). The folders have retained the original titles given by Bacon himself.

 

Series V, Dearborn Independent: Irving Bacon's artwork created for the Dearborn Independent is found within this series (approximately 1925-1935). These oversized materials consist mainly of sketches, prints, and color drawings.

 

Less

Collection Details

 

Object ID: 84.1.1657.0

Creator: Bacon, Irving R. (Irving Reuben), 1875-1962

Inclusive Dates: 1863-1957

Size: 4.4 cubic ft. and 4 oversize boxes 7.8 cubic ft. (17 boxes) [Collection Survey]

Language: English

From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...

===================

From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...

 

Once again I had been called into the field for a last minute operation for the Triumvirate, I had my orders to go to Iridonia, a planet covered in rocks sand and acid pools. The planet was an important one to capture as it had access to many useful hyper lanes, leading straight to the hearts of some of our greatest threats, so it was key that we executed the orders without fail.

 

Once landing, I had been dispatched from the main group with a squad of elite death troopers, who were to help me target a specific group of rebels while the rest rounded out other rebels. We arrived at the house, which was surrounded by an acid lake, typical of this part of the planet, where we entered peacefully, the Zabrak I talked claimed he knew nothing but I k ew who he was, Baak Chiser, freedom fighter of Iridonia, as I continued to pursue answers from him about the hideouts located around the planet, the remainder of my squad located those that were there and executed them without question. We had them all where we wanted them except for one, there was a child of Chiser’s who was hidden from us, I tapped into their fins but found nothing, my troopers arrived back to me and reported they had done what they had asked. “I will escort Chiser back the ship personally, he has a child find it!”

London headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young), 1992-1994. Structural engineers Ove Arup and Partners.

 

The mapping of the listed building does not reflect the full extent of its below-ground footprint.

Reasons for Designation

124-126 Horseferry Road, built as the headquarters of Channel Four Television to designs by Richard Rogers Partnership 1992-94, is listed at Grade II for the following principal reasons:

 

Architectural interest:

 

* as an elegant work of the High-tech movement, displaying many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services; * for its logical L-plan with a dynamic, highly articulated corner composition and entrance sequence, dominated by a curved, top-hung, structural glass wall; * for the sophistication of its design, in which intricate details, executed in a consistent palette of materials, are integrated into a rigorous modular framework; * for its sequence of three linked interior spaces, centring on the dramatic full-height entrance atrium, to which are connected the fan-shaped restaurant and the subterranean screening room and foyer; * as a late-C20 exemplar of both a prestigious, owner-occupied headquarters building and a television centre, equipped primarily for the commissioning, but not the production of television programming, as per Channel 4’s remit; * for its designed flexibility to allow for changing technologies and operational needs, combining set-piece interiors with adaptable office workspaces; * for its degree of survival, with little alteration externally or to its key interior spaces.

 

Historic interest:

 

* as the purpose-built headquarters of Channel 4, a key player in television broadcasting history, commercially funded but with a public-service remit to provide innovative and diverse programming; * as an important British work by Richard Rogers Partnership, a practice of international renown led by one of Britain’s most celebrated architects.

History

124-126 Horseferry Road was built in 1992-1994 as the headquarters for Channel 4, a publicly owned, commercially-funded public service broadcaster, established with a remit to make innovative, experimental and distinctive programmes. After launching on 2 November 1982, its audience share gradually increased and the station soon outgrew its collection of rented offices in the West End. The switch to digital broadcasting also loomed. The chief executive, Michael Grade, and the chairman, Sir Richard Attenborough, took the decision to build a new headquarters. A suitable site was found at the junction of Horseferry Road and Chadwick Street, and a limited competition held in late 1990.

