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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.
La Joute (The Joust), a public sculptural installation executed by Jean-Paul Riopelle in 1969 was formerly located in the Parc Olympique. It was relocation to the Place Jean-Paul Riopelle in 2003 as part of the redevelopment of the Quartier international de Montréal, provoking protes5t from residents of Hochelaga-Maissonneuve, who claimed the work was deprived of the its context.
The ensemble of bronze sculptures contains a central fountain surrounded by a number of freestanding abstract animal and human figures inside and outside the fountain basin. The fountain operates on a kinetic sequence that takes about 32 minutes to complete and begins a few minutes before the half hour, every hour from 7 to 11 p.m. during the summer. The sequence starts when the fountain jet expands to form a dome over the sculptures. Then at the back end of the park the grates on the ground start to mist. The 12 grates each mist, one after the other in sequence, taking about 90 seconds to sequence from one to another until they reach the fountain. After about 18 minutes, machines inside the fountain start to produce a particularly dense cloud. The fountain jet then turns into a dribble. On the hour, nozzles in a ring surrounding the central sculpture within the basin shoot up jets of natural gas through the water; these are lit by flame sources installed in the daises of some of the sculptures, producing a dramatic ring of flame. The flame lasts for about seven minutes. The fountain itself stops. The misting stops, and then the fire is "doused" by the fountain which has restarted. The mist sequence, without the fire in the fountain, occurs every hour throughout the day.
Place Jean-Paul Riopelle, a public square built on an old exterior parking lot over the trench, a covered section of Autoroute Ville-Marie, was named in honor of Riopelle. The square features 88 trees in an "urban forest"--eleven different species from maple to hickory, all indigenous to the Montréal area.
Tigre Terrassant un Crocodile, half a companion sculptural group executed in 1869 by sculptor Auguste Cain and designer Jules Allard, depicts a tiger roaring as he stands over and claws a crocodile which is on its back. The other half, Tigress Portant un Paon a ses Petits, depicts a tigress with a dead peacock in her mouth, bringing it to her cubs who stand at her feet. The sculptural group made for the garden of The Elms, are copies intended for the Tuileries Gardens in Paris.
The Elms, located at 367 Bellevue Avenue, was completed in 1901 for the coal baron Edward Julius Berwind. The steel-framed, brick-partitioned, limestone facaded $1.5m estate was built to the design of Horace Trumbauer, modeled after the the Château d'Asnières in Asnieres, France. Consistent with the architectural theme, the ground of the Elms, among the best in Newport were designed in French eighteenth-century taste and include a sunken garden.
Edward Berwind, the son of German immigrants, and his family started spending their summers in Newport in the 1890s. By 1898, they had outgrown their small traditional beach cottage and built the Elms, which served as their summer house for the next 20 years. In 1922, when Berwind's wife, Sarah, died, he asked his youngest sister Julia to move in. When he died in 1936, he willed the house to Julia. Ironically, since Edward was a technophile in his day, The Elms was one the first homes in America wired for electrictiy with no form of backup system and included one of the first electrical ice makers. However, Julia didn't carry that same interest and ran the house as it had been in the Gilded Age until 1961, when upon her death, she willed it to a nephew. The family sold the property to a developer who wanted to demlish it, but in 1962, The Elms was purchased by the Preservation Society of Newport County. Since then, the house has been open to the public for tours.
National Register #71000021 (1971)
Webster Replying to Senator Hayne, the centerpiece painting in the Great Hall at Faneuil Hall, was executed by artist George Peter Alexander Healy from 1843-1850. The largest painting in the Hall's collection, it depicts Massachusetts Senator Daniel Webster debating with South Carolina Senator Robert Y. Hayne on preserving the Union when the country was on the brink of the Civil War.
Faneuil Hall, part of the Boston National Historical Park and a well-known stop along the Freedom Trail, has served as a marketplace and meeting hall since 1742. Known as the "Cradle of Liberty", it was the site of several important events of the American Revolution including James Otis' re-dedication address in 1763, Samuel Adams' impassioned plea following the Boston Massacre in 1970 that eventually led to the establishment of the Committee of Correspondence here in 1772, and the first meeting in protest of the imposed tea tax in 1773 that ultimately led to the Boston Tea Party.
The original Hall was built by artist John Smibert in 1740–1742 in the style of an English country market, with an open ground floor and an assembly room above. The 38-pound, 52-inch gilded grasshopper weathervane on top of the building was created by silversmith Shem Drowne in 1742 and was modeled on the grasshopper weathervane on the London Royal Exchange. Funded by a wealthy Boston merchant, Peter Faneuil, who died shortly after the building was completed. Almost destroyed by a fire in 1761, it was rebuilt with funds raised by the state lottery and re-opened in 1763.
By 1806, the city had outgrown the hall and Charles Bulfinch was commissioned to expand the building--doubling the height and width, while managing to keep intact the walls from the original structure. Four new bays were added, to make seven in all; a third floor was added; the open arcades were enclosed; and the cupola was centered and moved to the east end of the building. Bulfinch applied Doric brick pilasters to the lower two floors, with Ionic pilasters on the third floor. This renovation added galleries around the assembly hall and increased its height. The building was entirely rebuilt in 1898–1899, of noncombustible materials. The building underwent a major internal renovation during the 1970's.
Faneuil Hall is now part of the larger Faneuil Hall Marketplace, which includes three long granite buildings called North Market, Quincy Market, and South Market. Its success in the late 1970s led to the emergence of similar marketplaces in other U.S. cities. Inside the Hall are dozens of paintings of famous Americans, including the mural of Webster's Reply to Hayne and Gilbert Stuart's portrait of Washington at Dorchester Heights. The first floor operates as a market, while the second floor is taken up by the Great Hall, where Boston's town meetings were once held. The third floor houses the museum and armory of the Ancient and Honorable Artillery Company of Massachusetts. Founded in 1638, this is the oldest military company in the US, and considered the third oldest in the world.
In recent history, Faneuil Hall was the home to President John F. Kennedy's last campaign speech and Senator John Kerry's concession speech in the 2004 presidential election.
The Marketplace fronted by Miss Anne Whitney's Samuel Adams statue on Congress Street.
In 2007, Faneuil Hall Marketplace was ranked #64 on the AIA 150 America's Favorite Architecture list.
In 2008, Faneuil Hall was ranked #4 in America's 25 Most Visited Tourist Sites by Forbes Traveler.
National Historic Register #66000368
The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.
Building
Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688
Canaletto: View of Palais Liechtenstein
1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.
The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.
For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.
A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .
Sala terrene of the Palais
1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.
After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.
Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.
Garden
Liechtenstein Palace from the garden
The new summer palace of Henry of Ferstel from the garden
The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.
Use as a museum
Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.
From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .
On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.
de.wikipedia.org/wiki/Palais_Liechtenstein_(F%C3%BCrstengasse)
Stonybatter, Dublin
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.
(text from Heritage Ireland)
Performance by Joan Morey, ‘IL LINGUAGGIO DEL CORPO. Pròleg’
[THE LANGUAGE OF THE BODY: Prologue] 2015–2016. Reenactment executed by its most recent performers, members of the BAAL company, Catalina Carrasco and Gaspar Morey. Presented in the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 29 November 2018. Photo: Noemi Jariod. Courtesy the artist.
Each of the six programmed performance reenactments is extracted from its original context as studies or scenes from earlier projects and given independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.
Preparatory study of the project ‘THE LANGUAGE OF THE BODY’ (2015), in which the human body is considered as an ambiguous channel of communication. It is a tableau vivant that bridges Greco-Roman sculpture and minimalist dance, following dancer and choreographer Yvonne Rainer’s ‘No Manifesto’ (1965), a set of rules that pare down dance to its essential elements. A nude male dancer adopts adynamic, sinuous pose from classical statuary, described by the term ‘contrapposto’ [counterpoise], while adhering to the apparently incompatible decrees from ‘No Manifesto’, which requires embodying a “No to spectacle... No to style. No to camp”. At the same time, a female choreographer dressed in black repeatedly reads a transcription of a radio broadcast entitled The utopian body given in 1966 by the French philosopher Michel Foucault. Foucault notes that the ancient Greeks had no real word for body except to designate a corpse, and he draws on a first-person account of sensory experience to suggest that the body has its special “placeless places” that are even more potent than all the myths about trapped souls.
© Text by Latitudes
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
—> info: ajuntament.barcelona.cat/centredart/es/projectes/anterior...
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.
______________________________
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
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.
______________________________
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Police have today executed a number of warrants as part of an investigation into a disturbance in Oldham.
This morning (Wednesday 27 November 2019) officers visited 14 properties across Oldham and Crumpsall as well as a property in West Yorkshire.
Warrants were executed at Oldham and Crumpsall
13 men aged between 15 and 40 years of age were arrested on suspicion of violent disorder.
The action comes as part of Operation Woodville – a long-running investigation into serious public disorder occurring on Saturday 18 May 2019 in the Limeside area of Oldham.
As part of ongoing enquiries, police have released the images of (26) people that they want to speak to.
Chief Superintendent Neil Evans of GMP’s Territorial Commander with responsibility for Oldham said: “As the scale of this morning’s operation demonstrates, we continue to treat May’s disturbance with the upmost seriousness.
“We have been in liaison with the Crown Prosecution Service since the early stages of the investigation and a team of detectives has been working to identify those whose criminal behaviour resulted in the ugly scenes witnessed.
“Investigators have been working alongside key local partners as part of our extensive enquiries. Specialist detectives from our Major Investigations Team as well as local officers have been involved in hours of work assessing evidence and information received from the public.
“While we have made a number of arrests, our enquiries remain very much ongoing.
“In conjunction with this morning’s positive action, we have released a number of images of people who we want to speak to concerning their actions on 18 May 2019.
“As we have previously said, we understand and respect the right to peaceful protest and counter-protest. However we will not tolerate it when this crosses into criminal behaviour.
“Accordingly, we can and will respond when that line is crossed.
“It remains a line of enquiry that a number of those who were involved with the disorder had travelled to Oldham from outside Greater Manchester.
“As such, we are continuing to liaise with our partners in neighbouring forces.
“I’d like to take this opportunity to thank those who have already been in touch with officers.
“We must continue to work together as a community and support the justice process so that criminal behaviour is appropriately and proportionately challenged.”
Information can be left with police on 0161 856 6551 or the independent charity Crimestoppers, anonymously, on 0800 555 111.
The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.
Building
Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688
Canaletto: View of Palais Liechtenstein
1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.
The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.
For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.
A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .
Sala terrene of the Palais
1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.
After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.
Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.
Garden
Liechtenstein Palace from the garden
The new summer palace of Henry of Ferstel from the garden
The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.
Use as a museum
Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.
From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .
On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.
de.wikipedia.org/wiki/Palais_Liechtenstein_%28F%C3%BCrste...
369 weeks
lasted the occupation of Vienna by the National Socialist regime. During this time, more than 1,200 people who had been condemned by the lawless National Socialist judiciary to death were executed by guillotine in this House. The majority of them were women and men of the RESISTANCE.
369 Wochen
dauerte die Okkupation Wiens durch das nationalsozialistische Regime. Während dieser Zeit wurden mehr als 1200 Menschen, die von der NS-Unrechtsjustiz zum Tode verurteilt worden waren, in diesem Haus durch das Fallbeil hingerichtet. Ein Großteil von ihnen waren Frauen und Männer des WIDERSTANDES.
Vienna Regional Court for Criminal Matters
The Vienna Regional Court for Criminal Matters (colloquially referred to as "landl" (Landesgericht)) is one of 20 regional courts in Austria and the largest court in Austria. It is located in the 8th District of Vienna, Josefstadt, at the Landesgerichtsstraße 11. It is a court of first respectively second instance. A prisoners house, the prison Josefstadt, popularly often known as the "Grey House" is connected.
Court Organization
In this complex there are:
the Regional Court for Criminal Matters Vienna,
the Vienna District Attorney (current senior prosecutor Maria-Luise Nittel)
the Jurists association-trainee lawer union (Konzipientenverband) and
the largest in Austria existing court house jail, the Vienna Josefstadt prison.
The Regional Criminal Court has jurisdiction in the first instance for crimes and offenses that are not pertain before the district court. Depending on the severity of the crime, there is a different procedure. Either decides
a single judge,
a senate of lay assessors
or the jury court.
In the second instance, the District Court proceeds appeals and complaints against judgments of district courts. A three-judge Court decides here whether the judgment is canceled or not and, if necessary, it establishes a new sentence.
The current President Friedrich Forsthuber is supported by two Vice Presidents - Henriette Braitenberg-Zennenberg and Eve Brachtel.
In September 2012, the following data have been published
Austria's largest court
270 office days per year
daily 1500 people
70 judges, 130 employees in the offices
5300 proceedings (2011) for the custodial judges and legal protection magistrates, representing about 40 % of the total Austrian juridical load of work
over 7400 procedures at the trial judges (30 % of the total Austrian juridical load of work)
Prosecution with 93 prosecutors and 250 employees
19,000 cases against 37,000 offenders (2011 )
Josefstadt prison with 1,200 inmates (overcrowded)
History
1839-1918
The original building of the Vienna Court House, the so-called civil Schranne (corn market), was from 1440 to 1839 located at the Hoher Markt 5. In 1773 the Schrannenplatz was enlarged under Emperor Joseph II and the City Court and the Regional Court of the Viennese Magistrate in this house united. From this time it bore the designation "criminal court".
Due to shortcomings of the prison rooms in the Old Court on Hoher Markt was already at the beginning of the 19th Century talk of building a new crime courthouse, but this had to be postponed because of bankruptcy in 1811.
In 1816 the construction of the criminal court building was approved. Although in the first place there were voices against a construction outside the city, as building ground was chosen the area of the civil Schießstätte (shooting place) and the former St. Stephanus-Freithofes in then Alservorstadt (suburb); today, in this part Josefstadt. The plans of architect Johann Fischer were approved in 1831, and in 1832 was began with the construction, which was completed in 1839. On 14 May 1839 was held the first meeting of the Council.
Provincial Court at the Landesgerichtsstraße between November 1901 and 1906
Johann Fischer fell back in his plans to Tuscan early Renaissance palaces as the Pitti Palace or Palazzo Pandolfini in Florence. The building was erected on a 21,872 m² plot with a length of 223 meters. It had two respectively three floors (upper floors), the courtyard was divided into three wings, in which the prisoner's house stood. In addition, a special department for the prison hospital (Inquisitenspital ) and a chapel were built.
The Criminal Court of Vienna was from 1839 to 1850 a city court which is why the Vice Mayor of Vienna was president of the criminal courts in civil and criminal matters at the same time. In 1850 followed the abolition of municipal courts. The state administration took over the Criminal Court on 1 Juli 1850. From now on, it had the title "K.K. Country's criminal court in Vienna".
1851, juries were introduced. Those met in the large meeting hall, then as now, was on the second floor of the office wing. The room presented a double height space (two floors). 1890/1891 followed a horizontal subdivision. Initially, the building stood all alone there. Only with the 1858 in the wake of the demolition of the city walls started urban expansion it was surrounded by other buildings.
From 1870 to 1878, the Court experienced numerous conversions. Particular attention was paid to the tract that connects directly to the Alserstraße. On previously building ground a three-storey arrest tract and the Jury Court tract were built. New supervened the "Neutrakt", which presented a real extension and was built three respectively four storied. From 1873 on, executions were not executed publicly anymore but only in the prison house. The first execution took place on 16 December 1876 in the "Galgenhof" (gallow courtyard), the accused were hanged there on the Würgegalgen (choke gallow).
By 1900 the prisoners house was extended. In courtyard II of the prison house kitchen, laundry and workshop buildings and a bathing facility for the prisoners were created. 1906/1907 the office building was enlarged. The two-storied wing tract got a third and three-storied central section a fourth floor fitted.
1918-1938
In the early years of the First Republic took place changes of the court organization. Due to the poor economy and the rapid inflation, the number of cases and the number of inmates rose sharply. Therefore, it was in Vienna on 1 October 1920 established a second Provincial Court, the Regional Court of Criminal Matters II Vienna, as well as an Expositur of the prisoner house at Garnisongasse.
One of the most important trials of the interwar period was the shadow village-process (Schattendorfprozess - nomen est omen!), in which on 14th July 1927, the three defendants were acquitted. In January 1927 front fighters had shot into a meeting of the Social Democratic Party of Austria, killing two people. The outrage over the acquittal was great. At a mass demonstration in front of the Palace of Justice on 15th July 1927, which mainly took place in peaceful manner, invaded radical elements in the Palace of Justice and set fire ( Fire of the Palace Justice), after which the overstrained police preyed upon peaceful protesters fleeing from the scene and caused many deaths.
The 1933/1934 started corporate state dictatorship had led sensational processes against their opponents: examples are the National Socialists processes 1934 and the Socialists process in 1936 against 28 "illegal" socialists and two Communists, in which among others the later leaders Bruno Kreisky and Franz Jonas sat on the dock.
Also in 1934 in the wake of the February Fights and the July Coup a series of processes were carried out by summary courts and military courts. Several ended with death sentences that were carried out by hanging in "Galgenhof" of the district court .
1938-1945
The first measures the Nazis at the Regional Criminal Court after the "Anschluss" of Austria to the German Reich in 1938 had carried out, consisted of the erection of a monument to ten Nazis, during the processes of the events in July 1934 executed, and of the creation of an execution space (then space 47 C, today consecration space where 650 names of resistance fighters are shown) with a guillotine supplied from Berlin (then called device F, F (stands for Fallbeil) like guillotine).
During the period of National Socialism were in Vienna Regional Court of 6 December 1938 to 4th April 1945 1.184 persons executed. Of those, 537 were political death sentences against civilians, 67 beheadings of soldiers, 49 war-related offenses, 31 criminal cases. Among those executed were 93 women in all age groups, including a 16-year-old girl and a 72-year-old woman who had both been executed for political reasons.
On 30 June 1942 were beheaded ten railwaymen from Styria and Carinthia, who were active in the resistance. On 31 July 1943, 31 people were beheaded in an hour, a day later, 30. The bodies were later handed over to the Institute of Anatomy at the University of Vienna and remaining body parts buried later without a stir at Vienna's Central Cemetery in shaft graves. To thein the Nazi era executed, which were called "Justifizierte" , belonged the nun Maria Restituta Kafka and the theology student Hannsgeorg Heintschel-Heinegg.
The court at that time was directly subordinated to the Ministry of Justice in Berlin.
1945-present
The A-tract (Inquisitentrakt), which was destroyed during a bombing raid in 1944 was built in the Second Republic again. This was also necessary because of the prohibition law of 8 May 1945 and the Criminal Law of 26 June 1945 courts and prisons had to fight with an overcrowding of unprecedented proportions.
On 24 March 1950, the last execution took place in the Grey House. Women murderer Johann Trnka had two women attacked in his home and brutally murdered, he had to bow before this punishment. On 1 July 1950 the death penalty was abolished in the ordinary procedure by Parliament. Overall, occured in the Regionl Court of Criminal Matters 1248 executions. In 1967, the execution site was converted into a memorial.
In the early 1980s, the building complex was revitalized and expanded. The building in the Florianigasse 8, which previously had been renovated, served during this time as an emergency shelter for some of the departments. In 1994, the last reconstruction, actually the annex of the courtroom tract, was completed. In 2003, the Vienna Juvenile Court was dissolved as an independent court, iIts agendas were integrated in the country's criminal court.
Prominent processes since 1945, for example, the Krauland process in which a ÖVP (Österreichische Volkspartei - Austrian People's Party) minister was accused of offenses against properties, the affair of the former SPÖ (Sozialistische Partei Österreichs - Austrian Socialist Party) Minister and Trade Unions president Franz Olah, whose unauthorized financial assistance resulted in a newspaper establishment led to conviction, the murder affairs Sassak and the of the Lainzer nurses (as a matter of fact, auxiliary nurses), the consumption (Konsum - consumer cooporatives) process, concerning the responsibility of the consumer Manager for the bankruptcy of the company, the Lucona proceedings against Udo Proksch, a politically and socially very well- networked man, who was involved in an attempted insurance fraud, several people losing their lives, the trial of the Nazi Holocaust denier David Irving for Wiederbetätigung (re-engagement in National Socialist activities) and the BAWAG affair in which it comes to breaches of duty by bank managers and vanished money.
Presidents of the Regional Court for Criminal Matters in Vienna since 1839 [edit ]
Josef Hollan (1839-1844)
Florian Philipp (1844-1849)
Eduard Ritter von Wittek (1850-1859)
Franz Ritter von Scharschmied (1859-1864)
Franz Ritter von Boschan (1864-1872)
Franz Josef Babitsch (1873-1874)
Joseph Ritter von Weitenhiller (1874-1881)
Franz Schwaiger (1881-1889)
Eduard Graf Lamezan -Salins (1889-1895)
Julius von Soos (1895-1903)
Paul von Vittorelli (1903-1909)
Johann Feigl (1909-1918)
Karl Heidt (1918-1919)
Ludwig Altmann (1920-1929)
Emil Tursky (1929-1936)
Philipp Charwath (1936-1938)
Otto Nahrhaft (1945-1950)
Rudolf Naumann (1951-1954)
Wilhelm Malaniu (1955-1963)
Johann Schuster (1963-1971)
Konrad Wymetal (1972-1976)
August Matouschek (1977-1989)
Günter Woratsch (1990-2004)
Ulrike Psenner (2004-2009)
Friedrich Forsthuber (since 2010)
de.wikipedia.org/wiki/Landesgericht_f%C3%BCr_Strafsachen_...
Llywelyn ap Gruffydd Fychan of Caeo (c. 1341–1401) was a wealthy Carmarthenshire landowner who was executed in Llandovery by Henry IV of England in punishment for his support of Owain Glyndŵr's Welsh rebellion.
Until recently Llewelyn was little known even in his home area, but has become celebrated as a "Welsh Braveheart" after a campaign to construct a monument to him in Llandovery.
The main source for Llewelyn's life is Adam of Usk, who mentions him in his Chronicle as a "bountiful" member of the Carmarthenshire gentry who used "fifteen pipes of wine" yearly in his household (implying he was both wealthy and a generous host). He continues by stating that as a result of Llewelyn's support for the rebellion, Henry had him drawn, hung, eviscerated, beheaded and quartered before the gate of Llandovery castle on October 9, 1401 "in the presence of his eldest son" (it is slightly unclear whether Adam is referring to Henry's son or Llewelyn's son at this point). After his death his lands were granted to one of Henry's supporters, Gruffydd ap Rhys.
A more detailed version of the story suggests that Llewelyn was specifically charged with having deliberately led the English forces the wrong way while pretending to guide them to Glyndŵr. Adam, however, states only that Llewelyn "willingly preferred death to treachery". Llewelyn is also thought to have had two sons fighting in Glyndŵr's forces.
