Officers investigating the recent spate of firearms discharges in Salford have executed a series of warrants in Little Hulton and Eccles.

 

In the early hours of this morning, Friday 16 October 2015, officers from Greater Manchester Police’s Salford Division searched nine properties throughout the division in the hunt for firearms linked to the recent shootings in the area.

 

The warrants were executed as part of a Project Gulf operation designed to tackle organised crime. Gulf is part of Programme Challenger, the Greater Manchester approach to tackling organised criminality across the region.

 

Seven men and one woman have been arrested on suspicion of a number of offences, ranging from possession with intent to supply to handling stolen goods.

 

A significant amount of Class A and Class B drugs were seized as part of the operation, though no firearms were found.

 

Detective Inspector Alan Clitherow said: “This series of warrants are just one element of the continuing and relentless operation being orchestrated to tackle organised crime gangs in Salford.

 

“They came about as a result of the on-going investigation into the recent spate of firearms discharges in Salford, including the horrific attack of young Christian Hickey and his mother Jayne.

 

“We wanted to show our communities that we are leaving no stone unturned in the hunt for those responsible for the abhorrent attack on an innocent child and his mother, and that we will not stand for the spate of shootings taking place on our streets in recent weeks.

 

“But there is still more to do and, as with any fight against organised crime groups embedded in our city, we need residents to come to us with information so we can put a stop to this criminality.

 

“There has been much said about people breaking this wall of silence in Salford, and once again I urge people to search their consciences and please come forward.

 

“You could provide the information that may help prevent any further innocent lives being touched by this senseless violence, and prevent further children being injured by thugs that many people within Salford seem so intent on protecting.

 

“I want to stress that if you come forward with what you know, we can offer you complete anonymity and I assure you that you will have our full support. Or if you don’t feel you can talk to police but you have information, you can speak to Crimestoppers anonymously.”

 

A dedicated information hotline has been set up on 0161 856 9775, or people can also pass information on by calling 101, or the independent charity, Crimestoppers, anonymously on 0800 555 111.

 

New indie film staring Tichina Arnold on the life and death of Lena Baker.

Watch Trailer: www.youtube.com/watch?v=HXdEb7QSsXQ

Website: www.lenabakerthemovie.com

 

(Lena's bio)

March 5 1945, Lena Baker, an African-American mother of three, was electrocuted at the Georgia State Prison in Reidsyille.

 

She was convicted for the fatal shooting of E. B. Knight, a white Cuthbert, GA mill operator she was hired to care for after he broke his leg. She was 44 and the only woman ever executed in Georgia’s electric chair. For Baker, a Black maid in the segregated south in the 1940’s, her story was a tough sell to a jury of 12 white men. And rumors that she was romantically involved with victim E. B. Knight did not help.

 

Her murder trial lasted just a day, without a single witness called by her court-appointed lawyer. She was convicted and sentenced to death. John Cole Vodicka, director of an Americus-based inmate advocacy program known as the Prison and Jail Project, said Knight had kept Ms. Baker as his "virtual sex slave." She was his paramour, she was his mistress, and, among other things, his drinking partner. If you read the transcript and have any understanding of black-white relations, Black women were often subjected to the sexual whims of their white masters, their white bosses, or some white man who had control over their lives or the lives of their families. "Here is one who resisted and paid the price.”

 

The undertaker who brought her body back to Cuthbert buried her in a grave that went unmarked for five decades, until the congregation of Mount Vernon Baptist Church raised $250 for a concrete slab and marker. The family is planning a memorial service on Mother’s Day, May 11, at Mount Vernon, where Baker sang in the choir. Her grave is behind the church. Relatives are also returning to Cuthbert to honor Baker and try to clear her name with the Georgia Board of Pardons and Parole.

 

Lena Baker, who had a sixth-grade education, stated publicly her innocence to the very end. “What I done, I did in self-defense," she said in her final statement. "I have nothing against anyone. I am ready to meet my God.”

   

Girona is a city in the northeast of Catalonia, at the confluence of the rivers Ter, Onyar, Galligants, and Güell and has an official population of 96,722 as of January 2011. It is the capital of the province of the same name and of the comarca of the Gironès. It is located 99 km (62 mi) northeast of Barcelona. Girona is one of the major Catalan cities.

 

The first historical inhabitants in the region were Iberians; Girona is the ancient Gerunda, a city of the Ausetani. Later, the Romans built a citadel there, which was given the name of Gerunda. The Visigoths ruled in Girona until it was conquered by the Moors. Finally, Charlemagne reconquered it in 785 and made it one of the fourteen original countships of Catalonia. Thus it was wrested temporarily from the Moors, who were driven out finally in 1015. Wilfred the Hairy incorporated Girona into the countship of Barcelona in 878. Alfonso I of Aragón declared Girona to be a city in the 11th century. The ancient countship later became a duchy (1351) when King Peter III of Aragon gave the title of Duke to his first-born son, John. In 1414, King Ferdinand I in turn gave the title of Prince of Girona to his first-born son, Alfonso. The title is currently carried by Prince Felipe, Prince of Asturias, the first since the 16th century to do so.

 

The 12th century saw a flourishing of the Jewish community of Girona, with one of the most important Kabbalistic schools in Europe. The Rabbi of Girona, Moshe ben Nahman Gerondi (better known as Nahmanides or Ramban) was appointed Great Rabbi of Catalonia. The history of the Jewish community of Girona ended in 1492, when the Catholic Kings expelled all the Jews from Catalonia. Today, the Jewish ghetto or Call is one of the best preserved in Europe and is a major tourist attraction. On the north side of the old city is the Montjuïc (or hill of the Jews in medieval Catalan), where an important religious cemetery was located.

 

Girona has undergone twenty-five sieges and been captured seven times. It was besieged by the French royal armies under Charles de Monchy d'Hocquincourt in 1653, under Bernardin Gigault de Bellefonds in 1684, and twice in 1694 under Anne Jules de Noailles. In May 1809, it was besieged by 35,000 French Napoleonic troops under Vergier, Augereau and St. Cyr, and held out obstinately under the leadership of Alvarez until disease and famine compelled it to capitulate, 12 December. Finally, the French conquered the city in 1809, after 7 months of siege. Girona was center of the Ter department during the French rule, which lasted from 1809 to 1813. The defensive city walls were demolished at the end of the 19th century to allow for the expansion of the city. In recent years, the missing parts of the city walls on the eastern side of the city have been reconstructed. Called the Passeig de la Muralla it now forms a tourist route around the old city.

 

The monastery of Sant Pere de Galligants was built from 992, outside the walls of Girona, when Ramon Borrell, count of Barcelona gave to the monks rights over the quarter of Sant Pere. The monks held the ruler of the quarter until 1339, when King Peter IV of Aragon restored it to Aragon.

 

In 1117 Ramon Berenguer III of Barcelona united the monastery to the Abbey of Sainte-Marie de Lagrasse, in what is now France, though Sant Pere kept an abbot of his own and a large degree of autonomy. Sant Pere was never a big community, and the church was not the local parish, and only baptisms were held in the monastery. In 1362, when the monastery was enclosed within the city's walls, it was redesigned to a more defensive shape. It started to decay from the 15th century, and in 1592 it was united to the also decaying monasteries of Sant Miquel de Cruïlles and Sant Miquel de Fluvià. In 1835 the monastery included an abbot and four monks. It was declared a national monument in 1931.

 

The small cloister is an example of Catalan Romanesque architecture. The northern gallery dates to 1154, while the remaining ones are from 1190. The capitals of the columns have motifs very similar to those in the cloisters of Sant Cugat del Vallès or in the Cathedral of Girona. Some depict scenes from Jesus' life, while others show typical Romanesque elements such as lions or sirens.

 

The current church was built in 1130, and has a nave and two aisles with a transept, and four apses. The portal, in a rather archaic style, comes probably from a previous building. It is surmounted by a rose window with a diameter of 3.5 meters.

 

The interior features a series of side columns, with capitals having vegetable motifs, used to reinforce the central vault. The capitals of the apse columns are more elaborated, and were probably executed by different artists. Some of them have been attributed to the Master of Cabestany.

 

The bell tower has an octagonal plan and two sectors, the upper one, of two floors featuring with double arches divided by columns, decorated with Lombard bands

 

In a public park overlooking Wade's Bridge and the River Tay in Aberfeldy, Perthshire stands a striking memorial to the soldiers of the Black Watch Regiment (the Royal Highlanders). The monument is in the form of a massively tall cairn topped by a statue of a soldier wearing the original Black Watch Regimental uniform. Though the statue represents all members of the regiment, it is, in fact, a depiction of Private Farquhar Shaw.

 

Private Shaw was one of three men executed for desertion in 1743. That would at first glance make him an odd choice to be featured on the regimental memorial, but there is more to the story than meets the eye.

 

The Black Watch was ordered to march south from Scotland to London. That in itself was odd, for the regiment normally served in Scotland. When they reached London a rumour spread that they were to be transported to the American colonies, which was a method used by Parliament to disperse troublesome Highland clans.

 

A large number of soldiers were so alarmed that they left London, intending to march back north to Scotland. They were stopped after 2 days. The soldiers who had remained in London set sail to fight in Flanders, not to America.

 

Even though the 'deserters' had made their decision based on false rumours, the government could not ignore their actions. All were tried by court martial and sentenced to death. In the end, only three men were shot, among them Private Farquhar Shaw.

 

The cairn is inscribed with the following words:

 

THIS CAIRN IS ERECTED BY GRATEFUL AND ADMIRING COUNTRYMEN

IN COMMEMORATION OF THE ASSEMBLING TOGETHER AT TAYBRIDGE

IN OCTOBER 1739

OF THE SIX INDEPENDANT COMPANIES AFTERWARDS INCREASED TO TEN

 

OF THE "FREICEADAN DUBH" OR BLACK WATCH

 

WHO AFTER SERVING IN VARIOUS PARTS OF THE HIGHLANDS

WERE EMBODIED INTO A REGIMENT DESIGNATED THE 43rd AND AFTERWARDS

THE 42nd ROYAL HIGHLANDER WHOSE FIRST MUSTER TOOK PLACE IN MAY 1740 NEAR

TAYBRIDGE AND ALSO IN RECOGNITION OF THE VALOUR AND PATRIOTISM

WHICH HAVE EVER SINCE DISTINGUISHED THE SOLDIERS OF THIS CORPS DURING ITS ILLUSTRIOUS CAREER IN MANY LANDS

A.D. 1887

 

Note the mis-spelling of the word 'independant'.

 

On the north-west face of the cairn is an inscription in Gaelic commemorating the foundation of the Regiment. An English translation of the inscription reads in part:

 

'The lands and bens and glens and heroes. This cairn has been erected to commemorate the forming into one company at this spot of the six Highland companies called The Black Watch 1740. And from that day this regiment won many battles in different parts of the world proving their valour and patriotism of the Gael'

 

A plaque on the rear face of the memorial cairn commemorates the donation of the land for the monument by Gavin, Marquis of Breadalbane. Another face of the cairn has a kilted figure beneath an inscription of battles where the Black Watch served with distinction, including Waterloo, Corunna, Lucknow, Alexandria, and Havana.

 

The Black Watch

 

The origins of the Black Watch go back to 1667 when Charles II called on clan chieftains to muster independent companies of soldiers to keep the peace in the Highlands. The companies were disbanded in 1717 only to be reformed in 1725.

 

The new companies were recruited from Highland clans who remained loyal to the government during the 1715 Jacobite Rebellion. The origin of name 'Black Watch' is a subject of some debate, but one theory is that the black comes from the dark colour of the tartan uniforms, which contrasted with the bright red uniforms of ordinary soldiers, and the 'watch' from the fact that they were established 'to watch upon the braes' (i.e. the Highlands).

 

In 1739 the Highland companies were merged to form a regiment of Scottish foot soldiers. They were originally the 43rd Highland Regiment but in 1749 they became the 42nd Highland Regiment. The royal decree setting up the regiment specified that members were to be drawn only from Scotland.

 

The very first regimental parade was held at Aberfeldy in 1739, on a site now occupied by the local golf course. The regiment was mustered for the first time in May 1740 at Weem Cow Park, across the River Tay from Aberfeldy.

 

By the late Victorian period the Black Watch had gained an enviable reputation as an elite fighting force. Major James Menzies of the Glasgow Highlanders proposed a monument commemorating the first muster some 147 years before. The memorial was intended to celebrate Queen Victoria's Jubilee as well as the regiment itself.

 

The natural location for the monument would have been in the meadow on the west bank of the Tay where the muster took place but that site was prone to flooding. An alternate site was selected on the east bank, looking towards the meadow.

 

The monument was erected by public conscription and cost £500.

 

On 12 November 1887 the Marquis of Breadalbane unveiled the monument on the east bank of the River Tay, opposite the location of that first muster.

 

The regiment was represented by a detachment of 39 men commanded by Lieutenant McLeod of the Perth Depot, 1st Battalion 42nd Royal Highlanders. They were led in a procession by a pipe band from the 10th Lanark Volunteers (Glasgow Highlanders).

 

The ceremonial axe used to unveil the memorial is now held at the Black Watch Museum in Perth.

 

In 1910 the monument was struck by lightning, splitting the monument in two and causing extensive damage. It was repaired and a lightning conductor strap installed, running from the top of the memorial to a rod in the earth at its base to diminish the chance of future damage.

 

The Black Watch was granted the freedom of Aberfeldy in 1970.

 

The Black Watch Memorial is directly beside General Wade's Bridge, erected in 1733 by General George Wade as part of the British government's attempts to improve military transportation in the Highlands in case of another Jacobite rebellion.

 

There is no dedicated parking but it is very easy to park along Taybridge Drive, directly beside the memorial. It is easy to access on foot from the centre of Aberfeldy and there are pedestrian fingerposts indicating the way.

 

Aberfeldy is a burgh in Perth and Kinross, Scotland, on the River Tay. A small market town, Aberfeldy is located in Highland Perthshire. It was mentioned by Robert Burns in the poem The Birks Of Aberfeldy and in the Ed Sheeran song The Hills of Aberfeldy.

 

Aberfeldy means 'mouth of the Peallaidh'. The first element of the name is the Pictish word aber 'river mouth'. The river-name perhaps incorporates the name of a water-sprite known as Peallaidh, which in Gaelic means 'shaggy'. Aberfeldy is recorded in 1526 as Abrefrally and in 1552 as Abirfeldy.

History

 

Beyond its association with Burns, who mentioned Aberfeldy in his poem The Birks of Aberfeldy, the town is known for Wade's Bridge, built in 1733 and designed by architect William Adam, father of Robert Adam. General George Wade considered this bridge to be his greatest accomplishment. Aberfeldy is also mentioned in the traditional "Loch Tay Boat Song".

 

While working in the 1880s as a hired farmhand for Robert Menzies of Tirinie, near Aberfeldy, South Uist seanchaidh Angus MacLellan learned that a Mass stone had stood in the middle of Menzies's farmfield since the days when Catholic Church in Scotland and it's priests were outlawed. A nearby high cross, Menzies added, marked the site of an important college of learning from the days of the Celtic Church. Menzies explained that, even though the local population had long since switched to Presbyterianism, former Catholic religious sites were still viewed with superstitious awe and were never tampered with. Menzies further explained that the term for Mass stones, in the Perthshire dialect of the Scottish Gaelic language, was Clachan Ìobairt, meaning "Offering Stones". John Lorne Campbell, to whom MacLellan dictated his memoirs, confirmed the latter's memories by interviewing Robert Menzies' descendants in Aberfeldy.

 

Between 1960 and 1991, the burgh was the location of a Royal Observer Corps monitoring bunker, to be used in the event of a nuclear attack. It remains mostly intact.

 

The town includes a memorial to the Black Watch, an 9-hole golf course, a children's park, and a town square (laid out in 1806) which features stores, restaurants and art galleries. In 2002, Aberfeldy was granted Fairtrade Town status, which was renewed by the Fairtrade Foundation on 15 December 2003.

 

The Aberfeldy Footbridge over the River Tay is constructed entirely of composite materials. It initially connected two sections of the town's golf course on either side of the River Tay, but the course on the north side of the river has since been removed and the bridge is now used by pedestrians and cyclists to cross the river.

 

Aberfeldy is situated in Strath Tay on the upper reaches of the River Tay, which begins up-strath from Aberfeldy at Loch Tay and carries on south and east from Aberfeldy until it discharges at its estuary east of Perth at the Firth of Tay. Lying in an u-shaped strath common to Scotland's glaciated landscape, the terrain in and around Aberfeldy is gently undulating. Farming and agriculture border the town in the strath. Areas further outside of Aberfeldy (particularly to the north and west) give way to the extensive Grampian Mountains, with scenic peaks such as Creag Odhar, Farragon Hill, Schiehallion, Ben Lawers and Sron Mhor punctuating the landscape.

 

Aberfeldy lies at the intersection of two A roads, the A826 to Crieff and the A827, which leads east and south towards the main A9 trunk road. Aberfeldy is easily reached from southern locations by taking the A9 to the Ballinluig exit, then the A827 to get to the town. Owing to its location off the A9 trunk road, Aberfeldy is less geared toward tourists than its cousin Pitlochry.

 

From July 1865 until May 1965, the town was served by a Highland Railway branch from Ballinluig. Although most of the trackbed leading into the town is still extant, the site of the station has vanished under modern housing developments.

 

The entrance to the Birks of Aberfeldy – a gorge and scenic walk – lies on the southern outskirts of Aberfeldy on the A826. The Birks is classified as a "Site of Special Scientific Interest" and contains many varieties of flora and fauna, some of which are protected. Glen Lyon, regarded as one of Scotland's most stunning and least-visited glens, lies about 8 kilometres from the outskirts of Aberfeldy. Evidence of fort construction by Roman legions more than 1,600 years ago is a testament to the region's historical as well as geographical relevance. At the mouth of Glen Lyon lies the village of Fortingall, falsely claimed to be the birthplace of Pontius Pilate and home to the Fortingall Yew Tree, reputed to be more than 5,000 years old (though recent research suggests its age to be closer to 2,500).

 

The town is home to Breadalbane Academy. Based in Aberfeldy since the nineteenth century, Breadalbane Academy is an all-through, mixed English and Gaelic-medium school catering to children from the ages of three to eighteen years. The nursery and primary departments serve pupils from Aberfeldy and its immediate surroundings. The secondary department is the main secondary school for the whole of Highland Perthshire. It is the primary centre for Gaelic-medium education in Highland Perthshire for children from Glenlyon, Grandtully, Kenmore, Kinloch Rannoch and Dunkeld all receive their secondary education in Aberfeldy. In fifth and sixth, pupils from the Pitlochry catchment area also attend Breadalbane Academy to study for their Highers and Advanced Highers.

 

Fully rebuilt in the early years of the twenty-first century, the school re-opened in December 2010 as a community campus. As well as nursery, primary and secondary departments, the new Breadalbane Community Campus includes a library, a swimming pool, squash courts, a gym, a cafe and a range of other facilities. These amenities are open to the public throughout the day. Only access to the school areas is restricted to authorised personnel.

 

Aberfeldy Parish Church meets in the former Breadalbane Church building in Taybridge Road, which was the first new building of the Free Church after the Disruption of 1843. It reunited with the former parish church, St Andrew's in Crieff Road, built in 1884, and for a while was used as halls for the united congregation, until 2005 when the Crieff Road building was closed and a modern interior and suite of halls was added to the Taybridge Road building, providing excellent facilities for adult and youth work. There is also a Roman Catholic parish in Home Street. The buildings formerly used as Congregational, Free, and Episcopal churches are now all used for other purposes. Jehovah's Witnesses meet in the local Kingdom Hall. The town is also home to the award-winning Aberfeldy Watermill Bookshop Gallery and Cafe.

 

Aberfeldy does not have a theatre or a music hall. However it does have two community venues, used regularly for music and drama, Aberfeldy Town Hall and the Locus Centre. These are managed by Locus Breadalbane, a community charity. The nearest venues are the Pitlochry Festival Theatre, the Perth Theatre or the Perth Concert Hall. The new Community School has an auditorium.

 

The Birks Cinema, built in the very heart of the town in 1939 in a late Art Deco style, closed in the early 1980s for lack of business. It then turned into an amusement hall, for which purpose the entire interior was demolished. The amusement hall closed in 2004 and the building stood as an empty shell for several years. In 2009 it was bought by the "Friends of the Birks" with a grant from the Scottish Government's Town Centre Regeneration Fund with plans to refurbish and reopen as a new 92-seat cinema and café-bar. The Friends are now a formal company limited by guarantee and registered as a charity. In spring 2011, the Birks project was awarded £658,520 by the Scotland Rural Development Programme - half the sum needed to carry out the building work. Match funding for the SRDP grant has now been raised - notably through a Big Lottery grant of £539,950 announced on 9 February 2012. Building work began in April 2012 and opened in Spring 2013. The patron of the project is the actor Alan Cumming, who was born in the town.

 

Aberfeldy is the location of the poem "The Birks of Aberfeldy" by Robert Burns:

 

Bonie lassie, will ye go,

Will ye go, will ye go,

Bonie lassie, will ye go

To the birks of Aberfeldy!

 

Now Simmer blinks on flowery braes,

And o'er the crystal streamlets plays;

Come let us spend the lightsome days,

In the birks of Aberfeldy!

 

In 2001, the author J.K. Rowling purchased the nearby 19th-century Killiechassie House, on the banks of the River Tay.

 

The Precambrian Dalradian geological formations in the Highlands north of Aberfeldy contain substantial deposits of the mineral baryte, which is mostly used as a weighting agent for drilling fluids to prevent blow-outs in oil and gas exploration wells. There are three locations with exploitable quantities of it. The Foss Mine, some 4 miles (6 km) NW of Aberfeldy at 56°40′1.47″N 3°56′5.21″W has been operational since 1984 and production averages 50,000 tonnes per annum. So far some 525,000 tonnes have been extracted there by M-I SWACO. In 1990, a locally based company began opencast extraction near the summit of Ben Eagach, 4 miles (6 km) due north of Aberfeldy. Approximately 25,000 tonnes were mined from a series of small pits which have now been abandoned.

 

The largest formation, containing a 7.5-million-tonne reserve is at Duntanlich, some 6 miles (10 km) due north of Aberfeldy, south of Loch Tummel. In 1994, an application by MI Great Britain Ltd for an underground operation to mine the deposits was turned down. In 2000, M I Drilling Fluids UK unfolded new plans to establish a mine at Duntanlich to take six million tonnes from the deposit over the next 50 years and began preliminary talks with Perth & Kinross Council and Scottish Natural Heritage. However, it was decided at that time not to take these proposals forward.

 

The Scottish Census of 2001 recorded the town's population as 1,895. Perth and Kinross Council estimates the current population to be 2,292, which is forecasted to grow to over 2,800 by 2028.

 

Breadalbane Cricket Club, founded in 1869, play home matches at Victoria Park in Aberfeldy. The team are the Perthshire Cup Winners for 2007 and 2008, and Strathmore Cricket Union Division One Champions in 2006 & 2007, Division Two Champions in 2014 & 2018, and Perthshire Indoor League Champions 2013, 2017, 2018, 2019 and 2020. The town also has a rugby union side Aberfeldy RFC that plays in the Caledonia Midlands Four league at the town's Wade Park.

Namesake

Aberfeldie, the suburb of Melbourne, Victoria, Australia was named, indirectly, after the town, as was the locality of Aberfeldy, Victoria.

CBP officers from the Office of Field Operations and agents from the U.S. Border Patrol and Air and Marine Operations execute a planned readiness exercise at the San Ysidro Port of Entry. The exercise is designed to evaluate readiness and assess the capabilities of CBP facilities to make necessary preparations. November 22, 2018. CBP photo by Shawn Moore.

The Corvette C3 was patterned after the Mako Shark II designed by Larry Shinoda. Executed under Bill Mitchell's direction, the Mako II had been initiated in early 1964. Once the mid-engined format was abandoned, the Shinoda/Mitchell car was sent to Chevrolet Styling under David Holls, where Harry Haga's studio adapted it for production on the existing Stingray chassis. The resulting lower half of the car was much like the Mako II, except for the softer contours. The concept car's name was later changed to Manta Ray. The C3 also adopted the "sugar scoop" roof treatment with vertical back window from the mid-engined concept models designed by the Duntov group. It was intended from the beginning that the rear window and that portion of the roof above the seats to be removable.

 

For 1968, both the Corvette body and interior were completely redesigned. As before, the car was available in either coupe or convertible models, but coupe was now a notchback fitted with a near-vertical removable rear window and removable roof panels (T-tops). A soft folding top was included with convertibles, while an auxiliary hardtop with a glass rear window was offered at additional cost. Included with coupes were hold down straps and a pair of vinyl bags to store the roof panels, and above the luggage area was a rear window stowage tray.

 

The chassis was carried over from the second generation models, retaining the fully independent suspension (with minor revisions) and the four-wheel disc brake system. The engine line-up and horsepower ratings were also carried over from the previous year.

 

The engine line-up included the L79, a 350 hp (261 kW) high performance version of the 327 cu in (5.4 L) small-block. Also available were several variants of the big-block 427 cu in (7.0 L) V8 engine, that taken together made up nearly half the cars. There was the L36, a 390 hp (291 kW) version with a Rochester 4-barrel carburetor; The L68, a 400 hp (298 kW) motor with a Holley triple 2-barrel carb set up (3 X 2 tri-power); The L71, generating 435 bhp (441 PS; 324 kW) at 5,800 rpm and 460 lb⋅ft (624 N⋅m) at 4,000 rpm of torque also with a tri-power; The L89 option was the L71 engine but with much lighter aluminum cylinder heads rather than the standard cast iron. Then there was the L88 engine that Chevrolet designed strictly for off-road use (racing), with a published rating of 430 hp (321 kW), but featured a high-capacity 4-barrel carb, aluminum heads, a unique air induction system, and an ultra-high compression ratio (12.5:1). All small block cars had low-profile hoods. All big block cars had domed hoods for additional engine clearance with twin simulated vents and “427” emblems on either side of the dome.

This morning (Tuesday 1 February 2022), we executed warrants at six properties in the Chadderton area.

 

A 25-year-old was arrested on suspicion of rape, sexual assault and trafficking a person within the UK for sexual exploitation.

 

A second 25-year-old was arrested on suspicion of sexual assault.

 

A 26-year-old was arrested on suspicion of sexual assault and trafficking a person within the UK for sexual exploitation.

 

A 27-year-old was arrested on suspicion of rape and trafficking a person within the UK for sexual exploitation.

 

A 28-year-old was arrested on suspicion of rape and trafficking a person within the UK for sexual exploitation.

 

The warrants were executed as part of Operation Gabel - an investigation into the child sexual exploitation of two teenage girls in 2012/2013.

 

Inspector Nick Helme, of GMP's Oldham district, said: "This morning's action at several properties in the Chadderton area was a result of just one of a number of ongoing investigations into historic child sexual exploitation in Greater Manchester.

 

"I can assure members of the public and warn offenders that investigating this type of crime is a top priority for the force. Regardless of time passed, dedicated teams in a specialist unit leave no stone unturned whilst gathering evidence to make arrests with the intention of bringing suspects to face justice.

 

"I hope these warrants build public trust and confidence that Greater Manchester Police is committed to fighting, preventing and reducing CSE to keep people safe and care for victims - giving them the faith they need in the force to come forward.

 

Greater Manchester is nationally recognised as a model of good practice in terms of support services available to victims.

If you or someone you know has been raped or sexually assaulted, we encourage you not to suffer in silence and report it to the police, or a support agency so you can get the help and support available.

 

- Saint Mary's Sexual Assault Referral Centre, Manchester provides a comprehensive and co-ordinated response to men, women and children who live or have been sexually assaulted within Greater Manchester. We offer forensic medical examinations, practical and emotional support as well as a counselling service for all ages. Services are available on a 24-hour basis and can be accessed by telephoning 0161 276 6515.