 

The commission was won by the Richard Rogers Partnership (RRP), who then explored the organisation’s needs through a series of workshops. As Channel 4 was a commissioner and transmitter, but not a producer of programmes, their main requirements were for offices and prestigious spaces to receive clients. The office space was specified to institutional standards so that the building could be readily let or sold in the event of a future move. A 10m deep basement already existed from a previous stalled development, so production and transmission facilities and a minimal studio occupied two subterranean levels, with provision made in the design for adding windows to the lower ground floor in the future, and flooring over the double-height studio to make the space more flexible.

 

RRP proposed a perimeter plan that reinforced the street pattern. Office wings at right angles were hinged by a ‘knuckle’, containing an entrance atrium and restaurant, with offices above. Behind the building a public garden was created, framed to the south and east by a separate housing development which fulfilled a planning condition set by Westminster City Council. In 2007 ‘the big 4’, a metal sculpture designed by Nick Knight and based on the channel’s current on-air identity was erected in the small piazza at the front of the building.

 

Richard Rogers was one of a group of British architects responsible for the High-tech movement, which originated in the 1960s with in a series of loose-fit industrial structures. By the 1980s High-tech architecture was increasingly being translated into urban contexts and cultural commissions. 124-126 Horseferry Road demonstrates many of its key principles, such as the separation of services from the spaces served, the use of prefabricated elements and a technological aesthetic based upon expressed structure and exposed services. It was Rogers’ first central London job after the Lloyd’s Building (1978-1986, listed Grade I), a seminal work of High-tech architecture. The image of Lloyds’ seems to have loomed large. For John Young, partner in charge, 124-126 Horseferry Road is ‘a building in the Lloyds mould.’ (Powell, 2001, 173).

 

The building’s drama is focussed on the entrance front; its transparency revealing the principal interior spaces, giving views right through the building to the public garden, and glimpses of working life within. ‘The effect, especially at night, is televisual’, commented Jonathan Glancey, (The Independent, 1994). The office wings are conventional in their planning and the building was designed to meet the bespoke needs of the client, as well as to be sufficiently adaptable should those needs change, or the building be sold.

 

124-126 Horseferry Road was a BBC Design Awards Finalist 1996 and won a RIBA National Award 1995; Royal Fine Art Commission Award 1995 and Civic Trust Award 1996. Since its opening the building has undergone several phases of internal refurbishment, including, in about 2010, the flooring-over of the double-height basement studio and repurposing of the space for various other uses. Externally, the building is largely unaltered.

 

Television as a broadcasting phenomenon began in the 1930s, with the first regular television service in the world introduced on 2 November 1936 by the BBC. The BBC’s monopoly was broken by the Television Act 1954, which created commercially funded Independent Television (ITV), served by regional franchised networks. Channel 4 arrived in 1982, established under the provisions of the 1980 Broadcasting Act. The act provided for a new, fourth, channel with a remit to ‘encourage innovation and experiment in the form and content of programmes’; its output was to be distinctive, offering programming for tastes not catered for by the commercial broadcaster ITV.

 

Its organisational model was equally distinctive, funded by advertising but adhering to a public service remit, it didn’t produce its own programming, instead commissioning and purchasing material from independent production companies. It employed commissioning editors to nurture the various strands and genres of the channel’s output and made particular efforts to employ people outside the television industry who could bring new and non-traditional perspectives. This meant new voices and new talents, and a greater plurality of programming and representation, including minorities. Channel 4 still proclaims its role as a ‘disruptive, innovative force in UK Broadcasting’ (Channel4.com, accessed 3 December 2021). Channel 4 has been major contributor to the British cultural landscape of the last four decades.