While Llewelyn undoubtedly existed, concrete details of his life are scant (it has been stated that all that is known of him is "his name, his politics and his alcohol consumption"). However, his name and ancestry may be recorded in later genealogies. His father Gruffydd Fychan (described as "lord of Caeo and Cilycwm") was recorded as holding the constableship of Caeo in 1359 for the sum of £8 per annum; Gruffydd's wife (and therefore Llewelyn's mother) was said to have been Jonnett, daughter of Gruffydd ap Llewelyn Foethus of Dryslwyn Castle.
Lewys Dwnn's Heraldic Visitations, a 16th-century genealogical record of Welsh landowning families, identifies Llewelyn's wife as Sioned, daughter of one of the Scudamores of Kentchurch, and lists his sons as Gwilym (of Llangadog) and Morgan. As one of the Scudamores married Glyndŵr's daughter Alys, this suggests significant family links between Llewelyn ap Gruffydd Fychan and Glyndŵr. Dwnn claims that Llewelyn's son Morgan became the Abbot of Strata Florida later in his life, "and was a man held in great respect".
Dwnn also notes Llewelyn's grandsons "Llywelyn, Tomas [and] Morgan meibion [sons of] Gwilim ap Llewelyn ap Gruffydd vachan ap Dafydd vongam ap David ap Meurig goch" as holding Mallaen in the parish of Caeo, and traces the family back to Selyf, King of Dyfed through the lords of Caeo and Cilycwm. Llewelyn's (probable) grandson, Llewelyn ap Gwilym ap Llewelyn, was said by Edward Lhuyd to have lived at the mansion of Neuadd Fawr at Cilycwm, where his "motto over his door was Gresso pan dhelech, a chennad pan vynnech, a phan dhelech tra vynnecli trig"
A campaign was started in 1998 in Llandovery to construct a monument to Llewelyn; financial support came both from the community and the Arts Council of Wales. After an exhibition of proposed designs in 2000, a public vote chose a submission by Toby and Gideon Petersen of St Clears.
The 16-foot-tall (4.9 m) stainless steel statue, a figure with an empty helmet, cloak and armour stands on a base of stone brought from Caeo. Petersen described the statue as representing a "brave nobody", with the empty helmet and armour representing both the universal nature of Llewelyn's actions and the violence of his death.
Llandovery is a market town and community in Carmarthenshire, Wales. It lies on the River Tywi and at the junction of the A40 and A483 roads, about 25 miles (40 km) north-east of Carmarthen, 27 miles (43 km) north of Swansea and 21 miles (34 km) west of Brecon.
The name of the town derives from Llan ymlith y dyfroedd, meaning "church enclosure amid the waters", i. e. between the Tywi and the Afon Brân just upstream of their confluence. A smaller watercourse, the Bawddwr, runs through and under the town.
The Roman fort at Llanfair Hill to the north-east of the modern town was known to the Romans as Alabum. It was built around AD 50–60 as part of a strategy for the conquest of Wales. A Roman road heads across Mynydd Bach Trecastell to the south-east of Llandovery bound for the fort of Brecon Gaer. Another heads down the Towy valley for Carmarthen, whilst a third makes for the goldmines at Dolaucothi.
Attractions in the town include the remains of the Norman Llandovery Castle, built in 1110. It was almost immediately captured by the Welsh and changed hands between them and the Normans until the reign of King Edward I of England in the late 13th century. The castle was used by King Henry IV while on a sortie into Wales, when he executed Llywelyn ap Gruffydd Fychan in the market place. It was later attacked by the forces of Owain Glyndŵr in 1403.
A 16-foot-high (4.9 m) stainless-steel statue to Llywelyn ap Gruffydd Fychan was unveiled in 2001 on the north side of Llandovery Castle, overlooking the place of his execution 600 years earlier. He had led the army of King Henry IV on a "wild goose chase", under the pretence of leading them to a secret rebel camp and an ambush of Glyndŵr's forces. King Henry lost patience with him, exposed the charade and had him half hanged, disembowelled in front of his own eyes, beheaded and quartered – the quarters salted and dispatched to other Welsh towns for public display.
The design of the statue, by Toby and Gideon Petersen, was chosen after a national competition. It was funded by the National Lottery and the Arts Council of Wales.
According to folklore, the Physicians of Myddfai practised in the area in the 13th century.
The Bank of the Black Ox, one of the first Welsh banks, was established by a wealthy cattle drover. The original bank building was part of the King's Head Inn. It later became part of Lloyds Bank.
The population in 1841 was 1,709.
The town has a theatre (Llandovery Theatre), a heritage centre, a private school (Llandovery College) and a tourist information and heritage centre, which houses exhibitions on the Tonn Press, the area's droving history, and the 19th-century geologist Sir Roderick Impey Murchison, whose work here resulted in the name "Llandovery" being given to rocks of a certain age across the world. The Llandovery epoch is the earliest in the Silurian period of geological time.
In the small central market place stands Llandovery Town Hall (1857–1858) by the architect Richard Kyke Penson. This was designed in the Italianate style with a courtroom over an open market. Behind are police cells with iron grilles; entry to the old courtroom (now a library) is via a door on the ground floor of the tower.
The 12th-century Grade I listed St Mary's Church in the north of the town is among the largest medieval churches in Carmarthenshire.
The Memorial Chapel in Stryd y Bont was built as a memorial to the hymnist William Williams Pantycelyn.
The town's comprehensive school, Ysgol Pantycelyn, with about 300 pupils, was closed on 31 August 2013 and merged with Ysgol Tre-Gib in Ffairfach to form Ysgol Bro Dinefwr.
The town has an independent day and boarding school, Llandovery College.
Llandovery has a leading Welsh Premiership rugby union team, Llandovery RFC, nicknamed The Drovers, active as such since at least 1877 and a founder member of the Welsh Rugby Union. It has successful junior and youth sections. A number of former players have gone on to represent Wales (and some other nations) in international rugby. Home games are played at its ground in Church Bank.
Llandovery Junior Football Club has a membership of over 70 from Llandovery and its surrounding area. It provides coaching and competitive scope for all aged 6 to 16 years. The club currently has an Under 14 team in the Carmarthenshire Junior League, and Under 11 and Under 8 teams playing in the Carmarthen Mini Football League.
A Llandovery Golf Club, founded in 1910, survived until the onset of the Second World War. Golfing now takes place on the Llandovery College 9-hole course.
An electoral ward of the same name exists. This covers Llandovery and stretches to the north. The total ward population taken at the 2011 Census was 2,689. The community is bordered by those of Llanfair-ar-y-bryn, Myddfai, Llanwrda, and Cilycwm, all being in Carmarthenshire. As of May 2019, the mayor of Llandovery is Councillor Louise Wride.
Llandovery is twinned with Pluguffan in Brittany, France.
Llandovery stands at the junction of the main A40 and A483 roads.
Llandovery railway station is on the Heart of Wales line, with services in the direction of Swansea and of Shrewsbury.
Notable residents
Twm Siôn Cati (16th c.), figure in Welsh folklore, sometimes as an outlaw and a thief
Rhys Prichard (1579–1644), Welsh-language poet (Cannwyll y Cymry – The Welshman's Candle) and Anglican Vicar of Llandovery
William Williams Pantycelyn (1717–1791), highly regarded hymnist and prose writer associated with the Welsh Methodist revival
Josiah Rees (1744–1804), Welsh Unitarian minister, schoolmaster and writer
David Jones (1765–1816), Welsh barrister known as "the Welsh Freeholder"; came from Bwlchygwynt
William Hallowes Miller FRS (1801–1880), Welsh mineralogist, helped found modern crystallography; born at Velindre
Rice Rees (1804–1839), Anglican priest, fellow of Jesus College, Oxford, lecturer at St David's College, Lampeter and Chaplain to the Bishop of St Davids
William Saunders (1806–1851), Welsh-language poet, writer and printer
David Jones (1810–1869), banker and Carmarthenshire Conservative MP
John Jones (1812–1886), banker and Carmarthenshire Conservative MP
Major Sir David Hughes-Morgan (1871–1941), solicitor and landowner
Sport
Aneurin Rees (1858–1932), solicitor, Town Clerk of Merthyr Tydfil, rugby union player for Wales and golfer
Edward John Lewis (1859–1925), physician and rugby union player for Wales
Conway Rees (1870–1932), rugby union player for Wales, and schoolmaster in England and India
Carwyn Davies (1964–1997), farmer and rugby union player for Wales
Emyr Phillips (born 1987), rugby union player for Wales
Wyn Jones (born 1992), rugby union player for Wales
The Dolaucothi Gold Mines are located 10 miles (16 km) away near Pumpsaint on the A482. The road follows an original Roman road to Llanio fort.
Llandovery lies just north of Brecon Beacons National Park and Fforest Fawr Geopark, whose geological heritage is celebrated. These designated landscapes are centred on Bannau Sir Gâr or the Carmarthen Fans, themselves part of the Black Mountain extending north towards the town, as Mynydd Myddfai and Mynydd Bach Trecastell. The village of Myddfai lies within the National Park, 4 miles (6 km) to the south-east of Llandovery.
The Llyn Brianne dam is 11 miles (18 km) to the north is in rugged countryside above Rhandirmwyn. The route to the dam also passes Twm Siôn Cati's Cave at the RSPB's Dinas reserve.
Carmarthenshire is a county in the south-west of Wales. The three largest towns are Llanelli, Carmarthen and Ammanford. Carmarthen is the county town and administrative centre. The county is known as the "Garden of Wales" and is also home to the National Botanic Garden of Wales.
Carmarthenshire has been inhabited since prehistoric times. The county town was founded by the Romans, and the region was part of the Kingdom of Deheubarth in the High Middle Ages. After invasion by the Normans in the 12th and 13th centuries it was subjugated, along with other parts of Wales, by Edward I of England. There was further unrest in the early 15th century, when the Welsh rebelled under Owain Glyndŵr, and during the English Civil War.
Carmarthenshire is mainly an agricultural county, apart from the southeastern part which was once heavily industrialised with coal mining, steel-making and tin-plating. In the north of the county, the woollen industry was very important in the 18th century. The economy depends on agriculture, forestry, fishing and tourism. West Wales was identified in 2014 as the worst-performing region in the United Kingdom along with the South Wales Valleys with the decline in its industrial base, and the low profitability of the livestock sector.
Carmarthenshire, as a tourist destination, offers a wide range of outdoor activities. Much of the coast is fairly flat; it includes the Millennium Coastal Park, which extends for ten miles to the west of Llanelli; the National Wetlands Centre; a championship golf course; and the harbours of Burry Port and Pembrey. The sandy beaches at Llansteffan and Pendine are further west. Carmarthenshire has a number of medieval castles, hillforts and standing stones. The Dylan Thomas Boathouse is at Laugharne.
Stone tools found in Coygan Cave, near Laugharne indicate the presence of hominins, probably neanderthals, at least 40,000 years ago, though, as in the rest of the British Isles, continuous habitation by modern humans is not known before the end of the Younger Dryas, around 11,500 years BP. Before the Romans arrived in Britain, the land now forming the county of Carmarthenshire was part of the kingdom of the Demetae who gave their name to the county of Dyfed; it contained one of their chief settlements, Moridunum, now known as Carmarthen. The Romans established two forts in South Wales, one at Caerwent to control the southeast of the country, and one at Carmarthen to control the southwest. The fort at Carmarthen dates from around 75 AD, and there is a Roman amphitheatre nearby, so this probably makes Carmarthen the oldest continually occupied town in Wales.
Carmarthenshire has its early roots in the region formerly known as Ystrad Tywi ("Vale of [the river] Tywi") and part of the Kingdom of Deheubarth during the High Middle Ages, with the court at Dinefwr. After the Normans had subjugated England they tried to subdue Wales. Carmarthenshire was disputed between the Normans and the Welsh lords and many of the castles built around this time, first of wood and then stone, changed hands several times. Following the Conquest of Wales by Edward I, the region was reorganized by the Statute of Rhuddlan in 1284 into Carmarthenshire. Edward I made Carmarthen the capital of this new county, establishing his courts of chancery and his exchequer there, and holding the Court of Great Sessions in Wales in the town.
The Normans transformed Carmarthen into an international trading port, the only staple port in Wales. Merchants imported food and French wines and exported wool, pelts, leather, lead and tin. In the late medieval period the county's fortunes varied, as good and bad harvests occurred, increased taxes were levied by England, there were episodes of plague, and recruitment for wars removed the young men. Carmarthen was particularly susceptible to plague as it was brought in by flea-infested rats on board ships from southern France.
In 1405, Owain Glyndŵr captured Carmarthen Castle and several other strongholds in the neighbourhood. However, when his support dwindled, the principal men of the county returned their allegiance to King Henry V. During the English Civil War, Parliamentary forces under Colonel Roland Laugharne besieged and captured Carmarthen Castle but later abandoned the cause, and joined the Royalists. In 1648, Carmarthen Castle was recaptured by the Parliamentarians, and Oliver Cromwell ordered it to be slighted.
The first industrial canal in Wales was built in 1768 to convey coal from the Gwendraeth Valley to the coast, and the following year, the earliest tramroad bridge was on the tramroad built alongside the canal. During the Napoleonic Wars (1799–1815) there was increased demand for coal, iron and agricultural goods, and the county prospered. The landscape changed as much woodland was cleared to make way for more food production, and mills, power stations, mines and factories sprang up between Llanelli and Pembrey. Carmarthenshire was at the centre of the Rebecca Riots around 1840, when local farmers and agricultural workers dressed as women and rebelled against higher taxes and tolls.
On 1 April 1974, under the Local Government Act 1972, Carmarthenshire joined Cardiganshire and Pembrokeshire in the new county of Dyfed; Carmarthenshire was divided into three districts: Carmarthen, Llanelli and Dinefwr. Twenty-two years later this amalgamation was reversed when, under the Local Government (Wales) Act 1994, the original county boundaries were reinstated.
The county is bounded to the north by Ceredigion, to the east by Powys (historic county Brecknockshire), Neath Port Talbot (historic county Glamorgan) and Swansea (also Glamorgan), to the south by the Bristol Channel and to the west by Pembrokeshire. Much of the county is upland and hilly. The Black Mountain range dominates the east of the county, with the lower foothills of the Cambrian Mountains to the north across the valley of the River Towy. The south coast contains many fishing villages and sandy beaches. The highest point (county top) is the minor summit of Fan Foel, height 781 metres (2,562 ft), which is a subsidiary top of the higher mountain of Fan Brycheiniog, height 802.5 metres (2,633 ft) (the higher summit, as its name suggests, is actually across the border in Brecknockshire/Powys). Carmarthenshire is the largest historic county by area in Wales.
The county is drained by several important rivers which flow southwards into the Bristol Channel, especially the River Towy, and its several tributaries, such as the River Cothi. The Towy is the longest river flowing entirely within Wales. Other rivers include the Loughor (which forms the eastern boundary with Glamorgan), the River Gwendraeth and the River Taf. The River Teifi forms much of the border between Carmarthenshire and Ceredigion, and there are a number of towns in the Teifi Valley which have communities living on either side of the river and hence in different counties. Carmarthenshire has a long coastline which is deeply cut by the estuaries of the Loughor in the east and the Gwendraeth, Tywi and Taf, which enter the sea on the east side of Carmarthen Bay. The coastline includes notable beaches such as Pendine Sands and Cefn Sidan sands, and large areas of foreshore are uncovered at low tide along the Loughor and Towy estuaries.
The principal towns in the county are Ammanford, Burry Port, Carmarthen, Kidwelly, Llanelli, Llandeilo, Newcastle Emlyn, Llandovery, St Clears, and Whitland. The principal industries are agriculture, forestry, fishing and tourism. Although Llanelli is by far the largest town in the county, the county town remains Carmarthen, mainly due to its central location.
Carmarthenshire is predominantly an agricultural county, with only the southeastern area having any significant amount of industry. The best agricultural land is in the broad Tywi Valley, especially its lower reaches. With its fertile land and agricultural produce, Carmarthenshire is known as the "Garden of Wales". The lowest bridge over the river is at Carmarthen, and the Towi Estuary cuts the southwesterly part of the county, including Llansteffan and Laugharne, off from the more urban southeastern region. This area is also bypassed by the main communication routes into Pembrokeshire. A passenger ferry service used to connect Ferryside with Llansteffan until the early part of the twentieth century.
Agriculture and forestry are the main sources of income over most of the county of Carmarthenshire. On improved pastures, dairying is important and in the past, the presence of the railway enabled milk to be transported to the urban areas of England. The creamery at Whitland is now closed but milk processing still takes place at Newcastle Emlyn where mozzarella cheese is made. On upland pastures and marginal land, livestock rearing of cattle and sheep is the main agricultural activity. The estuaries of the Loughor and Towy provide pickings for the cockle industry.
Llanelli, Ammanford and the upper parts of the Gwendraeth Valley are situated on the South Wales Coalfield. The opencast mining activities in this region have now ceased but the old mining settlements with terraced housing remain, often centred on their nonconformist chapels. Kidwelly had a tin-plating industry in the eighteenth century, with Llanelli following not long after, so that by the end of the nineteenth century, Llanelli was the world-centre of the industry. There is little trace of these industrial activities today. Llanelli and Burry Port served at one time for the export of coal, but trade declined, as it did from the ports of Kidwelly and Carmarthen as their estuaries silted up. Country towns in the more agricultural part of the county still hold regular markets where livestock is traded.
In the north of the county, in and around the Teifi Valley, there was a thriving woollen industry in the nineteenth and early twentieth centuries. Here water-power provided the energy to drive the looms and other machinery at the mills. The village of Dre-fach Felindre at one time contained twenty-four mills and was known as the "Huddersfield of Wales". The demand for woollen cloth declined in the twentieth century and so did the industry.
In 2014, West Wales was identified as the worst-performing region in the United Kingdom along with the South Wales Valleys. The gross value added economic indicator showed a figure of £14,763 per head in these regions, as compared with a GVA of £22,986 for Cardiff and the Vale of Glamorgan. The Welsh Assembly Government is aware of this, and helped by government initiatives and local actions, opportunities for farmers to diversify have emerged. These include farm tourism, rural crafts, specialist food shops, farmers' markets and added-value food products.
Carmarthenshire County Council produced a fifteen-year plan that highlighted six projects which it hoped would create five thousand new jobs. The sectors involved would be in the "creative industries, tourism, agri-food, advanced manufacturing, energy and environment, and financial and professional services".
Carmarthenshire became an administrative county with a county council taking over functions from the Quarter Sessions under the Local Government Act 1888. Under the Local Government Act 1972, the administrative county of Carmarthenshire was abolished on 1 April 1974 and the area of Carmarthenshire became three districts within the new county of Dyfed : Carmarthen, Dinefwr and Llanelli. Under the Local Government (Wales) Act 1994, Dyfed was abolished on 1 April 1996 and Carmarthenshire was re-established as a county. The three districts united to form a unitary authority which had the same boundaries as the traditional county of Carmarthenshire. In 2003, the Clynderwen community council area was transferred to the administrative county of Pembrokeshire.
Prior to the Industrial Revolution, Carmarthen and Wrexham were the two most populous towns in Wales. In 1931, the county's population was 171,445 and in 1951, 164,800. At the census in 2011, Carmarthenshire had a population of 183,777. Population levels have thus dipped and then increased again over the course of eighty years. The population density in Carmarthenshire is 0.8 persons per hectare compared to 1.5 per hectare in Wales as a whole.
Carmarthenshire was the most populous of the five historic counties of Wales to remain majority Welsh-speaking throughout the 20th century. According to the 1911 Census, 84.9 per cent of the county's population were Welsh-speaking (compared with 43.5 per cent in all of Wales), with 20.5 per cent of Carmarthenshire's overall population being monolingual Welsh-speakers.
In 1931, 82.3 per cent could speak Welsh and in 1951, 75.2 per cent. By the 2001 census, 50.3 per cent of people living in Carmarthenshire could speak Welsh, with 39 per cent being able to read and write the language as well.
The 2011 census showed a further decline, with 43.9 per cent speaking Welsh, making it a minority language in the county for the first time. However, the 2011 census also showed that 3,000 more people could understand spoken Welsh than in 2001 and that 60% of 5-14-year-olds could speak Welsh (a 5% increase since 2001). A decade later, the 2021 census, showed further decrease, to 39.9% Welsh speakers -- the largest percentage drop in all of Wales.
With its strategic location and history, the county is rich in archaeological remains such as forts, earthworks and standing stones. Carn Goch is one of the most impressive Iron Age forts and stands on a hilltop near Llandeilo. The Bronze Age is represented by chambered cairns and standing stones on Mynydd Llangyndeyrn, near Llangyndeyrn. Castles that can be easily accessed include Carreg Cennen, Dinefwr, Kidwelly, Laugharne, Llansteffan and Newcastle Emlyn Castle. There are the ruinous remains of Talley Abbey, and the coastal village of Laugharne is for ever associated with Dylan Thomas. Stately homes in the county include Aberglasney House and Gardens, Golden Grove and Newton House.
There are plenty of opportunities in the county for hiking, observing wildlife and admiring the scenery. These include Brechfa Forest, the Pembrey Country Park, the Millennium Coastal Park at Llanelli, the WWT Llanelli Wetlands Centre and the Carmel National Nature Reserve. There are large stretches of golden sands and the Wales Coast Path now provides a continuous walking route around the whole of Wales.
The National Botanic Garden of Wales displays plants from Wales and from all around the world, and the Carmarthenshire County Museum, the National Wool Museum, the Parc Howard Museum, the Pendine Museum of Speed and the West Wales Museum of Childhood all provide opportunities to delve into the past. Dylan Thomas Boathouse where the author wrote many of his works can be visited, as can the Roman-worked Dolaucothi Gold Mines.
Activities available in the county include rambling, cycling, fishing, kayaking, canoeing, sailing, horse riding, caving, abseiling and coasteering.[7] Carmarthen Town A.F.C. plays in the Cymru Premier. They won the Welsh Football League Cup in the 1995–96 season, and since then have won the Welsh Cup once and the Welsh League Cup twice. Llanelli Town A.F.C. play in the Welsh Football League Division Two. The club won the Welsh premier league and Loosemores challenge cup in 2008 and won the Welsh Cup in 2011, but after experiencing financial difficulties, were wound up and reformed under the present title in 2013. Scarlets is the regional professional rugby union team that plays in the Pro14, they play their home matches at their ground, Parc y Scarlets. Honours include winning the 2003/04 and 2016/17 Pro12. Llanelli RFC is a semi-professional rugby union team that play in the Welsh Premier Division, also playing home matches at Parc y Scarlets. Among many honours, they have been WRU Challenge Cup winners on fourteen occasions and frequently taken part in the Heineken Cup. West Wales Raiders, based in Llanelli, represent the county in Rugby league.