 

-Greater Manchester Rape Crisis is a confidential information, support and counselling service run by women for women over 18 who have been raped or sexually abused at any time in their lives. Call us on 0161 273 4500 or email us at help@manchesterrapecrisis.co.uk

 

- Survivors Manchester provides specialist trauma informed support to boys and men in Greater Manchester who have experienced sexual abuse, rape or sexual exploitation. Call 0161 236 2182.

It seems there are always nooks and corners of the county in which to find churches.

 

Sheldwch is part of a benefice with Leaveland and Badlesmere, but before last weekend I had only visited the latter, having missed the former when planning a tour last year.

 

It is a fine and grand building, beside the main road. And has good parking, which is nice.

 

But I found it locked. Coming out of the porch I got talking to a lady about the church, and she advised me to go to see the retired priest who lived the other side of the village.

 

So I did.

 

He did better than letting me have the church key, he came to open it for me.

 

I talked to the lady for about half an hour, about churches and orchids, and to the priest for another 15 minutes. So in all, this visit took nearly two hours.

 

A very pleasant way to spend a morning though.

 

The priest showed me the two fabulous brasses, hidden away under some old carpet and a collection of hand sweepers. Well worth the effort of seing them.

 

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

 

Sheldwich is a village and civil parish in the Swale District of Kent, see Sheldwich Wikipedia

Sheldwich St James is an Ancient Parish in the Diocese of Canterbury and includes the settlements of North Street, Sheldwich Lees and the hamlet of Gosmere. The parish is part of the Selling with Throwley Sheldwich with Badlesmere group of churches.

The church dates from the 12th century and was extended in the 14th century with the tower added in the 15th century. It was restored in 1888 and a porch added in 1899.

 

The church of St James Sheldwich has been designated a grade II* listed building by English Heritage, British listed building.

 

www.familysearch.org/wiki/en/Sheldwich,_Kent_Genealogy

 

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SHELDWICH

THE next parish northward from Badlesmere is Sheldwich, which is written in antient charters, Schyldwic.

 

The high road from Faversham to Ashford leads through this parish, from the former of which it is distant between five and six miles, it lies mostly on high and even ground, to which the land rises from the London road, in rather a pleasant and healthy country, the greatest part of it on a chalky soil, having much poor land in it, and that covered with slints, though in the northern part of it, where the chalk prevails less, there is some tolerable fertile land; in the eastern part, where the hill rises, there is much rough ground, and adjoining woodland. The church stands close to the Ashford road, along which the houses are dispersed, as they are in that leading to Sheldwich lees, and round it mostly neat chearful dwellings. The Lees, which is about a quarter of a mile distance on the left side of the Ashford road, has a pleasant look from the trees planted on it, leading to Leescourt, at the further part of it, not unpleasantly situated, for though the fine front of it faces the east, with no great prospect, except towards a rough and barren hill, which rises at no great distance, yet towards the north and north-east it has a beautiful view over its own planted grounds, towards a wide extent of fertile country, and the channel beyond it. At the boundary of the parish, next to Badlesmere, on the Ashford road, is the manor house of Lords, which has been modernized and made a neat genteel residence by the present possessor of it.

 

There is yearly a running match on Sheldwich lees, which first took its rise from the will of Sir Dudley Diggs, in 1638, who left by it twenty pounds, to be paid yearly out of the rent of Selgrave manor, to two young men and two maids, who on May 19, should run a tye at Old Wives lees, in Chilham, and prevail. In pursuance of which the two young men and maids run at Old Wives lees yearly, on the Ist of May, and the same number at Sheldwich lees on the Monday following each by way of trial, and the two of each sex which prevail at each of those places, run for the ten pounds at Old Wives lees as above-mentioned, on the 19th of May. (fn. 1)

 

MR. JACOB, in his Plantæ Faver Shamienses, notices several scarce plants in this parish, to which the reader is referred.

 

THIS PLACE was given by the name of Schyldwic, in 784 by Alcmund, king of Kent, to Wetrede, abbot, and the convent of Raculf Cestre, or Reculver, as twelve plough-lands, with all its appurtenances, free from all secular service and all regal tribute, excepting the repelling of invasions, and the repairing of bridges and castles.

 

This monastery seems in 949 to have been annexed to Christ-church, in Canterbury, by king Edred; but this estate of Sheldwich does not appear ever to have come into the possession of the latter, no notice being taken of it in any of the charters or records relating to it, nor have I seen how it passed afterwards, till the time of its becoming the property of the family of Atte-Lese, in the reign of Edward I. when this estate, which seems to have comprehended the manor of Sheldwich, became the property of that family which, from their residence at the Lees here, had assumed the name of At-Lese, their mansion here being called Lees-court, a name which this manor itself soon afterwards adopted, being called THE MANOR OF LEESCOURT, alias SHELDWICH. Sampson Ate-Lese was possessed of it in the 27th year of the above reign, and bore for his arms, Gules, a cross-croslet, ermine. His son, of the same name, left several children and Lora his wife surviving, who afterwards married Reginald de Dike, who in her right resided at Lees-court, where he kept his shrievalty in the 29th year of king Edward III.'s reign.

 

Sir Richard At-Lese, the eldest son, at length succeeded to this manor, and resided at Lees-court. He served in parliament for this county in the 40th year of that reign, and the next year was sheriff of it. He died in 1394, anno 18 Richard II. and was buried, with Dionisia his wife, in the north chancel of Sheldwich church, where their essigies and inscription in brass still remain. He died s. p. and by his will gave his manor of Lese, among others, to John, son of Richard Dane, and his heirs male, remainder to the heirs male of Lucy his niece, one of the daughters and coheirs of his brother Marcellus At-Lese, then the wife of John Norton, esq. the other daughter Cecilia married Valentine Barrett.

 

By the above will, this manor at length came into the possession of their son William Norton, esq. who resided both at Lees-court and at Faversham, where he died in the 9th year of king Edward IV. and was buried in the church of Faversham, leaving two sons, Reginald, who by his will became his heir to this manor, and Richard, who was likewise of Sheldwich, and dying anno 1500, was buried in Faversham church. (fn. 2) Reginald, the eldest son, of Lees-court, left two sons, John, who succeeded him in this manor, and William, who was of Faversham, and ancestor to the Nortons, of Fordwich. Sir John Norton, the eldest son, lived in the reign of Henry VIII. and resided at first at Lees-court, but marrying Joane, one of the daughters and coheirs of John Northwood, esq. of Northwood, in Milton, he removed thither, whose grandson Sir Thomas Norton, of Northwood, about the reign of king James I. alienated this manor to Sir Richard Sondes, of Throwley, whose son Sir George Sondes, K. B. succeeding him in it, pulled down great part of the old mansion of Lees-court, soon after the death of king Charles I. and completed the present mansion of Lees-court, the front of which is built after a design of Inigo Jones, to which he afterwards removed from the antient mansion of his family at Throwley.

 

He was a man of great power and estate in this county, being a deputy-lieutenant, and sheriff in the 13th year of Charles I. in which year the difficult business of ship-money was agitated, in the levying of which he conducted himself with such justice and moderation, as gained him much reputation and esteem of the gentry. (fn. 3) Being a man strictly loyal in his principles, he underwent during the unsurpation much persecutation, as well in regard to his person as estates, all which may be learned from the Narrative which he printed in 1655, on the death of his two sons, which is rather an apology for his own conduct on some accusations of immorality, brought against him by the fanatic ministers of those times in it, says, he had three fair houses in his own hands, all well furnished, and at least 2000l. per annum about them, his lands all well stocked; that he had at least one hundred head of great cattle, half an hundred horses, some of them worth 40 or 50l. a piece, besides five hundred sheep and other stock, about 1000 quarters of wheat and malt in his garners, and ten barnes, none of the least, all full of good corn, and great quantities of flax and hops; that as to his housekeeping, his house was open at all times to rich and poor, twenty poor people at least were relieved in it weekly, the lowest proportion in his house, whether he was there or not, was every week a bullock of about fifty stone, a quarter of wheat, and a quarter of malt for drink, which made about a barrel a day for his household; that he had employed for near thirty years labourers and workmen continually, to the amount of at least 1000l. a year.

 

He says, that in the time of the troubles he had been injured in his goods and estates near 40,000l. in value, all that he had as above-described having been seized and taken at one time, together with his plate and jewels, and the rents and profits of his estates for seven years together, during the two first years of which neither himself nor his children had any thing out of them, and at last to prevent his estates being sold he was forced to compound for them, by paying the sum of 3500l. for his delinquency; besides which, he sussered much in his person, being imprisoned for several years, at first on shipboard, and afterwards, with many other royalists, in Uppor castle, near Rochester.

 

After the restortation, he was, in recompence of his former sufferings for the royal cause, created by king Charles II. in his 28th year, anno 1676, earl of Faversham, viscount Sondes, of Lees-court, and baron of Throwley, for his life, with remainder to his sonin-law Lewis, lord Duras, and his heirs male, the year after which he died at Lees-court, and was buried in the family vault in the south chancel of Throwley church. Sir George Sondes had been twice married; first to Jane, daughter and heir of Sir. Ralph Freeman, of Aspeden, in Hertfordshire, lord mayor of London anno 9 king Charles I. by whom he had two sons, George and Freeman, who were both in 1655, whilst youths, cut off by untimely deaths, the youngest murdering the eldest whilst asleep in his bed in this house, for which horrid deed he was tried at the assizes then holding at Maidstone, and being convicted, was executed for the crime at Pennendenheath on the day fortnight afterwards, and interred in the neighbouring church of Bersted. (fn. 4)

 

Sir George Sondes married secondly Mary, daughter of Sir William Villars, bart. of Brokesby, by whom he had two daughters, who became his coheirs, of whom Mary, the eldest, married Lewis de Duras, marquis of Blanquefort, in France, and baron of Holdenby, in this kingdom, and Catherine, the youngest, married the hon. Lewis Watson, afterwards on his father's death, lord, and then earl of Rockingham.

 

On Sir George Sondes's death, this manor, with the rest of his estates in this county, descended to Lewis, lord Duras, in right of his wife Mary. He had been naturalized by parliament in 1664, and created in 1672 baron Duras, of Holdenby, in Northamptonshire. He bore for his arms, quarterly, first and fourth, Argent, a lion rampant, gules; second and third, Argent, a bend, azure. On the death of his father-in-law without male issue, he succeeded, by limitation of the patent, to the title of earl of Faversham. In the 1st year of James II. he was elected a knight of the garter, and in 1688 made general of the king's forces, in which post he continued at the revolution. He survived his wife some years, and died in 1709, s. p. and possessed of this manor, for on his wife the countes's death who died in 1687, the house of lords had adjudged the estates of the Sondes's to her surviving husband, the earl of Faversham, though she had never been with child. The late Daniel, earl of Winchelsea, a man as wife and experienced as most of his time, used to affirm, that there were but two instances on the journals of that house, which could cast the least imputation on the honor of it, and that this was one of them. Upon which this manor, with Lees-court, and the rest of the estates in this county, late belonging to Sir George Sondes, became the property of Lewis, lord Rockingham, by virtue of the limitation made of them on his second daughter Catherine, on failure of issue by his first daughter Mary, which Catherine was afterwards married to lord Rockingham, but had deceased in 1695 as above-mentioned. The family of Watson was originally of Cambridgeshire, a branch of which settled at the latter end of king Henry the VIIIth's reign, at Rockinghamcastle, in Northamptonshire. Sir Lewis Watson, of Rockingham-castle, was created a baronet anno 19 James I. and afterwards, for his loyalty and services to the king in his troubles, was created lord Rockingham, anno 20 Charles I. By his second wife Eleanor, sister of George, earl of Rutland, he left one son Edward, and six daughters; which Edward, lord Rockingham, married Anne, eldest daughter of Thomas Wentworth, earl of Stafford, and died in 1691. By her he had four sons and four daughters; of the former, Lewis was created earl of Rockingham, and married Catherine, youngest daughter of Sir George Sondes, as above-mentioned; Thomas was heir to his uncle William, earl of Strafford, by his will, in pursuance of which he assumed the name and arms of Wentworth, whose son was created earl of Malton, and afterwards marquis of Rockingham, the two other sons died young.

 

Lewis, lord Rockingham, resided afterwards at Lees-court, in 1705 he was made lord-lieutenant and custos rotulorum of this county; and on king George's accession he was in 1714, created earl of Rockingham, viscount Sondes, of Lees-court, and baron of Throwley. He died in 1724, and was buried at Rockingham, having had two sons, Edward and George, the latter of whom died s. p. and four daughters; of the latter, Mary married Wrey Sanderson, of Lincolnshire, grandson and heir apparent of viscount Castleton; Anne died young; Arabella married Sir Robert Furnese, bart. and Margaret in 1725 John, lord Monson, ancestor of the present Lewis-Thomas, lord Sondes, as will be further mentioned hereafter.

 

Of the sons, Edward, viscount Sondes, the eldest, died in 1721, in his father's life-time, and was buried in Throwley church, having married in 1708 Catherine, the eldest of the five daughters and coheirs of Thomas Tuston, earl of Thanet, by whom he left three sons, and a daughter Catherine, married in 1729 to Edward Southwell, esq. of Kings Weston, in Gloucestershire.

 

Lewis, the eldest son, succeeded his grandfather in the possession of his estates and as second earl of Rockingham, and in 1737 was made lord-lieutenant and custos rotulorum of this county. He died in December, 1745, having married in 1736 Catherine, daughter of Sir Robert Furnese, bart. of Waldershare, afterwards remarried in 1751 to Francis, earl of Guildford, by whom he had no issue, upon which this manor, among the rest of his intailed estates, descended to his next and only surviving brother Thomas, (Edward the youngest having died before unmarried) who became the third earl of Rockingham, and succeeded his brother likewise as lord-lieutenant and custos rotulorum of this county. He enjoyed his honors but a short time, for he died in the February following, 1746, unmarried, upon which the title of earl, &c. became extinct, and the barony of Rockingham descended to his kinsman Thomas Watson Wentworth, earl of Malton, afterwards created Marquis of Rockingham.

 

But this manor, with the seat of Lees-court, and the rest of his estates in this county and elsewhere, were devised by him to his first cousin Lewis Monson, second son of John, lord Monson, by Margaret his wife, youngest daughter of Lewis, first earl of Rockingham, and aunt to earl Thomas above-mentioned, whom he enjoined to take on him the surname, and use the arms of Watson.

 

The family of Monson, or Munson, as they were antiently written, were seated in the county of Lincoln as early as the reign of king Edward III. when they were denominated of East Reson, in that county, soon after which they were seated at South Carlton, near Lincoln, in which church there are several memorials of them. A younger son of this family was Sir William Monson, an admiral of the English navy in the reigns of queen Elizabeth and king James I. a man of untainted reputation for conduct and bravery, who lived till the year 1642, but his issue is extinct in the male line. He compiled large Tracts on Naval Affairs, in six books, which are published in a collection of voyages, printed in 1703 and 1745.

 

At length the principal line of this family, of whom several had been from time to time knighted, and had served in different parliaments, descended down to Sir Thomas, eldest surviving son and heir to Sir John Monson, and brother of the admiral above-mentioned, who was created a baronet in 1611, and had the character of a person of fine breeding and a most accomplished gentleman. He died in 1641, and was buried with his ancestors at South Carlton, having married Margaret, daughter of Sir Edmund Anderson, chief justice of the common pleas, by whom he had issue four sons and three daughters; of the former, Sir John Monson, bart. the eldest son, became in 1645 possessed of Burton, in Lincolnshire, which became the family residence of his descendants; one of whom, Sir John Monson, K. B. was in 1728, anno 1 George II. created lord Monson, and afterwards made a privy counsellor. He died in 1748, having married the lady Margaret Watson, youngest daughter of Lewis, first earl of Rockingham, who survived him, and dying in 1752, was buried beside her husband, at South Carlton, in Lincolnshire. They left three sons, John, who succeeded him as lord Monson; Lewis, possessor of Lees manor and court, created lord Sondes, as before-mentioned; and George, who was a general in the army, and died some years since in the East-Indies. (fn. 5)

 

Lewis Monson Watson, before-mentioned, thus becoming possessed of this manor and seat, was in 1754 chosen to represent this county in parliament, in which year he was appointed one of the auditors of the imprest, and by letters patent, bearing date May 20, 1760, anno 33 George II. was created Lord Sondes, baron of Lees-court, to him and his heirs male. In 1752 he married Grace, second surviving daughter of the hon. Henry Pelham, who died in 1777, by whom he had four sons, Lewis-Thomas, born in 1754; Henry now in the army; Charles, who died young; and George, in holy orders. Lord Sondes died in 1795, having before his death settled this manor and seat on his eldest son the hon. Lewis-Thomas Watson, who afterwards resided here, and in 1785 married Mary, only daughter and heir of Richard Milles, esq. of Nackington, by whom he has several children. On his father's death he succeeded to the title of lord Sondes, being the present possessor of this manor and seat, at which he resides. He bears for his arms, quarterly, first and fourth, Watson, argent, on a chevron engrailed, azure, between three martlets, sable, as many crescents, or; second and third, Monson, or, two chevrons, gules.

 

For his supporters, on the dexter side, a griffin, argent, gorged with a ducal coronet, or; on the smister, a bear, proper, gorged with a belt, buckled, with strap pendent, argent, charged with two crescents, or. For his crest, A griffin's head erased, argent, gorged as the dexter supporter above-mentioned.

 

COPESHAM SOLE, alias COPSHOLE FARM, is an estate in this parish, which remained for several centuries in the possession of the family of Belk, written originally Bielke, and descended out of Sweden, who bore for their arms, Gules, a chevron between three leopards faces, argent. Stephen de Belk is mentioned in the Testa de Nevil, as having paid respective aid for land in this part of Kent at the marriage of Isabel, sister to king Henry III. in the 20th year of that reign. Valentine and John Belk were of Sheldwich in the reign of queen Elizabeth, in the 9th year of which they purchased of Edward Livesey several parcels of land in this parish and Selling.

 

John, the eldest son of Valentine Belk, gent. resided at Sheldwich, and died possessed of this estate in 1633, and was buried in the great chancel of this church. His son William Belk, D. D. was prebendary of Canterbury, and dying in 1676, was buried in that cathedral, leaving by Elizabeth his wife, daughter of Sir Thomas Hardres, a son Thomas Belk, D. D. who succeeded his father in that dignity, and married in 1677 Anne, daughter of Sir Henry Oxenden. He died in 1712, and was buried near his father, having by his will devised this estate to his neice May, daughter of his brother Mr. Anthony Belk, auditor to the chapter of that church. She in 1713 married Mr. Bryan Bentham, gent. of Chatham, whose sons Edward and Bryan afterwards became possessed of it under their mother's marriage settlement; Edward in 1752 conveyed his moiety to his brother Bryan, and he by his will in 1767 devised the whole of it to his brother Edward for life, remainder to his nephew, son of Edward-William Bentham, who alienated it, with Southouse lands in this parish likewise, in 1775, to Lewis, lord Sondes, whose son the right hon. Lewis-Thomas is the present possessor of it.

 

LORDS is a manor situated about a mile southward of Sheldwich church, on the Ashford high road, which had formerly owners of that name, in which it continued till Richard II. when it was come into the possession of Giles, a family who bore for their arms, Per pale, azure and gules, a griffin passant, or; one of whom, in the preceding reign, had been steward to the abbot of Lesnes, in which name this manor continued till the year 1678, when Christian Giles, marrying Mr. Thomas Hilton, gent. of Sheldwich, entitled him to it. He was the son of Mr. Thomas Hilton, gent. of Faversham, at which place his ancestors had been for some generations, as appears by the parish register, before which they resided at Throwley, in the register of which they are likewise mentioned, almost at the beginning of it in 1558, being the last year of queen Mary's reign. He afterwards resided here, and was succeeded in it by his son Mr. Giles Hilton, gent. who in 1702 married Elizabeth, daughter of Mr. John Law, by whom he had three sons and three daughters; of the former, John succeeded him in this manor; William was of Faversham, and married Mary Oldfield, by whom he had no issue; and Robert was of Selling, and left by his wife Elizabeth Chambers, of the same place, two sons, Thomas Gibbs Hilton, of Selling, who married Anne, daughter of Mr. Stephen Jones, of Faversham, by whom he has seven sons, and John, who married Eleanor, daughter of Mr. John Cobb, of Sheldwich, and two daughters, Elizabeth-Farewell and Christian. Mr. John Hilton, the eldest son, resided at Lords, where he died unmarried in 1780, being much noted for his generous housekeeping and old English hospitality. By his will he gave this manor to his brother Mr. Robert Hilton, for life, remainder in tail to his nephew Mr. John Hilton, second son of his brother above-mentioned, which Mr. John Hilton, since his father's death in 1782, is become the possessor of it, and now resides in it.

 

SELGRAVE, now usually called Selgrove, is a manor situated both in this parish and in that of Preston, but it has of long time been separated into moieties, and has become two distinct manors, of which that lying within this parish, at the north-east boundary of it, was formerly the property of the family of St. Nicholas, one of whom, Laurence St. Nicholas, paid aid for it in the 20th year of Edward III. being then held of the honor of Gloucester. After which it seems to have come into the possession of Roger Norwood, of Northwood, in Milton, in whose descendants it remained for several generations, and till it came at length by one of the two sisters and coheirs of John Northwood, in marriage to John Barley, esq. of Hertfordshire, from one of which name it was alienated to Clive, of Copton, in the adjoining parish of Preston. Soon after which, this manor seems to have come into the hands of the crown, and king Charles I. in his 7th year, granted it to Sir Edward Hales, knight and baronet, of Tunstall, in fee, who soon afterwards conveyed it to Sir Dudley Diggs, of Chilham-castle, who died possessed of it in 1638, and by a codicil to his will devised the sum of twenty pounds yearly for a running match at Old Wives lees, in Chilham, to be paid out of the profits of the lands of that part of this manor, which had escheated to him after the death of lady Clive, and by purchase from Sir Christopher Clive, these lands being in three pieces, lay in the parishes of Preston and Faversham, and contain about forty acres, and are commonly called the running lands. After Sir Dudley Diggs's death the manor of Selgrave descended to his two sons, Thomas and John Diggs, esqrs. who about 1641 alienated it to Sir George Sondes, K. B. since which it has descended, in like manner as Lees-court, in this parish, described before, to the right hon. Lewis Thomas, lord Sondes, the present owner of it.

 

A borsholder is chosen yearly for this part of the manor of Selgrave, by the name of the borsholder of the borough of Selgrave, at the court leet holden for the hundred and manor of Faversham.

 

The sheerway, called Portway, alias Porters, alias Selgrave-lane, leading from Copton to Whitehill, in Ospringe, seems to separate this moiety of the manor from the other.

 

HUNTINGFIELD is a small court held in this parish, which seems to be an appendage to the manor of that name in Easling, and to have continued with it part of the possessions of the free chapel or college of St. Stephen, in Westminster, till its dissolution in the 1st year of Edward VI. since which it has continued in the like chain of ownership as that in Easling, to the family of Grove, of Tunstall, in which it continued down to Richard Grove, esq. of London, who at his death in 1792 s. p. devised it by his will to William Jemmet, gent. of Ashford, and William Marshall, of London, who are the present possessors of it.

 

THE MANOR OF LITTLES, antiently called Lydles, which is situated in the north-west part of this parish, and in those of Throwley and Preston adjoining, was formerly owned by the family of At-Lese, one of whom, Richard At-Lese, possessed it, as appears by the chartulary of Knolton manor in the 49th year of king Edward III. How long it continued in his descendants I have not found, but in much later times it came into the possession of the Chapmans, of Molash, from which it was alienated, with other estates in this neighbourhood, by Edward, Thomas, and James Chapman, to Christopher Vane, lord Barnard, who died in 1723, leaving two sons, Gilbert, who succeeded him in title and in his estates in the North of England, and William, who possessed his father's seat of Fairlawn, and the rest of his estates in this county, having been in his father's life-time created viscount Vane, of the kingdom of Ireland. He left an only son William, viscount Vane, who dying in 1789 s. p. gave it by his will to David Papillion, esq. of Acrise, who is the present owner of it. (fn. 6)

 

SHEPHERDS FORSTAL is an estate in the north-east part of this parish, which takes its name from the green or fostal of that name near which it is situated, and was for many descents in the possession of the family of Ruck, one of whom lies buried at Rye, and was a person of some note in the reign of Henry VIII. being bow-bearer to that prince, and bore for his coat armour, as appears by his grave-stone, Sable, a plain cross, argent, between four fleurs de lis, or. The last of this name, who possessed this estate, was Nicholas Ruck, who about the latter end of queen Elizabeth's reign dying s. p. gave it to his nephew Mr. Nicholas Oliver, who soon after the death of Charles I. passed it away, with other estates in the adjoining parishes of Selling, to the president and fellows of Corpus Christi college, in Oxford, in whom it still continues vested.

 

A BRANCH of the FAMILY OF SOUTHOUSE, of Selling, resided for some generations in this parish. Robert, son of Henry Southouse, of Selling, by his will in 1475, anno 16 Edward IV. devised it to John his son his tenement in Sheldwich, remainder to his son Robert; in after times, Henry, son of Henry Southouse, of this parish, died in 1705, and was succeeded in his estates here by his eldest son Henry, who died in 1720, leaving one son and four daughters; several of this name, descendants of this branch of the family, yet remain in these parts. Part of their lands called Southouse, came afterwards into the possession of Mr. John Hilton, of Lords, who sold them to Lewis, lord Sondes, whose son the right hon. Lewis-Thomas, lord Sondes, is the present possessor of them. Another parcel of them, called Southouse-lands, came into the hands of the owners of Copersole farm, in this parish, and were owned with it by Mr. Brian Bentham, whose grandson Edward William Bentham, in 1775, passed them away to Lewis, lord Sondes, whose son the right hon. LewisThomas, lord Sondes, is the present possessor of them.

 

Charities.

THERE is the sum of 40s. a year, payable on St. Barnabas's day, out of a farm called Bellhorn, in Throwley, towards the relief of the poor of this parish, the donor of which is unknown.

 

SHELDWICH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.

 

The church, which is dedicated to St. James, is a handsome building, consisting of one isle and one chancel, with a chapel in the middle of the south side of the isle, and a small chapel on the north side of the chancel. The steeple, which is a tower, stands at the west end, having a beacon-tower on the top, on which is a small leaden spire and vane. There are four bells in it. In the south chancel are two arches in the south wall, which seem to have been for tombs. On the pavament is a brass plate, with the figures, for John Cely and Isabel his wife; he died in 1429; there is only one part of a coat of arms left, being a coat full of eyes, impaling a coat gone. In the isle are memorials for Southouse, and in the great chancel for Belk, and one with a brass plate, having the figure in brass for Joane, once wife of William Marrys, obt. 1431, under her a coat nebulee, and at one corner a coat per pale, and fess, indented. In the north-east chancel, a stone with the figures in brass, with a lion under his feet, for Sir Richard Atte-Lese, and Dionisia his wife; he died in 1394. Near it is a large stone, with very old French capitals round the edge of it, but mostly obliterated. The coat of arms of Atte-Lees is in several places of the north windows of the isle, and there were formerly in the windows of this church several other shields of arms, all which have been defaced.

 

The church of Sheldwich, or Cheldwich, as it was antiently written, was once accounted only as a chapel to the church of Faversham, as an appendage to which it was given, with it, by William the Conqueror in his 5th year, to the abbey of St. Augustine, and was included in the several confirmations made afterwards of that church to the abbey. When this chapel became an independent church, I have not seen, but it was certainly before the 8th year of Richard II. when it was rated as a distinct vicarage, to the tenth and the parsonage of it, was become appropriated to the abovementioned abbey, to which the patronage of the vicarage likewise belonged. In which state this church continued till the general suppression of religious houses, when it came with the rest of the possessions of the abbey, anno 30 king Henry VIII. into the hands of the crown; after which, the king, by his dotation charter, in his 33d year, settled both the church appropriate of Sheldwich, and the advowson of the vicarage, among other premises, on his new-founded dean and chapter of Canterbury, with whom the inheritance of the parsonage remains, the present lessee being the right hon. lord Sondes; but the advowson of the vicarage the dean and chapter retain in their own hands, and are the present patrons of it.