 

Richard Rogers, later Lord Rogers of Riverside, (1933-2021) was born in Florence. He trained at the Architectural Association and Yale University before setting up the Team 4 practice with Norman Foster and others in 1962. Their house for his in-laws, Creekvean in Feock, Cornwall (1964-1967) was listed Grade II in 1998 and upgraded to Grade II* in 2002. Rogers subsequently formed an architectural practice with his then wife, Su Rogers, and from 1970-1977, worked with the Italian architect Renzo Piano. Their Pompidou Centre building in Paris, which opened in 1977, is a major landmark of the High-tech style. Richard Rogers Partnership was formed the same year, with John Young, a veteran team member from Team 4 days, as one of several partners. The Lloyd’s Building together with the Pompidou sealed an international reputation. Other major works by Rogers include: the European Court of Human Rights, Strasbourg (1989-1995), Terminal 4 at Barajas Airport in Madrid (2004), the National Assembly of Wales in Cardiff (2005) and Terminal 5 at Heathrow Airport (2008). Rogers won the RIBA Royal Gold Medal in 1985, was knighted in 1991 and was created Baron Rogers of Riverside in 1996. In 2007 the Richard Rogers Partnership was renamed Rogers Stirk Harbour and Partners to reflect the practice‘s succession plan.

Details

Once national, now regional, headquarters of Channel Four Television, including offices, post-production edit suites, restaurant, screening room and originally a studio. Built to designs by Richard Rogers Partnership (partner in charge, John Young),1992-1994. Structural engineers Ove Arup and Partners.

 

MATERIALS: the majority of the building has a reinforced concrete frame with metal and glass cladding. The conference rooms have a steel pin-jointed frame and the atrium frontage is of glass, suspended from above and held in tension by a steel cabling system devised by Arup.

 

PLAN: the building is L-shaped in plan, occupying the corner between Horseferry Road to the west and Chadwick Street to the north, with rectangular office wings fronting each road and a concave quadrant knuckle connecting the two and framing a small piazza facing the road junction. The building has four floors above a basement and lower-ground floor levels. To the rear are two terraces; one at ground-floor level, above the larger footprint of the two lower floors, and one at third floor, where the footprint of the central knuckle is set back from the floors below.

 

Each office wing has two internal service cores and externally-expressed stair towers at each end. There is a lift tower at the far end of the Chadwick Street wing and three wall-climber lifts facing Horseferry Road, adjacent to the piazza. The basement level is given over to plant, storage, staff well-being facilities and edit suites. The lower-ground floor is a mixture of open-plan office space, meeting rooms and staff facilities; the main area of interest is the fan-shaped screening room with its circular foyer beneath the piazza, and stair connecting it to the atrium above. The ground floor contains the atrium reception area and large curved restaurant on a slightly lower level behind, overlooking the garden; the office blocks are given over to open-plan work space and a loading bay. First, second and third floors are mainly open-plan work space, with some meeting rooms and private offices as well. Key aspects of the building’s layout are original, including the screening room and foyer, reception atrium and restaurant. There has been reconfiguration in other parts, in particular the flooring-over of the studio, reconfiguration of the editing-suites and the removal of rows of perimeter offices.

 

EXTERIOR: the building’s key aspect faces onto the Horseferry Road/ Chadwick Street junction. The ends of the office wings are pulled back from the corner and the piazza is framed by a High-tech composition of glass and graphite-coloured steel, aluminium and cladding panels, punctuated by vertical flashes of red-painted structural steelwork. The full-height, concave, structural glass wall of the atrium is at the centre, suspended from above by a steel frame. Flanking it to either side are radiused stair towers. The stair towers have bands of glazing following the line of the stair within, almost uninterrupted by vertical supports because the cladding is supported internally on rods hung from above. To the left is a stack of conference rooms with glazed end walls, elevated and supported by a red pin-jointed steel frame. To the right is a stack of glazed lift lobbies serving a bank of three external ‘wall-climber’ lifts running along red steelwork; above are boxed-out service elements and a quasi-Constructivist transmission tower, creating a strong vertical element in the composition. Boiler flues add further interest to the roofline.

 

The piazza has shallow steps and flanking ramps which lead to a circular space immediately in front of the building. The centre of this is occupied by a circular skylight lighting the foyer of the screening room below; a bridge sheltered by a glass canopy stretches across it to a pair of revolving entrance doors. The sculpture, ‘the big 4’* stands towards the front edge of the piazza.