Some sporting venues utilise disused industrial sites. Ffos Las racecourse was built on the site of an open cast coal mine after mining operations ceased. Opened in 2009, it was the first racecourse built in the United Kingdom for eighty years and has regular race-days. Machynys is a championship golf course opened in 2005 and built as part of the Llanelli Waterside regeneration plan. Pembrey Circuit is a motor racing circuit near Pembrey village, considered the home of Welsh motorsport, providing racing for cars, motorcycles, karts and trucks. It was opened in 1989 on a former airfield, is popular for testing and has hosted many events including the British Touring Car Championship twice. The 2018 Tour of Britain cycling race started at Pembrey on 2 September 2018.
Carmarthenshire is served by the main line railway service operated by Transport for Wales Rail which links London Paddington, Cardiff Central and Swansea to southwest Wales. The main hub is Carmarthen railway station where some services from the east terminate. The line continues westwards with several branches which serve Pembroke Dock, Milford Haven and Fishguard Harbour (for the ferry to Rosslare Europort and connecting trains to Dublin Connolly). The Heart of Wales Line takes a scenic route through mid-Wales and links Llanelli with Craven Arms, from where passengers can travel on the Welsh Marches Line to Shrewsbury.
Two heritage railways, the Gwili Railway and the Teifi Valley Railway, use the track of the Carmarthen and Cardigan Railway that at one time ran from Carmarthen to Newcastle Emlyn, but did not reach Cardigan.
The A40, A48, A484 and A485 converge on Carmarthen. The M4 route that links South Wales with London, terminates at junction 49, the Pont Abraham services, to continue northwest as the dual carriageway A48, and to finish with its junction with the A40 in Carmarthen.
Llanelli is linked to M4 junction 48 by the A4138. The A40 links Carmarthen to Llandeilo, Llandovery and Brecon to the east, and with St Clears, Whitland and Haverfordwest to the west. The A484 links Llanelli with Carmarthen by a coastal route and continues northwards to Cardigan, and via the A486 and A487 to Aberystwyth, and the A485 links Carmarthen to Lampeter.
Bus services run between the main towns within the county and are operated by First Cymru under their "Western Welsh" or "Cymru Clipper" livery. Bus services from Carmarthenshire are also run to Cardiff. A bus service known as "fflecsi Bwcabus" (formerly just "Bwcabus") operates in the north of the county, offering customised transport to rural dwellers.
Carmarthenshire has rich, fertile farmland and a productive coast with estuaries providing a range of foods that motivate many home cooks and chefs.
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.
Palo Alto Concours d'Elegance held June 24, 2012 at Stanford University.
Gatto from The House of Moal
Even within the rarified coachwork ethic, it takes more than hand, eye, template and tool to create a unique motoring conveyance like this superbly-executed and technologically-advanced high performance coupe. First, there is a translation from passion -- a passion for the automotive arts borne not only of familiarity with elevated driving experiences, but also of a personal fondness for the special forms and sculpted shapes that have imparted timeless notions of speed. Motifs that have for more than a half century signified heritage, tradition, enduring affect. Qualities attached to great automotive marques. Ferrari, Maserati. Porsche. Mercedes-Benz. Alfa Romeo. Duesenberg. Packard. Chrysler.
It is no coincidence, either, that the lineage of many of these automobiles is inseparable from the coachwork tradition, wherin a combine of like-minded craftsmen within early carrozzeria ("carriage works" in the Italian) orchestrated a process of assemblage--chassis, body, engine and driveline, wheels, upholstery, intrumentation and appointments-that would culminate in the final production: a unique motor car built to harness the dreams of owner and builder alike. Again, these houses bear legendary names of their masters: Brianza, Pinin Farina, Touring, Zagato, Viotti. That valued heritage continues today in the Oakland, California, shops of Moal Coachbuilders.
To create this remarkable vehicle, coachworks master Steve Moal and owner Bill Grimsley have engaged many of the same processes that guided the carrozzeria masters of the early 20th Century. Grimsley, a retired investment manager, knew he wanted a distinct vehicle that would amalgamate a number of ideas regarding form and function, convenience, performance and efficiency.
An experienced collector, amateur sports car racer and long-time motorsports aficionado, he knew he would like to own and drive a distinctive vehicle that was highly responsive (stiff and with the handling characteristics of a thoroughbred race car), light and lithe (like a Lotus), one that would incorporate front-mounted power and driveline from an iconic engine that bespeaks not only a special aesthetic--but stands at the ready to deliver vigourous horsepower (the Ferrari 250 GTO motor--one long-associated with the Ferrari Testa Rossa sports racer). The vehicle would have to have amenities that in his experience were missing in more traditional sports models: air conditioning, comfortable seating, a fail-safe cooling system, bold, easy-to-read instumentation, a sure and equitably-matched manual transmission--and the most effective braking system available today. This would be no lawn-locked show car, but a ready-to-rumble backcountry sprinter.
He would also seek the rare unification of design simplicity with functional accoutrements. Unique door handles, cabin and engine compartment vents, filler cap, grille, wheels, body accents. This would be a cumulative challenge that would broach no afterthoughts, add-ons or post-construction modifications.
Ever-present during the evolutionary phases of this coupe's three-year construction, Grimsley remains in awe of the Moal artisans and craftsmen who've created and assembled the vehicle. Everything from the smallest components like door hinges to the Borrani wheels to the substantial chassis itself. He pays tribute to this team for their creative and attentive workmanship, lavishing particular praise on Moal metalsmith Jimmy Kilroy, who so adroitly fashioned the aluminum bodywork as well as many of the exterior metal touches--the Mercedes-like fender vents, the exquisite circular grille, so reminiscent of early Maserati Grand Prix racers, the subtle fender creases that again impart a sense of motion and balance, the graceful, integrated topside cabin vents nestled ingeniously in the small rooftop bubble crevice.
His only lament is that when the car is finished much of the team's exquisitely-crafted handiwork will be hidden 'neath body, cabin and motor compartments.
SPECS
Chassis: Semi-monocoque with riveted and glued stressed panels
Engine: Ferrari 250 GTO Spec
Horspower: 300 @ 7800 RPM
Transmission: Tremec 5 speed
Weight: 2300 lbs
Wheels: Borrani wire
Tires: Michelin 6.00 x 16
Upholstery: Custom tubular seat frames covered in leather
Wheelbase: 96"
Front track: 58"
Rear track: 571/2"
Fuel Capacity: 15 Gallons
The Panorama of the City of New York:
Scale model commissioned by Robert Moses for the 1964 World's Fair.
Designed and executed by Raymond Lester Associates.
Sporadically updated since.
"9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures."
"The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City."
"Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date. In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure."
www.queensmuseum.org/exhibitions/visitpanorama
www.queensmuseum.org/visi/donate/adopt-a-building
www.nytimes.com/2007/02/02/arts/design/02pano.html
www.flickr.com/groups/1025012@N21/
Red Lines Housing Crisis Learning Center:
2009 exhibition by Damon Rich of the Center for Urban Pedagogy, hosted by the Queens Museum of Art
Larissa Harris, Commissioning curator; Project Coordinator for Queens Museum Installation: Rana Amirtahmasebi
Museum Director: Tom Finkelpearl
"The Neighborhood Economic Development Advocacy Project collected the foreclosure information. . . . The Regional Plan Association, an independent planning group, then crunched the numbers using the Geographic Information System — a mapping program — to create maps of every inch of the city indicating where there had been foreclosures of single- to four-family homes in 2008."
"Red Lines Housing Crisis Learning Center is funded by grants from The Andy Warhol Foundation for the Visual Arts and Artists & Communities, a program of Mid Atlantic Arts Foundation, which is made possible by major funding from Johnson & Johnson, the New Jersey State Council on the Arts, and the JPMorgan Chase Foundation. A publication funded by The Graham Foundation for Advanced Studies in the Fine Arts will be available during the exhibition. Additional support provided by the New York City Department of Cultural Affairs and New York State Council on the Arts."
www.queensmuseum.org/2632/red-lines-housing-crisis-learni...
community.queensmuseum.org/lang/en/blog/corona-plaza/redl...
www.nytimes.com/2009/07/08/arts/design/08panorama.html?_r=0
www.cjr.org/the_audit/go_to_queens_museum_get_mad.php
www.flickr.com/photos/panoramaqueensmuseum/sets/721576210...
www.pbs.org/newshour/video/module.html?mod=0&pkg=1510...
www.citylimits.org/news/articles/3789/on-exhibit-housing
video.foxbusiness.com/v/3894109/ny-panorama-highlights-fo...
video.corriere.it/?vxSiteId=404a0ad6-6216-4e10-abfe-f4f69... (in Italian)
www.clairebarliant.com/artwriting/adaptive-reuse/
www.tandfonline.com/doi/abs/10.1080/08935691003625372
www.businessinsider.com/irvington-new-jersey-sub-prime-pr...
www.nytimes.com/2009/05/17/nyregion/new-jersey/17newarknj...
Queens Museum of Art:
Architect: Aymar Embury II
Opened: 1939
Renovated 1964 by Daniel Chait.
Renovated in 1994 by Rafael Viñoly.
Expansion scheduled in 2013, under the helm of Grimshaw Architects with Ammann & Whitney as engineers.
"Built to house the New York City Pavilion at the 1939 World’s Fair, where it housed displays about municipal agencies. . . . It is now the only surviving building from the 1939/40 Fair. After the World’s Fair, the building became a recreation center for the newly created Flushing Meadows Corona Park. The north side of the building, now the Queens Museum, housed a roller rink and the south side offered an ice rink. . . . From 1946 to 1950 . . . it housed the General Assembly of the newly formed United Nations. . . . In 1972 the north side of the New York City Building was handed to the Queens Museum of Art (or as it was then known, the Queens Center for Art and Culture)."
The other half of the building was an ice-skating rink from 1939–2009.
www.queensmuseum.org/about/aboutbuilding-history
en.wikipedia.org/wiki/Queens_Museum_of_Art
en.wikipedia.org/wiki/Aymar_Embury_II
en.wikipedia.org/wiki/Ammann_%26_Whitney
artsengaged.com/bcnasamples/chapter-fifteen-being-good-ne...
Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.
"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"
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.
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.
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.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
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.
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).
For more see below:-
Police have today executed a number of warrants as part of an investigation into a disturbance in Oldham.
This morning (Wednesday 27 November 2019) officers visited 14 properties across Oldham and Crumpsall as well as a property in West Yorkshire.
Warrants were executed at Oldham and Crumpsall
13 men aged between 15 and 40 years of age were arrested on suspicion of violent disorder.
The action comes as part of Operation Woodville – a long-running investigation into serious public disorder occurring on Saturday 18 May 2019 in the Limeside area of Oldham.
As part of ongoing enquiries, police have released the images of (26) people that they want to speak to.
Chief Superintendent Neil Evans of GMP’s Territorial Commander with responsibility for Oldham said: “As the scale of this morning’s operation demonstrates, we continue to treat May’s disturbance with the upmost seriousness.
“We have been in liaison with the Crown Prosecution Service since the early stages of the investigation and a team of detectives has been working to identify those whose criminal behaviour resulted in the ugly scenes witnessed.
“Investigators have been working alongside key local partners as part of our extensive enquiries. Specialist detectives from our Major Investigations Team as well as local officers have been involved in hours of work assessing evidence and information received from the public.
“While we have made a number of arrests, our enquiries remain very much ongoing.
“In conjunction with this morning’s positive action, we have released a number of images of people who we want to speak to concerning their actions on 18 May 2019.
“As we have previously said, we understand and respect the right to peaceful protest and counter-protest. However we will not tolerate it when this crosses into criminal behaviour.
“Accordingly, we can and will respond when that line is crossed.
“It remains a line of enquiry that a number of those who were involved with the disorder had travelled to Oldham from outside Greater Manchester.
“As such, we are continuing to liaise with our partners in neighbouring forces.
“I’d like to take this opportunity to thank those who have already been in touch with officers.
“We must continue to work together as a community and support the justice process so that criminal behaviour is appropriately and proportionately challenged.”
Information can be left with police on 0161 856 6551 or the independent charity Crimestoppers, anonymously, on 0800 555 111.
The Postcard
A Valentine's postcard which was posted in London W.C. on the 19th. June 1928 to:
Monsieur A. Hurlimann,
8, Avenue de la République,
Paris.
On the message side of the card Monsieur Hurlimann read:
"Salutations cordiales,
Jacob Woy".
The Victoria Memorial, London
The Victoria Memorial is a monument to Queen Victoria, located at the end of The Mall in London. It was designed and executed by the sculptor Sir Thomas Brock.
The memorial is placed in the middle of an architectural setting of formal gardens and gates designed by the architect Sir Aston Webb.
Designed in 1901, it was unveiled on the 16th. May 1911, though it was not completed until 1924.
It was the centrepiece of an ambitious urban planning scheme, which included the creation of the Queen’s Gardens to a design by Sir Aston Webb, and the refacing of Buckingham Palace (which stands behind the memorial) by the same architect.
Like the earlier Albert Memorial in Kensington Gardens, the Victoria Memorial has an elaborate scheme of iconographic sculpture. The central pylon of the memorial is of Pentelic marble, and individual statues are in Lasa marble and gilt bronze.
The memorial weighs 2,300 metric tonnes, and is 104 ft wide. In 1970 it was listed as Grade I.
Description of the Memorial
At the top of the central pylon stands a gilded bronze Winged Victory, standing on a globe and with a victor's palm in one hand. Beneath her are personifications of Constancy, holding a compass with its needle pointing true north, and Courage, holding a club.
Beneath these, on the eastern and western sides, are two eagles with wings outspread, representing Empire. Below these, statues of an enthroned Queen Victoria (facing The Mall) and of Motherhood (facing Buckingham Palace), with Justice (facing north-west towards Green Park) and Truth (facing south-east).
These four statues were created from solid blocks of marble, with Truth being sculpted from a block weighing 40 tonnes.
Sir Thomas Brock described the symbolism of the Memorial, saying that:
"It is devoted to the qualities which
made our Queen so great and so
much beloved."
He added that the statue of the Queen was placed to face towards the city, while flanked by Truth and Justice as he felt that :
"She was just, and sought the truth
always and in circumstances.
Motherhood represents her great
love for her people".
At the four corners of the monument are massive bronze figures with lions, representing Peace (a female figure holding an olive branch), Progress (a nude youth holding a flaming torch), Agriculture (a woman in peasant dress with a sickle and a sheaf of corn) and Manufacture (a blacksmith in modern costume with a hammer and a scroll). The bronzes were restored in 2011.
The whole sculptural programme has a nautical theme, much like the rest of The Mall (Admiralty Arch, for example). This can be seen in the mermaids, mermen and the hippogriff, all of which are suggestive of the United Kingdom's naval power.
At nearly 25 metres (82 ft) tall, the Victoria Memorial remains the tallest monument to a King or Queen in England.
History of the Memorial
King Edward VII suggested that a Parliamentary committee should be formed to develop plans for a Memorial to Queen Victoria following her death. The first meeting took place on the 19th. February 1901 at the Foreign Office, Whitehall.
The first secretary of the committee was Arthur Bigge, 1st. Baron Stamfordham. Initially these meetings were behind closed doors, and the proceedings were not revealed to the public. However the Lord Mayor of London, Sir Joseph Dimsdale, publicly announced that the committee had decided that the Memorial should be "monumental".
Reginald Brett, 2nd. Viscount Esher, the secretary of the committee, submitted the proposal to the King on the 4th. March 1901. A number of sites were suggested, and the King visited both Westminster Abbey and the park near the Palace of Westminster. Several ideas were rumoured at this time, including an open square in The Mall near to the Duke of York Column, and a memorial located in Green Park.
On the 26th. March 1901 the decision was announced to locate the Memorial outside Buckingham Palace and slightly shorten The Mall.
It was estimated that the work would cost £250,000, and it was further decided that there would be no grant given by the Government for the construction.
A competition was conducted for the design, with five architects being chosen to develop designs. At the beginning of July 1901 the committee selected its primary choice for the construction and took it to the King for approval. It was announced on the 21st. October 1902 that Thomas Brock had been chosen as the designer.
Funding and Construction of the Memorial
Funding for the memorial was gathered from around the British Empire as well as the public. The Australian House of Representatives granted a £25,000 contribution for the construction, and the New Zealand government submitted a cheque for £15,000 towards the fund.
By October 1901 £154,000 had been gathered. During 1902 a number of tribes from the west coast of Africa sent goods to be sold, with the proceeds going towards the fund. Alfred Lewis Jones had arranged for these items to be brought from Africa to Liverpool free of charge on his ships.
Following the public and national donations towards the funds, there was more money collected than was necessary for the construction of the Memorial.
Funds were therefore diverted towards the construction of Admiralty Arch at the other end of The Mall, and a redevelopment to clear a path directly from that road into Trafalgar Square. Sir Aston Webb was put in charge of this project; he built the Arch so economically that enough money was left over to re-front the entirety of Buckingham Palace, a job that was completed in 13 weeks due to the pre-fabrication of the new stonework.
The initial preparatory stage was to re-route the road and modify The Mall. Work on constructing the Memorial started in 1905. The lower half of the Memorial was revealed to the public on the 24th. May 1909. Thousands of people visited it on the first day.
Dedication and Inauguration
Following a practice ceremony on the 11th. March 1911, in the presence of Prince Arthur, Duke of Connaught and Strathearn, the dedication ceremony took place on the 16th. May 1911, presided over by King George V.
His first cousin, Wilhelm II of Germany, was also present. These two were the senior grandsons of Queen Victoria, and arrived, together with their families, in royal procession. Also in attendance were a large number of Members of Parliament, and representatives of the armed forces.
In his role as Home Secretary, Winston Churchill carried the text of the speeches. Lord Esher addressed the King and the gathered crowd, explaining the history of the Memorial. The King replied to this, referring to his involvement in the development of the monument to his grandmother.
The King talked of the impact of Queen Victoria and of her popularity with the public. In total, the ceremony went on for thirty minutes. Following this, it was revealed to the press that the King had decided that the sculptor of the Memorial, Thomas Brock, was to be knighted.
Later Uses of the Memorial
As part of the celebrations of the Golden Jubilee of Elizabeth II, the Victoria Memorial (along with areas in Green Park and Buckingham Palace) was used as a platform for a fireworks display which lasted fourteen minutes with a total of two and three-quarter tonnes of fireworks being used.
In addition, water jets were added to the fountains in the Victoria Memorial, which fired water 40 feet (12 m) up into the air. This display followed a concert held in the Palace forecourt.
It was announced in February 2012 that the Victoria Memorial would form the centrepiece of the stage for Queen Elizabeth II's Diamond Jubilee Concert on the 4th. June 2012.
Platforms were built around the memorial at a cost of £200,000, and were constructed in two weeks. A number of performers appeared from across the sixty years of Queen Elizabeth II's reign, including Gary Barlow, Tom Jones, Elton John, Jessie J, Madness, Dame Shirley Bassey and Paul McCartney.
Tickets were free and allocated by public ballot; and in addition to being seen live by the 10,000 fans in attendance, the event was broadcast by the BBC and highlights were shown in the United States on ABC.
Later in 2012, the Memorial marked the end of "Our Greatest Team Parade" on the 10th. September 2012. This parade celebrated the successes of the British teams at the 2012 Summer Olympics and Paralympics. There were 21 floats holding a total of around 800 athletes, and it was estimated that around a million members of the public cheered them on.
The area from Admiralty Arch to the Victoria Memorial down the Mall was reserved for ticket holders. After the arrival at the Victoria Memorial, there was a flypast by helicopters of the Royal Air Force, as well as a British Airways jet and a flight of the Red Arrows. During the games, the Mall and the Victoria Memorial had been used as the finishing point for the Marathon, as well as being on the triathlon route.
The Memorial was damaged by anti-austerity protesters during the "Million Mask March" on the 5th. November 2013, which took place in central London. During the following year's protests, the Memorial was guarded by police officers.
Amelia Earhart
So what else happened on the day that Jacob posted the card?
Well, on the 19th. June 1928, the Friendship landed in Southampton after having arrived at Burry Port, Wales the day before following a transatlantic flight.
Amelia Earhart became the first woman to fly across the Atlantic as a passenger aboard the Fokker F.VII Friendship. Earhart had been deemed 'The right sort of girl' to accompany pilots Wilmer Stultz and Lou Gordon.
Although promised time at the controls, she never flew the plane during the nearly 21-hour flight from Newfoundland to the UK.
The Friendship received a raucous welcome in Southampton.
The three then travelled to London by car, where Wilmer Stultz and Lou Gordon were not recognized, but the huge crowd cheered Amelia Earhart.
Finally executing my Lifehacker initiatives. Been lunching this way for a few days. Snow in Seattle this week means yes, there IS enough time to photograph my food before I eat it. :)
lifehacker.com/5857420/make-salad-in-a-jar-for-an-easy-gr...
Today, Thursday 16 November 2017, police executed warrants at eight addresses across the Moss Side and Hulme areas of Manchester.
The warrants were executed as the latest phase of Operation Malham, targeting the supply of drugs in South Manchester.
This follows previous raids last week, which means more than 14 properties have been searched and eight people arrested in total as part of the operation.
Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: “We are dedicated to rooting out those who seek to make profits from putting drugs on our streets.
“Today’s raids have resulted in the arrests of five people which have only been made possible through the support of partner agencies and community intelligence.
“We are grateful for all your support and help and I would urge you to continue to report anything suspicious to help us stop people who are benefitting from crime and remove drugs from our city.”
Anyone with information should contact police on 101 or Crimestoppers, anonymously, on 0800 555 111.
To find out more about Greater Manchester Police please visit
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.
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.
the iliveisl sim, Enercity Park, goes away shortly after these pics were taken. it was one of only 100 or so remaining openspace sims.
it had been 3750 prims but when Linden Lab poorly executed their change in policy and pricing and went from $75 to $95 per month and from 3750 prims to 750 prims, this became the most expensive type of land isl
but i promised my residents that Enercity would have a park so kept it until the estate was transferred to the very best residents in all of second life
the park was the closest to a home that Ener Hax had. two sparse fallout shelters would become Ener's homes
one just a bare mattress and cardboard boxes to reduce drafts from broken windows and had and old turret slowly rotating that stood as a silent sentinel to bygone eras when we humans could have taken a lesson from our own avatars and the other a small emergency shelter for the bus stop
the lake in the park was called Butterfly Lake from its shape when viewed from the air and had a swan and ducklings swimming and a nice bench for friends to sit and visit under a weeping willow. near that spot was an old underground shelter to park military vehicles. that spot became an underground skatepark and was connected to the city's catacombs. these catacombs, like in Paris, ran below the city streets
zombies lived in one section near a small graveyard. no one knew why zombies were there, some suspect it was related to the war time bunkers. the manhole cover near the zombies was opened and the catacombs tagged with "i <3 ener hax" and "subQuark sux"
the most favourite spot for Ener Hax was near the bus stop and the 1950's era rotating and steaming coffee billboard (hmm, maybe the chemical smoke from that big coffee cup is to blame for the zombies? after all, the "steam" does drift over the grave yard
the fave spot looked over the smaller lake west of the bus stop and was in view of one of the parks two waterfalls. that spot was made very special because of Mr. Bunny. Ener loved to sit on the ground and just watch Mr. Bunny hop around and doze occasionally. what a cute bunny =) he even had his own carrots planted by Ener
high above the eastern part of the park was the huge zebra striped zeppelin. a bit of a trademark of the iliveisl estate
it was a lovely spot, even had tai chi on the big bunker and a zip line from the water tower
ooh, the water tower! as a surprise gift, DreamWalker scripted the water tower and turned it int a funky hang out spot. there was an abandoned pool inside the tower (???) and place to sit and talk. even a cute ladybug called it home. the water tower's top would slide up and down and also turn invisible. for romance, a moon beam came through the towers top port and could even have its brightness changed
even though the park was outrageously expensive, it was Ener Hax and Mr. Bunnies home and will be sincerely missed
namas te
Yesterday (Wednesday 11 March 2020), officers from Greater Manchester Police and the City of London Police’s Intellectual Property Crime Unit (PIPCU) executed a number of warrants at Great Ducie Street, Manchester.