 

It appears by the endowment of the vicarage of Faversham, in 1305, that the vicar of that parish was entitled to all manner of oblations to be made by the thirteen inhabitants of certain tenements in the hamlet of Schelwych, in the chapel of that hamlet annexed to the above-mentioned church, and to be made within the tithing of Schelwych parish, the names of which tenements have been already specifically named before, under the description of the church of Faversham, to which the reader is referred.

 

¶It is a vicarage of the clear yearly certified value of forty pounds, the yearly tenths of which are 13s. 8d. In 1587 the communicants here were 120; in 1640 it was valued at forty pounds, communicants 160. The vicar receives an annual payment of five pounds, from the dean and chapter of Canterbury, in augmentation of his vicarage. It is exempt from the payment of procurations to the archdeacon.

 

www.british-history.ac.uk/survey-kent/vol6/pp481-498

Execute Order 66!

A simple but elegant design executed in size 11 delica beads - bronze, teal and cream diamonds to wrap around your wrist in a fluid, supple ribbon of tightly woven beads in the odd count peyote style.

 

The teal and bronze delicas have a matte finish and the cream delicates have a shiny finish. The edging is done in a tight picot stitch with translucent, sparkly foil lined bronze beads in size 15. All the thread used is conditioned nymo thread, a sturdy thread widely used by beadweavers.

 

The clasp is comprised of a silver plated lobster claw hook and a soldered sterling silver ring.

 

This bracelet fits a 7.25 inch (184 mm) or smaller wrist. The band is 1 inch (25.4 mm) wide

 

From Wikipedia:

 

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini.

It was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

 

Originally, the sculpture was commissioned by Cardinal Peretti Montalto, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Esquiline Hill in Rome. It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. After Reynolds's death in 1792 it was sold to Charles Pelham, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Park, Lincolnshire. It was bought from the family by the Museum in 1950.

 

Bernini’s Neptune and Triton references the mythological characters of Neptune (or Poseidon) and his son Triton, as rulers of the seas. Neptune and Triton are deities that appear relatively briefly in classical literature; however, their positions in the cosmos is deemed important as controllers of the earth and seas. It is a common modern misconception to attribute Neptune to just the seas; however, in Greek myth Neptune is the ruler of earth and all it possesses, just as Zeus is the ruler of the heavens and Hades is the ruler of the Underworld. Triton is actually the character attributed to ruler of (just) the seas.

Neptune and Triton are often depicted in water-like settings, holding tridents and usually driving chariots that have horses shooting out from the water. Bernini’s sculpture gives a slightly different representation of the duo. The story depicted in the sculpture was that Neptune was rescuing the Aenean fleet from the raging seas. Although Bernini changed the interpretation of the myth, he focused more on the body language of Neptune and Triton than the actual story of the myth itself. In the myth, Neptune comes from beneath the seas to split the ships with his trident. Bernini flipped the appearance of the scene and made Neptune point the trident downwards instead and did not even display the ships from the Aenean fleet. This is represented as though Neptune is commanding from above the seas rather than beneath like the ancient myth says.

 

Neptune

 

In Bernini’s sculpture, you see Neptune towering over Triton. He appears to be a man in his prime (early thirties) wearing a beard and wavy locks. Neptune has his legs spread apart and is balancing on a large seashell that carries both Neptune and Triton. Neptune only has a large sheet covering his right shoulder and gliding in between his legs, revealing parts of the male anatomy. The anatomy of the entire body is defined and the twisting of his torso gives him a more trimmed outline of his muscles, allowing the viewer to pay particular attention to his muscles and how they are contracted or relaxed in his state of movement. While standing, Neptune also holds a trident downward in motion that makes it look like he is about to thrust it at someone. “(H)e turns his angry look towards the water, which gushes forth at his feet, imposing his command by thrusting down with his trident.”[4] His arms are tense, forcefully gripping it to dictate his divine power. There is an implication of wind in the long sheet and Neptune’s hair drift backwards, giving the illusion of a natural reality.

 

Triton

 

Triton, Neptune’s son, is positioned below Neptune’s legs, thrusting himself forward to blow the conch shell. He is noticeably younger, maybe a teen-aged boy that has defined muscles as well. He has some definition in his anatomy to make him look like someone of importance; however Bernini reflected the realism into the young man’s appearance naturally so that he is not idealized, but rather a real person bursting forth out of the water. He blows his shell as a horn to declare that the king of the earth and oceans is approaching, again re-iterating the myth’s aspect of Neptune’s power and history. Triton grasps Neptune’s leg and ducks his left shoulder between the thighs of Neptune.

   

The Victoria and Albert Museum (often abbreviated as the V&A), is the world's largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects.

 

Named after Prince Albert and Queen Victoria, it was founded in 1852, and has since grown to cover 12.5 acres (51,000 m2) and 145 galleries. Its collection spans 5,000 years of art, from ancient times to the present day, in virtually every medium, from the cultures of Europe, North America, Asia and North Africa. The museum is a non-departmental public body sponsored by the Department for Culture, Media and Sport.

 

The holdings of ceramics, glass, textiles, costumes, silver, ironwork, jewellery, furniture, medieval objects, sculpture, prints and printmaking, drawings and photographs are among the largest, important and most comprehensive in the world. The museum possesses the world's largest collection of post-classical sculpture, the holdings of Italian Renaissance items are the largest outside Italy. The departments of Asia include art from South Asia, China, Japan, Korea and the Islamic world. The East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic collection, alongside the British Museum, Musée du Louvre and Metropolitan Museum of Art, New York City, is amongst the largest in the Western world.

 

Set in the Brompton district of the Royal Borough of Kensington and Chelsea, neighbouring institutions include the Natural History Museum and Science Museum.

    

Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.

 

TECHNOLOGY

Buon fresco pigment mixed with water of room temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster, intonaco, is used. Because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco, which itself becomes the medium holding the pigment. The pigment is absorbed by the wet plaster; after a number of hours, the plaster dries in reaction to air: it is this chemical reaction which fixes the pigment particles in the plaster. The chemical processes are as follows:

 

calcination of limestone in a lime kiln: CaCO3 → CaO + CO2

slaking of quicklime: CaO + H2O → Ca(OH)2

setting of the lime plaster: Ca(OH)2 + CO2 → CaCO3 + H2O

 

In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later,[when?]new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, and a bag of soot (spolvero) banged on them on produce black dots along the lines. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall that was expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more often just starting from the top of the composition. This area is called the giornata ("day's work"), and the different day stages can usually be seen in a large fresco, by a sort of seam that separates one from the next.

 

Buon frescoes are difficult to create because of the deadline associated with the drying plaster. Generally, a layer of plaster will require ten to twelve hours to dry; ideally, an artist would begin to paint after one hour and continue until two hours before the drying time - giving seven to nine hours working time. Once a giornata is dried, no more buon fresco can be done, and the unpainted intonaco must be removed with a tool before starting again the next day. If mistakes have been made, it may also be necessary to remove the whole intonaco for that area - or to change them later, a secco.

 

A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others. The eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark 'outlining' of his central figures within his frescoes.

 

In a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were originally, nearly invisible, have sometimes become visible, and in many large-scale frescoes, these divisions may be seen from the ground. Additionally, the border between giornate was often covered by an a secco painting, which has since fallen off.

 

One of the first painters in the post-classical period to use this technique was the Isaac Master (or Master of the Isaac fresco, and thus a name used to refer to the unknown master of a particular painting) in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist.

 

OTHER TYPES OF WALL PAINTING

A secco or fresco-secco painting, in contrast, is done on dry plaster (secco meaning "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall. It is important to distinguish between a secco work done on top of buon fresco, which according to most authorities was in fact standard from the Middle Ages onwards, and work done entirely a secco on a blank wall. Generally, buon fresco works are more durable than any a secco work added on top of them, because a secco work lasts better with a roughened plaster surface, whilst true fresco should have a smooth one. The additional a secco work would be done to make changes, and sometimes to add small details, but also because not all colours can be achieved in true fresco, because only some pigments work chemically in the very alkaline environment of fresh lime-based plaster. Blue was a particular problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli, the only two blue pigments then available, works well in wet fresco.

 

It has also become increasingly clear, thanks to modern analytical techniques, that even in the early Italian Renaissance painters quite frequently employed a secco techniques so as to allow the use of a broader range of pigments. In most early examples this work has now entirely vanished, but a whole fresco done a secco on a surface roughened to give a key for the paint may survive very well, although damp is more threatening to it than to buon fresco.

 

A third type called a mezzo-fresco is painted on nearly dry intonaco - firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzo - so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced buon fresco, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.

 

The three key advantages of work done entirely a secco were that it was quicker, mistakes could be corrected, and the colours varied less from when applied to when fully dry - in wet fresco there was a considerable change.

 

For wholly a secco work, the intonaco is laid with a rougher finish, allowed to dry completely and then usually given a key by rubbing with sand. The painter then proceeds much as he would on a canvas or wood panel. The two types of fresco painting are buon fresco and fresco secco. Buon fresco is painting into wet plaster, which makes a painting last a long time. Fresco secco is painting onto dry plaster, which does not last as long.

 

HISTORY

ANCIENT NEAR EAST

The earliest known examples of frescoes done in the Buon Fresco method date at around 1500 BC and are to be found on the island of Crete in Greece. The most famous of these, The Toreador, depicts a sacred ceremony in which individuals jump over the backs of large bulls. While some similar frescoes have been found in other locations around the Mediterranean basin, particularly in Egypt and Morocco, their origins are subject to speculation.

 

Some art historians believe that fresco artists from Crete may have been sent to various locations as part of a trade exchange, a possibility which raises to the fore the importance of this art form within the society of the times. The most common form of fresco was Egyptian wall paintings in tombs, usually using the a secco technique.

 

CLASSICAL ANTIQUITY

Frescoes were also painted in ancient Greece, but few of these works have survived. In southern Italy, at Paestum, which was a Greek colony of the Magna Graecia, a tomb containing frescoes dating back to 470 BC, the so-called Tomb of the Diver was discovered on June 1968. These frescoes depict scenes of the life and society of ancient

 

Greece, and constitute valuable historical testimonials. One shows a group of men reclining at a symposium while another shows a young man diving into the sea.

 

Roman wall paintings, such as those at the magnificent Villa dei Misteri (1st century B.C.) in the ruins of Pompeii, and others at Herculaneum, were completed in buon fresco.

 

Late Roman Empire (Christian) 1st-2nd-century frescoes were found in catacombs beneath Rome and Byzantine Icons were also found in Cyprus, Crete, Ephesus, Cappadocia and Antioch. Roman frescoes were done by the artist painting the artwork on the still damp plaster of the wall, so that the painting is part of the wall, actually colored plaster.

 

Also a historical collection of Ancient Christian frescoes can be found in the Churches of Goreme Turkey.

 

INDIA

Thanks to large number of ancient rock-cut cave temples, valuable ancient and early medieval frescoes have been preserved in more than 20 locations of India. The frescoes on the ceilings and walls of the Ajanta Caves were painted between c. 200 BC and 600 and are the oldest known frescoes in India. They depict the Jataka tales that are stories of the Buddha's life in former existences

 

as Bodhisattva. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819. Other locations with valuable preserved ancient and early medieval frescoes include Bagh Caves, Ellora Caves, Sittanavasal, Armamalai Cave, Badami Cave Temples and other locations. Frescoes have been made in several techniques including tempera technique.

 

The later Chola paintings were discovered in 1931 within the circumambulatory passage of the Brihadisvara Temple in India and are the first Chola specimens discovered.

 

Researchers have discovered the technique used in these frescos. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.

 

During the Nayak period the Chola paintings were painted over. The Chola frescos lying underneath have an ardent spirit of saivism expressed in them. They probably synchronised with the completion of the temple by Rajaraja Cholan the Great.

 

The frescoes in Dogra/ Pahari style paintings exist in their unique form at Sheesh Mahal of Ramnagar (105 km from Jammu and 35 km west of Udhampur). Scenes from epics of Mahabharat and Ramayan along with portraits of local lords form the subject matter of these wall paintings. Rang Mahal of Chamba (Himachal Pradesh) is another site of historic Dogri fresco with wall paintings depicting scenes of Draupti Cheer Haran, and Radha- Krishna Leela. This can be seen preserved at National Museum at New Delhi in a chamber called Chamba Rang Mahal.

 

SRI LANKA

The Sigiriya Frescoes are found in Sigiriya in Sri Lanka. Painted during the reign of King Kashyapa I (ruled 477-495 AD). The generally accepted view is that they are portrayals of women of the royal court of the king depicted as celestial nymphs showering flowers upon the humans below. They bear some resemblance to the Gupta style of painting found in the Ajanta Caves in India. They are, however, far more enlivened and colorful and uniquely Sri Lankan in character. They are the only surviving secular art from antiquity found in Sri Lanka today.

 

The painting technique used on the Sigiriya paintings is “fresco lustro.” It varies slightly from the pure fresco technique in that it also contains a mild binding agent or glue. This gives the painting added durability, as clearly demonstrated by the fact that they have survived, exposed to the elements, for over 1,500 years.

 

Located in a small sheltered depression a hundred meters above ground only 19 survive today. Ancient references however refer to the existence of as many as five hundred of these frescoes.

 

MIDDLE AGES

The late Medieval period and the Renaissance saw the most prominent use of fresco, particularly in Italy, where most churches and many government buildings still feature fresco decoration. This change coincided with the reevaluation of murals in the liturgy. Romanesque churches in Catalonia were richly painted in 12th and 13th century, with both decorative and educational -for the illiterate faithfuls- role, as can be seen in the MNAC in Barcelona, where is kept a large collection of Catalan romanesque art. In Denmark too, church wall paintings or kalkmalerier were widely used in the Middle Ages (first Romanesque, then Gothic) and can be seen in some 600 Danish churches as well as in churches in the south of Sweden which was Danish at the time.

 

One of the rare examples of Islamic fresco painting can be seen in Qasr Amra, the desert palace of the Umayyads in the 8th century Magotez.

 

EARLY MODERN EUROPE

Northern Romania (historical region of Moldavia) boasts about a dozen painted monasteries, completely covered with frescos inside and out, that date from the last quarter of the 15th century to the second quarter of the 16th century. The most remarkable are the monastic foundations at Voroneţ (vo ro nets) (1487), Arbore (are' bo ray) (1503), Humor (hoo mor) (1530), and Moldoviţa (mol do vee' tsa) (1532). Suceviţa (sue che vee' tsa), dating from 1600, represents a late return to the style developed some 70 years earlier. The tradition of painted churches continued into the 19th century in other parts of Romania, although never to the same extent.

 

Andrea Palladio, the famous Italian architect of the 16th century, built many mansions with plain exteriors and stunning interiors filled with frescoes.

 

Henri Clément Serveau produced several frescos including a three by six meter painting for the Lycée de Meaux, where he was once a student. He directed the École de fresques at l'École nationale supérieure des beaux-arts, and decorated the Pavillon du Tourisme at the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris), Pavillon de la Ville de Paris; now at Musée d'Art Moderne de la Ville de Paris. In 1954 he realized a fresco for the Cité Ouvrière du Laboratoire Débat, Garches. He also executed mural decorations for the Plan des anciennes enceintes de Paris in the Musée Carnavalet.

 

The Foujita chapel in Reims completed in 1966, is an example of modern frescos, the interior being painted with religious scenes by the School of Paris painter Tsuguharu Foujita. In 1996, it was designated an historic monument by the French Government.

 

MEXICAN MURALISM

José Clemente Orozco, Fernando Leal, David Siqueiros and Diego Rivera the famous Mexican artists, renewed the art of fresco painting in the 20th century. Orozco, Siqueiros, Rivera and his wife Frida Kahlo contributed more to the history of Mexican fine arts and to the reputation of Mexican art in general than anybody else. Together with works by Orozco, Siqueiros, and others, Fernando Leal and Rivera's large wall works in fresco established the art movement known as Mexican Muralism.

 

CONSERVATION OF FRESCOES

The climate and environment of Venice has proved to be a problem for frescoes and other works of art in the city for centuries. The city is built on a lagoon in northern Italy. The humidity and the rise of water over the centuries have created a phenomenon known as rising damp. As the lagoon water rises and seeps into the foundation of a building, the water is absorbed and rises up through the walls often causing damage to frescoes. Venetians have become quite adept in the conservation methods of frescoes. The mold aspergillus versicolor can grow after flooding, to consume nutrients from frescoes.

 

The following is the process that was used when rescuing frescoes in La Fenice, a Venetian opera house, but the same process can be used for similarly damaged frescoes. First, a protection and support bandage of cotton gauze and polyvinyl alcohol is applied. Difficult sections are removed with soft brushes and localized vacuuming. The other areas that are easier to remove (because they had been damaged by less water) are removed with a paper pulp compress saturated with bicarbonate of ammonia solutions and removed with deionized water. These sections are strengthened and reattached then cleansed with base exchange resin compresses and the wall and pictorial layer were strengthened with barium hydrate. The cracks and detachments are stopped with lime putty and injected with an epoxy resin loaded with micronized silica.

 

WIKIPEDIA

Studiolo from the Ducal Palace in Gubbio

 

•Designer: Designed by Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed under the supervision of Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed in the workshop of Giuliano da Maiano (Italian, Maiano 1432-1490 Naples)

•Maker: and Benedetto da Maiano (Italian, Maiano 1442-1497 Florence)

•Date: ca. 1478-1782

•Culture: Italian, Gubbio

•Medium: Walnut, beech, rosewood, oak and fruitwoods in walnut base

•Dimensions:

oHeight: 15 ft. 10 15/16 in. (485 cm)

oWidth: 16 ft. 11 15/16 in. (518 cm)

oDepth: 12 ft. 7 3/16 in. (384 cm)

•Classification: Woodwork

•Credit Line: Rogers Fund, 1939

•Accession Number: 39.153

 

On view at The Met Fifth Avenue in Gallery 501.

 

This detail is from a study, (or studiolo), intended for meditation and study. Its walls are carried out in a wood-inlay technique known as intarsia. The latticework doors of the cabinets, shown open or partly closed, indicate the contemporary interest in linear perspective. The cabinets display objects reflecting Duke Federico’s wide-ranging artistic and scientific interests, and the depictions of books recall his extensive library. Emblems of the Montefeltro are also represented. This room may have been designed by Francesco di Giorgio (1439-1502) and was executed by Giuliano da Majano (1432-1490). A similar room, in situ, was made for the duke’s palace at Urbino.

 

Signatures, Inscriptions, and Markings

 

•Inscription:

oLatin inscription in elegiac couplets in frieze: ASPICIS AETERNOS VENERANDAE MATRIS ALUMNOS // DOCTRINA EXCELSOS INGENIOQUE VIROS // UT NUDA CERVICE CADANT ANTE //.. // .. GENU // IUSTITIAM PIETAS VINCIT REVERENDA NEC ULLUM // POENITET ALTRICI SUCCUBUISSE SUAE.

oTranslation: (“You see the eternal nurselings of the venerable mother // Men pre-eminent in learning and genius, // How they fall with bared neck before // …… // ………………………………………………knee. // Honored loyalty prevails over justice, and no one // Repents having yielded to his foster mother.”)

 

Provenance

 

Duke Federico da Montefeltr, Palazzo Ducale, Gubbio, Italy (ca. 1479-1482); Prince Filippo Massimo Lancellotti, Frascati (from 1874); Lancelotti family, Frascati (until 1937; sold to Adolph Loewi, Venice); [Adolph Loewi, Venice (1937-1939; sold to MMA)]

 

Timeline of Art History

 

•Essays

oCollecting for the Kunstkammer

oDomestic Art in Renaissance Italy

oRenaissance Organs

•Timelines

oFlorence and Central Italy, 1400-1600 A.D.

 

MetPublications

 

oVermeer and the Delft School

oPeriod Rooms in The Metropolitan Museum of Art

oPainting Words, Sculpting Language: Creative Writing Activities at The Metropolitan Museum of Art

oOne Met. Many Worlds.

oMusical Instruments: Highlights of The Metropolitan Museum of Art

oThe Metropolitan Museum of Art. Vol. 4, The Renaissance in Italy and Spain

oThe Metropolitan Museum of Art Guide (Spanish)

oThe Metropolitan Museum of Art Guide (Russian)

oThe Metropolitan Museum of Art Guide (Portuguese)

oThe Metropolitan Museum of Art Guide (Korean)

oThe Metropolitan Museum of Art Guide (Japanese)

oThe Metropolitan Museum of Art Guide (Italian)

oThe Metropolitan Museum of Art Guide (German)

oThe Metropolitan Museum of Art Guide (French)

oThe Metropolitan Museum of Art Guide (Chinese)

oThe Metropolitan Museum of Art Guide (Arabic)

oThe Metropolitan Museum of Art Guide

oThe Metropolitan Museum of Art Guide

oMasterpieces of The Metropolitan Museum of Art

oMasterpieces of The Metropolitan Museum of Art

o“The Liberal Arts Studiolo from the Ducal Palace at Gubbio”: The Metropolitan Museum of Art Bulletin, v. 53, no. 4 (Spring, 1996)

oGuide to The Metropolitan Museum of Art

oThe Gubbio Studiolo and Its Conservation. Vol. 2, Italian Renaissance Intarsia and the Conservation of the Gubbio Studiolo

oThe Gubbio Studiolo and Its Conservation. Vol. 1, Federico da Montefeltro’s Palace at Gubbio and Its Studiolo

o“Carpaccio’s Young Knight in a Landscape: Christian Champion and Guardian of Liberty”: Metropolitan Museum Journal, v. 18 (1983)

oThe Artist Project: What Artists See When They Look At Art

oThe Artist Project

oThe Art of Renaissance Europe: A Resource for Educators

oThe Art of Chivalry: European Arms and Armor from The Metropolitan Museum of Art

oArt and Love in Renaissance Italy

San Francisco noir.

 

I had a lingering suspicion this establishment might be an especially well executed example of faux-stalgia, but my first instincts were spot on. This is the real thing.

 

Tad's is a piece of living history, with its banner of once-great cities that have disappeared into the rust belt. This was the America of businessmen in hats, women in well tailored suits, trains, cigarettes and booze. You see it in black-and-white in newsreels and old TV shows.

 

Here's a description of the Tad's experience in NYC:

 

We tend to think of eating steaks in New York as a wildly expensive pursuit. Spend an hour or two barely chewing in Peter Luger, Keen's, or the Old Homestead and, all in, you're likely to drop a C-note or more on a porterhouse, filet mignon, or New York strip. Even in bistros, the steaks are invariably at the upper reaches of the menu's price range. But it wasn't always that way.

 

From the city's earliest days, the beefsteak was a menu option that didn't have to cost an arm and a leg, and even the lowliest lunch counter or chophouse offered it. This was not the well-marbled prime beef we covet today — if any aging was done it happened accidentally in the ice box or refrigerator. And instead of the funky, dry-aged flavor we currently crave, the taste was all blood and minerals, the fat was more like gristle, and, thin as it was, the steak required a bit of sawing to dismantle.

 

No matter, working-class plebes and low-end business travelers loved these steaks, and an entire restaurant category stood ready to serve them at budget prices. Twenty-five years ago the Tad's Steaks chain was a primary proponent of this sort of rough-and-tumble steak consumption, and bestrode the city's dining scene like a colossus. There were dolled-up branches at Union Square right near the Palladium, on 34th Street wedged between Macy's and Penn Station, and there were two bookending Times Square right in the thick of things, one on 42nd Street and the other at Seventh Avenue and 50th Street. At one time there were eight in the city, plus a kiosk at the 1964 World's Fair in Flushing Meadows, for a grand total of 28 spread across the country.

 

According to a 2000 New York Times obituary of its originator, Donald Townsend, who died at the age of 91, the chain was founded here in 1957, named after Townsend's partner Alan Tadeus Kay, who expired soon thereafter. The two, along with Townsend's brother Neal, maintained an office above the original Times Square location on 42nd Street, and debuted branches in San Francisco, Chicago, St. Louis, Philadelphia, Cincinnati, and Detroit. The San Francisco one is still open. Via the chain, Townsend tried to glamorize the working-class steak. He outfitted his restaurants with fake Tiffany lamps and flocked red wallpaper embossed with an ornate "T" logo. The grilling over gas flame was done in the front window as the customers waited in line, gawking at what the founder waggishly referred to as a "steak show." The original price of the cheapest steak dinner was $1.09.

 

Now, sadly, only one of the branches still exists in the city, the Seventh Avenue Times Square restaurant, founded in 1960. As a minor minion of the Riese Restaurants empire, which also owns KFC, TGI Fridays, Tim Hortons, and Nathan's franchises, the place barely limps along. Soon, this last example of New York's budget steak industry is likely to be kaput. I went for one last time to experience this bit of New York restaurant history — and then went twice more in quick succession.

 

Gone was the flocked wallpaper, but the interior was still relentlessly red, and plastic Tiffany lampshades still hung over the tables. In front, a guy in a red baseball cap and blood-smudged white apron cooked steaks to order with admirable swagger, pulling the meat from a series of refrigerated metal meat drawers with a long-handled fork. "How do you want your steak?" he asks, and then gets pretty close to the desired doneness. Do you dare eat a steak like this rare?

 

Advertised in the front window is the special steak dinner that was once $1.09, now priced at $8.69. That buys you a "cowboy steak" (a gnarly little sirloin), a baked potato or mashed potatoes, tossed salad with your choice of eight bottled dressings, and — perhaps best of all — a giant slice of "Texas toast," half of a demi-baguette that's been split longitudinally, griddle-toasted, and brushed with garlic-scented fat of uncertain provenance. He pokes and prods your steak on the flame-shooting grill as it cooks, flipping it deftly, while watching perhaps a dozen other people's steaks at the same time. Finally, the chef assembles your meal on a red tray, and sluices everything with meat juices from a metal tub. He asks if you want sautéed onions, but be forewarned they cost an additional 75 cents. Upselling might have been invented here.

 

When you've pushed your tray past the desserts, plastic-wrapped glasses of red and white wine, and stemware filled with Jell-O, you reach the pay station where the salad is given out. The clerk will ask you if you want tomatoes on your salad without telling you they cost 95 additional cents. When I reached my table, I had to do a lot of sawing to cut off pieces of my cowboy steak, but the flavor was smoky and rich, with the fatty parts much easier to chew.

 

When I lived in the East Village and went to Tad's near Union Square on my way to see The Clash at the Palladium, there was a choice of a half-dozen steaks, with a rotisserie chicken as the only non-beef entrée. Nowadays, Tad's has suffered a certain menu sprawl, such that things like salmon filet, chicken Caesar, fried shrimp, barbecued ribs, and steak salad are also offered; needless to say, you should skip all of these. The steak list has ballooned to approximately 12 choices, twice the original number, so you can pay $19.99 for prime rib or $24.99 for a special ribeye, both including the full monte. The prime rib is actually relatively tender and worth eating if you want a surfeit of meat, the ribeye is penuriously thin and only about 30% of it is tender enough to chew. The half chicken is delicious, and a good deal at $11.29, while even better are the pair of pork chops ($12.59), though you'll try in vain to get the meat wrangler to cook them less than well-done.

 

But really, you go to Tad's Steaks for the whole experience, not for the meat. Though the steaks are edible, and even somewhat savorable, it's the smell of meat smoke in your nostrils, the excitement a child feels when eating in a restaurant for the first time, the decadent thrill of the garishly over-decorated dining room, and the thought that you're eating like your grandfather might have done that might bring you back. You're the extra in a Broadway steak show, and the appeal of that grease-sodden Texas toast is undeniable.

 

ny.eater.com/2014/7/9/6190829/farewell-to-tads-manhattans...

Unused.

 

Munich, 3rd May 1919, metal-worker Johann Lehner is photographed with Württemberg troops of the Freikorps. Suspected of being a Communist leader he was summarily executed shortly afterwards.