 

The office wings are clad with glazed panels of powder-coated aluminium, at ground floor these are set back behind the exposed concrete posts of the building’s frame, and above they are jettied out slightly, meeting at the corners with narrow, vertical, fully-glazed units. The panels each have four rebated horizontal glazed units divided by a fin-like transom, the lowest unit also having a band of sunscreen steel mesh in front. The floor plates are faced with panelled steel units. The facing components meet with a narrow shadow gap and the overall effect is of a modelled grid with a horizontal emphasis. The rear elevations, both to the office wings and the convexly curved knuckle, follow this aesthetic.

 

INTERIOR: the atrium is the building’s key public-facing interior space. The curved, full-height glazed wall is held in tension by a complex network of steel cables and suspended from above by exposed red steelwork. Set back from the wall, and above the ground-floor reception area, are curved cantilevered walkways at each floor, open to the atrium and floored in concrete panels set with circular glass blocks; behind, offices are enclosed by glazed walls.

 

Behind the reception, at a slightly lower level, is the staff restaurant. This has been refurbished a number of times but retains its distinctive fan shape, exposed concrete ceiling and glazed walls looking out onto the terrace.

 

The screening room, beneath the piazza, has a fan-shaped auditorium and circular foyer. Both spaces have been refurbished but retain perforated steel acoustic panelling and exposed concrete structural elements. The walls of the anti-room are hung with a chain curtain and the space is lit from above by the circular skylight in the piazza pavement; the glazing is held in a steel, umbrella-like structure. A concrete stair with steel balustrade leads from the foyer up to the atrium above.

 

The stairs in the four towers are dog-legged, red with stainless steel tubular balustrades; the treads and risers are of folded steel, supported at the half landings by flanged I-beam newels.

 

The interior most relevant to the building’s special interest are addressed in the paragraphs above. Throughout the rest of the building, the smooth round concrete posts and other concrete structural elements are visible, but spaces have been reconfigured and refurbished to suit operational needs.

 

* Pursuant to s1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that ‘the big 4’ sculpture on the building’s piazza is not of special architectural or historic interest, however any works which have the potential to affect the character of the listed building as a building of special architectural or historic interest may still require LBC and this is a matter for the LPA to determine.

Another two minifigs I made to use PoP pieces. Again, inspired after seeing Bantha's awesome minifigs.

At around 5.30am today (Tuesday 12 October) officers from GMP's Oldham Challenger Team executed three warrants at addresses across Newton Heath and Failsworth.

 

The warrants formed part of an ongoing investigation into the supply of class A drugs across Greater Manchester, as well as the criminal use of the encrypted communications platform Encrochat, often used by organised criminal groups.

 

During the raids, three men in their 30s were arrested on suspicion of conspiracy to supply cocaine and two of the men were further arrested on suspicion of conspiracy to supply amphetamine, entering into a money laundering agreement and possession of a prohibited weapon with intent to cause fear.

 

They remain in custody for questioning by detectives.

 

Following searches of all three properties, suspected class A and B drugs were recovered, along with over £3000 in cash, designer clothing, jewellery, phones and vehicles.

 

In July 2020, GMP alongside nearly every law enforcement agency across the UK came together as part of the National Crime Agency led 'Operation Venetic', focused on the takedown of 'Encrochat' - a sophisticated encrypted communications service used by OCG's.

 

GMP launched a series of intricate investigations bringing together 16 teams of officers from across all ten districts of Greater Manchester. Codenamed 'Operation Foam', the force wide operation has been in constant action for the past 15 months.

 

Detective Sergeant Alex Brown of GMP's Oldham Challenger Team, said: "Today's action is the culmination of months of intricate investigative work and is another positive result for the team in our endeavour to disrupt and dismantle the distribution and trade of drugs across our region.