Officers from GMP and the City of London Police - the national policing lead for fraud – worked alongside UK immigration, meaning a total of 100 officers and staff members were involved in the operation.
The search warrant, which developed from a previous operation that involved the sale and distribution of counterfeit items, saw thousands of labels, computer equipment and cash seized.
Detectives are currently exploring links between the counterfeit operation and Serious Organised Crime, helping to fund criminal activity beyond Greater Manchester.
15 people were arrested, after officers uncovered an estimated £7.5 million worth of branded clothing, shoes and perfume suspected to be counterfeit.
Chief Inspector Kirsten Buggy, of GMP’s North Manchester division, said: “Yesterday’s operation is one of the largest of its kind ever carried out in the area and has taken a meticulous amount of planning and preparation.
“I am thankful to colleagues from the City of London Police, who as the national policing lead for fraud, have worked in partnership with officers from GMP and helped bring about yesterday’s direct action. I am also grateful to those from UK Immigration for their help.
“Such partnerships are absolutely vital when tackling counterfeit operations, as they bring specialisms from across the country together in a bid to make an impactive and real difference. Steps such as yesterday are often only the start when it comes to investigating the scale of these operations and we will continue to work in conjunction with the City of London’s Intellectual Property Crime Unit to tackle this type of offending to its’ very core.
“It is important to recognise the far-reaching and serious impact of sophisticated and large scale counterfeit operations such as this one; and I would like to take this opportunity to remind members of the public of the repercussions of this kind of offending and the link to organised criminal activity. Please be under no illusion- this type of crime is not victimless.”
Police staff investigator Charlotte Beattie, of the City of London Police’s Intellectual Property Crime Unit (PIPCU), said:
“The counterfeit goods business is a deceiving one and the key message to be take away from this operation, is that counterfeiting is not a victimless crime.
“An individual may think that when buying counterfeit goods they are only affecting a multi-million pound brand, and won’t matter, when in fact they are helping to fund organised criminal activity. Counterfeit goods also pose a health risk to individuals as they usually are not fit for purpose or have not gone through the legal health and safety checks.
“Working in partnership has ensured that today’s operation has been a success. We will continue to work with Greater Manchester Police and UK Immigration to tackle the scourge of the counterfeit goods problem.”
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.
You can access many of our services online at www.gmp.police.uk.
The Sanctury of the St Kilda Presbyterian Church features three beautiful 1880s Ferguson and Urie stained glass windows; Faith on the left, Charity in the middle and Hope on the right. All are executed in iridescent reds, yellows, greens and blues, to reflect the colour palate used in other Ferguson and Urie windows elsewhere around the church.
Built on the crest of a hill in a prominent position overlooking St Kilda and the bay is the grand St Kilda Presbyterian Church.
The St Kilda Presbyterian Church's interior is cool, spacious and lofty, with high ceilings of tongue and groove boards laid diagonally, and a large apse whose ceiling was once painted with golden star stenciling. The bluestone walls are so thick that the sounds of the busy intersection of Barkley Street and Alma Road barely permeate the church's interior, and it is easy to forget that you are in such a noisy inner Melbourne suburb. The cedar pews of the church are divided by two grand aisles which feature tall cast iron columns with Corinthian capitals. At the rear of the building towards Alma Road there are twin porches and a narthex with a staircase that leads to the rear gallery where the choir sang from. It apparently once housed an organ by William Anderson, but the space today is used as an office and Bible study area. The current impressive Fincham and Hobday organ from 1892 sits in the north-east corner of the church. It cost £1030.00 to acquire and install. The church is flooded with light, even on an overcast day with a powerful thunder storm brewing (as the weather was on my visit). The reason for such light is because of the very large Gothic windows, many of which are filled with quarry glass by Ferguson and Urie featuring geometric tracery with coloured borders. The church also features stained glass windows designed by Ferguson and Urie, including the impressive rose window, British stained glass artist Ernest Richard Suffling, Brooks, Robinson and Company Glass Merchants, Mathieson and Gibson of Melbourne and one by Australian stained glass artist Napier Waller.
Opened in 1886, the St Kilda Presbyterian church was designed by the architects firm of Wilson and Beswicke, a business founded in 1881 by Ralph Wilson and John Beswicke (1847 - 1925) when they became partners for a short period. The church is constructed of bluestone with freestone dressings and designed in typical Victorian Gothic style. The foundation stone, which may be found on the Alma Road facade, was laid by the Governor of Victoria Sir Henry Barkly on 27 January. When it was built, the St Kilda Presbyterian Church was surrounded by large properties with grand mansions built upon them, so the congregation were largely very affluent and wished for a place of worship that reflected its stature not only in location atop a hill, but in size and grandeur.
The exterior facades of the church on Barkley Street and Alma Road are dominated by a magnificent tower topped by an imposing tower. The location of the church and the height of the tower made the spire a landmark for mariners sailing into Melbourne's port. The tower features corner pinnacles and round spaces for the insertion of a clock, which never took place. Common Victorian Gothic architectural features of the St Kilda Presbyterian Church include complex bar tracery over the windows, wall buttresses which identify structural bays, gabled roof vents, parapeted gables and excellent stone masonry across the entire structure.
I am very grateful to the Reverend Paul Lee for allowing me the opportunity to photograph the interior of the St Kilda Presbyterian Church so extensively.
The architects Wilson and Beswicke were also responsible for the Brighton, Dandenong, Essendon, Hawthorn and Malvern Town Halls and the Brisbane Wesleyan Church on the corner of Albert and Ann Streets. They also designed shops in the inner Melbourne suburbs of Auburn and Fitzroy. They also designed several individual houses, including "Tudor House" in Williamstown, "Tudor Lodge" in Hawthorn and "Rotha" in Hawthorn, the latter of which is where John Beswicke lived.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.
The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.
Building
Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688
Canaletto: View of Palais Liechtenstein
1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.
The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.
For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.
A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .
Sala terrene of the Palais
1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.
After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.
Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.
Garden
Liechtenstein Palace from the garden
The new summer palace of Henry of Ferstel from the garden
The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.
Use as a museum
Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.
From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .
On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.
de.wikipedia.org/wiki/Palais_Liechtenstein_(F%C3%BCrstengasse)
The Panorama of the City of New York:
Scale model commissioned by Robert Moses for the 1964 World's Fair.
Designed and executed by Raymond Lester Associates.
Sporadically updated since.
"9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures."
"The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City."
"Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date. In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure."
www.queensmuseum.org/exhibitions/visitpanorama
www.queensmuseum.org/visi/donate/adopt-a-building
www.nytimes.com/2007/02/02/arts/design/02pano.html
www.flickr.com/groups/1025012@N21/
Red Lines Housing Crisis Learning Center:
2009 exhibition by Damon Rich of the Center for Urban Pedagogy, hosted by the Queens Museum of Art
Larissa Harris, Commissioning curator; Project Coordinator for Queens Museum Installation: Rana Amirtahmasebi
Museum Director: Tom Finkelpearl
"The Neighborhood Economic Development Advocacy Project collected the foreclosure information. . . . The Regional Plan Association, an independent planning group, then crunched the numbers using the Geographic Information System — a mapping program — to create maps of every inch of the city indicating where there had been foreclosures of single- to four-family homes in 2008."
"Red Lines Housing Crisis Learning Center is funded by grants from The Andy Warhol Foundation for the Visual Arts and Artists & Communities, a program of Mid Atlantic Arts Foundation, which is made possible by major funding from Johnson & Johnson, the New Jersey State Council on the Arts, and the JPMorgan Chase Foundation. A publication funded by The Graham Foundation for Advanced Studies in the Fine Arts will be available during the exhibition. Additional support provided by the New York City Department of Cultural Affairs and New York State Council on the Arts."
www.queensmuseum.org/2632/red-lines-housing-crisis-learni...
community.queensmuseum.org/lang/en/blog/corona-plaza/redl...
www.nytimes.com/2009/07/08/arts/design/08panorama.html?_r=0
www.cjr.org/the_audit/go_to_queens_museum_get_mad.php
www.flickr.com/photos/panoramaqueensmuseum/sets/721576210...
www.pbs.org/newshour/video/module.html?mod=0&pkg=1510...
www.citylimits.org/news/articles/3789/on-exhibit-housing
video.foxbusiness.com/v/3894109/ny-panorama-highlights-fo...
video.corriere.it/?vxSiteId=404a0ad6-6216-4e10-abfe-f4f69... (in Italian)
www.clairebarliant.com/artwriting/adaptive-reuse/
www.tandfonline.com/doi/abs/10.1080/08935691003625372
www.businessinsider.com/irvington-new-jersey-sub-prime-pr...
www.nytimes.com/2009/05/17/nyregion/new-jersey/17newarknj...
Queens Museum of Art:
Architect: Aymar Embury II
Opened: 1939
Renovated 1964 by Daniel Chait.
Renovated in 1994 by Rafael Viñoly.
Expansion scheduled in 2013, under the helm of Grimshaw Architects with Ammann & Whitney as engineers.
"Built to house the New York City Pavilion at the 1939 World’s Fair, where it housed displays about municipal agencies. . . . It is now the only surviving building from the 1939/40 Fair. After the World’s Fair, the building became a recreation center for the newly created Flushing Meadows Corona Park. The north side of the building, now the Queens Museum, housed a roller rink and the south side offered an ice rink. . . . From 1946 to 1950 . . . it housed the General Assembly of the newly formed United Nations. . . . In 1972 the north side of the New York City Building was handed to the Queens Museum of Art (or as it was then known, the Queens Center for Art and Culture)."
The other half of the building was an ice-skating rink from 1939–2009.
www.queensmuseum.org/about/aboutbuilding-history
en.wikipedia.org/wiki/Queens_Museum_of_Art
en.wikipedia.org/wiki/Aymar_Embury_II
en.wikipedia.org/wiki/Ammann_%26_Whitney
artsengaged.com/bcnasamples/chapter-fifteen-being-good-ne...
Choeung Ek is the site of a former orchard and mass graves of victims of the Khmer Rouge – killed between 1975 and 1979 – in Dangkao Section, Phnom Penh, Cambodia, about 17 kilometres (11 mi) south of the Phnom Penh city centre. It is the best-known of the approximately 300 sites known as killing fields, where the Khmer Rouge regime executed over one million people as part of their Cambodian genocide between 1975 and 1979.
Description
Mass graves containing 8,895 bodies were discovered at Choeung Ek after the fall of the Khmer Rouge regime. Many of the dead were former political prisoners who the Khmer Rouge kept in their Tuol Sleng detention center and in other Cambodian detention centers.
Today, Choeung Ek is a memorial, marked by a Buddhist stupa. The stupa has acrylic glass sides and is filled with over 5,000 human skulls. Some lower levels are opened during the day so that the skulls can be seen directly. Many have been shattered or smashed in.
Tourists are encouraged by the Cambodian government to visit Choeung Ek. Apart from the stupa, there are pits from which the bodies were exhumed. Human bones still litter the site.
On May 3, 2005, the Municipality of Phnom Penh announced that they had entered into a 30-year agreement with JC Royal Co. to develop the memorial at Choeung Ek. As part of the agreement, they are not to disturb the remains still present in the field.
In popular culture
The film The Killing Fields is a dramatised portrayal of events like those that took place at Choeung Ek.
The Killing Fields are a number of sites in Cambodia where collectively more than 1,000,000 people were killed and buried by the Communist Party of Kampuchea during Khmer Rouge rule of the country from 1975 to 1979, immediately after the end of the Cambodian Civil War (1970–1975). The mass killings were part of the broad, state-sponsored Cambodian genocide.
Analysis of 20,000 mass grave sites by the DC-Cam Mapping Program and Yale University indicates at least 1,386,734 victims of execution. Estimates of the total deaths resulting from Khmer Rouge policies, including death from disease and starvation, range from 1.7 to 2.5 million out of a 1975 population of roughly 8 million. In 1979, Vietnam invaded Democratic Kampuchea and toppled the Khmer Rouge regime, ending the genocide.
The Cambodian journalist Dith Pran coined the term "killing fields" after his escape from the regime.
The Khmer Rouge regime arrested and eventually executed almost everyone suspected of connections with the former government or with foreign governments, as well as professionals and intellectuals. Ethnic Vietnamese, ethnic Thai, ethnic Chinese, ethnic Cham, Cambodian Christians, and Buddhist monks were the demographic targets of persecution. As a result, Pol Pot has been described as "a genocidal tyrant". Martin Shaw described the Cambodian genocide as "the purest genocide of the Cold War era".
Ben Kiernan estimates that about 1.7 million people were killed. Researcher Craig Etcheson of the Documentation Center of Cambodia suggests that the death toll was between 2 and 2.5 million, with a "most likely" figure of 2.2 million. After five years of researching some 20,000 grave sites, he concludes that "these mass graves contain the remains of 1,386,734 victims of execution". A United Nations investigation reported 2–3 million dead, while UNICEF estimated 3 million had been killed. Demographic analysis by Patrick Heuveline suggests that between 1.17 and 3.42 million Cambodians were killed, while Marek Sliwinski suggests that 1.8 million is a conservative figure. Even the Khmer Rouge acknowledged that 2 million had been killed—though they attributed those deaths to a subsequent Vietnamese invasion. By late 1979, UN and Red Cross officials were warning that another 2.25 million Cambodians faced death by starvation due to "the near destruction of Cambodian society under the regime of ousted Prime Minister Pol Pot", who were saved by international aid after the Vietnamese invasion.
Process
The judicial process of the Khmer Rouge regime, for minor or political crimes, began with a warning from the Angkar, the government of Cambodia under the regime. People receiving more than two warnings were sent for "re-education," which meant near-certain death. People were often encouraged to confess to Angkar their "pre-revolutionary lifestyles and crimes" (which usually included some kind of free-market activity; having had contact with a foreign source, such as a U.S. missionary, international relief or government agency; or contact with any foreigner or with the outside world at all), being told that Angkar would forgive them and "wipe the slate clean." They were then taken away to a place such as Tuol Sleng or Choeung Ek for torture and/or execution.[citation needed]
The executed were buried in mass graves. In order to save ammunition, the executions were often carried out using poison or improvised weapons such as sharpened bamboo sticks, hammers, machetes and axes. Inside the Buddhist Memorial Stupa at Choeung Ek, there is evidence of bayonets, knives, wooden clubs, hoes for farming and curved scythes being used to kill victims, with images of skulls, damaged by these implements, as evidence. In some cases the children and infants of adult victims were killed by having their heads bashed against the trunks of Chankiri trees, and then were thrown into the pits alongside their parents. The rationale was "to stop them growing up and taking revenge for their parents' deaths."[citation needed]
Prosecution for crimes against humanity
In 1997 the Cambodian government asked for the UN's assistance in setting up a genocide tribunal. It took nine years to agree to the shape and structure of the court—a hybrid of Cambodian and international laws—before the judges were sworn in, in 2006. The investigating judges were presented with the names of five possible suspects by the prosecution on 18 July 2007. On 19 September 2007 Nuon Chea, second in command of the Khmer Rouge and its most senior surviving member, was charged with war crimes and crimes against humanity. He faced Cambodian and foreign judges at the special genocide tribunal and was convicted on 7 August 2014 and received a life sentence. On 26 July 2010 Kang Kek Iew (aka Comrade Duch), director of the S-21 prison camp, was convicted of crimes against humanity and sentenced to 35 years' imprisonment. His sentence was reduced to 19 years, as he had already spent 11 years in prison. On 2 February 2012, his sentence was extended to life imprisonment by the Extraordinary Chambers in the Courts of Cambodia. He died on 2 September 2020.
Legacy
The best known monument of the Killing Fields is at the village of Choeung Ek. Today, it is the site of a Buddhist memorial to the victims, and Tuol Sleng has a museum commemorating the genocide. The memorial park at Choeung Ek has been built around the mass graves of many thousands of victims, most of whom were executed after interrogation at the S-21 Prison in Phnom Penh. The majority of those buried at Choeung Ek were Khmer Rouge killed during the purges within the regime. Many dozens of mass graves are visible above ground, many which have not been excavated yet. Commonly, bones and clothing surface after heavy rainfalls due to the large number of bodies still buried in shallow mass graves. It is not uncommon to run across the bones or teeth of the victims scattered on the surface as one tours the memorial park. If these are found, visitors are asked to notify a memorial park officer or guide.
A survivor of the genocide, Dara Duong, founded The Killing Fields Museum in Seattle, US.
The Khmer Rouge is the name that was popularly given to members of the Communist Party of Kampuchea (CPK) and by extension to the regime through which the CPK ruled Cambodia between 1975 and 1979. The name was coined in the 1960s by then Chief of State Norodom Sihanouk to describe his country's heterogeneous, communist-led dissidents, with whom he allied after his 1970 overthrow.
The Khmer Rouge army was slowly built up in the jungles of eastern Cambodia during the late 1960s, supported by the North Vietnamese army, the Viet Cong, the Pathet Lao, and the Chinese Communist Party (CCP). Although it originally fought against Sihanouk, the Khmer Rouge changed its position and supported Sihanouk following the CCP's advice after he was overthrown in a 1970 coup by Lon Nol who established the pro-American Khmer Republic. Despite a massive American bombing campaign (Operation Freedom Deal) against them, the Khmer Rouge won the Cambodian Civil War when they captured the Cambodian capital and overthrew the Khmer Republic in 1975. Following their victory, the Khmer Rouge, who were led by Pol Pot, Nuon Chea, Ieng Sary, Son Sen, and Khieu Samphan, immediately set about forcibly evacuating the country's major cities. In 1976, they renamed the country Democratic Kampuchea.
The Khmer Rouge regime was highly autocratic, totalitarian, and repressive. Many deaths resulted from the regime's social engineering policies and the "Moha Lout Plaoh", an imitation of China's Great Leap Forward which had caused the Great Chinese Famine. The Khmer Rouge's attempts at agricultural reform through collectivization similarly led to widespread famine, while its insistence on absolute self-sufficiency, including the supply of medicine, led to the death of many thousands from treatable diseases such as malaria.
The Khmer Rouge regime murdered hundreds of thousands of their perceived political opponents, and its racist emphasis on national purity resulted in the genocide of Cambodian minorities. Summary executions and torture were carried out by its cadres against perceived subversive elements, or during genocidal purges of its own ranks between 1975 and 1978. Ultimately, the Cambodian genocide which took place under the Khmer Rouge regime led to the deaths of 1.5 to 2 million people, around 25% of Cambodia's population.
In the 1970s, the Khmer Rouge were largely supported and funded by the Chinese Communist Party, receiving approval from Mao Zedong; it is estimated that at least 90% of the foreign aid which was provided to the Khmer Rouge came from China. The regime was removed from power in 1979 when Vietnam invaded Cambodia and quickly destroyed most of its forces. The Khmer Rouge then fled to Thailand, whose government saw them as a buffer force against the Communist Vietnamese. The Khmer Rouge continued to fight against the Vietnamese and the government of the new People's Republic of Kampuchea until the end of the war in 1989. The Cambodian governments-in-exile (including the Khmer Rouge) held onto Cambodia's United Nations seat (with considerable international support) until 1993, when the monarchy was restored and the name of the Cambodian state was changed to the Kingdom of Cambodia. A year later, thousands of Khmer Rouge guerrillas surrendered themselves in a government amnesty.
In 1996, a new political party called the Democratic National Union Movement was formed by Ieng Sary, who was granted amnesty for his role as the deputy leader of the Khmer Rouge. The organisation was largely dissolved by the mid-1990s and finally surrendered completely in 1999. In 2014, two Khmer Rouge leaders, Nuon Chea and Khieu Samphan, were jailed for life by a United Nations-backed court which found them guilty of crimes against humanity for their roles in the Khmer Rouge's genocidal campaign.
The Cambodian genocide was the systematic persecution and killing of Cambodian citizens by the Khmer Rouge under the leadership of Communist Party of Kampuchea general secretary Pol Pot. It resulted in the deaths of 1.5 to 2 million people from 1975 to 1979, nearly a quarter of Cambodia's population in 1975 (c. 7.8 million).
Pol Pot and the Khmer Rouge had long been supported by the Chinese Communist Party (CCP) and its chairman, Mao Zedong; it is estimated that at least 90% of the foreign aid which the Khmer Rouge received came from China, including at least US$1 billion in interest-free economic and military aid in 1975 alone. After it seized power in April 1975, the Khmer Rouge wanted to turn the country into an agrarian socialist republic, founded on the policies of ultra-Maoism and influenced by the Cultural Revolution. Pol Pot and other Khmer Rouge officials met with Mao in Beijing in June 1975, receiving approval and advice, while high-ranking CCP officials such as Politburo Standing Committee member Zhang Chunqiao later visited Cambodia to offer help. To fulfill its goals, the Khmer Rouge emptied the cities and forced Cambodians to relocate to labor camps in the countryside, where mass executions, forced labor, physical abuse, malnutrition, and disease were rampant. In 1976, the Khmer Rouge renamed the country Democratic Kampuchea.
The massacres ended when the Vietnamese military invaded in 1978 and toppled the Khmer Rouge regime. By January 1979, 1.5 to 2 million people had died due to the Khmer Rouge's policies, including 200,000–300,000 Chinese Cambodians, 90,000–500,000 Cambodian Cham (who are mostly Muslim), and 20,000 Vietnamese Cambodians. 20,000 people passed through the Security Prison 21, one of the 196 prisons the Khmer Rouge operated, and only seven adults survived. The prisoners were taken to the Killing Fields, where they were executed (often with pickaxes, to save bullets) and buried in mass graves. Abduction and indoctrination of children was widespread, and many were persuaded or forced to commit atrocities. As of 2009, the Documentation Center of Cambodia has mapped 23,745 mass graves containing approximately 1.3 million suspected victims of execution. Direct execution is believed to account for up to 60% of the genocide's death toll, with other victims succumbing to starvation, exhaustion, or disease.