 

Background courtesy of Wiki:

 

The Munich Soviet Republic (Münchner Räterepublik) was, as part of the German Revolution of 1918–1919, the short-lived attempt to establish a socialist state in the form of a democratic workers' council republic in the Free State of Bavaria. It sought independence from the also recently proclaimed Weimar Republic.

 

On the afternoon of 7 November 1918, the first anniversary of the Russian revolution, Kurt Eisner of the Independent Social Democratic Party of Germany (USPD) addressed a crowd, estimated to have been about 60,000, on the Theresienwiese (current site of the Oktoberfest). He demanded an immediate peace, an 8 hour day, relief for the unemployed, abdication of the Bavarian king, King Ludwig III, and Emperor Wilhelm II, and proposed the formation of workers' and soldiers' councils. The crowd marched to the army barracks and won over most of the soldiers to the side of the revolution. That night, the King went into exile. The next day, Eisner declared Bavaria a "free state" – a declaration which overthrew the monarchy of the Wittelsbach dynasty which had ruled for over 700 years, and Eisner became Minister-President of Bavaria. Though he advocated a "socialist republic", he distanced himself from the Russian Bolsheviks, declaring that his government would protect property rights. For a few days, the Munich economist Lujo Brentano served as People's Commissar for Trade (Volkskommissar für Handel).

 

After Eisner's USPD had lost the elections, he decided to resign from his office. On 21 February 1919, as he was on his way to parliament to announce his resignation, he was shot by the right-wing nationalist Anton Graf von Arco auf Valley, who was rejected from membership in the Thule Society because of Jewish ancestry on his mother's side. This assassination caused unrest and lawlessness in Bavaria, and the news of a soviet revolution in Hungary encouraged communists and anarchists to seize power.

 

On 6 April 1919, a Soviet Republic was formally proclaimed. Initially, it was ruled by USPD members such as Ernst Toller, and anarchists like Gustav Landauer, Silvio Gesell and Erich Mühsam. Toller, a playwright, described the revolution as the "Bavarian Revolution of Love", but he was not a very effective politician, and his government did little to restore order in Munich.

 

His government members were also not always well-chosen. For instance, the Foreign Affairs Deputy Dr. Franz Lipp (who had been admitted several times to psychiatric hospitals), declared war on Switzerland over the Swiss refusal to lend 60 locomotives to the Soviet Republic. He also claimed to be well acquainted with Pope Benedict XV. He informed Vladimir Lenin via cable that the ousted former Minister-President Hoffmann had fled to Bamberg and taken the key to the ministry toilet with him.

 

On Palm Sunday, April 12, 1919, the Communist Party seized power, with Eugen Leviné as their leader. Leviné began to enact communist reforms, which included forming a "Red Army", seizing cash and food supplies, expropriating luxurious apartments and giving them to the homeless and placing factories under the ownership and control of their workers. Leviné also had plans to abolish paper money and reform the education system, but never had time to implement them.

 

At the suggestion of Vladimir Lenin, Leviné took hostages from among the elite. When his troops refused to execute the hostages, Russian soldiers were sent to do it. On 30 April 1919, eight men, including the well-connected Prince Gustav of Thurn and Taxis, were accused as right-wing spies and executed. The Thule Society's secretary, Countess Hella von Westarp, was also murdered.

 

Soon after, on 3 May 1919, remaining loyal elements of the German army (called the "White Guards of Capitalism" by the communists), with a force of 9,000, and Freikorps (such as the Freikorps Epp and the Marinebrigade Ehrhardt) with a force of about 30,000 men, entered Munich and defeated the communists after bitter street fighting in which over 1,000 supporters of the government were killed. About 700 men and women were arrested and summarily executed by the victorious Freikorps troops. Leviné was condemned to death for treason, and was shot by a firing squad in Stadelheim Prison.

Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.

  

The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.

 

The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.

 

The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.

 

A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.

Today, Thursday 9 November 2017, saw Greater Manchester Police execute warrants at addresses across the Moss Side and Hulme areas of Manchester.

 

The warrants, which were supported by the Immigration Service, were executed as part of Operation Malham targeting the supply of drugs in South Manchester.

  

Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: "Over the past 6 months we have had a dedicated team of detectives trawling through community concerns and information about drug supply in the Moss Side and Hulme areas.

 

“Today, we have made arrests after executing warrants across these areas and I would like to thank the community for working with us, as well as partners, and making this possible.

 

“Please continue to report anything suspicious to help us stop the criminals benefiting from drug supply and organised crime.

 

“Drugs never be tolerated by us and we are determined to bring those responsible to justice.”

 

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.

 

Studiolo from the Ducal Palace in Gubbio

 

•Designer: Designed by Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed under the supervision of Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed in the workshop of Giuliano da Maiano (Italian, Maiano 1432-1490 Naples)

•Maker: and Benedetto da Maiano (Italian, Maiano 1442-1497 Florence)

•Date: ca. 1478-1782

•Culture: Italian, Gubbio

•Medium: Walnut, beech, rosewood, oak and fruitwoods in walnut base

•Dimensions:

oHeight: 15 ft. 10 15/16 in. (485 cm)

oWidth: 16 ft. 11 15/16 in. (518 cm)

oDepth: 12 ft. 7 3/16 in. (384 cm)

•Classification: Woodwork

•Credit Line: Rogers Fund, 1939

•Accession Number: 39.153

 

On view at The Met Fifth Avenue in Gallery 501.

 

This detail is from a study, (or studiolo), intended for meditation and study. Its walls are carried out in a wood-inlay technique known as intarsia. The latticework doors of the cabinets, shown open or partly closed, indicate the contemporary interest in linear perspective. The cabinets display objects reflecting Duke Federico’s wide-ranging artistic and scientific interests, and the depictions of books recall his extensive library. Emblems of the Montefeltro are also represented. This room may have been designed by Francesco di Giorgio (1439-1502) and was executed by Giuliano da Majano (1432-1490). A similar room, in situ, was made for the duke’s palace at Urbino.

 

Signatures, Inscriptions, and Markings

 

•Inscription:

oLatin inscription in elegiac couplets in frieze: ASPICIS AETERNOS VENERANDAE MATRIS ALUMNOS // DOCTRINA EXCELSOS INGENIOQUE VIROS // UT NUDA CERVICE CADANT ANTE //.. // .. GENU // IUSTITIAM PIETAS VINCIT REVERENDA NEC ULLUM // POENITET ALTRICI SUCCUBUISSE SUAE.

oTranslation: (“You see the eternal nurselings of the venerable mother // Men pre-eminent in learning and genius, // How they fall with bared neck before // …… // ………………………………………………knee. // Honored loyalty prevails over justice, and no one // Repents having yielded to his foster mother.”)

 

Provenance

 

Duke Federico da Montefeltr, Palazzo Ducale, Gubbio, Italy (ca. 1479-1482); Prince Filippo Massimo Lancellotti, Frascati (from 1874); Lancelotti family, Frascati (until 1937; sold to Adolph Loewi, Venice); [Adolph Loewi, Venice (1937-1939; sold to MMA)]

 

Timeline of Art History

 

•Essays

oCollecting for the Kunstkammer

oDomestic Art in Renaissance Italy

oRenaissance Organs

•Timelines

oFlorence and Central Italy, 1400-1600 A.D.

 

MetPublications

 

oVermeer and the Delft School

oPeriod Rooms in The Metropolitan Museum of Art

oPainting Words, Sculpting Language: Creative Writing Activities at The Metropolitan Museum of Art

oOne Met. Many Worlds.

oMusical Instruments: Highlights of The Metropolitan Museum of Art

oThe Metropolitan Museum of Art. Vol. 4, The Renaissance in Italy and Spain

oThe Metropolitan Museum of Art Guide (Spanish)

oThe Metropolitan Museum of Art Guide (Russian)

oThe Metropolitan Museum of Art Guide (Portuguese)

oThe Metropolitan Museum of Art Guide (Korean)

oThe Metropolitan Museum of Art Guide (Japanese)

oThe Metropolitan Museum of Art Guide (Italian)

oThe Metropolitan Museum of Art Guide (German)

oThe Metropolitan Museum of Art Guide (French)

oThe Metropolitan Museum of Art Guide (Chinese)

oThe Metropolitan Museum of Art Guide (Arabic)

oThe Metropolitan Museum of Art Guide

oThe Metropolitan Museum of Art Guide

oMasterpieces of The Metropolitan Museum of Art

oMasterpieces of The Metropolitan Museum of Art

o“The Liberal Arts Studiolo from the Ducal Palace at Gubbio”: The Metropolitan Museum of Art Bulletin, v. 53, no. 4 (Spring, 1996)

oGuide to The Metropolitan Museum of Art

oThe Gubbio Studiolo and Its Conservation. Vol. 2, Italian Renaissance Intarsia and the Conservation of the Gubbio Studiolo

oThe Gubbio Studiolo and Its Conservation. Vol. 1, Federico da Montefeltro’s Palace at Gubbio and Its Studiolo

o“Carpaccio’s Young Knight in a Landscape: Christian Champion and Guardian of Liberty”: Metropolitan Museum Journal, v. 18 (1983)

oThe Artist Project: What Artists See When They Look At Art

oThe Artist Project

oThe Art of Renaissance Europe: A Resource for Educators

oThe Art of Chivalry: European Arms and Armor from The Metropolitan Museum of Art

oArt and Love in Renaissance Italy

  

Floor Tiles (Set of 350)

 

•Factory: San Marco Laterizi di Noale Pottery

•Date: 1995

•Culture: Italian, Venice

•Medium: Earthenware

•Dimensions:

oHeight: 10¾ in. sq. (27.3 cm. sq.)

oWidth: 1¼ in. thick (3.2 cm. thick)

•Classification: Ceramics-Pottery

•Credit Line: Purchase, Anonymous Gift, 1996

•Accession Number: Inst.1996.1.1–.350

 

On view at The Met Fifth Avenue in Gallery 501.

 

Provenance

 

Made by San Marco Laterizi di Noale as reproductions of original tiles in the Ducal Palace in Gubbio

 

Timeline of Art History

 

•Timelines

oItalian Peninsula, 1900 A.D.-Present

Quickly executed self portrait - acrylic on canvas board. A quick piece of work - not looking during the initial drawing stage. Instead, drawn by feeling the structure of the face whilst simultaneously drawing on the board. Painted afterwards.

Three people have been arrested after early morning warrants were executed in Manchester.

 

Earlier this morning (Friday 29 November 2019), officers executed warrants at two addresses in Cheetham Hill and made three arrests in relation to an ongoing firearms investigation.

 

The action comes after GMP launched a dedicated operation – codenamed Heamus - earlier in the month. The operation is set to tackle a dispute between two local crime groups, following a series of firearms discharges which have taken place since the beginning of September 2019.

 

Superintendent Rebecca Boyce, of GMP’s City of Manchester division, said: “Following this morning’s direct action, we have three people in custody and I would like to thank those officers who have worked extremely hard as part of this ongoing operation and who are committed to keeping the people of Cheetham Hill safe.

 

“Whilst we believe that these incidents have been targeted, we understand and appreciate how concerned local residents may be and as a result of this have set up this dedicated operation. We want to reassure those who feel affected that we are doing all that we can and stress that we are treating these incidents as an absolute priority.

 

“This is a complex investigation, which brings its own challenges and whilst we have made arrests, we are continuing to appeal for the public’s help. We believe that answers lie within the community and would urge anyone with information to get in touch. Whether you want to speak to us directly, or whether you’d prefer to talk to Crimestoppers anonymously, please do so if you think you can assist our enquiries with even the smallest piece of information.

 

“We will continue to work closely with partners in order to disrupt this kind of activity and I hope that this morning’s action demonstrates that are working hard in order to prevent any further incidents and protect those in our communities.

 

“This type of criminal behaviour is reckless and dangerous- it will not be tolerated on our streets.”

 

Anyone with information should call 0161 856 1146, quoting incident number 2348 of 18/11/19. Reports can also be made anonymously to the independent charity Crimestoppers on 0800 555 111.

Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.

 

TECHNOLOGY

Buon fresco pigment mixed with water of room temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster, intonaco, is used. Because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco, which itself becomes the medium holding the pigment. The pigment is absorbed by the wet plaster; after a number of hours, the plaster dries in reaction to air: it is this chemical reaction which fixes the pigment particles in the plaster. The chemical processes are as follows:

 

calcination of limestone in a lime kiln: CaCO3 → CaO + CO2

slaking of quicklime: CaO + H2O → Ca(OH)2

setting of the lime plaster: Ca(OH)2 + CO2 → CaCO3 + H2O

 

In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later,[when?]new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, and a bag of soot (spolvero) banged on them on produce black dots along the lines. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall that was expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more often just starting from the top of the composition. This area is called the giornata ("day's work"), and the different day stages can usually be seen in a large fresco, by a sort of seam that separates one from the next.

 

Buon frescoes are difficult to create because of the deadline associated with the drying plaster. Generally, a layer of plaster will require ten to twelve hours to dry; ideally, an artist would begin to paint after one hour and continue until two hours before the drying time - giving seven to nine hours working time. Once a giornata is dried, no more buon fresco can be done, and the unpainted intonaco must be removed with a tool before starting again the next day. If mistakes have been made, it may also be necessary to remove the whole intonaco for that area - or to change them later, a secco.

 

A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others. The eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark 'outlining' of his central figures within his frescoes.

 

In a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were originally, nearly invisible, have sometimes become visible, and in many large-scale frescoes, these divisions may be seen from the ground. Additionally, the border between giornate was often covered by an a secco painting, which has since fallen off.

 

One of the first painters in the post-classical period to use this technique was the Isaac Master (or Master of the Isaac fresco, and thus a name used to refer to the unknown master of a particular painting) in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist.

 

OTHER TYPES OF WALL PAINTING

A secco or fresco-secco painting, in contrast, is done on dry plaster (secco meaning "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall. It is important to distinguish between a secco work done on top of buon fresco, which according to most authorities was in fact standard from the Middle Ages onwards, and work done entirely a secco on a blank wall. Generally, buon fresco works are more durable than any a secco work added on top of them, because a secco work lasts better with a roughened plaster surface, whilst true fresco should have a smooth one. The additional a secco work would be done to make changes, and sometimes to add small details, but also because not all colours can be achieved in true fresco, because only some pigments work chemically in the very alkaline environment of fresh lime-based plaster. Blue was a particular problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli, the only two blue pigments then available, works well in wet fresco.

 

It has also become increasingly clear, thanks to modern analytical techniques, that even in the early Italian Renaissance painters quite frequently employed a secco techniques so as to allow the use of a broader range of pigments. In most early examples this work has now entirely vanished, but a whole fresco done a secco on a surface roughened to give a key for the paint may survive very well, although damp is more threatening to it than to buon fresco.

 

A third type called a mezzo-fresco is painted on nearly dry intonaco - firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzo - so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced buon fresco, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.

 

The three key advantages of work done entirely a secco were that it was quicker, mistakes could be corrected, and the colours varied less from when applied to when fully dry - in wet fresco there was a considerable change.

 

For wholly a secco work, the intonaco is laid with a rougher finish, allowed to dry completely and then usually given a key by rubbing with sand. The painter then proceeds much as he would on a canvas or wood panel. The two types of fresco painting are buon fresco and fresco secco. Buon fresco is painting into wet plaster, which makes a painting last a long time. Fresco secco is painting onto dry plaster, which does not last as long.

 

HISTORY

ANCIENT NEAR EAST

The earliest known examples of frescoes done in the Buon Fresco method date at around 1500 BC and are to be found on the island of Crete in Greece. The most famous of these, The Toreador, depicts a sacred ceremony in which individuals jump over the backs of large bulls. While some similar frescoes have been found in other locations around the Mediterranean basin, particularly in Egypt and Morocco, their origins are subject to speculation.

 

Some art historians believe that fresco artists from Crete may have been sent to various locations as part of a trade exchange, a possibility which raises to the fore the importance of this art form within the society of the times. The most common form of fresco was Egyptian wall paintings in tombs, usually using the a secco technique.

 

CLASSICAL ANTIQUITY

Frescoes were also painted in ancient Greece, but few of these works have survived. In southern Italy, at Paestum, which was a Greek colony of the Magna Graecia, a tomb containing frescoes dating back to 470 BC, the so-called Tomb of the Diver was discovered on June 1968. These frescoes depict scenes of the life and society of ancient

 

Greece, and constitute valuable historical testimonials. One shows a group of men reclining at a symposium while another shows a young man diving into the sea.

 

Roman wall paintings, such as those at the magnificent Villa dei Misteri (1st century B.C.) in the ruins of Pompeii, and others at Herculaneum, were completed in buon fresco.

 

Late Roman Empire (Christian) 1st-2nd-century frescoes were found in catacombs beneath Rome and Byzantine Icons were also found in Cyprus, Crete, Ephesus, Cappadocia and Antioch. Roman frescoes were done by the artist painting the artwork on the still damp plaster of the wall, so that the painting is part of the wall, actually colored plaster.

 

Also a historical collection of Ancient Christian frescoes can be found in the Churches of Goreme Turkey.

 

INDIA

Thanks to large number of ancient rock-cut cave temples, valuable ancient and early medieval frescoes have been preserved in more than 20 locations of India. The frescoes on the ceilings and walls of the Ajanta Caves were painted between c. 200 BC and 600 and are the oldest known frescoes in India. They depict the Jataka tales that are stories of the Buddha's life in former existences

 

as Bodhisattva. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819. Other locations with valuable preserved ancient and early medieval frescoes include Bagh Caves, Ellora Caves, Sittanavasal, Armamalai Cave, Badami Cave Temples and other locations. Frescoes have been made in several techniques including tempera technique.

 

The later Chola paintings were discovered in 1931 within the circumambulatory passage of the Brihadisvara Temple in India and are the first Chola specimens discovered.

 

Researchers have discovered the technique used in these frescos. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.

 

During the Nayak period the Chola paintings were painted over. The Chola frescos lying underneath have an ardent spirit of saivism expressed in them. They probably synchronised with the completion of the temple by Rajaraja Cholan the Great.

 

The frescoes in Dogra/ Pahari style paintings exist in their unique form at Sheesh Mahal of Ramnagar (105 km from Jammu and 35 km west of Udhampur). Scenes from epics of Mahabharat and Ramayan along with portraits of local lords form the subject matter of these wall paintings. Rang Mahal of Chamba (Himachal Pradesh) is another site of historic Dogri fresco with wall paintings depicting scenes of Draupti Cheer Haran, and Radha- Krishna Leela. This can be seen preserved at National Museum at New Delhi in a chamber called Chamba Rang Mahal.

 

SRI LANKA

The Sigiriya Frescoes are found in Sigiriya in Sri Lanka. Painted during the reign of King Kashyapa I (ruled 477-495 AD). The generally accepted view is that they are portrayals of women of the royal court of the king depicted as celestial nymphs showering flowers upon the humans below. They bear some resemblance to the Gupta style of painting found in the Ajanta Caves in India. They are, however, far more enlivened and colorful and uniquely Sri Lankan in character. They are the only surviving secular art from antiquity found in Sri Lanka today.

 

The painting technique used on the Sigiriya paintings is “fresco lustro.” It varies slightly from the pure fresco technique in that it also contains a mild binding agent or glue. This gives the painting added durability, as clearly demonstrated by the fact that they have survived, exposed to the elements, for over 1,500 years.

 

Located in a small sheltered depression a hundred meters above ground only 19 survive today. Ancient references however refer to the existence of as many as five hundred of these frescoes.

 

MIDDLE AGES

The late Medieval period and the Renaissance saw the most prominent use of fresco, particularly in Italy, where most churches and many government buildings still feature fresco decoration. This change coincided with the reevaluation of murals in the liturgy. Romanesque churches in Catalonia were richly painted in 12th and 13th century, with both decorative and educational -for the illiterate faithfuls- role, as can be seen in the MNAC in Barcelona, where is kept a large collection of Catalan romanesque art. In Denmark too, church wall paintings or kalkmalerier were widely used in the Middle Ages (first Romanesque, then Gothic) and can be seen in some 600 Danish churches as well as in churches in the south of Sweden which was Danish at the time.

 

One of the rare examples of Islamic fresco painting can be seen in Qasr Amra, the desert palace of the Umayyads in the 8th century Magotez.

 

EARLY MODERN EUROPE

Northern Romania (historical region of Moldavia) boasts about a dozen painted monasteries, completely covered with frescos inside and out, that date from the last quarter of the 15th century to the second quarter of the 16th century. The most remarkable are the monastic foundations at Voroneţ (vo ro nets) (1487), Arbore (are' bo ray) (1503), Humor (hoo mor) (1530), and Moldoviţa (mol do vee' tsa) (1532). Suceviţa (sue che vee' tsa), dating from 1600, represents a late return to the style developed some 70 years earlier. The tradition of painted churches continued into the 19th century in other parts of Romania, although never to the same extent.

 

Andrea Palladio, the famous Italian architect of the 16th century, built many mansions with plain exteriors and stunning interiors filled with frescoes.

 

Henri Clément Serveau produced several frescos including a three by six meter painting for the Lycée de Meaux, where he was once a student. He directed the École de fresques at l'École nationale supérieure des beaux-arts, and decorated the Pavillon du Tourisme at the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris), Pavillon de la Ville de Paris; now at Musée d'Art Moderne de la Ville de Paris. In 1954 he realized a fresco for the Cité Ouvrière du Laboratoire Débat, Garches. He also executed mural decorations for the Plan des anciennes enceintes de Paris in the Musée Carnavalet.

 

The Foujita chapel in Reims completed in 1966, is an example of modern frescos, the interior being painted with religious scenes by the School of Paris painter Tsuguharu Foujita. In 1996, it was designated an historic monument by the French Government.

 

MEXICAN MURALISM

José Clemente Orozco, Fernando Leal, David Siqueiros and Diego Rivera the famous Mexican artists, renewed the art of fresco painting in the 20th century. Orozco, Siqueiros, Rivera and his wife Frida Kahlo contributed more to the history of Mexican fine arts and to the reputation of Mexican art in general than anybody else. Together with works by Orozco, Siqueiros, and others, Fernando Leal and Rivera's large wall works in fresco established the art movement known as Mexican Muralism.

 

CONSERVATION OF FRESCOES

The climate and environment of Venice has proved to be a problem for frescoes and other works of art in the city for centuries. The city is built on a lagoon in northern Italy. The humidity and the rise of water over the centuries have created a phenomenon known as rising damp. As the lagoon water rises and seeps into the foundation of a building, the water is absorbed and rises up through the walls often causing damage to frescoes. Venetians have become quite adept in the conservation methods of frescoes. The mold aspergillus versicolor can grow after flooding, to consume nutrients from frescoes.

 

The following is the process that was used when rescuing frescoes in La Fenice, a Venetian opera house, but the same process can be used for similarly damaged frescoes. First, a protection and support bandage of cotton gauze and polyvinyl alcohol is applied. Difficult sections are removed with soft brushes and localized vacuuming. The other areas that are easier to remove (because they had been damaged by less water) are removed with a paper pulp compress saturated with bicarbonate of ammonia solutions and removed with deionized water. These sections are strengthened and reattached then cleansed with base exchange resin compresses and the wall and pictorial layer were strengthened with barium hydrate. The cracks and detachments are stopped with lime putty and injected with an epoxy resin loaded with micronized silica.

 

WIKIPEDIA

This perfectly executed zentangle was started for the We're Here group a couple of years ago. Today it has been finished. It deserves to be hung in a prestigious gallery as it is a great piece of artwork made by a would be famous artist on this very wet December day..

 

We're Here - Arty Nonsense

Beautifully executed screen-cooled hit-n-miss by Clif Roemmich, SD.

 

Courtesy of Paul and Paula Knapp

Miniature Engineering Museum

www.engine-museum.com

This is situated a few hundred yards outside the walled city, opposite the First Train, and inside the grounds of the Namik Kemal High School.

 

Kutup Osman Fazli Efendi was the leader of the Halvetiye sect. He was born on the 7th July 1632 in Shumnu in present day Bulgaria, but then part of the Ottoman empire. His father was a learned person, who to ensure his son had a good education, did it himself. His father died when he was about ten, and for a while Ozman Fazli ceased his studies.

 

Something, however, prompted him to resume his studies in a spiritual direction, and with his mother's permission, he moved to Edirne, at the time the second capital of the Ottoman empire. Here he was tutored by Ibrahim Efendi who from an early aage had been a companion of Sultan Ahmet I, and had been a pupil of the founder of the Halvetiye order, which he now represented in Edirne.

 

Osman Fazli then moved to Istanbul to continue his religious education at the main Halveti tekke, after which he set out on a life of preaching and calling people to God. By the age of 41, Ozman Fazli had become leader of the Halvetiye sect.

 

The sarcophagus of Katup Osman, famagusta, North Cyprus

Kutup Osman's Sarcophagus

By the 1680s man Fazli was on good terms with Sultan Mehmet IV, who had been ruling for more than 30 years. However, it was the Grand Vizier who, much the same as the British Prime Minister, held the reigns of state. When the Grand Vizier wanted to break the treaty between the Ottoman empire and the Holy Roman Empire, Osman Fazli strongly argued against it, claiming it could only lead to disaster and misfortune. He was proven to be right. The Grand Vizier was executed, the Ottomans lost Buda in 1686 and Belgrade in 1688. In 1687, the military revolted, and Mehmet IV dethroned in favour of his brother Suleyman II.

 

Ozman Fazli was offered the Grand Viziership, and although he refused, he continued to exercise considerable influence on the Sultan. His strict adherence to his principals didn't make him many friends in high places, particularly when attempting to find passages in the Koran to justify new taxes, and he was banished to his home town of Shumnu for a short time, and in 1690 he was further exiled to Famagusta where he died in 1691.

 

Over the centuries, his tekke fell into disrepair, and it was rebuilt in 1824. Here his sarcophagus lies in a simple room, giving him the obscurity in death that he so sought in life.

 

Famagusta is a city on the east coast of the de facto state Northern Cyprus. It is located east of Nicosia and possesses the deepest harbour of the island. During the Middle Ages (especially under the maritime republics of Genoa and Venice), Famagusta was the island's most important port city and a gateway to trade with the ports of the Levant, from where the Silk Road merchants carried their goods to Western Europe. The old walled city and parts of the modern city are de facto part of Northern Cyprus as the capital of the Gazimağusa District.

 

The city was known as Arsinoe or Arsinoë (Greek: Ἀρσινόη, Arsinóē) in antiquity, after Ptolemy II of Egypt's sister and wife Arsinoe II.

 

By the 3rd century, the city appears as Ammochostos (Greek: Ἀμμόχωστος or Αμμόχωστος, Ammókhōstos, "Hidden in Sand") in the Stadiasmus Maris Magni.[5] This name is still used in modern Greek with the pronunciation [aˈmːoxostos], while it developed into Latin Fama Augusta, French Famagouste, Italian Famagosta, and English Famagusta during the medieval period. Its informal modern Turkish name Mağusa (Turkish pronunciation: [maˈusa]) came from the same source. Since 1974, it has formally been known to Turkey and Northern Cyprus as Gazimağusa ([ɡaːzimaˈusa]), from the addition of the title gazi, meaning "veteran" or "one who has faught in a holy war".

 

In the early medieval period, the city was also known as New Justiniana (Greek: Νέα Ἰουστινιανία, Néa Ioustinianía) in appreciation for the patronage of the Byzantine emperor Justinian, whose wife Theodora was born there.

 

The old town of Famagusta has also been nicknamed "the City of 365 Churches" from the legend that, at its peak, it boasted a church for every day of the year.

 

The city was founded around 274 BC, after the serious damage to Salamis by an earthquake, by Ptolemy II Philadelphus and named "Arsinoe" after his sister.[6] Arsinoe was described as a "fishing town" by Strabo in his Geographica in the first century BC. In essence, Famagusta was the successor of the most famous and most important ancient city of Cyprus, Salamis. According to Greek mythology, Salamis was founded after the end of the Trojan War by Teucros, the son of Telamon and brother of Aedes, from the Greek island of Salamis.