 

"Thankfully today we have been able to remove what is suspected to be a large quantity of drugs from our community, and although we have three men in custody our searches and investigation will continue this morning and we will ensure all criminal assets are seized.

 

"An inordinate amount of work goes on behind the scenes to investigate the distribution of drugs and I hope today's arrests and seizures send a stark warning that GMP will do all in its power to pursue offenders and ensure no one benefits from ill-gotten gains and the sale of drugs.

 

"Often these investigations rely on intelligence passed to police by members of the public can often play a big part in investigations. If you have information that could aid our investigations into the trade of drugs across Greater Manchester then please get in touch with police."

 

Anyone with information should contact police on 101. Alternatively, details can be passed via our LiveChat function at www.gmp.police.uk or via the independent charity Crimestoppers on 0800 555 111.

 

You can access many of our services online at www.gmp.police.uk.

 

For emergencies only call 999, or 101 if it's a less urgent matter.

It turns out that °John° managed to capture a video of the rat getting executed! Thanks °John°!

Designed by Agustin Saez, the beautiful pulpit was executed in Philippine hardwood by master sculptor, Isabelo Tampingco.

 

Photo from

Interesting Manila.

 

More about the Church of San Ignacio:

The Jesuits’ Golden Dream.

The Philippine Jesuits

 

On the 6th of February 1945, the Jesuit church of San Ignacio, in Intramuros was put to the torch. There was so much wood in the church that it took all of four days for the conflagration to consume the buffet of tropical hardwoods – narra, tindalo, magcono, molave – cut from the mountain fastness of Surigao and transported to Manila seven decades previous. And, as if this were not humiliation enough, for a church hailed in its time as a masterpiece of art and architecture, on 23 February, bombs and mortars pummeled the smoldering structure, sending it prostrate to the ground.

 

Now a ruined and empty shell, stripped of its marble and brick, standing derelict along Arsobispado Street in Intramuros, it is hard to believe that this church was hailed by its architect, Felix Roxas as the Jesuits “sueno dorado,” – their golden dream, the fulfillment of many years of planning and work, and bargaining with patrons, the principal patron being Pedro Payo, O.P., Archbishop of Manila. He donated the land for the church by carving out a piece from his own private garden.

 

A structure 42.40 by 20.00 meters in size, the San Ignacio was a mere chapel by colonial standards where churches measured on the average 80 by 40 meters. Some like Sarrat church in Ilocos to more than 100 meters in length. Despite its small size, the best architects and artists of Manila poured their talent into this church.

 

Felix Roxas, the church’s principal architect, was a Filipino trained in Europe who spent part of his young career in India and England. There he must have picked up his affection for Revivalist architecture, the vogue of the era. When earthquake ruined the neoclassical Dominican church in 1863, Roxas designed for the friars a new church in the neo-Gothic idiom. With the commission for the Jesuits he opted for a church classical and Renaissance in temper to allude to the times when the Society of Jesus was founded. He planned the church as a single nave flanked by wide aisles, above them run galleries to accommodate a more churchgoers. Roxas did not live to see the church completed. The Jesuit brother, Francisco Riera, took charge of construction and saw the church to completion. Riera was so enamored with the San Ignacio’s design, practical as it was beautiful, that when his superior sent him to assists the Jesuits in Mindanao, he based his own designs for the churches at Tagoloan, Jasaan and Balingasag on the San Ignacio.

 

Agustin Saez designed the altars and the pulpit. Saez was at one time director of the Academía de Dibujo y Pintura, the art academy sponsored by the crown, and instructor in painting and drawing at the Ateneo Municipaál de Manila. The Philippines’ national hero, José Rizal studied under him at the Ateneo. For the altars, Saez worked with the classical idiom using Corinthian columns, arches, vases and statues of angels as basic design elements. Saez employed Francisco Rodoreda, a Spaniard to complete the carving of the marble altars imported from Italy. For the main altar, Leonardo Da Vinci’s Last Supper was interpreted in white Carara.