The genocide triggered a second outflow of refugees, many of whom escaped to neighboring Thailand and, to a lesser extent, Vietnam. In 2003, by agreement between the Cambodian government and the United Nations, the Extraordinary Chambers in the Court of Cambodia (Khmer Rouge Tribunal) were established to try the members of the Khmer Rouge leadership responsible for the Cambodian genocide. Trials began in 2009. On 26 July 2010, the Trial Chamber convicted Kaing Guek Eav (alias Duch) for crimes against humanity and grave breaches of the 1949 Geneva Conventions. The Supreme Court Chamber increased his sentence to life imprisonment. Nuon Chea and Khieu Samphan were tried and convicted in 2014 of crimes against humanity and grave breaches of the Geneva Conventions. On 28 March 2019, the Trial Chamber found Nuon Chea and Khieu Samphan guilty of crimes against humanity, grave breaches of the Geneva Conventions, and genocide of the Vietnamese ethnic, national and racial group. The Chamber additionally convicted Nuon Chea of genocide of the Cham ethnic and religious group under the doctrine of superior responsibility. Both Nuon Chea and Khieu Samphan were sentenced to terms of life imprisonment.
Mercredi 11 juin 2014. Carcassonne (Aude). La porte Narbonnaise. Entre les 2 enceintes, un espace plat : les lices. La tour du Trésau. L'administration fiscale siégeait dans ses murs au 14eS. Construction, exécutée sous Philippe le Hardi (1270-1285).
Carcassonne est située dans le sud de la France à 80 kilomètres à l'est de Toulouse. Son emplacement stratégique sur la route entre la mer Méditerranée et l'océan Atlantique est connue depuis le Néolithique. La ville se trouve dans un couloir entre la montagne Noire au nord et les Corbières à l'est, la plaine du Lauragais à l'ouest et la vallée de l'Aude au sud. Cette région naturelle est appelée le Carcassès ou le Carcassonnais.
La superficie de la commune est de 65 km2, ce qui est une grande commune comparée aux nombreuses petites communes de l'Aude. La ville est traversée par l'Aude, le Fresquel et le canal du Midi.
Carcassonne est située sur les bords du fleuve de l'Aude. La commune est traditionnellement divisée en deux, la ville basse qui occupe les berges du fleuve à l'ouest et la ville haute (ou cité) qui occupe la colline surplombant l'Aude. La cité est construite sur un petit plateau constitué par le creusement de l'Aude à environ 150 mètres d'altitude au-dessus de la ville basse. La ville basse se situe au niveau de l'Aude dont l'altitude est de 100 mètres.
L'Aude arrive à Carcassonne après son périple montagneux dans les gorges de la haute-vallée de l'Aude et devient alors un fleuve plus tranquille. Elle passe au Païcherou, longe le cimetière Saint-Michel puis se sépare en deux bras formant une île appelée « l'île du Roy ». Quatre ponts permettent de la franchir : le pont Garigliano, le pont-Vieux accessible uniquement aux piétons, le pont Neuf et le pont de l'Avenir. Le canal du Midi passe également au nord de la ville entre la gare et le jardin André-Chénier jouxtant la bastide Saint-Louis.
La ville se situe dans un couloir entre la montagne Noire au nord et la chaîne des Pyrénées au sud. La plaine est constituée de dépôts récents amenés par l'Aude et provenant des Pyrénées. Il s'agit de la molasse de Carcassonne, qui se caractérise par une alternance de grès, de conglomérats et de marnes gréseuses fluviatiles datant de l'Éocène.
La Cité de Carcassonne est située sur la rive droite de l'Aude en surplomb de la ville de Carcassonne située à l'ouest. Elle se trouve entre la Montagne noire et les Pyrénées sur l'axe de communication allant de la mer Méditerranée à l'océan Atlantique. La présence des deux montagnes forme le couloir carcassonnais souvent cité lorsque les climatologues parlent du vent qui souffle dans ce couloir. Cet emplacement est donc un lieu stratégique du sud de la France permettant de surveiller cet axe de communication majeur : au Nord vers la Montagne Noire, au Sud vers les Corbières, à l'Ouest vers la plaine du Lauragais et à l'Est la plaine viticole vers la Méditerranée.
La Cité est construite au bout d'un petit plateau constitué par le creusement de l'Aude à environ 150 mètres d'altitude au-dessus de la ville basse. La première enceinte construite par les Wisigoths suit les dépressions du terrain. Ce plateau se détache du massif des Corbières sur la commune de Palaja à 260 m d'altitude, passe dans la Cité à 148 m et finit sa course dans l'Aude à 100 m. Du côté Ouest, la pente est assez raide offrant un accès difficile à d'éventuels assaillants. À l'Est, la pente est plus douce et permet un accès aisé des marchandises, mais aussi des attaquants. Aussi, les plus importants mécanismes de défense se trouvent de ce côté de la Cité.
La Cité a été successivement un site protohistorique, une cité gallo-romaine, une place forte wisigothe, un comté, puis une vicomté, puis finalement une sénéchaussée royale. Chacune de ces étapes, entre la période romaine et la fin du Moyen Âge, a laissé des témoignages dans les bâtiments qui la composent.
Des restes d'un oppidum fortifié, oppidum Carcaso proche de l'emplacement actuel de la Cité, ont été mis au jour par des fouilles archéologiques. Ce lieu est déjà un important carrefour commercial comme le prouvent les restes de céramiques campaniennes et d'amphores. Vers 300 av. J.-C., les Volques Tectosages prennent possession de la région et fortifient l'oppidum de Carcasso. Pline l'Ancien mentionne l'oppidum dans ses écrits sous le nom de Carcaso Volcarum Tectosage. Ils extrayaient déjà l'or de la mine de Salsigne pour constituer des offrandes à leurs dieux.
En 122 av. J.-C., les Romains annexent la région qui sera intégrée dans la colonie Narbonnaise créée en 118 av. J.-C. Les Romains sont déjà bien connus, car depuis deux cents ans leurs marchands parcourent la région. Sous la Pax Romana la petite cité gallo-romaine de Carcaso, devenue chef-lieu de la colonie Julia Carcaso, prospère sans doute grâce au commerce du vin et à son implantation sur les voies de communication : elle jouxte la voie romaine qui va de Narbonne à Toulouse tandis que les bateaux à fond plat circulent sur l'Atax au pied de l'oppidum. Ce dernier est agrandi par remblayage et les rues et ruelles forment un plan orthogonal, mais aucun lieu public ni monument de culte n'est actuellement connu. Au pied de l'oppidum, une agglomération s'étend le long de la voie romaine.
À partir du IIIe siècle, la ville se retranche derrière une première série de remparts. En 333 ap. J.-C., des textes d'un pèlerin mentionnent le castellum de Carcassonne. Ces remparts sont encore visibles dans certaines parties de l'enceinte et servent de soubassements aux actuelles murailles. Les tours de la Marquière, de Samson et du Moulin d'Avar sont les témoins en partie intacts de cette enceinte primitive. Cette muraille protège la Cité des attaques extérieures tout en permettant de contrôler les passages sur la voie romaine située en contrebas.
Au milieu du Ve siècle, les Wisigoths prennent possession du Languedoc, grâce probablement à la victoire d'Athaulf pendant sa marche sur Toulouse. La Cité jouit peu à peu d'une relative paix politique jusqu'au règne d'Alaric II, comme l'atteste le nombre important de pièces de monnaie des monarques wisigoths de cette époque. En 507, les Francs chassent les Wisigoths d'Aquitaine, mais ces derniers conservent la Septimanie dont fait partie la Cité de Carcassonne. En 508, Clovis lance en vain une attaque contre la Cité. En 585, une nouvelle attaque de Gontran, roi franc de Burgondie est couronnée de succès. Mais, les Wisigoths reprennent la cité peu après et en restent maîtres jusqu'en 713. Au cours du VIe siècle, Carcassonne devint, avec Agde et Maguelonne, le siège d'un évêché. Une cathédrale wisigothique, dont l'emplacement n'est pas connu, est alors construite.
En 725, le Wali Ambisa prend Carcassonne à la suite de la conquête du royaume wisigoth d'Espagne par les musulmans. La Cité reste entre les mains des musulmans jusqu'en 752, date à laquelle elle est prise par les Francs conduits par Pépin le Bref.
Le début de la féodalité s'accompagne de l'expansion de la ville et de ses fortifications. Elle est aussi marquée par la construction de la cathédrale à partir de 1096 puis par celle du château comtal au XIIe siècle. Ce château est constitué à l'origine de deux corps de logis auxquels est ajoutée en 1150 une chapelle qui donne un plan en U autour de la cour centrale. Vers 1240 le château est rehaussé d'un second étage.
C'est aussi la période des comtes de Carcassonne. Le premier comte désigné par les Carolingiens est Bellon auquel succède Oliba II. La charge des comtes est d'administrer la région pour le compte du royaume carolingien. Au IXe siècle, la locution latine Cité de Carcassonne revient régulièrement dans les textes et chartes officiels. En 1082, la famille Trencavel prend possession de la ville, en profitant des embarras de la Maison de Barcelone propriétaire légitime, et l'annexe à un vaste ensemble allant de Carcassonne à Nîmes.
Bernard Aton IV Trencavel, vicomte d'Albi, de Nîmes et de Béziers, fait prospérer la ville et lance de nombreuses constructions. C'est également durant cette période qu'une nouvelle religion, le catharisme, s'implante avec succès dans le Languedoc. Le vicomte de Trencavel autorise en 1096 la construction de la basilique Saint-Nazaire dont les matériaux sont bénis par le pape Urbain II. En 1107, les Carcassonnais rejettent la suzeraineté de Bernard Aton, qui avait promis de rendre la Cité à son possesseur d'origine Raimond-Bérenger III de Barcelone et font appel au comte de Barcelone pour le chasser. Mais, avec l'aide de Bertrand de Tripoli, comte de Toulouse, Bernard Aton reprend le contrôle de la Cité. En 1120, les Carcassonnais se révoltent de nouveau, mais Bernard Aton rétablit l'ordre quelques années plus tard. En 1130, il ordonne le début de la construction du château comtal désigné sous le terme de palatium et la réparation des remparts gallo-romains. Dès lors, la Cité de Carcassonne est entourée de sa première fortification complète.
À cette époque la Cité est riche et sa population est comprise entre 3 000 à 4 000 personnes en incluant les habitants des deux bourgs qui se sont édifiés sous ses murailles : le bourg Saint-Vincent situé au Nord et le bourg Saint-Michel situé au sud de la porte Narbonnaise. La ville se dote en 1192 d'un consulat, composé de notables et de bourgeois, chargés d'administrer la ville, puis en 1229 d'une charte coutumière.
En 1208, le pape Innocent III, confronté à la montée du catharisme, appelle les barons du nord à se lancer dans la croisade des Albigeois. Le comte de Toulouse, accusé d'hérésie, et son principal vassal le vicomte de Trencavel sont la cible de l'attaque. Le 1er août 1209, la Cité est assiégée par les croisés. Raimond-Roger Trencavel se rend très rapidement, le 15 août, en échange de la vie sauve de ses habitants. Les bourgs autour de la Cité sont détruits. Le vicomte meurt de dysenterie dans la prison même de son château le 10 novembre 1209. D'autres sources parlent d'un assassinat orchestré par Simon de Montfort, mais rien n'est sûr. Dès lors, la Cité sert de quartier général aux troupes de la croisade.
Les terres sont données à Simon de Montfort, chef de l'armée des croisés. Ce dernier meurt en 1218 au cours du siège de Toulouse et son fils, Amaury VI de Montfort, prend possession de la Cité, mais se révèle incapable de la gérer. Il cède ses droits à Louis VIII de France, mais Raymond VII de Toulouse et les comtes de Foix se liguent contre lui. En 1224, Raimond II Trencavel reprend possession de la Cité après la fuite d'Amaury. Une deuxième croisade est lancée par Louis VIII en 1226 et Raimond Trencavel doit fuir. La Cité de Carcassonne fait désormais partie du domaine du roi de France et devient le siège d'une sénéchaussée. Une période de terreur s'installe à l'intérieur de la ville. La chasse aux cathares entraîne la multiplication des bûchers et des dénonciations sauvages, avec l'installation de l'Inquisition dont on peut toujours voir la maison dans l'enceinte de la Cité.
Louis IX ordonne la construction de la deuxième enceinte pour que la place puisse soutenir de longs sièges. En effet, à cette époque, les menaces sont nombreuses dans la région : Raimond Trencavel, réfugié en Aragon, cherche toujours à reprendre ses terres qu'il revendique et le roi d'Aragon, Jacques Ier le Conquérant, fait peser une lourde menace sur cette région toute proche des frontières de son royaume. De plus, ces constructions permettent de marquer les esprits de la population de la Cité et de gagner leur confiance. La Cité fait partie du système de défense de la frontière entre la France et l'Aragon. Les premières constructions concernent le château comtal adossé à la muraille ouest. Celui-ci est entouré de murailles et de tours à l'intérieur même de la Cité pour assurer la protection des représentants du roi. Ensuite, une deuxième ligne de fortifications est commencée sur environ un kilomètre et demi avec quatorze tours. Cette enceinte est flanquée d'une barbacane qui contrôle les abords de l'Aude.
En 1240, Raimond Trencavel tente de récupérer la Cité, avec l'aide de quelques seigneurs. Le siège est mené par Olivier de Termes, spécialiste de la guerre de siège. Ils occupent les bourgs situés sur les rives de l'Aude et obtiennent l'aide de ses habitants qui creusent des tunnels depuis leurs maisons pour saper la base des enceintes. La double enceinte joue son rôle défensif, car Raimond Trencavel est ralenti. La garnison menée par le sénéchal Guillaume des Ormes résiste efficacement. Raimond Trencavel est bientôt obligé de lever le siège et de prendre la fuite face à l'arrivée des renforts du roi Louis IX. En 1247, il renonce devant le roi Louis IX à ses droits sur la Cité. La Cité de Carcassonne est définitivement rattachée au royaume de France et est désormais gouvernée par des sénéchaux.
À compter de cette date, la place forte n'est plus attaquée y compris durant la guerre de Cent Ans. Les aménagements et agrandissements qui vont suivre peuvent être regroupés en trois phases. Les premiers travaux sont commencés immédiatement après la dernière attaque de la Cité. Ils permettent de réparer les enceintes, aplanir les lices, ajouter des étages au château et construire la tour de la Justice. La deuxième phase de construction a lieu sous le règne de Philippe III, dit le Hardi : elle comprend la construction de la porte Narbonnaise, de la tour du Trésau, de la porte Saint-Nazaire et de toute la partie de l'enceinte environnante, ainsi que la réparation de certaines tours gallo-romaines et de la barbacane du château comtal. Les bourgs de Saint-Vincent et de Saint-Michel jouxtant l'enceinte sont rasés pour éviter les conséquences d'une collusion entre leurs habitants et les assaillants comme cela s'était produit durant le dernier siège. Enfin, une troisième et dernière phase de travaux se déroule sous le règne de Philippe le Bel et consiste à moderniser la place forte. De nombreuses parties de l'enceinte sont alors reconstruites en utilisant les techniques de défense les plus récentes. Les antiques murailles situées à l'ouest sont également rénovées.
En 1258, le traité de Corbeil fixe la frontière entre la France et l'Aragon près de Carcassonne, dans les Corbières. Louis IX renonce à sa suzeraineté sur la Catalogne et le Roussillon et en contrepartie le roi d'Aragon abandonne ses visées sur les terres du Languedoc. Désormais la Cité joue un rôle majeur dans le dispositif de défense de la frontière. Elle constitue une deuxième ligne de défense persuasive en arrière des postes avancés que sont les châteaux de Peyrepertuse, Aguilar, de Quéribus, de Puilaurens et de Termes désignés comme les « cinq fils de Carcassonne ». Au XIIIe siècle, la Cité de Carcassonne est l'une des places fortes les mieux pourvues de France et sert de réserve d'armes pour les alliés. La Cité n'est jamais attaquée ni inquiétée aussi les troupes qui y sont stationnées sont peu à peu réduites. À la fin du XIVe siècle, la Cité n'est plus capable de résister aux nouvelles armes à poudre. Néanmoins, sa situation frontalière reste un atout stratégique et une garnison est maintenue. En 1418, les hommes en garnison dans la Cité ont en général un second métier. À cette époque, de l'autre côté de l'Aude, une nouvelle ville dite ville basse se construit sous forme de bastide.
Peu de faits de guerre ou de conflits majeurs marquent la période royale. En 1272, le comte de Foix, rebelle, est enfermé par Philippe III de France dans la Cité de Carcassonne. En 1283, un traité d'alliance est signé entre le roi de France et le roi de Majorque Jacques II contre Pierre III d'Aragon. Le pape Clément V passe par Carcassonne en 1305 et 1309. En 1355, le Prince Noir n'ose pas s'attaquer à la Cité trop puissamment défendue et se contente de détruire et piller la ville basse. La Cité devient prison d'État au XVe siècle dans laquelle sont enfermés les ennemis du roi comme Jean IV d'Armagnac. La peste décime les habitants de Carcassonne et de la Cité en 1557. En 1585, la Cité est attaquée par les huguenots mais ils sont repoussés par les « mortes-payes».
Entre 1560 et 1630, durant les Guerres de religion, la Cité reste un dispositif militaire important pour les catholiques. Elle subit des attaques de la part des protestants. En 1575, le fils du sire de Villa tente d'attaquer la forteresse. En 1585, les hommes de Montmorency font de même, mais là aussi c'est l'échec.
La mort de Henry III déclenche des affrontements entre les habitants de la ville basse fidèle à Henry IV, son successeur légitime, et au duc de Montmorency, et la Cité qui refuse de reconnaître le nouveau roi et prend le parti de la Ligue. Au cours des violents combats qui s'étalent sur près de 2 ans, les faubourgs de la Cité situés aux abords de la porte de l'Aude sont détruits. Cette dernière est murée et le quartier de la Trivalle est incendié. En 1592, les habitants de la Cité se rallient au roi.
Le XVIIe siècle marque le début de l'abandon de la Cité. En 1657, le présidial, la juridiction en place à Carcassonne, est transféré de la Cité à la ville basse44. En 1659, la Cité de Carcassonne perd sa position stratégique à la suite de la signature du Traité des Pyrénées qui rattache le Roussillon à la France et fixe la frontière entre la France et l'Espagne à son emplacement actuel. La Cité est progressivement abandonnée par ses habitants les plus aisés et devient un quartier pauvre occupé par les tisserands. Les lices sont progressivement occupées par des maisons. Des caves et des greniers sont installés dans les tours. La Cité se dégrade rapidement.
La ville basse prospère grâce à l'industrie drapière. Le principal centre religieux de la ville, la cathédrale Saint-Nazaire, demeure néanmoins dans la Cité jusqu'à la Révolution. En 1790, le chapitre est aboli et le palais épiscopal et le cloître sont vendus puis détruits en 1795. Le siège épiscopal est même transféré en 1801 de la cathédrale Saint-Nazaire à l'église Saint-Michel dans la ville basse. En 1794, les archives de la tour du Trésau sont détruites par un incendie.
Sous l'Ancien Régime puis sous la Révolution, la Cité est réduite sur le plan militaire au rôle d'arsenal, entrepôt d'armes et de vivres puis, entre 1804 et 1820, est rayée de la liste des places de guerre et abandonnée ; elle est reclassée en seconde catégorie. La ville haute perd son autonomie municipale et devient un quartier de Carcassonne. Le château comtal est transformé en prison. L'armée est alors prête à céder la Cité aux démolisseurs et récupérateurs de pierres.
La Cité connaît un déclin social avec l'augmentation de la pauvreté, mais aussi un déclin démographique. Entre 1819 et 1846, le nombre d'habitants de la ville haute décline tandis que dans la ville basse, la démographie augmente.
Pour les habitants de Carcassonne, la Cité médiévale, située sur une butte difficile d’accès avec ses ruelles étroites et ses lices et remparts vétustes constitue désormais un quartier peu attrayant auquel s'oppose la ville nouvelle formée par la bastide Saint-Louis ou ville basse. La désaffection des habitants pour la Cité entraîne sa détérioration. Les tours se délabrent et la plupart sont converties en garages, hangars et autres bâtiments de stockage. Les lices sont progressivement envahies par des constructions (au XIXe siècle, les autorités y recensent 112 maisons). La destruction de la Cité médiévale est alors programmée.
La Cité est sauvée de la destruction totale par Jean-Pierre Cros-Mayrevieille, notable et historien, habitant au pied de la Cité. Dès 1835, il s'émeut de la destruction de la barbacane dont les pierres étaient pillées par les entrepreneurs locaux. C'est à lui que l'on doit les premières véritables fouilles dans la cathédrale de la Cité et la découverte de la chapelle de l'évêque Radulphe. L'écrivain Prosper Mérimée, inspecteur général des monuments historiques, a le coup de foudre pour ce monument en perdition. L'architecte Eugène Viollet-le-Duc, qui avait commencé la restauration de l'église Saint-Nazaire, est chargé d'étudier la restauration de la Cité. En 1840, la basilique Saint-Nazaire à l'intérieur de la Cité passe sous la protection des monuments historiques. Cette protection est étendue à l'ensemble des remparts en 1862.
En 1853, Napoléon III approuve le projet de restauration. Le financement est soutenu par l'État à 90 % et à 10 % par la ville et le conseil général de l'Aude. En 1855, les travaux commencent par la partie ouest-sud-ouest de l'enceinte intérieure, mais restent modestes. En 1857, ils se poursuivent sur les tours de la porte Narbonnaise et l'entrée principale de la Cité. Les fortifications sont çà et là consolidées, mais le gros du travail se concentre alors sur la restauration des toitures des tours des créneaux et des hourds du château comtal. L'expropriation et la destruction des bâtiments construits le long des remparts sont ordonnées. En 1864, Viollet-le-Duc obtient encore des crédits pour restaurer la porte de Saint-Nazaire et l'enceinte extérieure du front sud. En 1874, la tour du Trésau est restaurée.
Eugène Viollet-le-Duc laissera de nombreux croquis et dessins de la Cité et de ses modifications56. À sa mort en 1879, son élève Paul Boeswillwald reprend le flambeau puis l'architecte Henri Nodet. En 1889, la restauration de l'enceinte intérieure est terminée. Les travaux de restauration du château comtal débutent la même année et, en 1902, les travaux d'envergure sont achevés et les alentours de la Cité sont aménagés et dégagés. En 1911, les dernières maisons présentes dans les lices sont détruites et les travaux de restauration sont considérés comme terminés en 1913.
Seul 30 % de la Cité est restauré. Durant les travaux de restauration, le chanoine Léopold Verguet réalise de nombreux clichés, ainsi que des travaux de réhabilitation. Ces photos fournissent des témoignages sur le chantier et la vie autour la Cité à cette époque. Un autre photographe, Michel Jordy, historien et archéologue, apporte également sa contribution à la sauvegarde la Cité par ses recherches et ses photographies. Il est également le fondateur de l'hôtel de la Cité.