 

The city experienced great prosperity much later, during the time of the Byzantine emperor Justinian. To honor the city, from which his wife Theodora came, Justinian enriched it with many buildings, while the inhabitants named it New Justiniania to express their gratitude. In AD 647, when the neighboring cities were destroyed by Arab raiding, the inhabitants of these cities moved to Famagusta, as a result of which the city's population increased significantly and the city experienced another boom.

 

Later, when Jerusalem was occupied by the Arabs, the Christian population fled to Famagusta, as a result of which the city became an important Christian center, but also one of the most important commercial centers in the eastern Mediterranean.

 

The turning point for Famagusta was 1192 with the onset of Lusignan rule. It was during this period that Famagusta developed as a fully-fledged town. It increased in importance to the Eastern Mediterranean due to its natural harbour and the walls that protected its inner town. Its population began to increase. This development accelerated in the 13th century as the town became a centre of commerce for both the East and West. An influx of Christian refugees fleeing the downfall of Acre (1291) in Palestine transformed it from a tiny village into one of the richest cities in Christendom.

 

In 1372 the port was seized by Genoa and in 1489 by Venice. This commercial activity turned Famagusta into a place where merchants and ship owners led lives of luxury. By the mid-14th century, Famagusta was said to have the richest citizens in the world. The belief that people's wealth could be measured by the churches they built inspired these merchants to have churches built in varying styles. These churches, which still exist, were the reason Famagusta came to be known as "the district of churches". The development of the town focused on the social lives of the wealthy people and was centred upon the Lusignan palace, the cathedral, the Square and the harbour.

 

In 1570–1571, Famagusta was the last stronghold in Venetian Cyprus to hold out against the Turks under Mustafa Pasha. It resisted a siege of thirteen months and a terrible bombardment, until at last the garrison surrendered. The Ottoman forces had lost 50,000 men, including Mustafa Pasha's son. Although the surrender terms had stipulated that the Venetian forces be allowed to return home, the Venetian commander, Marco Antonio Bragadin, was flayed alive, his lieutenant Tiepolo was hanged, and many other Christians were killed.

 

With the advent of the Ottoman rule, Latins lost their privileged status in Famagusta and were expelled from the city. Greek Cypriots natives were at first allowed to own and buy property in the city, but were banished from the walled city in 1573–74 and had to settle outside in the area that later developed into Varosha. Turkish families from Anatolia were resettled in the walled city but could not fill the buildings that previously hosted a population of 10,000. This caused a drastic decrease in the population of Famagusta. Merchants from Famagusta, who mostly consisted of Latins that had been expelled, resettled in Larnaca and as Larnaca flourished, Famagusta lost its importance as a trade centre. Over time, Varosha developed into a prosperous agricultural town thanks to its location away from the marshes, whilst the walled city remained dilapidated.

 

In the walled city, some buildings were repurposed to serve the interests of the Muslim population: the Cathedral of St. Nicholas was converted to a mosque (now known as Lala Mustafa Pasha Mosque), a bazaar was developed, public baths, fountains and a theological school were built to accommodate the inhabitants' needs. Dead end streets, an Ottoman urban characteristic, was imported to the city and a communal spirit developed in which a small number of two-storey houses inhabited by the small upper class co-existed with the widespread one-storey houses.

 

With the British takeover, Famagusta regained its significance as a port and an economic centre and its development was specifically targeted in British plans. As soon as the British took over the island, a Famagusta Development Act was passed that aimed at the reconstruction and redevelopment of the city's streets and dilapidated buildings as well as better hygiene. The port was developed and expanded between 1903 and 1906 and Cyprus Government Railway, with its terminus in Famagusta, started construction in 1904. Whilst Larnaca continued to be used as the main port of the island for some time, after Famagusta's use as a military base in World War I trade significantly shifted to Famagusta. The city outside the walls grew at an accelerated rate, with development being centred around Varosha. Varosha became the administrative centre as the British moved their headquarters and residences there and tourism grew significantly in the last years of the British rule. Pottery and production of citrus and potatoes also significantly grew in the city outside the walls, whilst agriculture within the walled city declined to non-existence.

 

New residential areas were built to accommodate the increasing population towards the end of the British rule,[11] and by 1960, Famagusta was a modern port city extending far beyond Varosha and the walled city.

 

The British period saw a significant demographic shift in the city. In 1881, Christians constituted 60% of the city's population while Muslims were at 40%. By 1960, the Turkish Cypriot population had dropped to 17.5% of the overall population, while the Greek Cypriot population had risen to 70%. The city was also the site for one of the British internment camps for nearly 50,000 Jewish survivors of the Holocaust trying to emigrate to Palestine.

 

From independence in 1960 to the Turkish invasion of Cyprus of 1974, Famagusta developed toward the south west of Varosha as a well-known entertainment and tourist centre. The contribution of Famagusta to the country's economic activity by 1974 far exceeded its proportional dimensions within the country. Whilst its population was only about 7% of the total of the country, Famagusta by 1974 accounted for over 10% of the total industrial employment and production of Cyprus, concentrating mainly on light industry compatible with its activity as a tourist resort and turning out high-quality products ranging from food, beverages and tobacco to clothing, footwear, plastics, light machinery and transport equipment. It contributed 19.3% of the business units and employed 21.3% of the total number of persons engaged in commerce on the island. It acted as the main tourist destination of Cyprus, hosting 31.5% of the hotels and 45% of Cyprus' total bed capacity. Varosha acted as the main touristic and business quarters.

 

In this period, the urbanisation of Famagusta slowed down and the development of the rural areas accelerated. Therefore, economic growth was shared between the city of Famagusta and the district, which had a balanced agricultural economy, with citrus, potatoes, tobacco and wheat as main products. Famagusta maintained good communications with this hinterland. The city's port remained the island's main seaport and in 1961, it was expanded to double its capacity in order to accommodate the growing volume of exports and imports. The port handled 42.7% of Cypriot exports, 48.6% of imports and 49% of passenger traffic.

 

There has not been an official census since 1960 but the population of the town in 1974 was estimated to be around 39,000 not counting about 12,000–15,000 persons commuting daily from the surrounding villages and suburbs to work in Famagusta. The number of people staying in the city would swell to about 90,000–100,000 during the peak summer tourist period, with the influx of tourists from numerous European countries, mainly Britain, France, Germany and the Scandinavian countries. The majority of the city population were Greek Cypriots (26,500), with 8,500 Turkish Cypriots and 4,000 people from other ethnic groups.

 

During the second phase of the Turkish invasion of Cyprus on 14 August 1974 the Mesaoria plain was overrun by Turkish tanks and Famagusta was bombed by Turkish aircraft. It took two days for the Turkish Army to occupy the city, prior to which Famagusta's entire Greek Cypriot population had fled into surrounding fields. As a result of Turkish airstrikes dozens of civilians died, including tourists.

 

Unlike other parts of the Turkish-controlled areas of Cyprus, the Varosha suburb of Famagusta was fenced off by the Turkish army immediately after being captured and remained fenced off until October 2020, when the TRNC reopened some streets to visitors. Some Greek Cypriots who had fled Varosha have been allowed to view the town and journalists have been allowed in.

 

UN Security Council resolution 550 (1984) considers any attempts to settle any part of Famagusta by people other than its inhabitants as inadmissible and calls for the transfer of this area to the administration of the UN. The UN's Security Council resolution 789 (1992) also urges that with a view to the implementation of resolution 550 (1984), the area at present under the control of the United Nations Peace-keeping Force in Cyprus be extended to include Varosha.

 

Famagusta's historic city centre is surrounded by the fortifications of Famagusta, which have a roughly rectangular shape, built mainly by the Venetians in the 15th and 16th centuries, though some sections of the walls have been dated earlier times, as far as 1211.

 

Some important landmarks and visitor attractions in the old city are:

The Lala Mustafa Pasha Mosque

The Othello Castle

Palazzo del Provveditore - the Venetian palace of the governor, built on the site of the former Lusignan royal palace

St. Francis' Church

Sinan Pasha Mosque

Church of St. George of the Greeks

Church of St. George of the Latins

Twin Churches

Nestorian Church (of St George the Exiler)

Namık Kemal Dungeon

Agios Ioannis Church

Venetian House

Akkule Masjid

Mustafa Pasha Mosque

Ganchvor monastery

 

In an October 2010 report titled Saving Our Vanishing Heritage, Global Heritage Fund listed Famagusta, a "maritime ancient city of crusader kings", among the 12 sites most "On the Verge" of irreparable loss and destruction, citing insufficient management and development pressures.

 

Famagusta is an important commercial hub of Northern Cyprus. The main economic activities in the city are tourism, education, construction and industrial production. It has a 115-acre free port, which is the most important seaport of Northern Cyprus for travel and commerce. The port is an important source of income and employment for the city, though its volume of trade is restricted by the embargo against Northern Cyprus. Its historical sites, including the walled city, Salamis, the Othello Castle and the St Barnabas Church, as well as the sandy beaches surrounding it make it a tourist attraction; efforts are also underway to make the city more attractive for international congresses. The Eastern Mediterranean University is also an important employer and supplies significant income and activity, as well as opportunities for the construction sector. The university also raises a qualified workforce that stimulates the city's industry and makes communications industry viable. The city has two industrial zones: the Large Industrial Zone and the Little Industrial Zone. The city is also home to a fishing port, but inadequate infrastructure of the port restricts the growth of this sector. The industry in the city has traditionally been concentrated on processing agricultural products.

 

Historically, the port was the primary source of income and employment for the city, especially right after 1974. However, it gradually lost some of its importance to the economy as the share of its employees in the population of Famagusta diminished due to various reasons. However, it still is the primary port for commerce in Northern Cyprus, with more than half of ships that came to Northern Cyprus in 2013 coming to Famagusta. It is the second most popular seaport for passengers, after Kyrenia, with around 20,000 passengers using the port in 2013.

 

The mayor-in-exile of Famagusta is Simos Ioannou. Süleyman Uluçay heads the Turkish Cypriot municipal administration of Famagusta, which remains legal as a communal-based body under the constitutional system of the Republic of Cyprus.

 

Since 1974, Greek Cypriots submitted a number of proposals within the context of bicommunal discussions for the return of Varosha to UN administration, allowing the return of its previous inhabitants, requesting also the opening of Famagusta harbour for use by both communities. Varosha would have been returned to Greek Cypriot control as part of the 2004 Annan Plan but the plan had been rejected by a majority(3/4) of Greek Cypriot voters.

 

The walled city of Famagusta contains many unique buildings. Famagusta has a walled city popular with tourists.

 

Every year, the International Famagusta Art and Culture Festival is organized in Famagusta. Concerts, dance shows and theater plays take place during the festival.

 

A growth in tourism and the city's university have fueled the development of Famagusta's vibrant nightlife. Nightlife in the city is especially active on Wednesday, Friday and Saturday nights and in the hotter months of the year, starting from April. Larger hotels in the city have casinos that cater to their customers. Salamis Road is an area of Famagusta with a heavy concentration of bars frequented by students and locals.

 

Famagusta's Othello Castle is the setting for Shakespeare's play Othello. The city was also the setting for Victoria Hislop's 2015 novel The Sunrise, and Michael Paraskos's 2016 novel In Search of Sixpence. The city is the birthplace of the eponymous hero of the Renaissance proto-novel Fortunatus.

 

Famagusta was home to many Greek Cypriot sport teams that left the city because of the Turkish invasion and still bear their original names. Most notable football clubs originally from the city are Anorthosis Famagusta FC and Nea Salamis Famagusta FC, both of the Cypriot First Division, which are now based in Larnaca. Usually Anorthosis Famagusta fans are politically right wing where Nea Salamis fans are left wing.

 

Famagusta is represented by Mağusa Türk Gücü in the Turkish Cypriot First Division. Dr. Fazıl Küçük Stadium is the largest football stadium in Famagusta. Many Turkish Cypriot sport teams that left Southern Cyprus because of the Cypriot intercommunal violence are based in Famagusta.

 

Famagusta is represented by DAÜ Sports Club and Magem Sports Club in North Cyprus First Volleyball Division. Gazimağusa Türk Maarif Koleji represents Famagusta in the North Cyprus High School Volleyball League.

 

Famagusta has a modern volleyball stadium called the Mağusa Arena.

 

The Eastern Mediterranean University was founded in the city in 1979. The Istanbul Technical University founded a campus in the city in 2010.

 

The Cyprus College of Art was founded in Famagusta by the Cypriot artist Stass Paraskos in 1969, before moving to Paphos in 1972 after protests from local hoteliers that the presence of art students in the city was putting off holidaymakers.

 

Famagusta has three general hospitals. Gazimağusa Devlet Hastahanesi, a state hospital, is the biggest hospital in city. Gazimağusa Tıp Merkezi and Gazimağusa Yaşam Hastahanesi are private hospitals.

 

Personalities

Saint Barnabas, born and died in Salamis, Famagusta

Chris Achilleos, illustrator of the book versions on the BBC children's series Doctor Who

Beran Bertuğ, former Governor of Famagusta, first Cypriot woman to hold this position

Marios Constantinou, former international Cypriot football midfielder and current manager.

Eleftheria Eleftheriou, Cypriot singer.

Derviş Eroğlu, former President of Northern Cyprus

Alexis Galanos, 7th President of the House of Representatives and Famagusta mayor-in-exile (2006-2019) (Republic of Cyprus)

Xanthos Hadjisoteriou, Cypriot painter

Oz Karahan, political activist, President of the Union of Cypriots

Oktay Kayalp, former Turkish Cypriot Famagusta mayor (Northern Cyprus)

Harry Luke British diplomat

Angelos Misos, former international footballer

Costas Montis was an influential and prolific Greek Cypriot poet, novelist, and playwright born in Famagusta.

Hal Ozsan, actor (Dawson's Creek, Kyle XY)

Dimitris Papadakis, a Greek Cypriot politician, who served as a Member of the European Parliament.

Ṣubḥ-i-Azal, Persian religious leader, lived and died in exile in Famagusta

Touker Suleyman (born Türker Süleyman), British Turkish Cypriot fashion retail entrepreneur, investor and reality television personality.

Alexia Vassiliou, singer, left here as a refugee when the town was invaded.

George Vasiliou, former President of Cyprus

Vamik Volkan, Emeritus Professor of Psychiatry

Derviş Zaim, film director

 

Famagusta is twinned with:

İzmir, Turkey (since 1974)

Corfu, Greece (since 1994)

Patras, Greece (since 1994)

Antalya, Turkey (since 1997)

Salamina (city), Greece (since 1998)

Struga, North Macedonia

Athens, Greece (since 2005)

Mersin, Turkey

 

Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.

 

Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.

 

A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.

 

Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.

 

Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.

 

Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.

 

Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.

 

The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.

 

Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.

 

Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.

 

By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.

 

EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.

 

However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.

 

On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.

 

In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.

 

By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.

 

In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.

 

The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.

 

After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".

 

As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.

 

Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.

 

On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.

 

The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.

 

Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.

 

The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.

 

Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.

 

Main articles: Bloody Christmas (1963) and Battle of Tillyria

An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."

 

In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.

 

Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.

 

In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.

 

Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.

 

Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.

 

Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.

 

The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:

 

UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.

 

The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.

 

By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."

 

After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.

 

On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.

 

The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.

 

During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.

 

In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.

 

Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.

 

A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.

Monument to national hero José Rizal in Rizal Park near where he was executed (off to the left) in 1896.

 

Dr. José Rizal (1861-1896) may have been merely 4' 11" tall and only lived to just 35 years of age, yet he is regarded as one of the greatest heroes of the Philippines. An ophthalmologist who spoke 22 languages and was an acclaimed artist (among many other accomplishments), he wrote two novels (published in Europe in 1886 and 1891) that were social commentaries on the Spanish colonization of the Philippines. Spanish authorities banned the books in the Philippines and declared Rizal an enemy of the state. He went on to become a leader of the Filipino reform movement, initially with Filipino students in Spain before returning to Manila in 1892 where he formed The Philippine League (La Liga Filipina) to encourage the general public to get involved. He was arrested in July 1892 and exiled to the city of Dapitan on the southern island of Mindanao. In 1896 just days before the start of the Philippine Revolution, he headed for Cuba as a volunteer doctor to minister to yellow fever victims but was arrested en route in Spain and sent back to Manila to be tried for rebellion, sedition, and conspiracy due to his relationships with the revolutionaries of the Katipunan, a secret anti-colonial organization. He was found guilty despite issuing a manifesto disavowing the revolution as premature because Filipinos needed to become educated and create a national identity first. Rizal was executed on 30 December 1896 by a squad of Filipino soldiers from the Spanish Army (backed by regular Spanish Army troops ready to shoot the executioners if they disobeyed orders).

 

The Republic of the Philippines is a nation of over 7,000 islands. In ancient times different societies developed on different islands. Eventually interactions occurred with Chinese, Malay, Indian, and Islamic nations. Portuguese explorer Ferdinand Magellan arrived in 1521 to claim the islands for Spain. He was killed just over a month later in a battle against a resisting chief, Lapu-Lapu (who is now honored as the first Philippine national hero to oppose foreign rule). The archipelago was named The Philippines (Las Islas Filipanas) in 1543 in honor of King Philip II of Spain. In 1565 the first Hispanic settlement was established by a Spanish explorer from Mexico City. The Philippines remained under the governorship of the Mexico-based Viceroyalty of New Spain until 1821 when administration was transferred to Madrid following Spain’s defeat in the Mexican War of Independence. Spanish rule brought Catholicism which is still the predominate religion today. The Philippine Revolution began in August 1896 leading to a Declaration of Independence on 12 June 1898 that was never recognized by Spain or the United States which acquired the Philippines after winning the Spanish-American War later in the year. The U.S. relinquished sovereignty on 4 July 1946.

 

On Google Earth:

José Rizal National Monument 14°34'54.47"N, 120°58'37.29"E

Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.

 

TECHNOLOGY

Buon fresco pigment mixed with water of room temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster, intonaco, is used. Because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco, which itself becomes the medium holding the pigment. The pigment is absorbed by the wet plaster; after a number of hours, the plaster dries in reaction to air: it is this chemical reaction which fixes the pigment particles in the plaster. The chemical processes are as follows:

 

calcination of limestone in a lime kiln: CaCO3 → CaO + CO2

slaking of quicklime: CaO + H2O → Ca(OH)2

setting of the lime plaster: Ca(OH)2 + CO2 → CaCO3 + H2O

 

In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later,[when?]new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, and a bag of soot (spolvero) banged on them on produce black dots along the lines. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall that was expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more often just starting from the top of the composition. This area is called the giornata ("day's work"), and the different day stages can usually be seen in a large fresco, by a sort of seam that separates one from the next.

 

Buon frescoes are difficult to create because of the deadline associated with the drying plaster. Generally, a layer of plaster will require ten to twelve hours to dry; ideally, an artist would begin to paint after one hour and continue until two hours before the drying time - giving seven to nine hours working time. Once a giornata is dried, no more buon fresco can be done, and the unpainted intonaco must be removed with a tool before starting again the next day. If mistakes have been made, it may also be necessary to remove the whole intonaco for that area - or to change them later, a secco.

 

A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others. The eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark 'outlining' of his central figures within his frescoes.

 

In a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were originally, nearly invisible, have sometimes become visible, and in many large-scale frescoes, these divisions may be seen from the ground. Additionally, the border between giornate was often covered by an a secco painting, which has since fallen off.

 

One of the first painters in the post-classical period to use this technique was the Isaac Master (or Master of the Isaac fresco, and thus a name used to refer to the unknown master of a particular painting) in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist.

 

OTHER TYPES OF WALL PAINTING

A secco or fresco-secco painting, in contrast, is done on dry plaster (secco meaning "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall. It is important to distinguish between a secco work done on top of buon fresco, which according to most authorities was in fact standard from the Middle Ages onwards, and work done entirely a secco on a blank wall. Generally, buon fresco works are more durable than any a secco work added on top of them, because a secco work lasts better with a roughened plaster surface, whilst true fresco should have a smooth one. The additional a secco work would be done to make changes, and sometimes to add small details, but also because not all colours can be achieved in true fresco, because only some pigments work chemically in the very alkaline environment of fresh lime-based plaster. Blue was a particular problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli, the only two blue pigments then available, works well in wet fresco.

 

It has also become increasingly clear, thanks to modern analytical techniques, that even in the early Italian Renaissance painters quite frequently employed a secco techniques so as to allow the use of a broader range of pigments. In most early examples this work has now entirely vanished, but a whole fresco done a secco on a surface roughened to give a key for the paint may survive very well, although damp is more threatening to it than to buon fresco.

 

A third type called a mezzo-fresco is painted on nearly dry intonaco - firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzo - so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced buon fresco, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.

 

The three key advantages of work done entirely a secco were that it was quicker, mistakes could be corrected, and the colours varied less from when applied to when fully dry - in wet fresco there was a considerable change.

 

For wholly a secco work, the intonaco is laid with a rougher finish, allowed to dry completely and then usually given a key by rubbing with sand. The painter then proceeds much as he would on a canvas or wood panel. The two types of fresco painting are buon fresco and fresco secco. Buon fresco is painting into wet plaster, which makes a painting last a long time. Fresco secco is painting onto dry plaster, which does not last as long.

 

HISTORY

ANCIENT NEAR EAST

The earliest known examples of frescoes done in the Buon Fresco method date at around 1500 BC and are to be found on the island of Crete in Greece. The most famous of these, The Toreador, depicts a sacred ceremony in which individuals jump over the backs of large bulls. While some similar frescoes have been found in other locations around the Mediterranean basin, particularly in Egypt and Morocco, their origins are subject to speculation.

 

Some art historians believe that fresco artists from Crete may have been sent to various locations as part of a trade exchange, a possibility which raises to the fore the importance of this art form within the society of the times. The most common form of fresco was Egyptian wall paintings in tombs, usually using the a secco technique.

 

CLASSICAL ANTIQUITY

Frescoes were also painted in ancient Greece, but few of these works have survived. In southern Italy, at Paestum, which was a Greek colony of the Magna Graecia, a tomb containing frescoes dating back to 470 BC, the so-called Tomb of the Diver was discovered on June 1968. These frescoes depict scenes of the life and society of ancient

 

Greece, and constitute valuable historical testimonials. One shows a group of men reclining at a symposium while another shows a young man diving into the sea.

 

Roman wall paintings, such as those at the magnificent Villa dei Misteri (1st century B.C.) in the ruins of Pompeii, and others at Herculaneum, were completed in buon fresco.

 

Late Roman Empire (Christian) 1st-2nd-century frescoes were found in catacombs beneath Rome and Byzantine Icons were also found in Cyprus, Crete, Ephesus, Cappadocia and Antioch. Roman frescoes were done by the artist painting the artwork on the still damp plaster of the wall, so that the painting is part of the wall, actually colored plaster.

 

Also a historical collection of Ancient Christian frescoes can be found in the Churches of Goreme Turkey.

 

INDIA

Thanks to large number of ancient rock-cut cave temples, valuable ancient and early medieval frescoes have been preserved in more than 20 locations of India. The frescoes on the ceilings and walls of the Ajanta Caves were painted between c. 200 BC and 600 and are the oldest known frescoes in India. They depict the Jataka tales that are stories of the Buddha's life in former existences

 

as Bodhisattva. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819. Other locations with valuable preserved ancient and early medieval frescoes include Bagh Caves, Ellora Caves, Sittanavasal, Armamalai Cave, Badami Cave Temples and other locations. Frescoes have been made in several techniques including tempera technique.

 

The later Chola paintings were discovered in 1931 within the circumambulatory passage of the Brihadisvara Temple in India and are the first Chola specimens discovered.

 

Researchers have discovered the technique used in these frescos. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.

 

During the Nayak period the Chola paintings were painted over. The Chola frescos lying underneath have an ardent spirit of saivism expressed in them. They probably synchronised with the completion of the temple by Rajaraja Cholan the Great.

 

The frescoes in Dogra/ Pahari style paintings exist in their unique form at Sheesh Mahal of Ramnagar (105 km from Jammu and 35 km west of Udhampur). Scenes from epics of Mahabharat and Ramayan along with portraits of local lords form the subject matter of these wall paintings. Rang Mahal of Chamba (Himachal Pradesh) is another site of historic Dogri fresco with wall paintings depicting scenes of Draupti Cheer Haran, and Radha- Krishna Leela. This can be seen preserved at National Museum at New Delhi in a chamber called Chamba Rang Mahal.

 

SRI LANKA

The Sigiriya Frescoes are found in Sigiriya in Sri Lanka. Painted during the reign of King Kashyapa I (ruled 477-495 AD). The generally accepted view is that they are portrayals of women of the royal court of the king depicted as celestial nymphs showering flowers upon the humans below. They bear some resemblance to the Gupta style of painting found in the Ajanta Caves in India. They are, however, far more enlivened and colorful and uniquely Sri Lankan in character. They are the only surviving secular art from antiquity found in Sri Lanka today.

 

The painting technique used on the Sigiriya paintings is “fresco lustro.” It varies slightly from the pure fresco technique in that it also contains a mild binding agent or glue. This gives the painting added durability, as clearly demonstrated by the fact that they have survived, exposed to the elements, for over 1,500 years.

 

Located in a small sheltered depression a hundred meters above ground only 19 survive today. Ancient references however refer to the existence of as many as five hundred of these frescoes.

 

MIDDLE AGES

The late Medieval period and the Renaissance saw the most prominent use of fresco, particularly in Italy, where most churches and many government buildings still feature fresco decoration. This change coincided with the reevaluation of murals in the liturgy. Romanesque churches in Catalonia were richly painted in 12th and 13th century, with both decorative and educational -for the illiterate faithfuls- role, as can be seen in the MNAC in Barcelona, where is kept a large collection of Catalan romanesque art. In Denmark too, church wall paintings or kalkmalerier were widely used in the Middle Ages (first Romanesque, then Gothic) and can be seen in some 600 Danish churches as well as in churches in the south of Sweden which was Danish at the time.

 

One of the rare examples of Islamic fresco painting can be seen in Qasr Amra, the desert palace of the Umayyads in the 8th century Magotez.

 

EARLY MODERN EUROPE

Northern Romania (historical region of Moldavia) boasts about a dozen painted monasteries, completely covered with frescos inside and out, that date from the last quarter of the 15th century to the second quarter of the 16th century. The most remarkable are the monastic foundations at Voroneţ (vo ro nets) (1487), Arbore (are' bo ray) (1503), Humor (hoo mor) (1530), and Moldoviţa (mol do vee' tsa) (1532). Suceviţa (sue che vee' tsa), dating from 1600, represents a late return to the style developed some 70 years earlier. The tradition of painted churches continued into the 19th century in other parts of Romania, although never to the same extent.

 

Andrea Palladio, the famous Italian architect of the 16th century, built many mansions with plain exteriors and stunning interiors filled with frescoes.

 

Henri Clément Serveau produced several frescos including a three by six meter painting for the Lycée de Meaux, where he was once a student. He directed the École de fresques at l'École nationale supérieure des beaux-arts, and decorated the Pavillon du Tourisme at the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris), Pavillon de la Ville de Paris; now at Musée d'Art Moderne de la Ville de Paris. In 1954 he realized a fresco for the Cité Ouvrière du Laboratoire Débat, Garches. He also executed mural decorations for the Plan des anciennes enceintes de Paris in the Musée Carnavalet.

 

The Foujita chapel in Reims completed in 1966, is an example of modern frescos, the interior being painted with religious scenes by the School of Paris painter Tsuguharu Foujita. In 1996, it was designated an historic monument by the French Government.

 

MEXICAN MURALISM

José Clemente Orozco, Fernando Leal, David Siqueiros and Diego Rivera the famous Mexican artists, renewed the art of fresco painting in the 20th century. Orozco, Siqueiros, Rivera and his wife Frida Kahlo contributed more to the history of Mexican fine arts and to the reputation of Mexican art in general than anybody else. Together with works by Orozco, Siqueiros, and others, Fernando Leal and Rivera's large wall works in fresco established the art movement known as Mexican Muralism.