 

As designed by Saez, the pulpit depicted the Descent of the Spirit and Christ’s Great Commission, separated by allegories of Faith, Hope and Charity. To execute this masterpiece in tropical hardwood, the services of the best sculptor in Manila, Isabelo Tampingco and his atelier were employed. Tampingco came from a mestizo Chinese family, had worked on the interior of the Santo Domingo and was a consistent winner of awards in the Philippines and in Spain, where his works were displayed in regional and international expositions. Tampingco worked with his father-in-law, Crispulo Hocson, and the Filipino master carver, Manuel Flores and some 30 artisans. Flores carved the image of San Ignacio, whose eyes are raised to the heavens, following the words of Pedro de Ribadeneyra “aquel Padre que siempre mira al cielo.” Flores also carved the statue of the Sacred Heart and Hocson, the statue of the Immaculate Conception.

 

But it was the ceiling and the woodwork decorating the church that made it the toast of Manila. Tampingco, following Renaissance design, built an artesonado or coffered ceiling. The ceiling was neatly divided into squares of equal dimensions in which acanthus leaves were enclosed by braid and strap work. At the church crossing, Tampingco depicted a host of Jesuit saints and over the sanctuary, the Holy Spirit in a burst of glory.

 

The church took eleven years to build and was inaugurated on 31 July 1889, after a weeklong ceremony that must have made staid Manilenos ooh and ah. At night, the Jesuits illumined the church with “luz electrica,” and commissioned the painter, Felix Martínez to paint transparent paintings of Jesuit saints. These were mounted on the windows of the choir loft and illuminated from within. Felix Martinez, known for his genre works and murals, also painted the interior of the San Sebastian church in Quiapo.

 

After the great fire that destroyed part of Intramuros and the old Ateneo on 13 August 1932, the Jesuits thought of transferring San Ignacio to Ermita. But because this would damage the church, they decided against it. In 1939, two years short of the Second World War, a rector was appointed to the church, making it a quasi parish, to the delight of Manilenos who liked the church for weddings.

 

The church is no more. Only memories remain of it: a handful of pictures and some architectural plans, including Roxas’s initial design. But for Filipinos of a previous generation, the San Ignacio was a vibrant repository of, by now, legendary and halcyon years. On his way to his execution on 31 December 1896, José Rizal espied the twin towers of the San Ignacio near his alma mater, the Ateneo Municipal. He remarked how he spent the happiest moments of his youth there.

 

San Ignacio, the website of the Philippine Jesuits has chosen the San Ignacio church as its identifying graphic to speak of the continuity of the Philippine province of today and of yesterday. That continuity has been characterized by a singular affection for the Philippines, an affection that fosters the best the Filipino can be.

The first Ida Rentoul Outhwaite Children's Library Stained Glass Window, "Regatta" is taken from the story "Serana: The Bush Fairy", from the book "Fairyland", published by A. and C. Black in London in 1926. The original illustration was executed in pen and ink, so it is brought to colourful life in the pink, brown, green and golden yellow stained glass panel. Juvenile faeries, both male and female, naughty pixies and frogs ride down a river in everything from canoes to improvised vessels made of nutshells, cups and lily pads with paper sails. One of two water police frogs in the bottom right of the panel hooks a naughty pixie as he sails by with his silver topped cane, making the whole scene quite a chaotic one. The faerie girls all wear contemporary 1920s sun dresses, and have either fashionable Marcelle Wave or bobbed hairstyles, which is contrary to the little boy faerie, who seems to have what we may consider to be more traditional faerie garb. The faerie girl at the top right of the melee even has a 1920s stub handled parasol to shade her! The canoe rowed by a frog with two girl faeries in it also has a connection to 1920s modernity, with a Chinese lantern hanging from the stern of the boat: a common site on punts at the time.

 

In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.