Dès 1850, les restaurations d'Eugène Viollet-le-Duc sont fortement critiquées. Ses détracteurs, comme Hippolyte Taine, dénoncent la différence entre les parties neuves et les parties en ruine considérant que ces dernières ont plus de charme. D'autres, comme Achille Rouquet ou François de Neufchâteau, regrettent le caractère trop gothique et le style « Viollet-le-Duc » des modifications. Aujourd'hui, les historiens soulignent surtout les erreurs du restaurateur. Joseph Poux regrette la mauvaise reconstitution des portes et des fenêtres des tours wisigothes et la bretèche de la porte de l'Aude.
Mais ce sont surtout les choix effectués pour la restauration des toitures qui furent fortement critiqués. Viollet-le-Duc, fort de ses expériences de restauration sur les châteaux du nord de la France, choisit de coiffer les tours d'une toiture conique couverte d'ardoises, contrastant avec les toitures plates couvertes de tuiles romanes des châteaux de la région. Ce choix avait pour lui une logique historique, car Simon de Monfort et les autres chevaliers qui participèrent à la croisade des Albigeois venaient tous du Nord. Il n'est pas impossible que ces « nordistes » aient ramené avec eux leurs propres architectes et techniques. De plus, Viollet-le-Duc retrouva de nombreux fragments d'ardoise lors de ses restaurations de la Cité. C'est pour cela qu'aujourd'hui, on peut observer différents types de toiture dans la Cité de Carcassonne.
Le pont-levis, rajouté à l'entrée de la porte Narbonnaise, est également cité comme un exemple de reconstitution erronée. Par ailleurs, certaines restaurations sont parfois considérées comme trop parfaites et réduisant l'impression d'authenticité. Cependant, malgré ses erreurs, on considère aujourd'hui qu'Eugène Viollet-le-Duc a effectué un travail d'architecture remarquable qui a permis de restituer aux visiteurs une image cohérente sinon fidèle de la Cité de Carcassonne. Ainsi les campagnes de restauration menées aujourd'hui conservent les modifications apportées au modèle originel par l'architecte, car elles font désormais partie de l'histoire du monument.
La diminution de la population se poursuit pendant la seconde moitié du XIXe siècle. Entre 1846 et 1911, la Cité perd 45 % de sa population, passant de 1 351 à 761 habitants.
En 1903, la Cité passe de la tutelle du ministère de la guerre au ministère des beaux-arts66 et en 1918, l'armée quitte définitivement la Cité de Carcassonne. En 1920, l'hôtel de la Cité est construit à l'intérieur même de la Cité entre le château comtal et la cathédrale de Saint-Nazaire. Cette construction néo-gothique provoque à l'époque de nombreuses protestations. En 1926, les monuments historiques étendent leur protection en classant les terrains situés près des restes de la barbacane de l'Aude, les accès et la porte de l'Aude, ainsi qu'en inscrivant le Grand Puits au titre des monuments historiques. En 1942, le classement s'étend encore avec l'ajout, en trois fois, de terrains autour de la Cité. Cette extension permet de protéger les abords directs de l'enceinte en empêchant d'éventuelles constructions.
En 1944, la Cité de Carcassonne est occupée par les troupes allemandes qui utilisent le château comtal comme réserve de munitions et d'explosifs. Les habitants sont expulsés de la Cité. Joë Bousquet, commandeur de la Légion d'honneur, s'indigne de cette occupation et demande par lettre au préfet la libération de la Cité considérée par tous les pays comme une œuvre d'art qu'il faut respecter et laisser libre.
En 1961, un musée est installé dans le château comtal. Puis en 1997, la Cité est classée au patrimoine mondial par l'UNESCO. Aujourd'hui, la Cité est devenue un site touristique important qui reçoit plus de 2 millions de visiteurs chaque année. Ces classements permettent à l'État de recevoir des subventions pour l'entretien du site. En contrepartie, il doit respecter l'architecture des lieux lors de constructions ou de rénovations et doit ouvrir la Cité aux visiteurs. Les monuments historiques gèrent les visites et la gestion du château comtal. Ils ont récemment rénové le parcours de visites en 2006 et 2007 en ajoutant une salle de projection et une nouvelle signalétique. En 2014 débute des travaux de mise en sécurité des remparts du circuit Ouest suivi par un architecte en chef des monuments afin d'offrir ce parcours au visiteur. Les travaux seront réalisés par des compagnons tailleur de pierre spécialisés dans la restauration du patrimoine architectural.
Les parties remarquables de la Cité comprennent les deux enceintes et plusieurs bâtiments. Le plan ci-contre permet de localiser ces bâtiments décrits dans les sections suivantes. L'enceinte intérieure et les portes figurent en rouge tandis que l'enceinte extérieure et les barbacanes sont représentées en jaune :
1 - Porte Narbonnaise et barbacane Saint-Louis,
2 - Porte et barbacane Saint-Nazaire,
3 - Porte d'Aude,
4 - Porte du Bourg et barbacane Notre-Dame,
5 - Château comtal entouré d'un fossé et construit le long de l'enceinte intérieure,
6 - Barbacane de l'est protégeant l'entrée du château,
7 - Barbacane de l'Aude, aujourd'hui détruite,
8 - Église Saint-Nazaire.
Le matériau utilisé pour la construction des enceintes et des tours est la pierre dont est constitué le plateau sur lequel est édifiée la Cité. Il s'agit de grès ou molasse de Carcassonne qui a été extraite du plateau même ou des collines environnantes. Deux enceintes, entourant la Cité, sont séparées par un espace plat : les lices. Ce système comportait, à l'époque de sa mise en œuvre (avant la généralisation de l'artillerie), de nombreux avantages défensifs. Il permettait d'attaquer les assaillants selon deux lignes de tir ; l'enceinte extérieure, si elle était franchie, ralentissait les assaillants et les divisait ; les assaillants une fois parvenus dans les lices étaient particulièrement vulnérables dans cet espace dépourvu d'abri. De plus, la lice permettait aux cavaliers de combattre facilement. On distingue les lices basses, situées au nord et allant de la porte Narbonnaise à la porte de l'Aude où se trouvent les enceintes les plus anciennes datant des Wisigoths et les lices hautes, situées au sud, où se trouvent les murailles les plus récentes construites sous Philippe III le Hardi.
La première enceinte, construite sur un éperon rocheux, date de l'époque gallo-romaine ; elle permettait de dominer la vallée et le cours de l'Aude. Les soubassements de cette enceinte originelle sont encore visibles depuis la lice. Elle est construite à l'aide de grosses pierres et d'un mortier très dur. Le mur de cette enceinte était épais de deux à trois mètres. Cette enceinte avait un périmètre de 1 070 m et protégeait une ville de sept hectares. Elle est constituée de moellons réguliers et de rangées de briques. Ces briques assuraient la stabilité de la construction grâce à leur flexibilité et rattrapaient les éventuels affaissements.
Il existe encore dix-sept tours d'origine gallo-romaine plus ou moins remaniées sur les trente tours que comportait initialement cette enceinte. Une seule tour était de plan rectangulaire, la tour Pinte. Les autres tours reconnaissables dans les remparts ouest de la Cité grâce à leur forme en fer à cheval à l'extérieur et plate à l'intérieur. La partie inférieure des tours, dont le diamètre est compris entre 4,50 et 7 mètres, est constituée de maçonnerie pleine qui donnait une assise particulièrement solide. Les niveaux supérieurs comportent de larges ouvertures cintrées qui donnaient une grande efficacité aux armes de jet des défenseurs. Un système de fenêtre basculante assurait la défense et la protection de ces larges ouvertures. Les tours étaient recouvertes de tuiles plates à double rebord. La hauteur des tours était comprise entre 11,65 m et 13,70 m.
Durant le XIIIe siècle, les rois de France ordonnèrent la construction d'une seconde enceinte extérieure autour de la Cité. Les tours sont rondes, souvent basses et dépourvues de toiture pour n'offrir aucun abri à des assaillants qui les auraient conquises contre les tirs venus de l'enceinte intérieure. L'enceinte est entourée d'un fossé sec sauf aux endroits ou le dénivelé ne rend pas cette défense nécessaire. L'espace entre les deux enceintes est aménagé en lices qui sont utilisées en temps de paix pour les manifestations en tous genres. Les murailles atteignent une hauteur de 10 à 12 mètres.
L'enceinte intérieure est modernisée sous Philippe III Le Hardi et Philippe IV Le Bel. L'entrée Narbonnaise, la Porte de Saint-Nazaire et la tour du Trésau sont construites. Ces édifices sont caractérisés par la hauteur impressionnante de leurs murs et l'emploi de pierres à bossage. La construction de l'enceinte est plus complexe et repose sur des fondations plus profondes que l'enceinte gallo-romaine, car elle atteint la roche du plateau. La réalisation de l'enceinte extérieure et des lices a nécessité de décaisser le terrain naturellement pentu. Une partie des soubassements extérieurs de l'enceinte gallo-romaine ont été mis à nu par ce terrassement et a dû faire l'objet d'une consolidation.
Le chemin de ronde permettait de faire tout le tour de la Cité en traversant les tours. Au Moyen Âge, la courtine est élargie grâce à un système de charpente en bois suspendu créant un abri au-dessus du vide. Ce système placé à cheval sur le rempart du nom de hourd permettait aux arbalétriers de tirer avec précision au milieu des lices. Des échauguettes sont construites sur la saillie de certaines murailles comme l'échauguette de la Vade.
Les tours médiévales diffèrent des tours romaines tout en gardant leur forme extérieure caractéristique avec une façade extérieure bombée et une façade intérieure plate. Les échelles de bois sont remplacées par des escaliers intérieurs en pierre. La base des tours est fruitée, c'est-à-dire renflée afin que les projectiles ricochent sur la tour et se retournent contre les assaillants situés au pied de la muraille.
L'enceinte est percée de quatre portes principales donnant accès à l'intérieur de la Cité. Les portes sont réparties aux quatre points cardinaux.
La porte Narbonnaise, située à l'est, est construite vers 1280 durant le règne de Philippe III le Hardi. Elle doit son nom à son orientation vers Narbonne et succède au château narbonnais, un château aujourd'hui disparu qui contrôlait la principale entrée de la ville. Le château Narbonnais était tenu aux XIe et XIIe siècles des Trencavel par la famille de Termes. Au XIXe siècle Viollet-le-Duc reconstitue le crénelage et le toit en ardoise de 1859 à 1860 et la dote d'un pseudo pont-levis qui n'existait pas à l'origine. Elle est constituée de deux tours imposantes renforcées par des becs destinés à détourner les tirs des assaillants. La porte est protégée par une double herse renforcée par un assommoir et des meurtrières. Ces tours possèdent trois étages sur rez-de-chaussée. Le rez-de-chaussée et le premier étage sont voûtés alors que les étages supérieurs comportent un simple plancher. La tour nord possède un caveau pour les provisions tandis que la tour sud contient une citerne d'eau, permettant de faire face aux besoins des défenseurs de la tour pendant un siège de longue durée.
Au-dessus de cet ensemble se trouve une niche à couronnement tréflé dans laquelle est placée une statue de la Vierge. Cette porte est protégée par la barbacane Saint-Louis qui se trouve face à elle. Une échauguette située à droite de la porte permettait un tir direct sur les assaillants si ceux-ci parvenaient à prendre la barbacane.
Au sud, la porte Saint-Nazaire est aménagée dans la tour du même nom, l'une des deux tours carrés de la Cité. C'est un dispositif de défense complexe ; l'ouvrage était très abîmé et Viollet-le-Duc le reconstitua entre 1864 et 1866.
La tour protège la cathédrale Saint-Nazaire située juste derrière à 25 mètres dans la Cité. Elle est équipée de quatre échauguettes ; le passage donnant accès à la lice et à la Cité comporte un coude de 90 degrés. Chaque entrée de ce passage est protégée par des systèmes de défense : mâchicoulis, herses et vantaux.
La tour possède deux étages bien aménagés pour le stationnement de la garnison avec une cheminée et des corps de placard. La plate-forme couronnant la tour permettait de recevoir un engin de guerre à longue portée.
À l'ouest, la porte d'Aude fait face au fleuve du même nom. Elle est située près du château comtal. Cette porte se prolonge par la barbacane de l'Aude détruite en partie en 1816 pour construire l'église Saint-Gimer. Seule la rampe entourée de murs crénelés subsiste. Le système défensif de cette porte était complexe. De hautes arcades cachent de fausses portes ne menant nulle part : ce dispositif était destiné à tromper l'ennemi. De plus, de nombreux couloirs en lacet possèdent différents paliers créant une souricière dans laquelle les assaillants se trouvaient bloqués et pouvaient être attaqués de toutes parts. La porte de l'Aude combine des systèmes de défense passive et active d’une grande sophistication.
La rampe, qui partait de la barbacane disparue, donne accès à cette porte. Elle monte la pente raide de l'ouest en faisant des lacets et traverse une première porte puis une seconde porte. L'avant-porte défend cet accès, situé entre l'enceinte intérieure et extérieure. L'enceinte intérieure est à cet endroit surélevée et épaulée d'un triple contrefort construit au XIIIe siècle. La porte proprement dite est d'origine wisigothe avec son plein cintre alterné de briques. Au-dessus de l'entrée, se trouvent une baie et une bretèche massives qui ne sont pas d'origine féodale, mais ont été ajoutées par Viollet-le-Duc lors de sa restauration. Cette porte, à l'aspect typiquement médiéval, a servi de décor pour de nombreux tournages de films comme Les Visiteurs, Robin des Bois : Prince des voleurs ou Le Corniaud.
Au nord, la porte du Bourg ou de Rodez donnait sur l'ancien bourg Saint-Vincent. Elle est directement creusée dans l'enceinte et était défendue par la barbacane Notre-Dame et la tour Mourétis.
La porte, assez modeste, est percée dans les remparts entre deux tours. Elle possède très peu de défenses. À l'époque des Wisigoths, la porte était protégée par une sorte d'avant-corps dont une muraille se prolongeait vers le bourg Saint-Vincent. Cet édifice a été remplacé par la suite par une barbacane sur l'enceinte extérieure, la barbacane Notre-Dame.
Le château comtal est adossé à l'enceinte intérieure ouest à l'endroit où la pente est la plus raide. Il possède un plan en forme de parallélogramme allongé du nord au sud et est percé de deux issues à l'ouest du côté de la porte de l'Aude et à l'est du côté intérieur de la Cité. Il a été construit en deux temps.
Sa construction est lancée par Bernard Aton IV Trencavel durant l'époque romane aux alentours de 1130 pour remplacer un château primitif probablement situé à l'emplacement de la porte Narbonnaise96. Le château est constitué de deux corps de bâtiment en L dominés par une tour de guet, la tour Pinte. Au nord se trouve une chapelle castrale dédiée à Marie dont il reste aujourd'hui que l'abside. Seule une palissade séparait le château du reste de la Cité.
Durant l'époque royale, entre 1228 et 1239, le château est complètement remanié devenant une forteresse à l'intérieur de la Cité. Une barbacane comportant un chemin de ronde et un parapet crénelé barre l'entrée du château juste avant le fossé qui l'entoure complètement jusqu'à l'enceinte intérieure. La porte d'entrée du château encadrée par deux tours est constituée d'un mâchicoulis, d'une herse et de vantaux. Le pont d'entrée est composé d'une partie en pont dormant, suivi d'une partie comportant un pont basculant et un pont-levis actionné par des contrepoids près de la herse de la porte d'entrée. Les murailles remplacent la palissade originelle et entourent complètement les bâtiments. Un système de hourds reposait sur l'enceinte telle que l'a reconstitué Viollet-le-Duc.
Le château et son enceinte comportent 9 tours dont deux sont d'époque wisigothe : la tour de la chapelle et la tour Pinte. La tour Pinte est une tour de guet carrée, la plus haute de la Cité. Toutes les autres tours ont des dispositions intérieures et extérieures identiques, car construites en même temps aux XIIe siècle. Ces tours sont constituées de trois étages et d'un rez-de-chaussée. Le rez-de-chaussée et le premier étage comportent un plafond voûté tandis que les étages supérieurs sont dotés de simples planchers. La communication entre les étages se fait par le biais des trous servant de porte-voix dans les voûtes et les planchers. Des hourds reconstitués par Viollet-le-Duc ornaient vraisemblablement l'enceinte et les tours comme le montre la reconstitution actuelle.
L'accès du château mène à une cour rectangulaire entourée de bâtiments remaniés de nombreuses fois entre le XIIe et le XVIIIe siècle. Les murs nord et est de la cour sont flanqués de simples portiques tandis qu'au sud et à l'est se trouvent deux bâtiments. Celui du sud contient les cuisines et permet d'accéder à une seconde cour. Elle contenait un bâtiment aujourd'hui détruit, mais où sont encore visibles les emplacements des poutres du plancher du premier étage ainsi que plusieurs fenêtres. C'est aussi dans cette cour que se trouve la tour Pinte.
La basilique Saint-Nazaire, construite en grès (parement extérieur), est une église d'origine romane dont les parties les plus anciennes remontent au XIe siècle. Sur son emplacement s'élevait à l'origine une cathédrale carolingienne dont il ne subsiste, aujourd'hui, aucune trace.
À l'aube de l'apogée de l'art roman, c'est donc d'abord une simple église bénie et consacrée cathédrale par le pape Urbain II en 1096 sous l'impulsion des Trencavel, qui lancent le chantier d'un nouvel édifice plus vaste. De cet édifice ne subsistent que les deux premiers piliers de la nef et la crypte, dont l'état dégradé donne à penser qu'il s'agissait d'un ouvrage antérieur. Elle épouse le plan de l'ancienne abside. Au XIIe siècle on édifie la nef actuelle, de six travées, qui fut laissée intacte lors des agrandissements de l'époque gothique, qui par contre se traduisirent par la destruction du chevet roman du XIe siècle. Le portail roman a quant à lui été entièrement refait au XIXe siècle lors des restaurations de Viollet-le-Duc.
La basilique est agrandie entre 1269 et 1330 dans le style gothique importé par les nouveaux maîtres de la région, avec un transept et un chœur très élancés, un décor de sculptures et un ensemble de vitraux qui comptent parmi les plus beaux du sud de la France. Un prélat bâtisseur, Pierre de Rochefort, finança la construction d'une grande partie des décors et l'achèvement des voûtes. Ses armoiries sont visibles dans le chœur, l'abside et le bras sud du transept, tandis que la chapelle du collatéral nord contient le monument commémoratif de la mort du contributeur. Un autre personnage, Pierre Rodier, évêque de Carcassonne, possède son blason dans la chapelle du collatéral sud.
Les rénovations d'Eugène Viollet-le-Duc ont largement transformé l'extérieur de la basilique, mais l'intérieur est le plus remarquable. Les deux styles, gothique et roman, se superposent sur les vitraux, les sculptures et tous les décors de l'église. Les façades comportent de nombreux vitraux des XIIIe et XIVe siècles : ceux-ci représentent des scènes de la vie du Christ et de ses apôtres.
Jusqu'au XVIIIe siècle, la cathédrale Saint-Nazaire demeure pourtant le principal centre religieux de Carcassonne. À la fin de l'Ancien Régime, le chapitre cathédral entretient même un petit corps de musique comptant un organiste, un maître de musique et au moins cinq enfants de chœur. En 1790, cependant, la chapitre est supprimé. Ce n'est qu'en 1801 que l'église est déchue de son rang de cathédrale de Carcassonne au profit de l'église Saint-Michel, située dans la bastide à l'extérieur de la Cité. Ce transfert se déroule alors que la Cité est désertée par ses habitants au profit de la ville basse. Le titre de basilique lui est octroyé en 1898 par le pape Léon XIII.
Une communauté de chanoines vivait à proximité de la cathédrale avec une salle capitulaire et le dortoir à l'est, le réfectoire et les cuisines au sud et les caves et écuries à l'ouest. Mais l'ensemble des bâtiments sont démolis en 1792. Un cloître s'élevait également au sud de l'édifice. Son emplacement est aujourd'hui occupé par un théâtre de plein air établi en 1908.
La vie dans la Cité a été étudiée par de nombreux historiens. À l'époque féodale, la famille Trencavel est riche grâce à ses terres et divers droits et la vie des seigneurs et de l'entourage de la cour est assez faste. Le château comtal est élégamment décoré et le lieu attire de nombreux troubadours. La vie de la Cité est rythmée par les foires et les marchés. C'est en 1158 que Roger de Béziers autorise deux foires annuelles durant lesquelles la protection des marchands et des clients est assurée par le vicomte. Une monnaie locale prouve la vitalité et la richesse de la Cité. Le commerce y est important et fait vivre de nombreuses personnes. La nourriture est abondante et variée : porc salé, pain de froment, brochet, choux, navet, fèves, etc...
À l'époque royale, la Cité n'est plus aussi active. Les garnisons ont désormais un rôle prépondérant. Le roi met en place l'institution des sergents d'armes. Il s'agit de soldats qui ont pour mission de garder la Cité. Ils sont commandés par un connétable qui fixe les tours de garde et les surveillances diverses des sergents. Le nombre d'hommes initialement de 220 décline à 110 au XIVe siècle. Ces « sergenteries » deviennent héréditaires en 1336. Un texte de 1748 décrit avec précision le cérémonial de la mise en place des patrouilles et des gardes. Il décrit aussi les avantages et inconvénients de cette fonction. Les soldats étaient rémunérés par une solde perpétuelle qui conférait à la garnison le nom de "mortes-payes". La Cité était aussi bien pourvue en armes de défense et de guerre. Un inventaire de 1298 décrit des machines de jet comme des espringales, des balistes et des mangonneaux, du matériel de siège comme des poutres, des hourds démontés et tout ce qu'il faut pour faire du travail de sape, du matériel de transport comme des chars, du matériel de bâtiment avec de nombreuses pièces de rechange et du matériel d'alimentation notamment pour stocker de l'eau, important en période de siège. Elle servit ainsi de réserve pour alimenter les diverses batailles qui eurent lieu dans la région.
Lorsque la ville basse s'est développée au détriment de la ville haute, les conditions de vie dans la Cité changèrent énormément. Au XIXe siècle après l'abandon de la Cité par les militaires, la Cité enfermée dans sa double enceinte, devient un quartier abandonné où se concentre la misère. Seuls les tisserands pauvres vivent dans les lices dans des masures adossées aux murailles dans des conditions d'hygiène dignes du Moyen Âge. À la fin du XIXe siècle les occupants des maisons qui occupaient les lices sont progressivement expropriés et les lices restaurées dans leur état original. Viollet-le-Duc voit cette action comme une opération de nettoyage. La population chassée déménage alors en partie dans la ville basse et en partie à l'intérieur des murs de la Cité.
De nos jours, à l'intérieur de la Cité, la vie quotidienne n'est pas toujours facile. Les ruelles sont étroites, difficiles d'accès et les habitations sont vétustes, mais l'authenticité des lieux attire de nombreux visiteurs. La Cité possède plusieurs hôtels dont un hôtel de luxe, l'« hôtel de la Cité », une auberge de jeunesse, et de nombreux restaurants et boutiques de souvenirs.