 

CONSERVATION OF FRESCOES

The climate and environment of Venice has proved to be a problem for frescoes and other works of art in the city for centuries. The city is built on a lagoon in northern Italy. The humidity and the rise of water over the centuries have created a phenomenon known as rising damp. As the lagoon water rises and seeps into the foundation of a building, the water is absorbed and rises up through the walls often causing damage to frescoes. Venetians have become quite adept in the conservation methods of frescoes. The mold aspergillus versicolor can grow after flooding, to consume nutrients from frescoes.

 

The following is the process that was used when rescuing frescoes in La Fenice, a Venetian opera house, but the same process can be used for similarly damaged frescoes. First, a protection and support bandage of cotton gauze and polyvinyl alcohol is applied. Difficult sections are removed with soft brushes and localized vacuuming. The other areas that are easier to remove (because they had been damaged by less water) are removed with a paper pulp compress saturated with bicarbonate of ammonia solutions and removed with deionized water. These sections are strengthened and reattached then cleansed with base exchange resin compresses and the wall and pictorial layer were strengthened with barium hydrate. The cracks and detachments are stopped with lime putty and injected with an epoxy resin loaded with micronized silica.

 

WIKIPEDIA

The Castello Sforzesco is a medieval fortification located in Milan, northern Italy. It was built in the 15th century by Francesco Sforza, Duke of Milan, on the remnants of a 14th-century fortification. Later renovated and enlarged, in the 16th and 17th centuries it was one of the largest citadels in Europe. Extensively rebuilt by Luca Beltrami in 1891–1905, it now houses several of the city's museums and art collections.

 

The original construction was ordered by Galeazzo II Visconti, a local nobleman, in 1358 – c. 1370;[1] this castle was known as the Castello di Porta Giova (or Porta Zubia), from the name of a gate in walls located nearby.[2] It was built in the same area of the ancient Roman fortification of Castrum Portae Jovis, which served as castra pretoria when the city was the capital of the Roman Empire. It was enlarged by Galeazzo's successors, Gian Galeazzo, Giovanni Maria and Filippo Maria Visconti, until it became a square-plan castle with 200 m-long sides, four towers at the corners and up to 7-metre-thick (23 ft) walls.[2] The castle was the main residence in the city of its Visconti lords, and was destroyed by the short-lived Golden Ambrosian Republic which ousted them in 1447.

 

In 1450, Francesco Sforza, once he had shattered the republicans, began reconstruction of the castle to turn it into his princely residence. In 1452 he hired the sculptor and architect Filarete to design and decorate the central tower, which is still known as the Torre del Filarete. After Francesco's death, the construction was continued by his son Galeazzo Maria, under the architect Benedetto Ferrini. The decoration was executed by local painters. In 1476, during the regency of Bona of Savoy, the tower bearing her name was built.

 

In 1494 Ludovico Sforza became lord of Milan, and called on numerous artists to decorate the castle. These include Leonardo da Vinci (who frescoed several rooms, in collaboration with Bernardino Zenale and Bernardino Butinone) and Bramante, who painted frescoes in the Sala del Tesoro; the Sala della Balla was decorated with Francesco Sforza's deeds. Around 1498, Leonardo worked on the ceiling of the Sala delle Asse, painting decorations of vegetable motifs. In the following years, however, the castle was damaged by assaults from Italian, French and German troops; a bastion, known as tenaglia, was added, perhaps designed by Cesare Cesariano. After the French victory in the Battle of Marignano in 1515, the defeated Maximilian Sforza, his Swiss mercenaries, and the cardinal-bishop of Sion retreated into the castle. However, King Francis I of France followed them into Milan, and his sappers placed mines under the castle's foundations, whereupon the defenders capitulated. In 1521, in a period in which it was used as a weapons depot, the Torre del Filarete exploded. When Francesco II Sforza returned briefly to power in Milan, he had the fortress restored and enlarged, and a part of it adapted as a residence for his wife, Christina of Denmark.

 

Under the Spanish domination which followed, the castle became a citadel, as the governor's seat was moved to the Ducal Palace (1535). Its garrison varied from 1,000 to 3,000 men, led by a Spanish castellan. In 1550 works began to adapt the castle to modern fortification style, as a hexagonal (originally pentagonal) star fort, following the addition of 12 bastions. The external fortifications reached 3 km in length and covered an area of 25.9 hectares. The castle also remained in use as a fort after the Spaniards were replaced by the Austrians in Lombardy.

 

Most of the outer fortifications were demolished during the period of Napoleonic rule in Milan under the Cisalpine Republic. The semi-circular Piazza Castello was constructed around the city side of the castle, surrounded by a radial street layout of new urban blocks bounded by the Foro Buonaparte. The area on the "country" side of the castle was laid out as a 700-by-700-metre (2,300 by 2,300 ft) square parade ground known as Piazza d'Armi.

 

After the unification of Italy in the 19th century, the castle was transferred from military use to the city of Milan. Parco Sempione, one of the largest parks in the city, was created on the former parade grounds.

 

The government of Milan undertook restoration works, directed by Luca Beltrami. The Via Dante was cut through the medieval street layout in the 1880s to provide a direct promenade between the castle and the Duomo on an axis with the main gate. Between 1900 and 1905 the Torre del Filarete was rebuilt, on the basis of 16th-century drawings, as a monument to King Umberto I.

 

Allied bombardment of Milan in 1943 during World War II severely damaged the castle. The post-war reconstruction of the building for museum purposes was undertaken by the BBPR architectural partnership.

 

The castle has a quadrangular plan, on a site across the city's walls. The wall which once faced the countryside north of Milan has square towers and an ogival gate. This was once accessed through a drawbridge. The northern tower is known as the Torre della Corte, and its counterpart to the west the Torre del Tesoro; both received wide windows during the Sforza age.

 

The corner defended by the Torre Ducale is characterized by a loggia bridge, attributed to Bramante, and commissioned by Ludovico Sforza in the late 15th century to connect the Corte Ducale (the court in the area used as a ducal residence) and the Cortile della Ghirlanda. This ghirlanda refers to a wall, protected by a ditch filled with water, built under Francesco Sforza, of which few traces remain today, including the Porta del Soccorso. Remains of two later ravelins can be seen in correspondence of the point in which the castle was joined by the city walls (near the Porta Comasina gate) and the Porta del Carmine. The Porta della Ghirlanda gate was entered through a ravelin (now lost) and had two entrances accessed through runways, which lead to an underground passage which continued along the walls.

 

The external side which once faced the walled city has two round towers, commissioned by Francesco Sforza to replace the former square ones, which had become less suitable to defend against fire weapons. The central tower, called the Torre del Filarete, is a modern reconstruction. The round towers lost their upper parts under the Austrians, who needed open space for their artillery; the towers' present-day upper sections are modern reconstructions. The Torre del Filarete and the Porta del Santo Spirito, located further to the south, are both preceded by a ravelin.

 

The main gate leads to a large court from which several internal features can be seen. These include the Tower of Bona of Savoy (1476) and the Rocchetta, a sort of internal defensive ridotto with a gate of its own. At the right of the Porta del Carmine are the remains of two 15th-century courts. The Rocchetta, whose access gate from the main court (a modern addition) features the Sforza coat of arms, has an internal court with, on three sides, a portico with 15th-century arcades. The Corte Ducale is the wing of the castle originally used as a ducal residence; it features a court with two loggias, a smaller one on the left and a larger one at its end, called Loggiato dell'Elefante due to the presence of a fresco of an elephant.

 

Milan is a city in Northern Italy, regional capital of Lombardy, and the second-most populous city proper in Italy after Rome. The city proper has a population of about 1.4 million, while its metropolitan city has 3.22 million residents The urban area of Milan is the fourth largest in the EU with 5.27 million inhabitants. According to national sources, the population within the wider Milan metropolitan area (also known as Greater Milan), is estimated between 4.9 million and 7.4 million making it by far the largest metropolitan area in Italy and one of the largest in the EU. Milan is the economic capital of Italy and is a global financial centre. Milan is, together with London, Hamburg, Frankfurt, Munich and Paris, one of the six European economic capitals.

 

Milan is a leading alpha global city, with strengths in the fields of art, chemicals, commerce, design, education, entertainment, fashion, finance, healthcare, media (communication), services, research and tourism. Its business district hosts Italy's stock exchange (Italian: Borsa Italiana), and the headquarters of national and international banks and companies. In terms of GDP, Milan is the wealthiest city in Italy, has the third-largest economy among EU cities after Paris and Madrid, and is the wealthiest among EU non-capital cities. Milan is viewed along with Turin as the southernmost part of the Blue Banana urban development corridor (also known as the "European Megalopolis"), and one of the Four Motors for Europe. Milan is one of the international tourism destinations, appearing among the forty most visited cities in the world, ranking second in Italy after Rome, fifth in Europe and sixteenth in the world. Milan is a major cultural centre, with museums and art galleries that include some of the most important collections in the world, such as major works by Leonardo da Vinci. It also hosts numerous educational institutions, academies and universities, with 11% of the national total of enrolled students.

 

Founded around 590 BC under the name Medhelanon by a Celtic tribe belonging to the Insubres group and belonging to the Golasecca culture, it was conquered by the ancient Romans in 222 BC, who latinized the name of the city into Mediolanum. The city's role as a major political centre dates back to the late antiquity, when it served as the capital of the Western Roman Empire. From the 12th century until the 16th century, Milan was one of the largest European cities and a major trade and commercial centre; consequently, it became the capital of the Duchy of Milan, one of the greatest political, artistic and fashion forces in the Renaissance. Having become one of the main centres of the Italian Enlightenment during the early modern period, the city subsequently became the industrial and financial capital of modern Italy. Capital of the Napoleonic Kingdom of Italy, after the Restoration it was among the most active centres of the Risorgimento, until its entry into the unified Kingdom of Italy.

 

Milan has been recognized as one of the world's four fashion capitals. Many of the most famous luxury fashion brands in the world have their headquarters in the city, including: Armani, Prada, Versace, Moschino, Valentino and Zegna. It also hosts several international events and fairs, including Milan Fashion Week and the Milan Furniture Fair, which are among the world's biggest in terms of revenue, visitors and growth. The city is served by many luxury hotels and is the fifth-most starred in the world by Michelin Guide. It hosted the Universal Exposition in 1906 and 2015. In the field of sports, Milan is home to two of Europe's most successful football teams, AC Milan and Inter Milan, and one of Europe's main basketball teams, Olimpia Milano. Milan will host the Winter Olympic and Paralympic games for the first time in 2026, together with Cortina d'Ampezzo.

 

Milan, Italy is an ancient city in northern Italy first settled under the name Medhelanon in about 590 BC by a Celtic tribe belonging to the Insubres group and belonging to the Golasecca culture.[1][2] The settlement was conquered by the Romans in 222 BC and renamed it Mediolanum. Diocletian divided the Roman Empire, choosing the eastern half for himself, making Milan the seat of the western half of the empire, from which Maximian ruled, in the late 3rd and early 4th century AD. In 313 AD Emperors Constantine and Licinius issued the Edict of Milan, which officially ended the persecution of Christians. In 774 AD, Milan surrendered to Charlemagne and the Franks.

 

During the Middle Ages, the city's history was the story of the struggle between two political factions: the Guelphs and the Ghibellines. Finally the Visconti family took power (signoria) in Milan. In 1395 Emperor Wenceslas made Milan a duchy, thus raising the dignity of the city's citizens. In the mid-15th century the Ambrosian Republic was established, taking its name from St. Ambrose, a beloved patron saint of the city. The two rival factions worked together to create the Ambrosian Republic in Milan. However, the republic fell apart in 1450 when Milan was conquered by Francesco Sforza of the House of Sforza, which ushered Milan into becoming one of the leading cities of the Italian Renaissance.

 

From the late 15th century until the mid 16th century, Milan was involved in The Italian Wars, a series of conflicts, along with most of the city-states of Italy, the Papal States, the Republic of Venice and later most of Western Europe. In 1629 The Great Plague of Milan killed about 60,000 people out of a total population of about 130,000, by 1631 when the plague subsided. This event is considered one of the last great outbreaks of what was a pandemic that ravaged Europe for several centuries, beginning with the Black Death. In 1713-1714 treaties gave sovereignty to Austria over most of Spain's Italian possessions, including Lombardy and its capital, Milan. Napoleon invaded Italy in 1796, and later declared Milan the capital of the Kingdom of Italy. After Napoleon's occupation ended the Congress of Vienna returned Lombardy and Milan to Austrian control in 1815. This is the period when Milan became a center for lyric opera.

 

The Milanese staged a rebellion against Austrian rule on March 18, 1848. The Kingdom of Sardinia joined the rebels, and a vote was held in Lombardy which voted to unify with Sardinia. The Austrians defeated the Sardinians on 24 July and reasserted their domination over Milan and northern Italy. Just a few years later another insurgency by Italian nationalists succeeded in ousting the Austrians with the help of Sardinia and France in 1859. Following the Battle of Solferino Milan and the rest of Lombardy joined the Kingdom of Sardinia, which soon achieved control of most of Italy. In 1861 the re-unified city-states and kingdoms became the Kingdom of Italy once again.

 

With the unification of the country, Milan became the dominant commercial center of northern Italy. In 1919 Benito Mussolini rallied the Blackshirts for the first time in Milan, and later they began their March on Rome from Milan. During World War II Milan was extensively damaged by Allied bombings. Upon the surrender of Italy in 1943 German forces occupied northern Italy until the end of the war in 1945. Members of the Italian resistance in Milan took control of the city and executed Mussolini, his mistress, and other leaders of his Fascist government by hanging in Piazzale Loreto, Milan.

 

Since the end of World War II, Italy experienced an economic boom. From 1951 until 1967 the population of Milan grew from 1.3 million to 1.7 million. The city was reconstructed, but in the late 1960s and early 1970s, the city suffered from a huge wave of street violence, labor strikes and political terrorism during so called Years of Lead. During the 1980s, Milan became one of the world's fashion capitals. The rise of financial services and the service economy during the late 20th century further strengthened Milan’s position as the Italian economic capital. The city’s renewal in the 21st century was marked, among others, by hosting of the World Expo 2015 or big redevelopment projects such as Puorta Nuova or CityLife.

 

Antiquity

Around 590 BC, a Celtic tribe belonging to the Insubres group and belonging to the Golasecca culture settled the city under the name Medhelanon. According to Titus Livy's comments, the city was founded around 600 B.C. by Belloveso, chief of the Insubres. Legend has it that Belloveso found a mythological animal known as the scrofa semilanuta (in Italian: "half-woollen boar") which became the ancient emblem of the city of Milan (from semi-lanuta or medio-lanum). Several ancient sources (including Sidonius Apollinaris, Datius, and, more recently, Andrea Alciato) have argued that the scrofa semilanuta is connected to the etymology of the ancient name of Milan, "Mediolanum", and this is still occasionally mentioned in modern sources, although this interpretation has long been dismissed by scholars. Nonetheless, wool production became a key industry in this area, as recorded during the early Middle Ages (see below).

 

Milan was conquered by the Romans in 222 B.C. due to its strategic position on the northern borders of the Empire and was renamed Mediolanum. When Diocletian decided to divide the Empire in half choosing the Eastern half for himself, Milan became the residence of Maximian, ruler of the Western Roman Empire. The construction of the second city walls, roughly four and a half kilometers long and unfurling at today's Foro Bonaparte, date back to his reign. After the abdication of Maximian (in 305 A.D.) on the same day on which Diocletian also abdicated, there were a series of wars of succession, during which there was a succession of three emperors in just a few short years: first Severus, who prepared the expedition against Maxentius, then Maxentius himself in a war against Constantine, and finally Constantine himself, victor of the war against Maxentius. In 313 A.D. the Emperors Constantine and Licinius issued the Edict of Milan (Edict of Constantine), ending the persecutions against Christians.

 

The beginning of the 5th century was the start of a tortuous period of barbarian invasions for Milan. After the city was besieged by the Visigoths in 402, the imperial residence was moved to Ravenna. An age of decadence began which worsened when Attila, King of the Huns, sacked and devastated the city in 452 A.D.

 

Middle Ages

In 539, the Ostrogoths conquered and destroyed Milan during the Gothic War against Byzantine Emperor Justinian I. In the summer of 569, a Germanic tribe, the Lombards (from which the name of the Italian region Lombardy derives), conquered Milan, overpowering the small Byzantine army left for its defense. Some Roman structures remained in use in Milan under Lombard rule, but the city was eclipsed by the nearby Lombard capital of Pavia during the next two centuries.

 

Milan surrendered to Charlemagne and the Franks in 774. The aristocracy and majority of the clergy had taken refuge in Genoa. In 774, when Charlemagne took the title of "King of the Lombards", he established his imperial capital of Aachen in what is today Germany. Before then the Germanic kingdoms had frequently conquered each other, but none had adopted the title of King of another people. The Iron Crown of Lombardy (i.e. referring to Charlemagne's kingdom and not to the Italian region), which was worn by Charlemagne, dates from this period. Milan's domination under the Franks led by Charlemagne did nothing to improve the city's fortune, and the city's impoverishment increased and Milan became a county seat.

 

The 11th century saw a reaction against the control of the Holy Roman Emperors. The city-state was born, an expression of the new political power of the city and its will to fight against feudal overlords. Milan was no exception. It did not take long, however, for the city states to begin fighting each other to try to limit neighbouring powers. The Milanese destroyed Lodi and continuously warred with Pavia, Cremona and Como, who in turn asked Frederick I Barbarossa for help. In a sally, they captured Empress Beatrice and forced her to ride a donkey backwards out through the city. These acts brought the destruction of much of Milan in 1162. A fire destroyed the storehouses containing the entire food supply: and within just a few days Milan was forced to surrender.

 

A period of peace followed and Milan prospered as a centre of trade due to its position. As a result of the independence that the Lombard cities gained in the Peace of Constance in 1183, Milan returned to the commune form of local government first established in the 11th century. In 1208 Rambertino Buvalelli served a term as podestà of the city, in 1242 Luca Grimaldi, and in 1282 Luchetto Gattilusio. The position was a dangerous one: in 1252 Milanese heretics assassinated the Church's Inquisitor, later known as Saint Peter Martyr, at a ford in the nearby contado; the killers bribed their way to freedom, and in the ensuing riot the podestà was almost lynched. In 1256 the archbishop and leading nobles were expelled from the city. In 1259 Martino della Torre was elected Capitano del Popolo by members of the guilds; he took the city by force, expelled his enemies, and ruled by dictatorial powers, paving streets, digging canals, and taxing the countryside. He also brought the Milanese treasury to collapse; the use of often reckless mercenary units further angered the population, granting an increasing support for the della Torre's traditional enemies, the Visconti. The most important industries in this period were armaments and wool production, a whole catalogue of activities and trades is given in Bonvesin della Riva's "de Magnalibus Urbis Mediolani".

 

On 22 July 1262, Ottone Visconti was made archbishop of Milan by Pope Urban IV, against the candidacy of Raimondo della Torre, Bishop of Como. The latter started to publicise allegations that the Visconti had ties to the heretic Cathars and charged them with high treason: the Visconti, who accused the della Torre of the same crimes, were then banned from Milan and their properties confiscated. The ensuing civil war caused more damage to Milan's population and economy, lasting for more than a decade. Ottone Visconti unsuccessfully led a group of exiles against the city in 1263, but after years of escalating violence on all sides, in the Battle of Desio (1277) he won the city for his family. The Visconti succeeded in ousting the della Torre permanently, and proceeded to rule Milan and its possessions until the 15th century.

 

Much of the prior history of Milan was the tale of the struggle between two political factions: the Guelphs and the Ghibellines. Most of the time the Guelphs were successful in the city of Milan. Eventually, however, the Visconti family were able to seize power (signoria) in Milan, based on their "Ghibelline" friendship with the Holy Roman Emperors. In 1395, one of these emperors, Wenceslaus IV of Bohemia (1378–1400), raised Milan to the dignity of a duchy. Also in 1395, Gian Galeazzo Visconti became Duke of Milan. The Ghibelline Visconti family was to retain power in Milan for a century and a half from the early 14th century until the middle of the 15th century.

 

In 1447 Filippo Maria Visconti, Duke of Milan, died without a male heir; following the end of the Visconti line, the Ambrosian Republic was enacted. The Ambrosian Republic took its name from St. Ambrose, popular patron saint of the city of Milan. Both the Guelph and the Ghibelline factions worked together to bring about the Ambrosian Republic in Milan. Nonetheless, the Republic collapsed when, in 1450, Milan was conquered by Francesco Sforza, of the House of Sforza, who made Milan one of the leading cities of the Italian Renaissance.

 

Early modern

The Italian Wars were a series of conflicts from 1494 to 1559 that involved, at various times, most of the city-states of Italy, the Papal States, the Republic of Venice, and later most of the major states of Western Europe. Milan's last independent ruler, Lodovico Sforza, called French king Charles VIII into Italy in the expectation that France might be an ally in inter-Italian wars. The future King of France, Louis of Orléans, took part in the expedition and realised Italy was virtually defenceless. This prompted him to return a few years later in 1500, and claim the Duchy of Milan for himself, his grandmother having been a member of the ruling Visconti family. At that time, Milan was also defended by Swiss mercenaries. After the victory of Louis's successor Francis I over the Swiss at the Battle of Marignan, the duchy was promised to the French king. When the Habsburg Emperor Charles V defeated Francis I at the Battle of Pavia in 1525, northern Italy, including Milan, returned to Francesco II Sforza, passing to Habsburg Spain ten years later on his death and the extinction of the Sforza line.

 

In 1556, Charles V abdicated in favour of his son Philip II and his brother Ferdinand I. Charles's Italian possessions, including Milan, passed to Philip II and remained with the Spanish line of Habsburgs, while Ferdinand's Austrian line of Habsburgs ruled the Holy Roman Empire.

 

Great Plague of Milan

The Great Plague of Milan in 1629–31 killed an estimated 60,000 people out of a population of 130,000. This episode is considered one of the last outbreaks of the centuries-long pandemic of plague that began with the Black Death.

 

War of the Spanish Succession

In 1700 the Spanish line of Habsburgs was extinguished with the death of Charles II. After his death, the War of the Spanish Succession began in 1701 with the occupation of all Spanish possessions by French troops backing the claim of the French Philippe of Anjou to the Spanish throne. In 1706, the French were defeated at the Battle of Turin and were forced to yield northern Italy to the Austrian Habsburgs. In 1713–1714 the Treaties of Utrecht and Rastatt formally confirmed Austrian sovereignty over most of Spain's Italian possessions including Lombardy and its capital, Milan.

 

Napoleon invaded Italy in 1796, and Milan was declared the capital of the Cisalpine Republic. Later, he declared Milan the capital of the Kingdom of Italy and was crowned in the Duomo. Once Napoleon's occupation ended, the Congress of Vienna returned Lombardy, and Milan, along with Veneto, to Austrian control in 1814. During this period, Milan became a centre of lyric opera. Here in the 1770s Mozart had premiered three operas at the Teatro Regio Ducale. Later La Scala became the reference theatre in the world, with its premières of Bellini, Donizetti, Rossini and Verdi. Verdi himself is interred in the Casa di Riposo per Musicisti, his present to Milan. In the 19th century, other important theatres were La Cannobiana and the Teatro Carcano.

 

Wars of the 19th century

On 18 March 1848, the Milanese rebelled against Austrian rule, during the so-called "Five Days" (Italian: Le Cinque Giornate), and Field Marshal Radetzky was forced to withdraw from the city temporarily. The Kingdom of Sardinia stepped in to help the insurgents; a plebiscite held in Lombardy decided in favour of unification with Sardinia. However, after defeating the Sardinian forces at Custoza on 24 July, Radetzky was able to reassert Austrian control over Milan and northern Italy. A few years on, however, Italian nationalists again called for the removal of Austria and Italian unification, with riots consuming the city in 1853. In 1859 Sardinia and France formed an alliance and defeated Austria at the Battle of Solferino. Following this battle, Milan and the rest of Lombardy were incorporated into the Kingdom of Sardinia, which soon gained control of most of Italy and in 1861 was rechristened as the Kingdom of Italy.

 

Early industrialization

The political unification of Italy cemented Milan's commercial dominance over northern Italy. It also led to a flurry of railway construction that had started under Austrian patronage (Venice–Milan; Milan–Monza) that made Milan the rail hub of northern Italy. Thereafter with the opening of the Gotthard (1881) and Simplon (1906) railway tunnels, Milan became the major South European rail focus for business and passenger movements e.g. the Simplon Orient Express. Rapid industrialization and market expansion put Milan at the centre of Italy's leading industrial region, including extensive stone quarries that have led to much of the air pollution we see today in the region. In the 1890s, Milan was shaken by the Bava-Beccaris massacre, a riot related to a high inflation rate. Meanwhile, as Milanese banks dominated Italy's financial sphere, the city became the country's leading financial centre.

 

Late modern and contemporary

In 1919, Benito Mussolini's Blackshirts rallied for the first time in Piazza San Sepolcro and later began their March on Rome in Milan. During the Second World War Milan suffered extensive damage from Allied bombings.[18] When Italy surrendered in 1943, German forces occupied most of Northern Italy until 1945. As a result, resistance groups formed. As the war came to an end, the American 1st Armored Division advanced on Milan – but before they arrived, the resistance seized control of the city and executed Mussolini along with several members of his government. On 29 April 1945, the corpses of Mussolini, his mistress Clara Petacci and other Fascist leaders were hanged in Piazzale Loreto.

 

During the post-war economic boom, a large wave of internal migration (especially from rural areas of Southern Italy), moved to Milan. The population grew from 1.3 million in 1951 to 1.7 million in 1967. During this period, Milan was largely reconstructed, with the building of several innovative and modernist skyscrapers, such as the Torre Velasca and the Pirelli Tower. The economic prosperity was however overshadowed in the late 1960s and early 1970s during the so-called Years of Lead, when Milan witnessed an unprecedented wave of street violence, labour strikes and political terrorism. The apex of this period of turmoil occurred on 12 December 1969, when a bomb exploded at the National Agrarian Bank in Piazza Fontana, killing seventeen people and injuring eighty-eight.

 

In the 1980s, with the international success of Milanese houses (like Armani, Versace, and Dolce & Gabbana), Milan became one of the world's fashion capitals. The city saw also a marked rise in international tourism, notably from America and Japan, while the stock exchange increased its market capitalisation more than five-fold. This period led the mass media to nickname the metropolis "Milano da bere", literally "Milan to drink". However, in the 1990s, Milan was badly affected by Tangentopoli, a political scandal in which many politicians and businessmen were tried for corruption. The city was also affected by a severe financial crisis and a steady decline in textiles, automobile, and steel production.

 

In the early 21st century, Milan underwent a series of sweeping redevelopments. Its exhibition centre moved to a much larger site in Rho. New business districts such as Porta Nuova and CityLife were constructed. With the decline in manufacturing, the city has sought to develop on its other sources of revenue, including publishing, finance, banking, fashion design, information technology, logistics, transport, and tourism. In addition, the city's decades-long population decline seems to have come to an end in recent years, with signs of recovery as it grew by seven percent since the last census.

Executing the obvious calculation. I'm a 12 year old trapped in an older shell.

This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

 

To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

 

The Chapel of Christ in Gethsemane stands at the end of the liturgical south aisle (immediately to the right of the altar and Tapestry) and featrues a striking gold mosaic of a Byzantine-inspired angel, in the act of offering the chalice, created by artist Stephen Sykes. The figure of the angel, along with the adjoining small group of sleeping apostles is executed in low relief and is visibible upon entering the cathedral by the glazed screen. The chapel is separated by a bronze screen in the form of a crown of thorns.

 

Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.

 

It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.

 

The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).

 

The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.

 

Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.

 

Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.

 

However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).

 

The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.

 

The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and sadly visitors are also encouraged to enter by the far end of the building, contrary to Spence's intentions.