 

Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.

 

The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.

 

I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.

 

Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.

 

 

Mass Murder Site

 

After “Remember the Alamo,” the Texas Revolution’s most potent battle cry was “Remember Goliad.” in 1836, Mexican forces executed Col. James Fannin and his men. Some were killed along roads near Goliad’s historic Presidio La Bahía. Others, including Fannin, were executed inside the fort, which had been constructed in 1749 to protect the nearby Mission Espíritu Santo. Col. Fannin and his troops are buried here beneath the Fannin Memorial Monument, located next to the fort.

 

After Battle of Coleto (Mar. 19-20) 1836, where a Texas army under Col. Fannin met defeat by Mexicans in superior numbers the Texas soldiers were held in presidio La Bahia supposedly as prisoners of war. However by order of Mexican Gen. Antonio Lopez De Santa Anna, approximately 400 of Fannin's men were marched out and massacred on Palm Sunday, Mar. 27, 1836. Col. Fannin was placed in a chair and forced to watch as the wounded were shot one by one in the fort compound. Col. Fannin was the last of them to die.

 

His last request was, not to be shot in the face like his men. to be given a proper burial, and for his belongings to be sent to his family. The Mexican soldiers promptly shot him in the face, stole all of his belongings, and burned his body.

  

Artwork "Home sweet home" by Banksy, seen at the Banksy exhibition at the Moco Museum, Amsterdam, Noord-Holland (North Holland), Netherlands

 

Some background information:

 

Banksy is an anonymous England-based graffiti artist, political activist and film director. His satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world. Banksy's artwork grew out of the Bristol underground scene. He also created a documentary film named "Exit Through the Gift Shop", billed as "the world's first street art disaster movie". In January 2011, the film was nominated for the Academy Award for Best Documentary.

 

Banksy’s career as a freehand graffiti artist started in 1990. During his early years he met Bristol photographer Steve Lazarides, who later became his agent. Banksy's first known large wall mural was "The Mild Mild West" painted in 1997 to cover advertising of a former solicitors' office on Stokes Croft in Bristol. It depicts a teddy bear lobbing a Molotov cocktail at three riot police. By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a work. He claims that he changed to stencilling while hiding from the police under a rubbish lorry, when they noticed the stencilled serial number. By employing this technique, he soon became more widely noticed for his art around Bristol and London.

 

Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, apes, policemen, soldiers, children, and the elderly.

 

In the early 2000s Banksy’s reputation took off. After Christina Aguilera had bought an original of Queen Victoria as a lesbian and two prints for 25,000 £, in October 2006, a set of Kate Moss paintings was sold at Sotheby's London for 50,400 £, setting an auction record for Banksy's work. In December 2006, journalist Max Foster coined the phrase, "the Banksy effect", to illustrate how interest in other street artists was growing on the back of Banksy's success. In April 2007, a new record high for the sale of Banksy's work was set with the auction of the work "Space Girl and Bird" fetching £288,000 (about 576,000 US$) at Bonhams of London. In 2008, a couple from Norfolk, UK, made headlines in Britain when they decided to sell their mobile home that contains a 30-foot mural, entitled "Fragile Silence", done by Banksy a decade prior to his rise to fame. The mobile home purchased by the couple eleven years ago for 1,000 £, was sold for 500,000 £.

 

In 2010, the US-American "Time Magazine" classed Banksy as one of the 100 most influential people of the world. As of 2014, Banksy was regarded as a British cultural icon, with young adults from abroad naming the artist among a group of people that they most associated with UK culture, which included William Shakespeare, Queen Elizabeth II, David Beckham, The Beatles, Charlie Chaplin, J. K. Rowling, Elton John and Adele.