La légende de Dame Carcas tente d'expliquer l'origine du nom de la Cité de Carcassonne. L'histoire dit que l'armée de Charlemagne était aux portes de la Cité aux prises des Sarrasins. Une princesse était à la tête des quelques chevaliers défendant la Cité après la mort de son mari. Il s'agit de la Princesse Carcas qui utilisa d'abord comme ruse de faux soldats qu'elle fit fabriquer et placer dans chaque tour de la Cité. Le siège dura 5 ans.
Mais au début de la sixième année, la nourriture et l'eau se faisaient de plus en plus rares. Dame Carcas voulut faire l'inventaire de toutes les réserves qu'il restait. Les villageois lui amenèrent un porc et un sac de blé. Elle eut alors l'idée de nourrir le porc avec le sac de blé, puis de le précipiter depuis la plus haute tour de la Cité au pied des remparts extérieurs.
Charlemagne et ses hommes, croyant que la Cité débordait encore de soldats et de vivres au point de gaspiller un porc nourri au blé, leva le siège. Voyant l'armée de Charlemagne quitter la plaine devant la Cité, Dame Carcas remplie de joie par la victoire de son stratagème décida de faire sonner toutes les cloches de la ville. Un des hommes de Charlemagne s'écria alors : « Carcas sonne ! », créant ainsi le nom de la ville.
Les boiseries de la pièce ont été exécutées sous la direction de Jean Aubert vers 1720 pour le duc de Bourbon (1692-1740), ministre du roi Louis XV et constructeur des Grandes Ecuries. La grande commode en marqueterie de Riesener, avec des bronzes dorés et ciselés de Hervieu, commande du roi Louis XVI pour sa chambre à Versailles, a été restaurée en 2007 avec le soutien de Vranken-Pommery..
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Les cinq peintures décoratives de Christophe Huet (1735, restaurées avec le soutien de la Fondation BNP Paribas) représentent des animaux exotiques dans un décor de pagodes orientales. Elles ont été installées au XIXe siècle sous la Restauration, lorsque les princes de Condé réaménagèrent le château pillé à la Révolution. Au XVIIIe siècle la chambre du prince comportait un décor peint formé de portraits de famille, dont le Portrait de Mlle de Clermont par Jean-Marc Nattier, aujourd’hui exposé dans la Galerie de Peinture. Les chaises et fauteuils sont recouverts de tapisserie de Beauvais du XVIIIe siècle d’après des cartons de J.B. Le Prince et Hubert Robert. Le bureau plat, qui porte l'estampille de l’ébéniste Schlichtig, a été restauré grâce aux Amis du musée Condé..
Today, Thursday 16 November 2017, police executed warrants at eight addresses across the Moss Side and Hulme areas of Manchester.
The warrants were executed as the latest phase of Operation Malham, targeting the supply of drugs in South Manchester.
This follows previous raids last week, which means more than 14 properties have been searched and eight people arrested in total as part of the operation.
Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: “We are dedicated to rooting out those who seek to make profits from putting drugs on our streets.
“Today’s raids have resulted in the arrests of five people which have only been made possible through the support of partner agencies and community intelligence.
“We are grateful for all your support and help and I would urge you to continue to report anything suspicious to help us stop people who are benefitting from crime and remove drugs from our city.”
Anyone with information should contact police on 101 or Crimestoppers, anonymously, on 0800 555 111.
To find out more about Greater Manchester Police please visit
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.
Today, Thursday 16 November 2017, police executed warrants at eight addresses across the Moss Side and Hulme areas of Manchester.
The warrants were executed as the latest phase of Operation Malham, targeting the supply of drugs in South Manchester.
This follows previous raids last week, which means more than 14 properties have been searched and eight people arrested in total as part of the operation.
Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: “We are dedicated to rooting out those who seek to make profits from putting drugs on our streets.
“Today’s raids have resulted in the arrests of five people which have only been made possible through the support of partner agencies and community intelligence.
“We are grateful for all your support and help and I would urge you to continue to report anything suspicious to help us stop people who are benefitting from crime and remove drugs from our city.”
Anyone with information should contact police on 101 or Crimestoppers, anonymously, on 0800 555 111.
To find out more about Greater Manchester Police please visit
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.
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.
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.
Contrary to what many believe, actually surprisingly few prisoners were executed inside the walls of the Tower of London. Most prisoners sentenced to death were given public executions at various sites across London - including Tower Hill. Private executions inside the walls here were reserved for only the most sensitive, high profile cases involving prominent figures in society such as nobility and royalty. The executions at the Tower of London commemorated by the new Memorial on the Site of Execution are: A) the seven beheaded near the Site of Execution - their remains are still buried in the Chapel Royal of St. Peter ad Vincula located within the Tower; and B) three Black Watch soldiers who were executed in the 18th century.
This notional scaffold site on Tower Green was railed off and the memorial inscription renewed in 1866 under orders from Queen Victoria. As we know that for each execution the scaffold was temporarily erected in a different position within the Tower, it is possible that this site for the memorial was chosen because it is well placed in front of the Chapel.
In 1483 William, Lord Hastings was hurriedly beheaded after his arrest at a meeting of the royal council on the orders of the Protector, Richard, Duke of Gloucester; while Robert Devereux, 2nd Earl of Essex, former favourite of Elizabeth I, died on her orders at first light on a February morning in 1601. The five female victims were the only English women to suffer death by beheading for treason. Queen Anne Boleyn (1536) and Queen Catherine Howard (1542), Henry VIII's second and fifth wives, had both been convicted of adultery. Jane Boleyn, Viscountess Rochford, Catherine's lady-in-waiting, was implicated in her crime and was executed with her. In 1541 Henry ordered the execution of another of his kinswomen, the 70-year-old Margaret Pole, Countess of Salisbury. Lady Jane Grey, a cousin to the Tudors and briefly declarred Queen, was executed by Queen Mary in 1554 for trying to take the throne and secure the Protestant succession on the death of Edward VI. On July 19 1743, three soldiers from the Black Watch regiment were shot at the Tower on charges of mutiny.
Police have today executed a number of warrants as part of an investigation into a disturbance in Oldham.
This morning (Wednesday 27 November 2019) officers visited 14 properties across Oldham and Crumpsall as well as a property in West Yorkshire.
Warrants were executed at Oldham and Crumpsall
13 men aged between 15 and 40 years of age were arrested on suspicion of violent disorder.
The action comes as part of Operation Woodville – a long-running investigation into serious public disorder occurring on Saturday 18 May 2019 in the Limeside area of Oldham.
As part of ongoing enquiries, police have released the images of (26) people that they want to speak to.
Chief Superintendent Neil Evans of GMP’s Territorial Commander with responsibility for Oldham said: “As the scale of this morning’s operation demonstrates, we continue to treat May’s disturbance with the upmost seriousness.
“We have been in liaison with the Crown Prosecution Service since the early stages of the investigation and a team of detectives has been working to identify those whose criminal behaviour resulted in the ugly scenes witnessed.
“Investigators have been working alongside key local partners as part of our extensive enquiries. Specialist detectives from our Major Investigations Team as well as local officers have been involved in hours of work assessing evidence and information received from the public.
“While we have made a number of arrests, our enquiries remain very much ongoing.
“In conjunction with this morning’s positive action, we have released a number of images of people who we want to speak to concerning their actions on 18 May 2019.
“As we have previously said, we understand and respect the right to peaceful protest and counter-protest. However we will not tolerate it when this crosses into criminal behaviour.
“Accordingly, we can and will respond when that line is crossed.
“It remains a line of enquiry that a number of those who were involved with the disorder had travelled to Oldham from outside Greater Manchester.
“As such, we are continuing to liaise with our partners in neighbouring forces.
“I’d like to take this opportunity to thank those who have already been in touch with officers.
“We must continue to work together as a community and support the justice process so that criminal behaviour is appropriately and proportionately challenged.”
Information can be left with police on 0161 856 6551 or the independent charity Crimestoppers, anonymously, on 0800 555 111.
13 th. KOREA ORIGAMI CREATION CONTEST
korea origami association encourages creation of origami, and execute origami creation
contest to prepare origami's base extension and origami's culture on every year.
* WORK OF PARTICIPATION
1.one sheet and unpublished work.
2.unit work.
3.complex Work that use paper of more than 2 sheets.
* TARGET OF PARTICIPATION
- korea and foreign countries.
* METHOD OF APPLICATION
1.work (your original model)
- diagram or scrap also crease pattern is possible.
2.size of work
- in case of plane work : should be small more than A3 paper.
- in case of solid work : almost size of 30cm x 30cm x 30cm.
(Should be packaged well in the box so that your model is not damaged.)
3.the number of work
- maximum is 5 work about one person.
4.money for registration is no charge but you should pay delivery fare of work.
* PERIOD FOR REGISTRATION
- 2011.7.1 ~ 2011.7.30 (year/month/day)
- Your work is not returned and will be exhibited to 2th korea origami convention in seoul.
www.origami.or.kr/culture/noticeBoard.asp?section=view&am....
* METHOD OF DELIVERY AND ADDRESS
- by post
- KOREA ORIGAMI ASSOCIATION OFFICE,
Myeongjin Building-First Floor, 366-104 Bunji,
Sindang 3-dong, Jung-gu, Seoul,
100-830, South Korea (Republic of Korea)
* WINNER OF CONTEST THE ANNOUNCEMENT
- 2011.8.9 (year/month/day)
* PRESENTATION OF PRIZES AND EXHIBITION IN 2th KOREA ORIGAMI CONVENTION
- 2011.8.19 ~ 2011.8.21 (year/month/day)
- You can know your winning a prize at here.
www.origami.or.kr/home/home.asp
- location of convention is sookmyung women's university in seoul.
* ABOUT PRIZE
first prize - testimonial and approximately USD 450 (1person)
gold prize - testimonial and approximately USD 270 (1person)
silver prize - testimonial and approximately USD 180 (2people)
copper prize - tsstimonial and approximately USD 90 (3people)
prize for encouragement - testimonial and approximately USD 45 (a few persons)
only wining a prize - testimonial and goods (a few persons)
* CAUTION
- a prize will cancel in case of is not your creation work.
BY THE WAY if you need more information or question.
- e mail address : linetest@naver.com (responsible person is Lee, Kyung Gu)
* ORIGINAL POSTER OF CONTEST
www.jongiejupgi.or.kr/culture/contestBoard.asp?section=vi...
We hope your participation.^^
Successful project to address marine bio-invasions concludes
as ballast water management treaty nears entry into force
A decade-long project to promote implementation of an international treaty stemming the transfer of potentially invasive species in ships’ ballast water has reached a successful conclusion at a meeting of stakeholders from Governments, industry and UN bodies.
The International Maritime Organization (IMO) has been executing the GloBallast Partnerships Programme in collaboration with the Global Environment Facility (GEF) and the United Nations Development Programme (UNDP). The project was launched in 2007 after an initial 4-year phase and has been assisting developing countries to reduce the transfer of harmful aquatic organisms and pathogens in ships’ ballast water and implement the IMO Ballast Water Management (BWM) Convention.
The final meeting of the GloBallast Global Project Task Force (GPTF), held in Panama City, Panama (16 to 17 March), highlighted the legacy elements of the GloBallast project, which are expected to be sustained by its main stakeholders following the formal closure of the project in June 2017. Specific examples include GloBallast training packages to support the capacity-building needs of countries implementing the BWM Convention. The regular Ballast Water Management R&D Fora, which promoted development of innovative ballast water treatment technologies, are also expected to continue after the project’s closure.
The GloBallast project has developed a successful model of working with lead partnering countries as well as the shipping industry and academia to catalyse knowledge-sharing, training and capacity-building. Regional task forces were formed in 12 developing sub-regions and regional strategies and action plans on ballast water management were developed, involving more than 100 countries; to date, six of these have been adopted through the regional cooperating institutions. GloBallast has also facilitated capacity building at the national level, helping to establish national task forces and assisting with drafting and adopting the national legislation in 80% of its lead partnering countries. This has supported many of these countries to ratify the BWM Convention, which will enter into force in September 2017. The meeting in Panama promoted the key role of the project’s lead partnering countries within their respective regions to sustain regional BWM implementation, and explored funding mechanisms that could finance future capacity-building needs.
The GloBallast project also pioneered a public-private sector partnership. The Global Industry Alliance for Marine Biosecurity (GIA) includes shipping companies such as Keppel Offshore and Marine (KOM) and APL. This alliance supported the formation of the Global Ballast Water Test Organizations Network (GloBal TestNet), which is formed of 19 organizations that test ballast water treatment systems and aims to increase levels of standardization, transparency and openness in so doing.
Dr Stefan Micallef, Director of IMO’s Marine Environment Division, said the GloBallast project was an outstanding example of direct, large-scale action taken by IMO, together with other international entities, to address the global threat to the health of the world’s oceans from invasive species carried in ships’ ballast water.
“Through GloBallast, Governments, industry and other stakeholders have acted to further improve the environmental and socio-economic sustainability of shipping and worked to reduce its negative impact on marine ecosystems. I have every hope that the ‘GloBallast family’ will continue its championing efforts and collaboration to protect our oceans, in the spirit of the United Nations Sustainable Development Goal 14,” Dr Micallef said.
Dr Andrew Hudson, Head of the Water & Ocean Governance Programme at UNDP, said the GloBallast project had pioneered a successful model for collaboration, cooperation and capacity-building, which was now being emulated through other “Glo-X” projects.
“The GEF-UNDP-IMO GloBallast Programme has played a key catalytic role in preparing countries and the shipping industry for the implementation of the BWM Convention, which will reduce the significant ecological and economic damage, lost livelihoods and human health impacts often caused by invasive species. The legacy and impacts of the project will go on long after it formally closes,” Dr Hudson said.
Mr Chris Severin, International Waters Coordinator at the GEF, said the GEF is proud to have partnered with the United Nations, through IMO and UNDP, towards providing the world with a framework to start tackling one of the avenues for spreading of invasive species, namely the BWM Convention.
“I sincerely believe that the implementation of the BWM Convention will assist nations not only in delivering essential contributions to the Sustainable Development Goals, but also offer an opportunity for unlocking the potential of the so-called blue economy. The two GEF projects, totalling a grant of $12 million USD, have been supporting the 17-year process leading to what we are celebrating today, namely the entry into force of the BWM Convention – a convention that, through strong partnerships with leading nations and private sector partners, will unlock an unprecedented estimated private-sector investment of a minimum of US$30 billion,” Mr Severin said.
The GloBallast Global Project Task Force (GPTF) meeting, hosted by the Panama Maritime Authority, was attended by 43 participants, including representatives from 12 of the 15 Lead Partnering Countries of the GloBallast project (Argentina, Bahamas, Chile, Colombia, Croatia, Ghana, Jamaica, Nigeria, Panama, Trinidad and Tobago, Venezuela, Yemen); one Pilot Country, Brazil; Regional Coordinating Organizations (REMPEC, SPREP, PERSGA and CPPS); GEF, UNDP and IMO; and from strategic partners, including the Institute of Marine Engineering, Science and Technology (IMarEST), International Chamber of Shipping (ICS), International Ocean Institute (IOI), European Bank for Reconstruction and Development (EBRD), the GloBal TestNet and the World Maritime University (WMU).
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.
______________________________
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
File name: 12_05_000011
Local call number: RARE BKS Cab.23.17.7 no.11 xxb c.2
Title: Execute judgment in the morning, and deliver him that is spoiled out of the hand of the oppressor
Other title information: Constitution of Virginia
Creator/Contributor: Virginia. Constitution (1776) (Author in quotations or text abstracts)
Genre: Broadsides
Created/Published: [Boston? : s.n.]
Date issued: 1800-1899 (questionable)
Physical description: 1 broadside ; 100 x 76 cm.
Physical description note: Boston Public Library (Rare Books Department) copy 1 shows water damage on the right side of the sheet.
General notes: Title from item.
Date notes: Date supplied by cataloger.
Acquisition notes: Gift, April 1900.
Subjects: Antislavery movements--Massachusetts--Boston; Slavery--United States--History--19th century
Collection: Anti-Slavery Collection
Location: Boston Public Library, Rare Books Department
Rights: No known copyright restrictions.
Caribbean divers execute a bottom search practice during Exercise TRADEWINDS in Discovery Bay, Jamaica on June 8, 2016.
Photo: Sgt Yannick Bédard, Canadian Forces Combat Camera.
IS01-2016-0003-030
~
Des plongeurs caribéens effectuent un exercice de recherche du fond au cours de l’exercice TRADEWINDS, à Discovery Bay, en Jamaïque, le 8 juin 2016.
Photo : Sgt Yannick Bédard, Caméra de combat des Forces canadiennes.
IS01-2016-0003-030
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.
Police have today executed a number of warrants as part of an investigation into a disturbance in Oldham.
This morning (Wednesday 27 November 2019) officers visited 14 properties across Oldham and Crumpsall as well as a property in West Yorkshire.
Warrants were executed at Oldham and Crumpsall
13 men aged between 15 and 40 years of age were arrested on suspicion of violent disorder.
The action comes as part of Operation Woodville – a long-running investigation into serious public disorder occurring on Saturday 18 May 2019 in the Limeside area of Oldham.
As part of ongoing enquiries, police have released the images of (26) people that they want to speak to.
Chief Superintendent Neil Evans of GMP’s Territorial Commander with responsibility for Oldham said: “As the scale of this morning’s operation demonstrates, we continue to treat May’s disturbance with the upmost seriousness.
“We have been in liaison with the Crown Prosecution Service since the early stages of the investigation and a team of detectives has been working to identify those whose criminal behaviour resulted in the ugly scenes witnessed.
“Investigators have been working alongside key local partners as part of our extensive enquiries. Specialist detectives from our Major Investigations Team as well as local officers have been involved in hours of work assessing evidence and information received from the public.
“While we have made a number of arrests, our enquiries remain very much ongoing.
“In conjunction with this morning’s positive action, we have released a number of images of people who we want to speak to concerning their actions on 18 May 2019.
“As we have previously said, we understand and respect the right to peaceful protest and counter-protest. However we will not tolerate it when this crosses into criminal behaviour.
“Accordingly, we can and will respond when that line is crossed.
“It remains a line of enquiry that a number of those who were involved with the disorder had travelled to Oldham from outside Greater Manchester.
“As such, we are continuing to liaise with our partners in neighbouring forces.
“I’d like to take this opportunity to thank those who have already been in touch with officers.
“We must continue to work together as a community and support the justice process so that criminal behaviour is appropriately and proportionately challenged.”
Information can be left with police on 0161 856 6551 or the independent charity Crimestoppers, anonymously, on 0800 555 111.
The Capuchin Friars first arrived in Dublin in 1615, but it was not until 1624 that the first friary was established, in Bridge Street. They came to Church Street in 1690, shortly after the Battle of the Boyne and opened a “Mass house” at the site of the present Church. The Mass house was enlarged in 1796. The present Church dates from 1881. The architect was James J.McCarthy. The altar and reredos was designed by James Pearse, the father of Pádraig and Willie Pearse who were executed after the 1916 Rising. It was friars from the Church Street community that attended those executed in 1916 and administered the last rites.
Today the friars serve the local community through parish work and through the Capuchin Day Centre. The Capuchin Mission Office which supports the work of the Irish friars overseas, in Zambia, South Africa, New Zealand and Korea is also located in Church Street. St Mary of the Angels is not a parish church, however, the Friars also have responsibility for Halston Street Parish, one of the oldest in Dublin City Centre.
The Panorama of the City of New York:
Scale model commissioned by Robert Moses for the 1964 World's Fair.
Designed and executed by Raymond Lester Associates.
Sporadically updated since.
"9,335 square foot architectural model includes every single building constructed before 1992 in all five boroughs; that is a total of 895,000 individual structures."
"The Panorama was built by a team of 100 people working for the great architectural model makers Raymond Lester Associates in the three years before the opening of the 1964 World’s Fair. In planning the model, Lester Associates referred to aerial photographs, insurance maps, and a range of other City material; the Panorama had to be accurate, indeed the initial contract demanded less than one percent margin of error between reality and the model. The Panorama was one of the most successful attractions at the ‘64 Fair with a daily average of 1,400 people taking advantage of its 9 minute simulated helicopter ride around the City."
"Until 1970 all of the changes in the City were accurately recreated in the model by Lester’s team. After 1970 very few changes were made until 1992, when again Lester Associates changed over 60,000 structures to bring it up-to-date. In the Spring of 2009 the Museum launched its Adopt-A-Building program with the installation of the Panorama’s newest addition, Citi Field, to continue for the ongoing care and maintenance of this beloved treasure."
www.queensmuseum.org/exhibitions/visitpanorama
www.queensmuseum.org/visi/donate/adopt-a-building
www.nytimes.com/2007/02/02/arts/design/02pano.html
www.flickr.com/groups/1025012@N21/
Red Lines Housing Crisis Learning Center:
2009 exhibition by Damon Rich of the Center for Urban Pedagogy, hosted by the Queens Museum of Art
Larissa Harris, Commissioning curator; Project Coordinator for Queens Museum Installation: Rana Amirtahmasebi
Museum Director: Tom Finkelpearl
"The Neighborhood Economic Development Advocacy Project collected the foreclosure information. . . . The Regional Plan Association, an independent planning group, then crunched the numbers using the Geographic Information System — a mapping program — to create maps of every inch of the city indicating where there had been foreclosures of single- to four-family homes in 2008."
"Red Lines Housing Crisis Learning Center is funded by grants from The Andy Warhol Foundation for the Visual Arts and Artists & Communities, a program of Mid Atlantic Arts Foundation, which is made possible by major funding from Johnson & Johnson, the New Jersey State Council on the Arts, and the JPMorgan Chase Foundation. A publication funded by The Graham Foundation for Advanced Studies in the Fine Arts will be available during the exhibition. Additional support provided by the New York City Department of Cultural Affairs and New York State Council on the Arts."
www.queensmuseum.org/2632/red-lines-housing-crisis-learni...
community.queensmuseum.org/lang/en/blog/corona-plaza/redl...
www.nytimes.com/2009/07/08/arts/design/08panorama.html?_r=0
www.cjr.org/the_audit/go_to_queens_museum_get_mad.php
www.flickr.com/photos/panoramaqueensmuseum/sets/721576210...
www.pbs.org/newshour/video/module.html?mod=0&pkg=1510...
www.citylimits.org/news/articles/3789/on-exhibit-housing
video.foxbusiness.com/v/3894109/ny-panorama-highlights-fo...
video.corriere.it/?vxSiteId=404a0ad6-6216-4e10-abfe-f4f69... (in Italian)
www.clairebarliant.com/artwriting/adaptive-reuse/
www.tandfonline.com/doi/abs/10.1080/08935691003625372
www.businessinsider.com/irvington-new-jersey-sub-prime-pr...
www.nytimes.com/2009/05/17/nyregion/new-jersey/17newarknj...