 

For more see below:-

www.coventrycathedral.org.uk/

U.S. Marines from the 15th Marine Expeditionary Unit provide security during a tactical backload from Red Beach aboard Camp Pendleton, Calif., April 20, 2015. Elements of the 15th MEU were executing a tactical withdrawal after completing an amphibious assault – the final event of their Certification Exercise (CERTEX). (U.S. Marine Corps photo/Released)

Early morning raids saw four arrested as officers executed several drug warrants across Tameside.

 

Today (Wednesday 19 June 2019) warrants were executed across seven addresses as part of a crackdown on the supply of Class A and B drugs – codenamed Operation Leporine.

 

Following today’s action, two men – aged 21 and 27 – and two women – aged 21 and 52 - have been arrested on suspicion of possession with intent to supply Class A and B drugs.

 

Sergeant Stephanie O’Brien, of GMP’s Tameside district, said: “At present we have four people in custody and as part of this morning’s operation we have been able to seize a significant quantity of drugs.

 

“I would like to thank the team here in Tameside who, as part of Operation Leporine, have worked tirelessly in order to bring a sophisticated and audacious group of offenders to justice.

 

“The supply of illegal drugs blights communities and destroys people’s livelihoods; and I hope that today’s very direct and visible action demonstrates to the local community that we are doing all that we to make the streets of Tameside a safer place.

 

“It will remain a top priority for us to continue to tackle the influx of drugs in the area, however we cannot do this alone and I would appeal directly to the community and those most affected to please come forward with any information that could assist us in what continues to be an ongoing operation.”

 

Anyone with information should contact police on 101, or alternatively reports can be made to the independent charity 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.

 

Studiolo from the Ducal Palace in Gubbio

 

•Designer: Designed by Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed under the supervision of Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)

•Maker: Executed in the workshop of Giuliano da Maiano (Italian, Maiano 1432-1490 Naples)

•Maker: and Benedetto da Maiano (Italian, Maiano 1442-1497 Florence)

•Date: ca. 1478-1782

•Culture: Italian, Gubbio

•Medium: Walnut, beech, rosewood, oak and fruitwoods in walnut base

•Dimensions:

oHeight: 15 ft. 10 15/16 in. (485 cm)

oWidth: 16 ft. 11 15/16 in. (518 cm)

oDepth: 12 ft. 7 3/16 in. (384 cm)

•Classification: Woodwork

•Credit Line: Rogers Fund, 1939

•Accession Number: 39.153

 

On view at The Met Fifth Avenue in Gallery 501.

 

This detail is from a study, (or studiolo), intended for meditation and study. Its walls are carried out in a wood-inlay technique known as intarsia. The latticework doors of the cabinets, shown open or partly closed, indicate the contemporary interest in linear perspective. The cabinets display objects reflecting Duke Federico’s wide-ranging artistic and scientific interests, and the depictions of books recall his extensive library. Emblems of the Montefeltro are also represented. This room may have been designed by Francesco di Giorgio (1439-1502) and was executed by Giuliano da Majano (1432-1490). A similar room, in situ, was made for the duke’s palace at Urbino.

 

Signatures, Inscriptions, and Markings

 

•Inscription:

oLatin inscription in elegiac couplets in frieze: ASPICIS AETERNOS VENERANDAE MATRIS ALUMNOS // DOCTRINA EXCELSOS INGENIOQUE VIROS // UT NUDA CERVICE CADANT ANTE //.. // .. GENU // IUSTITIAM PIETAS VINCIT REVERENDA NEC ULLUM // POENITET ALTRICI SUCCUBUISSE SUAE.

oTranslation: (“You see the eternal nurselings of the venerable mother // Men pre-eminent in learning and genius, // How they fall with bared neck before // …… // ………………………………………………knee. // Honored loyalty prevails over justice, and no one // Repents having yielded to his foster mother.”)

 

Provenance

 

Duke Federico da Montefeltr, Palazzo Ducale, Gubbio, Italy (ca. 1479-1482); Prince Filippo Massimo Lancellotti, Frascati (from 1874); Lancelotti family, Frascati (until 1937; sold to Adolph Loewi, Venice); [Adolph Loewi, Venice (1937-1939; sold to MMA)]

 

Timeline of Art History

 

•Essays

oCollecting for the Kunstkammer

oDomestic Art in Renaissance Italy

oRenaissance Organs

•Timelines

oFlorence and Central Italy, 1400-1600 A.D.

 

MetPublications

 

oVermeer and the Delft School

oPeriod Rooms in The Metropolitan Museum of Art

oPainting Words, Sculpting Language: Creative Writing Activities at The Metropolitan Museum of Art

oOne Met. Many Worlds.

oMusical Instruments: Highlights of The Metropolitan Museum of Art

oThe Metropolitan Museum of Art. Vol. 4, The Renaissance in Italy and Spain

oThe Metropolitan Museum of Art Guide (Spanish)

oThe Metropolitan Museum of Art Guide (Russian)

oThe Metropolitan Museum of Art Guide (Portuguese)

oThe Metropolitan Museum of Art Guide (Korean)

oThe Metropolitan Museum of Art Guide (Japanese)

oThe Metropolitan Museum of Art Guide (Italian)

oThe Metropolitan Museum of Art Guide (German)

oThe Metropolitan Museum of Art Guide (French)

oThe Metropolitan Museum of Art Guide (Chinese)

oThe Metropolitan Museum of Art Guide (Arabic)

oThe Metropolitan Museum of Art Guide

oThe Metropolitan Museum of Art Guide

oMasterpieces of The Metropolitan Museum of Art

oMasterpieces of The Metropolitan Museum of Art

o“The Liberal Arts Studiolo from the Ducal Palace at Gubbio”: The Metropolitan Museum of Art Bulletin, v. 53, no. 4 (Spring, 1996)

oGuide to The Metropolitan Museum of Art

oThe Gubbio Studiolo and Its Conservation. Vol. 2, Italian Renaissance Intarsia and the Conservation of the Gubbio Studiolo

oThe Gubbio Studiolo and Its Conservation. Vol. 1, Federico da Montefeltro’s Palace at Gubbio and Its Studiolo

o“Carpaccio’s Young Knight in a Landscape: Christian Champion and Guardian of Liberty”: Metropolitan Museum Journal, v. 18 (1983)

oThe Artist Project: What Artists See When They Look At Art

oThe Artist Project

oThe Art of Renaissance Europe: A Resource for Educators

oThe Art of Chivalry: European Arms and Armor from The Metropolitan Museum of Art

oArt and Love in Renaissance Italy

  

Floor Tiles (Set of 350)

 

•Factory: San Marco Laterizi di Noale Pottery

•Date: 1995

•Culture: Italian, Venice

•Medium: Earthenware

•Dimensions:

oHeight: 10¾ in. sq. (27.3 cm. sq.)

oWidth: 1¼ in. thick (3.2 cm. thick)

•Classification: Ceramics-Pottery

•Credit Line: Purchase, Anonymous Gift, 1996

•Accession Number: Inst.1996.1.1–.350

 

On view at The Met Fifth Avenue in Gallery 501.

 

Provenance

 

Made by San Marco Laterizi di Noale as reproductions of original tiles in the Ducal Palace in Gubbio

 

Timeline of Art History

 

•Timelines

oItalian Peninsula, 1900 A.D.-Present

The Postcard

 

A postcard bearing no publisher's name. The people in the photograph have obviously been posed for the shot.

 

The card was posted in Chislehurst on Monday the 13th. March 1905 to:

 

Miss Moon,

The Gorse,

Manor Park,

Chislehurst,

Kent.

 

The left side of the divided back was left blank.

 

Mata Hari

 

So what else happened on the day that the card was posted?

 

Well, on the 13th. March 1905, Mata Hari first presented her sensational dancing act in Paris.

 

Margaretha Geertruida MacLeod (born Zelle in 1876), better known by her stage name Mata Hari, was a Dutch exotic dancer and courtesan who was convicted of being a spy for Germany during the Great War.

 

Despite having admitted under interrogation to taking money to work as a German spy, many people still believe that she was innocent, because the French Army needed a scapegoat. Mata Hari was executed by firing squad in France in 1917.

 

-- Mata Hari - The Early Years

 

Margaretha Geertruida Zelle was born on the 7th. August 1876 in Leeuwarden, Netherlands. She was the eldest of four children to Adam Zelle (1840–1910) and his first wife Antje van der Meulen (1842–1891). She had three younger brothers.

 

She was affectionately called "M'greet" by her family. Despite traditional assertions that Mata Hari was partly of Jewish, Malaysian, or Javanese descent, scholars conclude she had no Jewish or Asian ancestry, and both of her parents were Dutch.

 

Her father owned a hat shop, made investments in the oil industry, and became affluent enough to give Margaretha and her siblings a lavish early childhood that included exclusive schools until the age of 13.

 

Soon after Margaretha's father went bankrupt in 1889, her parents divorced, and her mother died in 1891. Her father remarried in Amsterdam on the 9th. February 1893 to Susanna Catharina ten Hoove (1844–1913).

 

The family fell apart, and Margaretha was sent to live with her godfather, Mr. Visser, in Sneek. Subsequently, she studied to be a kindergarten teacher in Leiden, but when the headmaster began to flirt with her conspicuously, she was removed from the institution by her godfather. A few months later, she fled to her uncle's home in The Hague.

 

-- Mata Hari and the Dutch East Indies

 

At 18, Zelle answered an advertisement in a Dutch newspaper placed by Dutch Colonial Army Captain Rudolf MacLeod (1856–1928), who was living in what was then the Dutch East Indies (now Indonesia), and was looking for a wife.

 

Zelle married MacLeod in Amsterdam on the 11th. July 1895. He was the son of Captain John Brienen MacLeod and Dina Louisa, Baroness Sweerts de Landas. The marriage enabled Zelle to move into the Dutch upper class, and placed her finances on a sound footing.

 

She moved with her husband to Malang on Java, traveling out on the SS Prinses Amalia in May 1897. They had two children, Norman-John MacLeod (1897–1899) and Louise Jeanne MacLeod (1898–1919).

 

The marriage was an overall disappointment. MacLeod was an alcoholic, and regularly beat Zelle, whom he blamed for his lack of promotion. He also openly kept a concubine, a socially accepted practice in the Dutch East Indies at that time.

 

The disenchanted Zelle abandoned him temporarily, moving in with Van Rheedes, another Dutch officer. She studied Indonesian culture intently for several months and joined a local dance company during that time.

 

In correspondence to her relatives in the Netherlands in 1897, she revealed her artistic name of Mata Hari, the word for "Sun" in the local Malay language (literally, "Eye of the Day").

 

At MacLeod's urging, Zelle returned to him, but his behaviour did not change. She escaped her circumstances by studying the local culture. In 1899, their children fell violently ill from complications relating to the treatment of syphilis contracted from their parents, though the family claimed they were poisoned by an irate servant.

 

Jeanne survived, but Norman died. Some sources maintain that one of MacLeod's enemies may have poisoned their supper to kill both of their children. After moving back to the Netherlands, the couple officially separated on the 30th. August 1902. The divorce became final in 1906, and Zelle was awarded custody of Jeanne.

 

MacLeod was legally required to pay child support, which he never did. During a visit to Jeanne, MacLeod decided not to return her to her mother. Zelle did not have the resources to fight the situation and accepted it, believing that while MacLeod had been an abusive husband, he had always been a good father. Jeanne later died at the age of 21, also possibly from complications related to syphilis.

 

-- Mata Hari's Career

 

-- Paris

 

In 1903, Zelle moved to Paris, where she performed as a circus horse rider using the name Lady MacLeod, much to the disapproval of the Dutch MacLeods. Struggling to earn a living, she also posed as an artist's model.

 

By 1904, Mata Hari began to rise to prominence as an exotic dancer. She was a contemporary of dancers Isadora Duncan and Ruth St. Denis, leaders in the early modern dance movement, which around the turn of the 20th. century looked to Asia and Egypt for artistic inspiration.

 

Promiscuous, flirtatious, and openly flaunting her body, Mata Hari captivated her audiences, and was an overnight success from the debut of her act at the Musée Guimet in Paris on the 13th. March 1905.

 

Mata became the long-time mistress of the millionaire industrialist Émile Étienne Guimet, who had founded the Musée. She posed as a Javanese princess of priestly Hindu birth, pretending to have been immersed in the art of sacred Indian dance since childhood.

 

She was photographed numerous times during this period, nude or nearly so. Some of these pictures were obtained by MacLeod and used to strengthen his case for keeping custody of their daughter.

 

Mata Hari brought a carefree provocative style to the stage in her act, which garnered wide acclaim. The most celebrated segment of her act was her progressive shedding of clothing until she wore only a jewelled breastplate and some ornaments upon her arms and head.

 

She was never seen bare-chested as she was self-conscious about having small breasts. She wore a body stocking for her performances that was similar in color to her own skin, but that was later omitted.

 

Although Mata Hari's claims about her origins were fictitious, it was very common for entertainers of her era to invent colourful stories about their origins in order to enhance their image.

 

Mata Hari's act was successful because it elevated erotic dance to a more respectable status, and so broke new ground in a style of entertainment for which Paris was later to become world-famous. Her style and free-willed attitude made her a popular woman, as did her eagerness to perform in exotic and revealing clothing.

 

Mata posed for provocative photos, and mingled in wealthy circles. Since most Europeans at the time were unfamiliar with the Dutch East Indies, Mata Hari was thought of as exotic, and it was assumed that her claims were genuine.

 

One enthusiastic French journalist wrote in a Paris newspaper that:

 

"Mata Hari is so feline, extremely feminine,

majestically tragic, the thousand curves and

movements of her body trembling in a

thousand rhythms."

 

Another journalist in Vienna wrote after seeing one of her performances that:

 

"Mata Hari is slender and tall, with the flexible

grace of a wild animal, and with blue-black hair.

Her face makes a strange foreign impression."

 

However, critics began to opine that the success and dazzling features of the popular Mata Hari were due to cheap exhibitionism and lacked artistic merit. Although she continued to attend important social events throughout Europe, she was held in disdain by serious cultural institutions as a dancer who did not know how to dance.

 

By about 1910, myriad imitators had arisen.

 

Mata Hari's career went into decline after 1912. On the 13th. March 1915, she performed what would be the last show of her career. She had begun her career relatively late for a dancer, and had started putting on weight. However, by this time she had become a successful courtesan, known more for her sensuality and eroticism than for her beauty.

 

She had relationships with high-ranking military officers, politicians, and others in influential positions in many countries. Her relationships and liaisons with powerful men frequently took her across international borders. Prior to the Great War, she was generally viewed as an artist and a free-spirited bohemian, but as war approached, she began to be seen by some as a wanton and promiscuous woman, and perhaps a dangerous seductress.

 

-- Espionage

 

During the Great War, the Netherlands remained neutral. As a Dutch subject, Zelle was thus able to cross national borders freely. To avoid the battlefields, she traveled between France and the Netherlands via Spain and Great Britain, and her movements inevitably attracted attention.

 

During the war, Zelle was involved in what was described as a very intense romantic-sexual relationship with a Russian pilot serving with the French, the 23-year-old Captain Vadim Maslov, whom she called the love of her life. Maslov was part of the 50,000 strong Russian Expeditionary Force that had been sent to the Western Front in the spring of 1916.

 

In the summer of 1916, Maslov was shot down and badly wounded during a dogfight with the Germans, losing his sight in both eyes, which led Zelle to ask for permission to visit her wounded lover at the hospital where he was staying near the Front.

 

As a citizen of a neutral country, Zelle would not normally be allowed near the Front. However, Zelle was met by agents from the Deuxième Bureau who told her that she would be allowed to see Maslov if she agreed to spy for France.

 

Before the war, Zelle had performed as Mata Hari several times before the Crown Prince Wilhelm, eldest son of Kaiser Wilhelm II, and nominally a senior German general on the Western Front. The Deuxième Bureau believed she might be able to obtain information by seducing the Crown Prince for military secrets.

 

In fact, his involvement was minimal, and it was German government propaganda that promoted the image of the Crown Prince as a great warrior, the worthy successor to the Hohenzollern monarchs who had made Prussia strong and powerful. They wanted to avoid publicising that the man expected to be the next Kaiser was in fact a playboy noted for womanising, partying, and indulging in alcohol, who spent much of his time associating with far right-wing politicians, with the intent of having his father declared insane and deposed.

 

Unaware that the Crown Prince did not have much to do with the running of Army Group or the 5th Army, the Deuxième Bureau offered Zelle one million francs if she could seduce him and provide France with good intelligence about German plans.

 

The fact that the Crown Prince had, before 1914, never commanded a unit larger than a regiment, and was now supposedly commanding both an army and an army group at the same time should have been a clue that his role in German decision-making was mostly nominal.

 

Zelle's contact with the Deuxième Bureau was Captain Georges Ladoux, who was later to emerge as one of her principal accusers.

 

In November 1916, she was traveling by steamer from Spain when her ship called at the British port of Falmouth. There she was arrested and brought to London where she was interrogated at length by Sir Basil Thomson, assistant commissioner at New Scotland Yard in charge of counter-espionage.

 

He gave an account of this in his 1922 book 'Queer People', saying that she eventually admitted to working for the Deuxième Bureau. Initially detained in Cannon Street police station, she was then released and stayed at the Savoy Hotel.

 

A full transcript of the interview is in Britain's National Archives and was broadcast, with Mata Hari played by Eleanor Bron, on the independent radio station LBC in 1980.

 

It is unclear if she lied on this occasion, believing the story made her sound more intriguing, or if French authorities were using her in such a way, but would not acknowledge her due to the embarrassment and international backlash it could cause.

 

In late 1916, Zelle traveled to Madrid, where she met with the German military attaché Major Arnold Kalle and asked if he could arrange a meeting with the Crown Prince. During this period, Zelle apparently offered to share French secrets with Germany in exchange for money, though whether this was because of greed or an attempt to set up a meeting with Crown Prince Wilhelm remains unclear.

 

In January 1917, Major Kalle transmitted radio messages to Berlin describing the helpful activities of a German spy code-named H-21, whose biography so closely matched Zelle's that it was patently obvious that Agent H-21 could only be Mata Hari.

 

The Deuxième Bureau intercepted the messages and, from the information they contained, identified H-21 as Mata Hari. The messages were in a code that German intelligence knew had already been broken by the French, suggesting that the messages were contrived to have Zelle arrested by the French.

 

General Walter Nicolai, the chief IC (intelligence officer) of the German Army, had grown very annoyed that Mata Hari had provided him with no intelligence worthy of the name, instead selling the Germans mere Paris gossip about the sex lives of French politicians and generals, and decided to terminate her employment by exposing her as a German spy to the French.

 

-- The Trial of Mata Hari

 

In December 1916, the Second Bureau of the French War Ministry let Mata Hari obtain the names of six Belgian agents. Five were suspected of submitting fake material and working for the Germans, while the sixth was suspected of being a double agent for Germany and France.

 

Two weeks after Mata Hari had left Paris for a trip to Madrid, the double agent was executed by the Germans, while the five others continued their operations. This development served as proof to the Second Bureau that the names of the six spies had been communicated by Mata Hari to the Germans.

 

On the 13th. February 1917, Mata Hari was arrested in her room at the Hotel Elysée Palace on the Champs Elysées in Paris. She was put on trial on the 24th. July, accused of spying for Germany, and consequently causing the deaths of at least 50,000 soldiers.

 

Although the French and British intelligence suspected her of spying for Germany, neither could produce definite evidence against her. Supposedly, secret ink was found in her room, which was incriminating evidence in that period. She contended that it was part of her makeup.

 

Zelle's principal interrogator, who grilled her relentlessly, was Captain Pierre Bouchardon; he was later to prosecute her at trial. Bouchardon was able to establish that much of the Mata Hari persona was invented, and far from being a Javanese princess, Zelle was actually Dutch, which he was to use as evidence of her dubious and dishonest character at her trial.

 

Zelle admitted to Bouchardon that she had accepted 20,000 francs from a German diplomat in the Netherlands to spy on France, but insisted she only passed on to the Germans trivial information, as her loyalty was entirely to her adopted nation, France. In the meantime, Ladoux had been preparing a case against his former agent by casting all of her activities in the worst possible light, going so far as to engage in evidence tampering.

 

-- Mata Hari as a Scapegoat

 

In 1917, France had been badly shaken by the Great Mutinies of the French Army in the spring of 1917 following the failure of the Nivelle Offensive together with a huge strike wave, and at the time many believed that France might simply collapse as a result of war exhaustion.

 

In July 1917, a new government under Georges Clemenceau had come into power, utterly committed to winning the war. In this context, having one German spy on whom everything that went wrong with the war so far could be blamed was most convenient for the French government.

 

This made Mata Hari the perfect scapegoat, which explains why the case against her received maximum publicity in the French press, and led to her importance in the war being greatly exaggerated.

 

The British historian Julie Wheelwright stated:

 

"She really did not pass on anything

that you couldn’t find in the local

newspapers in Spain."

 

Wheelwright went on to describe Zelle as:

 

"An independent woman, a divorcée,

a citizen of a neutral country, a courtesan

and a dancer, which made her a perfect

scapegoat for the French, who were then

losing the war. She was kind of held up as

an example of what might happen if your

morals were too loose.”

 

Zelle wrote several letters to the Dutch Ambassador in Paris, claiming her innocence:

 

"My international connections are due

of my work as a dancer, nothing else ....

Because I really did not spy, it is terrible

that I cannot defend myself."

 

The most terrible and heart-breaking moment for Mata Hari during the trial occurred when her lover Maslov—by now a deeply embittered man as a result of losing his eyes in combat—declined to testify for her, telling her he did not care if she was convicted or not. It was reported that Zelle fainted when she learned that Maslov had abandoned her.

 

Her defence counsel, international lawyer Édouard Clunet, faced impossible odds; he was denied permission either to cross-examine the prosecution's witnesses or to examine his own witnesses directly. Bouchardon used the fact that Zelle was a woman as evidence of her guilt, saying:

 

"Without scruples, accustomed to making

use of men, she is the type of woman who

is born to be a spy."

 

Zelle has often been portrayed as a femme fatale, the dangerous, seductive woman who uses her sexuality to effortlessly manipulate men, but others view her differently: in the words of the American historians Norman Polmer and Thomas Allen she was "naïve and easily duped", a victim of men rather than a victimizer.

 

Mata Hari herself admitted under interrogation to taking money to work as a German spy. It is contended by some historians that Mata Hari may have merely accepted money from the Germans without actually carrying out any spy duties.

 

At her trial, Zelle vehemently insisted that her sympathies were with the Allies and declared her passionate love of France, her adopted homeland.

 

During her trial, Mata Hari stated:

 

"A harlot? Yes, but a traitress, never!"

 

In October 2001, documents released from the archives of MI5 (British counter-intelligence) were used by a Dutch group, the Mata Hari Foundation, to ask the French government to exonerate Zelle, as they argued that the MI5 files proved she was not guilty of the charges for which she was convicted.

 

A spokesman from the Mata Hari Foundation argued that at most Zelle was a low-level spy who provided no secrets to either side, stating:

 

"We believe that there are sufficient doubts

concerning the dossier of information that

was used to convict her to warrant re-opening

the case.

Maybe she wasn't entirely innocent, but it seems

clear she wasn't the master-spy whose information

sent thousands of soldiers to their deaths, as has

been claimed."

 

-- The Execution of Mata Hari

 

Zelle was executed by a firing squad of 12 French soldiers just before dawn on the 15th. October 1917. She was 41 years of age.

 

According to an eyewitness account by British reporter Henry Wales, she was not bound, and refused a blindfold. She defiantly blew a kiss to the firing squad.

 

A 1934 New Yorker article reported that at her execution:

 

"She wore a neat Amazonian tailored

suit, especially made for the occasion,

and a pair of new white gloves".

 

However another account indicates that she wore the same suit, low-cut blouse, and tricorn hat ensemble which had been picked out by her accusers for her to wear at trial, and which was still the only full, clean outfit which she had in prison.

 

Neither description however matches the photographic evidence. One observer recorded her death as follows:

 

"After the volley of shots rang out, slowly,

inertly, she settled to her knees, her head

up always, and without the slightest change

of expression on her face.

For the fraction of a second it seemed she

tottered there, on her knees, gazing directly

at those who had taken her life.

Then she fell backward, bending at the waist,

with her legs doubled up beneath her."

 

A non-commissioned officer then walked up to her body, pulled out his revolver, and shot her in the head to make sure that she was dead.

 

Mata Hari's body was not claimed by any family members, and was accordingly used for medical study. Her head was embalmed, and kept in the Museum of Anatomy in Paris.

 

However in 2000, archivists discovered that Mata Hari's head had disappeared. Curator Roger Saban has suggested that it could have disappeared as early as 1954, during the museum's relocation. Her head remains missing to this day.

 

Records dating from 1918 show that the museum also received the rest of the body, although none of her remains could later be accounted for.

 

Mata Hari's sealed trial and other related documents, a total of 1,275 pages, were de-classified by the French Army in 2017, one hundred years after her execution.

 

-- The Legacy of Mata Hari

 

The Frisian museum in Leeuwarden, Netherlands, contains a "Mata Hari Room". Included in the exhibit are two of her personal scrapbooks, and an oriental rug embroidered with the footsteps of her fan dance.

 

Located in Mata Hari's native town, the museum is well known for research into the life and career of Leeuwarden's world-famous citizen. The largest-ever Mata Hari exhibition was opened in the Museum of Friesland on the 14th. October 2017, one hundred years after her death.

 

Mata Hari's birthplace is located in a building at Kelders 33. The building suffered smoke and water damage during a fire in 2013, but was later restored. Architect Silvester Adema studied old drawings of the storefront in order to reconstruct it as it appeared when Abraham Zelle, the father of Mata Hari, had a hat shop there. In 2016, an information centre was created in the building displaying mementos of Mata Hari.

 

-- Mata Hari in Popular Culture

 

The idea of an exotic dancer working as a lethal double agent using her powers of seduction to extract military secrets from her many lovers made Mata Hari an enduring archetype of the femme fatale.

 

Her life inspired a number of films, including:

 

-- Mata Hari (1920)

-- Mata Hari (1927), a German production

-- Mata Hari (1931), a Hollywood motion picture starring Greta Garbo

-- Mata Hari, Agent H21 (1964)

-- Up the Front (1972), a British comedy film in which Zsa Zsa Gabor portrays Mata Hari.

-- Mata Hari (1981), television-series

-- Mata Hari; The Magic Camera, an episode of Fantasy Island (1982)

-- Mata Hari (1985)

-- Mata Hari (2016)

-- Mata Hari (2017), short film

-- Mata Hari: The Naked Spy (2017)

 

Mata Hari's life has also inspired at least five stage musicals:

 

-- Mata Hari in 1967, starring Pernell Roberts and Marisa Mell

-- Mata Hari, by Lene Lovich, Judge Smith, and Les Chappell, premiered in 1982 at the Lyric Theatre, Hammersmith

-- Mata!, with words and music by Stuart Brayson, received its World Premiere at Blackpool Grand Theatre in June 1995

-- Mata Hari at the Moulin Rouge, by Frank Wildhorn, which debuted in Seoul, South Korea in March 2016

-- One Last Night with Mata Hari, written by Craig Walker with music by John Burge, debuted at the Isabel Bader Centre for the Performing Arts, in Kingston, Ontario, in January 2017.

 

-- Final Thoughts From Mata Hari

 

"I am a woman who enjoys herself very

much; sometimes I lose, sometimes I win."

 

"In every woman there is always something

mysterious and interesting."

 

"I am a woman who knows what men

want, and I give it to them willingly."

 

"A woman who is not afraid to be herself

is a force to be reckoned with."

 

"I have been many things in my life, but

above all, I have always been true to myself."

 

"A woman's power lies in her ability

to seduce and captivate."

 

"Seduction is an art, and I have perfected it."

 

"Don't underestimate the power of a woman

who knows her worth."

 

"A woman's beauty is not limited to her physical

appearance; it is an essence that radiates from

within."