 

In August 2015, Banksy opened Dismaland, a temporary art project and large scale group show lampooning Disneyland. It was permanently closed at the end of September 2015. The "theme park" was located in the seaside resort town Weston-super-Mare, UK. High demand for tickets to the exhibition caused the Dismaland website to crash repeatedly. Some wondered whether or not this was deliberately contrived by Banksy as part of the irony of the Dismaland experience. Even many celebrities were attracted to the venue, such as Brad Pitt, Jack Black, Nicholas Hoult, Russell Brand and Daddy G.

 

In March 2017, Banksy opened "The Walled Off Hotel”, designed by himself, in the Israeli city of Bethlehem. The hotel is located directly next to the Israeli West Bank barrier, converting this locational disadvantage into an advantage. The ugly barrier can be seen from many hotel rooms. According to the website, the hotel’s aim is to break even and put any profits back into local projects then. The "The Walled Off Hotel” offers rooms for both low-budget and high-end tourists as well as for all people in between. A night in a mass accommodation bunk bed costs 30 US$, while the presidential suite can be booked for 965 US$ per night. But whatever you book, it’s always an artistic and rather surreal experience.

 

Despite all his different projects, Banksy has never ceased creating street art as well as indoor art. One of his newest works is a giant Brexit mural painted on a house in the city of Dover in May 2017. The Banksy exhibition at the Moco Museum Amsterdam, that was already extended several times, gives a great review of his artwork. The Moco (Modern Contemporary) Museum Amsterdam is located in the Villa Alsberg, which is set in the middle of the Amsterdam Museumplein, on the opposite site of the famous Rijksmuseum. The museum is a private initiative of gallery owners Lionel and Kim Logchies, who worked with renowned artists like Keith Haring, Andy Warhol, Jean Michel Basquiat, Damien Hirst, Jeff Koons, Pablo Picasso and Salvador Dali. But both have also developed a big interest in the up and coming street art movement and they keep themselves up to date about all novelties within the underground scene.

 

Some more words about Banksy’s identity:

 

Banksy's name and identity remain unknown and it has been stated that the reason for this secrecy is that graffiti is still a crime. A commonly cited 2008 "Mail on Sunday" investigation of several former schoolmates and associates stated that the artist is believed to be Robin Gunningham, a former pupil at the public Bristol Cathedral School. This suggestion was corroborated in 2016 by a study of the locations in which Banksy's art has been found, which showed that the incidence of Banksy's works correlated with the known movements of Gunningham.

 

In August 2016, Scottish journalist Craig Williams published an investigative piece in which he connected the timing of Banksy's murals with the touring schedule of the trip hop band Massive Attack. Williams put forward the suggestion that Banksy's work could be the work of a collective, and that Banksy himself may be Massive Attack's frontman, Robert Del Naja. Del Naja had been a graffiti artist during the 1980s prior to forming the band and had previously been identified as a personal friend of Banksy. In June 2017, English musician Goldie referred to Banksy as Rob (or Robert), during an interview with the hip hop recording artist Scroobius Pip. It has been argued that Goldie could have been referring to either Robert Del Naja or Robin Gunningham, or even neither of them.

No correspondence.

 

One of three photographs depicting Austro-Hungarians executing what appear to be Serbian peasants.

 

The military justification for the massacre of civilians was that many were “partisans” engaged in a guerrilla war against the invading forces. As early as 17 August 1914, the Austro-Hungarian general, Lothar von Hortstein, complained that it was impossible to send reconnaissance patrols into Serb territory because “all were killed by the rural people”.

 

"According to various sources, between 11,400 and 36,000 civilians were condemned to the gallows in the early months of the war already. Additional hangmen had to be recruited and trained by the authorities as early as 1914 in order to carry out the numerous death penalties. Oftentimes no particular event was needed to set in motion the martial law machine: a thoughtless comment, a flimsy suspicion or a hint dropped by an informer was mostly more than enough to ensure an innocent civilian swung from the gallows. Moreover, there were increasingly ‘wild’ executions occurring outside of the military tribunals. In such cases, sentence was passed by the commanding officer alone."