Queens Museum of Art:
Architect: Aymar Embury II
Opened: 1939
Renovated 1964 by Daniel Chait.
Renovated in 1994 by Rafael Viñoly.
Expansion scheduled in 2013, under the helm of Grimshaw Architects with Ammann & Whitney as engineers.
"Built to house the New York City Pavilion at the 1939 World’s Fair, where it housed displays about municipal agencies. . . . It is now the only surviving building from the 1939/40 Fair. After the World’s Fair, the building became a recreation center for the newly created Flushing Meadows Corona Park. The north side of the building, now the Queens Museum, housed a roller rink and the south side offered an ice rink. . . . From 1946 to 1950 . . . it housed the General Assembly of the newly formed United Nations. . . . In 1972 the north side of the New York City Building was handed to the Queens Museum of Art (or as it was then known, the Queens Center for Art and Culture)."
The other half of the building was an ice-skating rink from 1939–2009.
www.queensmuseum.org/about/aboutbuilding-history
en.wikipedia.org/wiki/Queens_Museum_of_Art
en.wikipedia.org/wiki/Aymar_Embury_II
en.wikipedia.org/wiki/Ammann_%26_Whitney
artsengaged.com/bcnasamples/chapter-fifteen-being-good-ne...
Concord Sentence, It is located in the same place where the guillotine which executed Louis XVI had been placed...
Creation and Life
The obelisks of ancient Egypt represented benben or the original mound upon which the god stood and created the world. For this reason, the obelisk was associated with the benu bird, the Egyptian predecessor of the Greek phoenix.
According to the Egyptian myths, benu bird’s cry would awake creation and set life in motion. The bird symbolized the renewal of each day, but at the same time, it was also a symbol of the world’s end. Just as its cry would signal the beginning of the creative cycle, the bird would sound again to signal its conclusion.
Later, the benu bird was linked to the sun god Ra, also known as Amun-Ra and Amun, symbolizing life and light. The sun god appeared as a ray of sunlight coming from the sky. The sunray shining down from a point in the sky resembled the shape of an obelisk.The Place de la Concorde (French: [plas də la kɔ̃kɔʁd]; lit. 'Harmony Square') is a public square in Paris, France. Measuring 7.6 ha (19 acres) in area, it is the largest square in the French capital. It is located in the city's eighth arrondissement, at the eastern end of the Champs-Élysées.. Some of the king's ghosts are going to Concord to get the powder that is there There are several interpretations of the symbolic meaning of obelisks, the majority of which is related to religion, because they come from Egyptian temples. Let’s break down some of these interpretations:Creation and Life
The obelisks of ancient Egypt represented benben or the original mound upon which the god stood and created the world. For this reason, the obelisk was associated with the benu bird, the Egyptian predecessor of the Greek phoenix.
According to the Egyptian myths, benu bird’s cry would awake creation and set life in motion. The bird symbolized the renewal of each day, but at the same time, it was also a symbol of the world’s end. Just as its cry would signal the beginning of the creative cycle, the bird would sound again to signal its conclusion.
Later, the benu bird was linked to the sun god Ra, also known as Amun-Ra and Amun, symbolizing life and light. The sun god appeared as a ray of sunlight coming from the sky. The sunray shining down from a point in the sky resembled the shape of an obelisk.
Resurrection and Rebirth.
In the context of the Egyptian solar god, the obelisk also symbolizes resurrection. The point on the top of the pillar is there to break up the clouds allowing the sun to shine upon the earth. The sunlight is believed to bring rebirth to the deceased. This is why we can see so many obelisks in older cemeteries.
Unity and Harmony
Obelisks were always raised in pairs keeping the Egyptian value for harmony and balance.The idea of duality permeates Egyptian culture. Instead of focusing on the differences between the two parts of a pair, it would emphasize the essential unity of existence through the harmonization and alignment of the opposites.
Strength and Immortality
Obelisks were associated with pharaohs as well, representing the vitality and immortality of the living deity. As such, they were raised and carefully positioned so that the first and the last light of the day would touch their peaks honoring the solar deity.
Ancient Egyptian obelisks in modern cities
The Ancient Romans populated their city with 8 large and 42 small Egyptian obelisks. More have been re-erected elsewhere, and the best-known examples outside Rome are the pair of 21-metre (69 ft) 187-metric-ton (206-short-ton) Cleopatra's Needles in London, England (21 metres or 69 feet), and New York City, US (21 metres or 70 feet), and the 23-metre (75 ft) over-250-metric-ton (280-short-ton) Luxor Obelisk at the Place de la Concorde in Paris, France.The centrepiece of the Place de la Concorde is an ancient Egyptian obelisk decorated with hieroglyphics exalting the reign of the pharaoh Ramesses II. It is one of two which the Egyptian government gave to the French in the 19th century. The other one stayed in Egypt, too difficult and heavy to move to France with the technology at that time. On 26 September 1981 President François Mitterrand formally returned the title of the second obelisk to Egypt.[16]
Success and Effort
As it took immense effort and commitment to carve, polish, and craft an enormous piece of stone into a perfect tower, obelisks were also seen as a symbol ofvictory, success, and achievement.They represent the ability of every individual to dedicate their efforts to the advancement of humanity and leave a positive mark on society.
A Phallic Symbol
Phallic symbolism was quite common in ancient times and was often depicted in architecture. The obelisk is often considered to be such a phallic symbol, signifying the masculinity of the earth. In the 20th century, obelisks were associated with sex.
symbolsage.com/obelisk-meaning-and-symbolism/
The obelisk once marked the entrance to the Luxor Temple. The wali of Egypt, or hereditary governor, Muhammad Ali Pasha, offered the 3,300-year-old Luxor Obelisk as a diplomatic gift to France in 1829. It arrived in Paris on 21 December 1833. Three years later, it was hoisted into place, on top of the pedestal which originally supported the statue of Louis XV, destroyed during the Revolution. The raising of the column was a major feat of engineering, depicted by illustrations on the base of the monument. King Louis Philippe dedicated the obelisk on 25 October 1836.[17]
The obelisk, a yellow granite column, rises 23 metres (75 ft) high, including the base, and weighs over 250 tonnes (280 short tons). Given the technical limitations of the day, transporting it was no easy feat – on the pedestal are drawn diagrams explaining the machinery that was used for the transportation. The government of France added a gold-leafed pyramidal cap to the top of the obelisk in 1998, replacing the missing original, believed stolen in the 6th century BC.When he had completed the installation of the Luxor Obelisk, in 1836, Jacques-Ignace Hittorff, chief architect of the square, moved ahead with two new fountains to complement the obelisk. Hittorff had been a student of the Neoclassical designer Charles Percier at the École des Beaux-Arts. He had spent two years studying the architecture and fountains of Rome, particularly the Piazza Navona and Piazza San Pietro, each of which had obelisks aligned with fountains.[19]
Hittorff's fountains were each nine meters high, matching the height of the earlier columns and statues around the square representing great French cities. The Maritime Fountain was on the south, between the obelisk and Seine, and illustrated the seas bordering France, while the Fluvial Fountains or river fountain, on the north, between the Obelisk and the Rue Royale, illustrated the great rivers of France. It is located in the same place where the guillotine which executed Louis XVI had been placed.[20]
Obelisks were being shipped out of Egypt as late as the nineteenth century when three of them were sent to London, New York and Paris. Their transportation was covered by various newspapers.[25]
An obelisk (/ˈɒbəlɪsk/; from Ancient Greek ὀβελίσκος (obelískos),[2][3] diminutive of ὀβελός (obelós) ' spit, nail, pointed pillar')[4] is a tall, slender, tapered monument with four sides and a pyramidal or pyramidion top.[5] Originally constructed by Ancient Egyptians and called tekhenu, the Greeks used the Greek term obeliskos to describe them, and this word passed into Latin and ultimately English.[6] Though William Thomas used the term correctly in his Historie of Italie of 1549, by the late sixteenth century (after reduced contact with Italy following the excommunication of Queen Elizabeth), Shakespeare failed to distinguish between pyramids and obelisks in his plays and sonnets.[7] Ancient obelisks are monolithic and consist of a single stone; most modern obelisks are made of several stones.[8]
Ancient obelisks
Obelisks were prominent in the architecture of the ancient Egyptians, and played a vital role in their religion placing them in pairs at the entrance of the temples. The word "obelisk" as used in English today is of Greek rather than Egyptian origin because Herodotus, the Greek traveler, was one of the first classical writers to describe the objects. A number of ancient Egyptian obelisks are known to have survived, plus the "unfinished obelisk" found partly hewn from its quarry at Aswan. These obelisks are now dispersed around the world, and fewer than half of them remain in Egypt.
In Egyptian mythology, the obelisk symbolized the sun god Ra, and during the religious reformation of Akhenaten it was said to have been a petrified ray of the Aten, the sundisk. Benben was the mound that arose from the primordial waters Nu upon which the creator god Atum settled in the creation story of the Heliopolitan creation myth form of Ancient Egyptian religion. The Benben stone (also known as a pyramidion) is the top stone of the Egyptian pyramid. It is also related to the obelisk.
Both New York University Egyptologist Patricia Blackwell Gary and Astronomy senior editor Richard Talcott hypothesize that the shapes of the ancient Egyptian pyramid and obelisk were derived from natural phenomena associated with the sun (the sun-god Ra being the Egyptians' greatest deity at that time).[11] The pyramid and obelisk's significance have been previously overlooked, especially the astronomical phenomena connected with sunrise and sunset: Zodiacal light and sun pillars respectively.
In France and other European countries, monuments to the dead, such as headstones and grave markers, were very often given a form of obelisks, but they are of more modest size.
The practice is also still widespread in the Islamic world.
In late summer 1999, Roger Hopkins and Mark Lehner teamed up with a NOVA crew to erect a 25-ton obelisk. This was the third attempt to erect a 25-ton obelisk; the first two, in 1994 and 1999, ended in failure. There were also two successful attempts to raise a 2-ton obelisk and a 9-ton obelisk. Finally in August–September 1999, after learning from their experiences, they were able to erect one successfully. First Hopkins and Rais Abdel Aleem organized an experiment to tow a block of stone weighing about 25 tons. They prepared a path by embedding wooden rails into the ground and placing a sledge on them bearing a megalith weighing about 25 tons. Initially they used more than 100 people to try to tow it but were unable to budge it. Finally, with well over 130 people pulling at once and an additional dozen using levers to prod the sledge forward, they moved it. Over the course of a day, the workers towed it 10–20 feet. Despite problems with broken ropes, they proved the monument could be moved this way.[34] Additional experiments were done in Egypt and other locations to tow megalithic stone with ancient technologies, some of which are listed here.
One experiment was to transport a small obelisk on a barge in the Nile River. The barge was built based on ancient Egyptian designs. It had to be very wide to handle the obelisk, with a 2 to 1 ratio length to width, and it was at least twice as long as the obelisk. The obelisk was about 3.0 metres (10 ft) long and no more than 5 metric tons (5.5 short tons). A barge big enough to transport the largest Egyptian obelisks with this ratio would have had to be close to 61-metre-long (200 ft) and 30-metre-wide (100 ft). The workers used ropes that were wrapped around a guide that enabled them to pull away from the river while they were towing it onto the barge. The barge was successfully launched into the Nile.
The final and successful erection event was organized by Rick Brown, Hopkins, Lehner and Gregg Mullen in a Massachusetts quarry. The preparation work was done with modern technology, but experiments have proven that with enough time and people, it could have been done with ancient technology. To begin, the obelisk was lying on a gravel and stone ramp. A pit in the middle was filled with dry sand. Previous experiments showed that wet sand would not flow as well. The ramp was secured by stone walls. Men raised the obelisk by slowly removing the sand while three crews of men pulled on ropes to control its descent into the pit. The back wall was designed to guide the obelisk into its proper place. The obelisk had to catch a turning groove which would prevent it from sliding. They used brake ropes to prevent it from going too far. Such turning grooves had been found on the ancient pedestals. Gravity did most of the work until the final 15° had to be completed by pulling the obelisk forward. They used brake ropes again to make sure it did not fall forward. On 12 September they completed the project.[35]
This experiment has been used to explain how the obelisks may have been erected in Luxor and other locations. It seems to have been supported by a 3,000 year-old papyrus scroll in which one scribe taunts another to erect a monument for "thy lord". The scroll reads "Empty the space that has been filled with sand beneath the monument of thy Lord."[36] To erect the obelisks at Luxor with this method would have involved using over a million cubic meters of stone, mud brick and sand for both the ramp and the platform used to lower the obelisk.[37] The largest obelisk successfully erected in ancient times weighed 455 metric tons (502 short tons). A 520-metric-ton (570-short-ton) stele was found in Axum, but researchers believe it was broken while attempting to erect it.
The Place de la Concorde (French: [plas də la kɔ̃kɔʁd]; lit. 'Harmony Square') is a public square in Paris, France. Measuring 7.6 ha (19 acres) in area, it is the largest square in the French capital. It is located in the city's eighth arrondissement, at the eastern end of the Champs-Élysées.
It was the site of many notable public executions, including those of the Carmelite Martyrs of Compiegne, Louis XVI, Marie Antoinette and Maximilien Robespierre in the course of the French Revolution, during which the square was temporarily renamed the Place de la Révolution ('Revolution Square'). It received its current name in 1795 as a gesture of reconciliation in the later years of the revolution.[1] A metro station is located at the northeastern corner of Place de la Concorde on Lines 1, 8, and 12 of the Paris Métro.
The square was originally designed to be the site of an equestrian statue of King Louis XV, commissioned in 1748 by the merchants of Paris, to celebrate the recovery of King Louis XV from a serious illness. The site chosen for the statue was the large esplanade, or space between the revolving gate, the Tuileries Garden and the Cour-la-Reine, a popular lane for horseback riding at the edge of the city. At the time, the Concorde bridge and the Rue de Rivoli did not exist, and the Rue Royale was a muddy lane that descended down to a marsh beside the Seine.[2]
The architect Ange-Jacques Gabriel made a plan for the site and the square was finished by 1772. It was in the form of an octagon, bordered by a sort of moat twenty meters wide, crossed by stone bridges, and surrounded by a stone balustrade. At the eight corners Gabriel placed stone stairways to descend into the square, which was divided into flowerbeds. In the center of the gardens was the pedestal on which the statue stood. The statue, by Edmé Bouchardon, depicted the King on horseback as the victor of the Battle of Fontenoy, dressed as a Roman general, with a laurel wreath on his head. On the four corners of the pedestal, designed by Jean Chalgrin, are bronze statues by Jean-Baptiste Pigalle, depicting the virtues of great monarchs; Force, Justice, Prudence, and Peace.[3]
The statue was dedicated on 20 June 1763, but by this time the King had lost much of his popularity. A few days after its dedication, someone hung a placard on the statue, proclaiming: "Oh, the beautiful statue! Oh, the fine pedestal! The Virtues are under the feet, and Vice is in the saddle!"[4]
On the north side of the square, between 1760 and 1775, Gabriel planned and built two palatial buildings with identical façades. The classical façades were inspired by those created by Claude Perrault, the royal architect, for the façade of the Louvre. They were originally intended to be occupied by embassies, but in the end the east building became a depot for the Royal furnishings, then the headquarters of the French Navy, the Hôtel de la Marine. The west building was divided into individual properties for the nobility.The square was originally designed to be the site of an equestrian statue of King Louis XV, commissioned in 1748 by the merchants of Paris, to celebrate the recovery of King Louis XV from a serious illness. The site chosen for the statue was the large esplanade, or space between the revolving gate, the Tuileries Garden and the Cour-la-Reine, a popular lane for horseback riding at the edge of the city. At the time, the Concorde bridge and the Rue de Rivoli did not exist, and the Rue Royale was a muddy lane that descended down to a marsh beside the Seine.[2]
The architect Ange-Jacques Gabriel made a plan for the site and the square was finished by 1772. It was in the form of an octagon, bordered by a sort of moat twenty meters wide, crossed by stone bridges, and surrounded by a stone balustrade. At the eight corners Gabriel placed stone stairways to descend into the square, which was divided into flowerbeds. In the center of the gardens was the pedestal on which the statue stood. The statue, by Edmé Bouchardon, depicted the King on horseback as the victor of the Battle of Fontenoy, dressed as a Roman general, with a laurel wreath on his head. On the four corners of the pedestal, designed by Jean Chalgrin, are bronze statues by Jean-Baptiste Pigalle, depicting the virtues of great monarchs; Force, Justice, Prudence, and Peace.[3]
The statue was dedicated on 20 June 1763, but by this time the King had lost much of his popularity. A few days after its dedication, someone hung a placard on the statue, proclaiming: "Oh, the beautiful statue! Oh, the fine pedestal! The Virtues are under the feet, and Vice is in the saddle!"[4]
On the north side of the square, between 1760 and 1775, Gabriel planned and built two palatial buildings with identical façades. The classical façades were inspired by those created by Claude Perrault, the royal architect, for the façade of the Louvre. They were originally intended to be occupied by embassies, but in the end the east building became a depot for the Royal furnishings, then the headquarters of the French Navy, the Hôtel de la Marine. The west building was divided into individual properties for the nobility.[5]In 1795, under the Directory, the square was renamed the Place de la Concorde ("Concord Square") as a gesture of reconciliation after the turmoil of the revolution. After the Bourbon Restoration of 1814, the name was changed back to the Place Louis XV, and in 1826 the square was renamed the Place Louis XVI ("Louis XVI Square"). After the July Revolution of 1830, the name was returned to the Place de la Concorde.
In 1790, early in the French Revolution, the Concorde bridge was constructed, and, at the suggestion of Jacques-Louis David, the statues of the "Marly Horses by Guillaume Coustou the Elder, were placed on the north side, at the entrance of the Champs-Élysées. In 1806, Napoleon Bonaparte began to construct the Rue de Rivoli along the edge of the square.
Under King Louis-Philippe and his prefect of the Seine, Claude-Philibert Barthelot de Rambuteau, the square was remade. In 1832, Jacques Ignace Hittorff was named chief architect of the project. In October 1835 Hittorff installed the new centrepiece of the square, the Luxor Obelisk, a gift to the King from the wali Muhammad Ali of Egypt. It was hoisted into place, before a huge crowd, on 25 October 1836. Hittorff commissioned celebrated sculptors, including James Pradier and Jean-Pierre Cortot to make eight statues representing the major cities of France, which were placed in 1838 on columns which had earlier been put in place around the square by Gabriel. These statues form something of a rudimentary map, such that when viewing the Place de la Concorde from a birdseye perspective, the north-eastern states represent north-eastern cities, in the appropriate arrangement relative to one another, and so on.[7] A ring of twenty columns with lanterns were put in place during the same time.[8]
Between 1836 and 1840, Hittorff erected two monumental fountains, the Fontaine Maritime to the side of the Seine, and the Fontaine Fluviale to the side of the Rue Royale. The design, consisting of two fountains each nine meters high, was modeled after that of the fountains of St. Peter's Square in Rome. In 1853, under Napoleon III, the deep moats around the square, which had turned into rendez-vous points for prostitutes, were filled in.[9]
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ℹ️8️⃣📞📲📳☎️♾💁♂️
001-04 #BattlestarColumbia👾♾💍👸👑💝
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shot🔫 to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
☎️▶️⏯⏩⏭➡️🔀↕️🔘https://music.youtube.com/watch?v=qKVkhQQXEGE&feature=share
She asked me to cum⛲️💦💧🌊🎣🐟🔫 over, to #Steinway🎹🏭, in #Astoria👸; & then, after driving from #Pennsylvania #Pistolvania, she was on the #AOL_IM #AIM, w/ #JesseHenry. I told her that she was being rude; & she told me to go & fuck myself. So; I left, drove home🏡, & ate the cost💸 of travel. &, I went & fuckt myself. &; she was unhappy that I left; & she didn't get none. &; I don't really give a fuck. She can eat shit💩🚽, & die💀.👀❄️ @/#GregGutfeld #CarleyShimkus
#OliviaCampbellPatton #OliviaWildeNeeCockburne
🏰🏯🔘https://en.wikipedia.org/wiki/Sigiriya
By the way; it is #Ceylon; do not offend me again. This is your first(ly)☝️, & only⏳⌛️ warning⚠️⛔️☣️☢️
#SAP_q / #SAR_Q, how-ever, not #SAP-q / #SAR-Q; #RobertCharles #THE_COMMODORES_CIRCLE.👀😾😠😤😡
👀😎⚠️⛔️☣️☢️🔘https://en.wikipedia.org/wiki/Special_access_program#:~:text=Special%20access%20programs%20%28SAPs%29%20in%20the%20U.S.%20Federal,that%20exceed%20those%20for%20regular%20%28collateral%29%20classified%20information.
☝️; there is no quick select, of 20,000+ images, on #iPhone, #Apple #TimCook. ✌️; there is no #conspicuous way to remove the #Slideslow option, on #iPhone, w/ your shitty, shitty musick selection. Therefore, I cannot turn it off. Oh, by the way; I cannot trash individual #AppCaches, neither, all of them, in a single tap. Take a wild guess what that means for you; all of you. #HighTreason = #Execution🔫 @ the #Gallows💀😵, or #Gibbet💀😵.👋👋👋
3️⃣; @/ #GregGutfeld‼️⚠️ : The #Saxophone🎷 is lame, gey, & any-person, who may believe it to be kool, or trendy, or even good; they may eat shit💩🚽, & die💀😵.
4️⃣ By the way; #SullyErna; you're a bitch.👋💀
🔘https://music.youtube.com/watch?v=R8pj2y39_jc&feature=share
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
@/ #JennaLeeUSA I 👀 see ❄️🍧🍨🍦⛸ (also, #Björk) two✌️👩⚖️😌 #RingsOfPower ♀️🆗🙆♀️☎️🔥♨️💍🔏✍️👩💃👩💍👨👌🙆♂️🆗☑️🔲🔳▫️ℹ️🔘https://youtu.be/Pqijx0pnn3c
As you were excited to speak w/ me?🔘https://flic.kr/p/2nE3Sns
It's #Culpability, @/ #ChriselleTidrick; you either knew, or you did not know. They; the Government, do not believe in culpability, how-ever, culpability, does, indeed, & in-deed, exist. However; they have prosecuted many people, whilst ignoring #Culpability: so, therein, or there-upon; "#CasePrecedent." That said; if any-person, or agency of the Government, or government, harries you, menaces you, or threatens you in any way – ℹ️1️⃣1️⃣x the size of the #OklahomaCityBombing; &☝️ #SiolAlpin💍💝👑👸♾ will send the #LoveLetter💀☠️🌵⚰️⚱️😵 to #JoeBiden. Period.👀
You will hear the screams; much as #We heard the screams of #BattlestarColumbia, above (#StarOfCoruscant #Hoth) the "ice planet."
❄️🌐💍🔘https://youtu.be/-l2-HSSw-us
❄️🌐💍🔘https://youtu.be/Vt74HoJtbuw
#Owlephant
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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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