 

"I may have played many roles in my life,

but the greatest role I have ever played

is being myself."

 

"True liberation comes from embracing

and celebrating one's own sexuality."

 

"A woman who embraces her sensuality

has the power to change the world."

 

"Society may judge, but I refuse to be

defined by its standards."

 

"A woman's worth is not determined by

the number of men she conquers, but

by the strength of her character."

 

"I am a masterpiece in progress; ever

evolving, ever growing."

 

"Powerful ideas are just in your pocket."

 

"Love is not something to fear, but to

embrace with open arms."

 

"I may be a femme fatale, but I am also

a woman with a heart."

 

"In the game of life, you must be willing

to take risks and bet on yourself."

 

"A woman who embraces her own

desires is unstoppable."

 

"Life is too short to be bound by societal

norms; live boldly and without regret."

 

"The power of a woman lies in her ability

to be both vulnerable and resilient."

 

"The desire to be free is the

essence of living."

 

"A woman should never apologize for

being herself; she is a force of nature."

 

"I may be a temptress, but I never

claimed to be an angel."

 

"The world may judge, but I am not here

to please them; I am here to live my truth."

 

"Empowerment comes from embracing

and celebrating one's own femininity."

 

"A fearless woman is a force to be

reckoned with."

 

"I am a woman who dances to the beat

of her own drum."

Philippine Sea (Jun. 24, 2021) - Force Reconnaissance Platoon Marines, assigned to the 31st Marine Expeditionary Unit (MEU), fast-rope from a UH-1Y Huey onto the flight deck of amphibious dock landing ship USS Germantown (LSD 42) as they execute a maritime interdiction operation (MIO) exercise. Germantown, part of Amphibious Squadron 11, along with the 31st Marine Expeditionary Unit, is operating in the U.S. 7th Fleet area of responsibility to enhance interoperability with allies and partners and serve as a ready response force to defend peace and stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communications Specialist Seaman Nicholas M. Skyles) 210623-N-JP109-3045

 

** Interested in following U.S. Indo-Pacific Command? Engage and connect with us at www.facebook.com/indopacom | twitter.com/INDOPACOM |

www.instagram.com/indopacom | www.flickr.com/photos/us-pacific-command; | www.youtube.com/user/USPacificCommand | www.pacom.mil/ **

 

Early morning raids saw four arrested as officers executed several drug warrants across Tameside.

 

Today (Wednesday 19 June 2019) warrants were executed across seven addresses as part of a crackdown on the supply of Class A and B drugs – codenamed Operation Leporine.

 

Following today’s action, two men – aged 21 and 27 – and two women – aged 21 and 52 - have been arrested on suspicion of possession with intent to supply Class A and B drugs.

 

Sergeant Stephanie O’Brien, of GMP’s Tameside district, said: “At present we have four people in custody and as part of this morning’s operation we have been able to seize a significant quantity of drugs.

 

“I would like to thank the team here in Tameside who, as part of Operation Leporine, have worked tirelessly in order to bring a sophisticated and audacious group of offenders to justice.

 

“The supply of illegal drugs blights communities and destroys people’s livelihoods; and I hope that today’s very direct and visible action demonstrates to the local community that we are doing all that we to make the streets of Tameside a safer place.

 

“It will remain a top priority for us to continue to tackle the influx of drugs in the area, however we cannot do this alone and I would appeal directly to the community and those most affected to please come forward with any information that could assist us in what continues to be an ongoing operation.”

 

Anyone with information should contact police on 101, or alternatively reports can be made to the independent charity 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.

 

Apollon servi par les nymphes [Girardon et Regnaudin], groupe en marbre grandeur nature de sept statues exécutées par Girardon et Regnaudin de 1666 à 1674 pour les jardins de Versailles.

Placé dans la grotte de Thétis abritant des jeux d’eau, puis transféré en 1684 dans le bosquet de la Renommée, le groupe a finalement été installé dans une grotte artificielle dessinée en 1778 par Hubert Robert, rebaptisée bosquet des Bains d’Apollon.

Torse nu et assis sur un rocher, le regard lointain, Apollon est accoudé sur sa lyre. Il tend sa main droite vers une nymphe penchée qui verse de l’eau au-dessus d’une coupe. Près de son pied droit, une seconde nymphe, agenouillée, tient un linge pour l’essuyer. À sa gauche, une troisième nymphe verse de l’eau avec une aiguière décorée d’un relief relatant le Passage du Rhin. Placée derrière Apollon, Thétis le coiffe, tandis que, de part et d’autre, se tiennent deux servantes portant respectivement un bassin et un vase. Exécutées par Regnaudin, ces trois dernières figures sont entièrement vêtues d’un léger drapé et se distinguent des nymphes au torse nu, qui sont de la main de Girardon. Allégorie à la gloire de Louis XIV, le groupe est d’emblée célébré comme un manifeste du classicisme français, même s’il concède au baroque une mise en scène transposée de la peinture. En effet, par-delà l’Inspiration de poète de Poussin qui transparaît notamment dans les attitudes sereines des nymphes en marbre, le Dieu-Soleil de Girardon n’est jamais que la transcription du célèbre Apollon du Belvédère. Le sculpteur en restitue non seulement la coiffure et l’allure générale, mais encore le motif des draperies. L’opposition des chairs lisses et des drapés qui accrochent la lumière, la description érudite des accessoires, tels que le vase et le lécythe, sont également néoclassiques. Contemporaine des cercles historiographiques qui naissent alors autour de Perrault et Félibien, l’œuvre illustre les théories de ces derniers. En représentant le roi environné de nymphes qui figurent les cinq sens, notons enfin que Girardon délivre un message idéologique : « Parmi tant de beautés, Apollon est sans flamme », conclut en effet La Fontaine, qui voit dans le chef-d’œuvre du sculpteur l’allégorie morale de la maîtrise de soi que le roi entend promouvoir auprès de la cour.

In the undercover of darkness, officers from GMP’s Xcalibre task force executed a number of simultaneous warrants this morning (Wednesday 9 November 2022) – three in the Middleton area of Rochdale and one in Sheffield – and arrested four people on suspicion of attempted murder, conspiracy to commit murder, and possession of a firearm with the intent to endanger life.

 

The arrests come in response to the drive-by shooting that occurred on Quinney Crescent in Moss Side on Friday 29 July 2022, where a party was being held. A teenage girl sustained serious injuries from the shotgun blast and another girl was injured from what was believed to be shrapnel resulting from the firearms discharge.

 

Both attended hospital at the time and were subsequently discharged to recover at home.

 

Detectives are today renewing their appeal for witnesses to the incident and are urging anyone with any information on the shooting, or the vehicle of interest, as well as any mobile, CCTV, dashcam or doorbell footage to come forward and speak to GMP.

 

Officers will be out in the community of Moss Side today to offer reassurance and to be a point of contact for anyone who wants to talk.

 

Detective Superintendent David Meeney from the City of Manchester Division said: “This incident could have been far more serious. We do not believe that the two girls were the intended targets and were simply innocent bystanders, enjoying a party.

 

“This shows me that the people responsible are clearly dangerous as they have shown zero regard for who could have been injured that night. Guns have no place on the streets of Manchester and investigating these offences is a priority for GMP – to ensure we that we can bring the offenders to justice and protect the communities of Greater Manchester.

 

“Today’s arrests, led by the Xcalibre Task Force, shows how determined we are to bring those responsible for this callous attack to justice. I am appealing to anyone who was in the area of Moss Side on Friday 29 July 2022 between 10pm and 11pm, who may have seen a vehicle being driven erratically, to contact us.

 

“I am particularly interested in any sightings of a dark coloured SUV-type car and I am asking for anyone with any dashcam or doorbell footage that may have captured those responsible, either arriving or leaving the area, to please contact us. I have trained officers on-hand who can download and review any footage quickly.

 

“I am also appealing to anyone in the local community and those who live or work in the surrounding areas, who may have any information regarding the shooting to come forward. As well as approaching our officers who are out today, you can call 101 or use the Live Chat service on our website – www.gmp.police.uk.

 

Today, Thursday 14 March 2019, police executed warrants at addresses across Manchester and Cheshire.

 

The warrants were executed as part of Operation Telegram – set up by Operation Challenger officers to target an organised crime group believed to be involved in the supply of drugs across Stockport and Manchester.

 

For more information about Policing in Greater Manchester please visit www.gmp.police.uk

 

To report crime call police on 101 the national non-emergency number.

 

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.

 

Dawn raids saw officers in Oldham execute six drugs warrants as part of a crackdown on drug dealing in the district.

 

At around 6.15am this morning (Thursday 2 July 2020), officers from GMP’s Oldham division raided an address on Chamber Road, Coppice, and at five properties in the Glodwick area.

 

The action comes after concerns were raised in the community regarding the dealing of drugs in the area.

 

Neighbourhood Inspector Steve Prescott, of GMP’s Oldham division, said: “We hope that today’s operation demonstrates not only how keen we are to tackle drugs across the district and the Force, but also our endeavours to listen to community concerns and to act upon them.

 

“Today’s action is a significant part of tackling the issues around drugs that we see too often in our societies and the devastating impact they can have on individuals, their families and loved ones as well as the wider community.

 

“This action will have caused a huge amount of disruption for the criminals who seek to infiltrate these substances onto our streets and degrade the quality of life for so many.

 

“Anyone with concerns about the dealing of such drugs in their area should not hesitate to contact police; safe in the knowledge that we are prepared to strike back against those who operate in this destructive and illegal industry.”

 

To find out more about Greater Manchester Police please visit

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.

 

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

 

The CC&P crew is about to execute a flying switch on the Cedar Valley branch. The white van belonged to late Laverne Andreesen. This was my first and only railfanning trip with him.

Isis was executed by Antoine-Guillaume Grandjacquet on the commission of Marcantonio IV Borghese for the Egyptian room of the Villa Borghese in 1779 - 1781. Inspired by a Roman relief which no longer exists, this statue was part of the collection owned by Cardinal Scipion Borghese, purchased by Napoleon I in 1807 from his brother-in-law, Prince Camille Borghese.

  

This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

 

To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

 

The Christ the King Window in St James’ Cathedral, Toronto, was executed in 1939 by Peter Haworth, with the assistance of Gladys Allen. It sits over the altar of the then recently dedicated St George’s Chapel. It depicts the risen, glorified Christ the King and Priest standing with outstretched arms before the cross on which he was crucified. The Holy Spirit in the form of a dove showers rays of divine light down from heaven.

 

St George’s Chapel, was converted into a chapel as a gift by the Cawthra family in 1935, the silver jubilee year of King George V. The chapel is dedicated to the Royal Regiment of Canada, hence its colours flying here.

 

The Cathedral Church of St. James, located in downtown Toronto, is the oldest Anglican church in the city and the seat of the Anglican Bishop of Toronto.

 

The Anglican parish of St. James was established in 1797 in the then-town of York (now Toronto). The first church, constructed in 1807, was a modest wooden structure. However, it played a significant role during the War of 1812 when it served as a hospital. Unfortunately, American troops later robbed and damaged it.

 

In 1833, the wooden church was replaced by a stone structure in the Neoclassical style. Tragically, this church burned down in 1839 but was reconstructed and reopened later that year; then this structure too burned down in the Great Fire of Toronto in 1849.

 

The current St. James Cathedral was built completed between 1850 and 1856, opening for services in 1853. It showcases exquisite Gothic Revival architecture.

 

Designed by Frederick William Cumberland, it remains one of the finest examples of this style. , featuring pointed arches, ribbed vaults, and soaring windows. The cathedral's exterior is characterized by its pointed arches, ribbed vaults, and flying buttresses, all hallmarks of the Gothic Revival style. The façade is constructed from a combination of Ohio sandstone and local stone St James’ has the second highest spire in North America at 92.9 metres, after St. Patrick's Cathedral, New York—although the spire of St. James is still shorter than the dome of Saint Joseph's Oratory in Montreal, which is the tallest church in the Western Hemisphere. It was added later by architect Henry Langley in 1873-4, along with the transepts, and the pinnacles and finials.

 

Look closely, and you’ll find intricate stone carvings, including gargoyles and other decorative elements. The attention to detail reflects the Gothic Revival’s emphasis on craftsmanship and symbolism.

 

It became the episcopal seat in 1936 after the cathedra was moved from the Diocese's first cathedral, the Cathedral of St. Alban the Martyr, now the school chapel of Royal St George’s College.

 

Major renovations were completed in 1982. The parish celebrated its bicentenary in 1997, when the peal of 12 change ringing bells was installed as the largest peal in North America.

 

This description incorporates text from the English Wikipedia and information from the very useful guide leaflet produced by St James’ Cathedral.

Quoting Smithsonian National Air and Space Museum | Lockheed SR-71 Blackbird:

 

No reconnaissance aircraft in history has operated globally in more hostile airspace or with such complete impunity than the SR-71, the world's fastest jet-propelled aircraft. The Blackbird's performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War.

 

This Blackbird accrued about 2,800 hours of flight time during 24 years of active service with the U.S. Air Force. On its last flight, March 6, 1990, Lt. Col. Ed Yielding and Lt. Col. Joseph Vida set a speed record by flying from Los Angeles to Washington, D.C., in 1 hour, 4 minutes, and 20 seconds, averaging 3,418 kilometers (2,124 miles) per hour. At the flight's conclusion, they landed at Washington-Dulles International Airport and turned the airplane over to the Smithsonian.

 

Transferred from the United States Air Force.

 

Manufacturer:

Lockheed Aircraft Corporation

 

Designer:

Clarence L. "Kelly" Johnson

 

Date:

1964

 

Country of Origin:

United States of America

 

Dimensions:

Overall: 18ft 5 15/16in. x 55ft 7in. x 107ft 5in., 169998.5lb. (5.638m x 16.942m x 32.741m, 77110.8kg)

Other: 18ft 5 15/16in. x 107ft 5in. x 55ft 7in. (5.638m x 32.741m x 16.942m)

 

Materials:

Titanium

 

Physical Description:

Twin-engine, two-seat, supersonic strategic reconnaissance aircraft; airframe constructed largley of titanium and its alloys; vertical tail fins are constructed of a composite (laminated plastic-type material) to reduce radar cross-section; Pratt and Whitney J58 (JT11D-20B) turbojet engines feature large inlet shock cones.

 

• • • • •

 

See more photos of this, and the Wikipedia article.

 

Details, quoting from Smithsonian National Air and Space Museum | Vought F4U-1D Corsair:

 

By V-J Day, September 2, 1945, Corsair pilots had amassed an 11:1 kill ratio against enemy aircraft. The aircraft's distinctive inverted gull-wing design allowed ground clearance for the huge, three-bladed Hamilton Standard Hydromatic propeller, which spanned more than 4 meters (13 feet). The Pratt and Whitney R-2800 radial engine and Hydromatic propeller was the largest and one of the most powerful engine-propeller combinations ever flown on a fighter aircraft.

 

Charles Lindbergh flew bombing missions in a Corsair with Marine Air Group 31 against Japanese strongholds in the Pacific in 1944. This airplane is painted in the colors and markings of the Corsair Sun Setter, a Marine close-support fighter assigned to the USS Essex in July 1944.

 

Transferred from the United States Navy.

 

Manufacturer:

Vought Aircraft Company

 

Date:

1940

 

Country of Origin:

United States of America

 

Dimensions:

Overall: 460 x 1020cm, 4037kg, 1250cm (15ft 1 1/8in. x 33ft 5 9/16in., 8900lb., 41ft 1/8in.)

 

Materials:

All metal with fabric-covered wings behind the main spar.

 

Physical Description:

R-2800 radial air-cooled engine with 1,850 horsepower, turned a three-blade Hamilton Standard Hydromatic propeller with solid aluminum blades spanning 13 feet 1 inch; wing bent gull-shaped on both sides of the fuselage.

 

Long Description:

On February 1, 1938, the United States Navy Bureau of Aeronautics requested proposals from American aircraft manufacturers for a new carrier-based fighter airplane. During April, the Vought Aircraft Corporation responded with two designs and one of them, powered by a Pratt & Whitney R-2800 engine, won the competition in June. Less than a year later, Vought test pilot Lyman A. Bullard, Jr., first flew the Vought XF4U-1 prototype on May 29, 1940. At that time, the largest engine driving the biggest propeller ever flown on a fighter aircraft propelled Bullard on this test flight. The R-2800 radial air-cooled engine developed 1,850 horsepower and it turned a three-blade Hamilton Standard Hydromatic propeller with solid aluminum blades spanning 13 feet 1 inch.

 

The airplane Bullard flew also had another striking feature, a wing bent gull-shaped on both sides of the fuselage. This arrangement gave additional ground clearance for the propeller and reduced drag at the wing-to-fuselage joint. Ironically for a 644-kph (400 mph) airplane, Vought covered the wing with fabric behind the main spar, a practice the company also followed on the OS2U Kingfisher (see NASM collection).

 

When naval air strategists had crafted the requirements for the new fighter, the need for speed had overridden all other performance goals. With this in mind, the Bureau of Aeronautics selected the most powerful air-cooled engine available, the R-2800. Vought assembled a team, lead by chief designer Rex Biesel, to design the best airframe around this powerful engine. The group included project engineer Frank Albright, aerodynamics engineer Paul Baker, and propulsion engineer James Shoemaker. Biesel and his team succeeded in building a very fast fighter but when they redesigned the prototype for production, they were forced to make an unfortunate compromise.

 

The Navy requested heavier armament for production Corsairs and Biesel redesigned each outboard folding wing panel to carry three .50 caliber machine guns. These guns displaced fuel tanks installed in each wing leading edge. To replace this lost capacity, an 897-liter (237 gal) fuselage tank was installed between the cockpit and the engine. To maintain the speedy and narrow fuselage profile, Biesel could not stack the cockpit on top of the tank, so he moved it nearly three feet aft. Now the wing completely blocked the pilot's line of sight during the most critical stages of landing. The early Corsair also had a vicious stall, powerful torque and propeller effects at slow speed, a short tail wheel strut, main gear struts that often bounced the airplane at touchdown, and cowl flap actuators that leaked oil onto the windshield. These difficulties, combined with the lack of cockpit visibility, made the airplane nearly impossible to land on the tiny deck of an aircraft carrier. Navy pilots soon nicknamed the F4U the 'ensign eliminator' for its tendency to kill these inexperienced aviators. The Navy refused to clear the F4U for carrier operations until late in 1944, more than seven years after the project started.

 

This flaw did not deter the Navy from accepting Corsairs because Navy and Marine pilots sorely needed an improved fighter to replace the Grumman F4F Wildcat (see NASM collection). By New Year's Eve, 1942, the service owned 178 F4U-1 airplanes. Early in 1943, the Navy decided to divert all Corsairs to land-based United States Marine Corps squadrons and fill Navy carrier-based units with the Grumman F6F Hellcat (see NASM collection). At its best speed of 612 kph (380 mph) at 6,992 m (23,000 ft), the Hellcat was about 24 kph (15 mph) slower than the Corsair but it was a joy to fly aboard the carrier. The F6F filled in splendidly until improvements to the F4U qualified it for carrier operations. Meanwhile, the Marines on Guadalcanal took their Corsairs into combat and engaged the enemy for the first time on February 14, 1943, six months before Hellcat pilots on that battle-scared island first encountered enemy aircraft.

 

The F4U had an immediate impact on the Pacific air war. Pilots could use the Corsair's speed and firepower to engage the more maneuverable Japanese airplanes only when the advantage favored the Americans. Unprotected by armor or self-sealing fuel tanks, no Japanese fighter or bomber could withstand for more than a few seconds the concentrated volley from the six .50 caliber machine guns carried by a Corsair. Major Gregory "Pappy" Boyington assumed command of Marine Corsair squadron VMF-214, nicknamed the 'Black Sheep' squadron, on September 7, 1943. During less than 5 months of action, Boyington received credit for downing 28 enemy aircraft. Enemy aircraft shot him down on January 3, 1944, but he survived the war in a Japanese prison camp.

 

In May and June 1944, Charles A. Lindbergh flew Corsair missions with Marine pilots at Green Island and Emirau. On September 3, 1944, Lindbergh demonstrated the F4U's bomb hauling capacity by flying a Corsair from Marine Air Group 31 carrying three bombs each weighing 450 kg (1,000 lb). He dropped this load on enemy positions at Wotje Atoll. On the September 8, Lindbergh dropped the first 900-kg (2,000 lb) bomb during an attack on the atoll. For the finale five days later, the Atlantic flyer delivered a 900-kg (2,000 lb) bomb and two 450-kg (1,000 lb) bombs. Lindbergh went ahead and flew these missions after the commander of MAG-31 informed him that if he was forced down and captured, the Japanese would almost certainly execute him.

 

As of V-J Day, September 2, 1945, the Navy credited Corsair pilots with destroying 2,140 enemy aircraft in aerial combat. The Navy and Marines lost 189 F4Us in combat and 1,435 Corsairs in non-combat accidents. Beginning on February 13, 1942, Marine and Navy pilots flew 64,051 operational sorties, 54,470 from runways and 9,581 from carrier decks. During the war, the British Royal Navy accepted 2,012 Corsairs and the Royal New Zealand Air Force accepted 364. The demand was so great that the Goodyear Aircraft Corporation and the Brewster Aeronautical Corporation also produced the F4U.

 

Corsairs returned to Navy carrier decks and Marine airfields during the Korean War. On September 10, 1952, Captain Jesse Folmar of Marine Fighter Squadron VMF-312 destroyed a MiG-15 in aerial combat over the west coast of Korea. However, F4U pilots did not have many air-to-air encounters over Korea. Their primary mission was to support Allied ground units along the battlefront.

 

After the World War II, civilian pilots adapted the speedy bent-wing bird from Vought to fly in competitive air races. They preferred modified versions of the F2G-1 and -2 originally built by Goodyear. Corsairs won the prestigious Thompson Trophy twice. In 1952, Vought manufactured 94 F4U-7s for the French Navy, and these aircraft saw action over Indochina but this order marked the end of Corsair production. In production longer than any other U.S. fighter to see service in World War II, Vought, Goodyear, and Brewster built a total of 12,582 F4Us.

 

The United States Navy donated an F4U-1D to the National Air and Space Museum in September 1960. Vought delivered this Corsair, Bureau of Aeronautics serial number 50375, to the Navy on April 26, 1944. By October, pilots of VF-10 were flying it but in November, the airplane was transferred to VF-89 at Naval Air Station Atlantic City. It remained there as the squadron moved to NAS Oceana and NAS Norfolk. During February 1945, the Navy withdrew the airplane from active service and transferred it to a pool of surplus aircraft stored at Quantico, Virginia. In 1980, NASM craftsmen restored the F4U-1D in the colors and markings of a Corsair named "Sun Setter," a fighter assigned to Marine Fighter Squadron VMF-114 when that unit served aboard the "USS Essex" in July 1944.

 

• • •

  

Quoting from Wikipedia | Vought F4U Corsair:

 

The Chance Vought F4U Corsair was a carrier-capable fighter aircraft that saw service primarily in World War II and the Korean War. Demand for the aircraft soon overwhelmed Vought's manufacturing capability, resulting in production by Goodyear and Brewster: Goodyear-built Corsairs were designated FG and Brewster-built aircraft F3A. From the first prototype delivery to the U.S. Navy in 1940, to final delivery in 1953 to the French, 12,571 F4U Corsairs were manufactured by Vought, in 16 separate models, in the longest production run of any piston-engined fighter in U.S. history (1942–1953).

 

The Corsair served in the U.S. Navy, U.S. Marines, Fleet Air Arm and the Royal New Zealand Air Force, as well as the French Navy Aeronavale and other, smaller, air forces until the 1960s. It quickly became the most capable carrier-based fighter-bomber of World War II. Some Japanese pilots regarded it as the most formidable American fighter of World War II, and the U.S. Navy counted an 11:1 kill ratio with the F4U Corsair.

 

F4U-1D (Corsair Mk IV): Built in parallel with the F4U-1C, but was introduced in April 1944. It had the new -8W water-injection engine. This change gave the aircraft up to 250 hp (190 kW) more power, which, in turn, increased performance. Speed, for example, was boosted from 417 miles per hour (671 km/h) to 425 miles per hour (684 km/h). Because of the U.S. Navy's need for fighter-bombers, it had a payload of rockets double the -1A's, as well as twin-rack plumbing for an additional belly drop tank. Such modifications necessitated the need for rocket tabs (attached to fully metal-plated underwing surfaces) and bomb pylons to be bolted on the fighter, however, causing extra drag. Additionally, the role of fighter-bombing was a new task for the Corsair and the wing fuel cells proved too vulnerable and were removed.[] The extra fuel carried by the two drop tanks would still allow the aircraft to fly relatively long missions despite the heavy, un-aerodynamic load. The regular armament of six machine guns were implemented as well. The canopies of most -1Ds had their struts removed along with their metal caps, which were used — at one point — as a measure to prevent the canopies' glass from cracking as they moved along the fuselage spines of the fighters.[] Also, the clear-view style "Malcolm Hood" canopy used initially on Supermarine Spitfire and P-51C Mustang aircraft was adopted as standard equipment for the -1D model, and all later F4U production aircraft. Additional production was carried out by Goodyear (FG-1D) and Brewster (F3A-1D). In Fleet Air Arm service, the latter was known as the Corsair III, and both had their wingtips clipped by 8" per wing to allow storage in the lower hangars of British carriers.

اقدام الأحرار فوق رؤوس الملالي الارهابي ..

 

Chinook helicopter executing water bucket operations. Mississippi Army National Guard Aviators are deploying to California to assist local agencies with fighting the massive wildfires across the state. The CH-47 Chinook heavy-lift helicopter crew of approximately ten Soldiers will work alongside the California National Guard and the California Department of Forestry and Fire Protection (CALFIRE) by providing aerial water bucket operations where needed. (Mississippi Army National Guard photo by CPT Lewis Howard, B Co 1-111th Aviation Regiment)

Six people have been arrested following warrants executed in Manchester as part of a crackdown on criminal groups involved in serious crime in Rochdale.

 

Seven addresses in #Moston, #Ardwick, #NewtonHeath, #Blackley, and #Openshaw were targeted this morning (Friday 5 February 2021) by officers from GMP Rochdale with support from neighbouring districts and the Tactical Aid Unit (TAU).

 

A cross bow with ammunition, three machetes and a stab proof vest was recovered from one address. An amount of cannabis was recovered at another address following a successful search by GMP's Tactical Dog Unit.

 

The action follows two serious assaults in Rochdale in December 2020 which detectives believe to be the result of a feud between two rival groups.

 

At around 7.15pm on 17 December, a teenager was stabbed on Tweedale Street, Rochdale, before he was taken to hospital with serious injuries. He was discharged three days later.

 

Over a week later on 28 December, just after 11.30pm, officers were also called to a report of stabbing followed by a road traffic collision on the same street.

 

A 21 year old man was hospitalised after sustaining lacerations to his arm & torso and also a broken arm. He was released two days later.

Enquiries are ongoing, and anyone with information is encouraged to contact police or Crimestoppers.

 

Detective Inspector Karl Ward, of GMP's Rochdale #Challenger team, said: "This morning's raids are the result of an extensive amount of investigative work following a concerning trend of serious assaults recently, particularly around the Freehold area of the town.

 

"It concerns me greatly to see young people involved in assaults where bladed weapons have been used to commit violent attacks. It is absolutely vital that we do all we can to remove this threat and to take such dangerous items off our streets.

 

"It is important that people feel safe in their communities, and we have done an enormous amount of work with our local authority partners to reduce the risk to young people living in the Freehold area.

 

"These arrests represent a positive step in sending that reassurance message. Knife crime will not be tolerated, and we will continue to work tirelessly to bring those who choose to engage in such activities to justice.

 

"While we have arrested six people today, I would encourage the public to continue to report incidents of concern so that we can take appropriate action with the assistance of our partner agencies."

Anyone with information should call 0161 856 8487. Details can be passed anonymously to the independent charity Crimestoppers on 0800 555 111.