View allAll Photos Tagged Executed
FORT IRWIN, Calif. - U.S. Army Soldiers from 1st Battalion, 8th Infantry Regiment, 3rd Armored Brigade Combat Team, 4th Infantry Division, execute a rehearsal of a mission for live fire operations during Decisive Action Rotation 15-02 at the National Training Center here, Nov. 11, 2014. The decisive action training environment was developed in order to create a common training scenario for use throughout the Army. (U.S. Army photo by Sgt. Charles Probst, Operations Group, National Training Center)
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.
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 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...
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...
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.
OFFENSE
Peyton ManningQBKurt Warner
Thomas JonesRBAdrian Peterson
Le'Ron McClainFBMike Sellers
Andre JohnsonWRLarry Fitzgerald
Brandon MarshallWRAnquan Boldin
Tony GonzalezTEJason Witten
Jason Peters*OTJordan Gross
Joe ThomasOTWalter Jones*
Alan FanecaOGSteve Hutchinson
Kris DielmanOGChris Snee
Kevin Mawae*CAndre Gurode
DEFENSE
Mario WilliamsDEJulius Peppers
Dwight FreeneyDEJustin Tuck
Albert HaynesworthDTKevin Williams
Kris JenkinsDTJay Ratliff
James HarrisonOLBDeMarcus Ware
Joey PorterOLBLance Briggs
Ray LewisILBPatrick Willis
Nnamdi AsomughaCBCharles Woodson*
Cortland FinneganCBAntoine Winfield
Ed ReedFSNick Collins
Troy PolamaluSSAdrian Wilson
SPECIAL TEAMS
Shane LechlerPJeff Feagles
Stephen GostkowskiKJohn Carney
Leon WashingtonKRClifton Smith
Brendon AyanbadejoSTSean Morey hirty-one NFL players made their Pro Bowl debuts this year, and most of them proved on Sunday that they belong.
Jets CB Darrelle Revis made an amazing one-handed interception of Eli Manning’s pass in the end zone in the third quarter to preserve the AFC’s lead.
Besides that interception, Manning had a solid showing in his first all-star game. He finished 8-of-14 for 111 yards and threw the winning touchdown pass to game MVP Larry Fitzgerald.
Vikings CB Antoine Winfield, making his first Pro Bowl appearance after 10 years in the league, intercepted Kerry Collins‘ pass deep in NFC territory in the third quarter, preventing the AFC from building on its lead.
The star of the AFC defensive effort was Colts first-timer Robert Mathis. In the first quarter, he sacked Drew Brees, forced a fumble and then recovered the ball. He brought down Brees again in the second quarter for a 13-yard loss.
On offense, Ravens RB Le’Ron McClain ran for the AFC’s only touchdown in the fourth quarter, while Texans receiver Owen Daniels‘ 9-yard TD reception capped the AFC’s six-play, 52 yard drive just before halftime. McClain’s touchdown came on the rarely ever seen, but well-executed, fumble-rooskie play.
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
The 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)
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.
The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
No PS, only a real live painting with light.
We submit the sample photos in this series in three-nine-square.
Photos is possible to look here:
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.
•-----------•----•💀•---•-------------•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•-----------•----•💀•---•-------------•
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
•-----------•----•💀•---•-------------•
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
❄️🌐💍🔘https://youtu.be/IfyNUhomMoU
#Owlephant
•———————————•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•———————————•
#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
•-----------•----•💀•---•-------------•
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...
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.
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.
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.
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.
•-----------•----•💀•---•-------------•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•-----------•----•💀•---•-------------•
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
•-----------•----•💀•---•-------------•
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
❄️🌐💍🔘https://youtu.be/IfyNUhomMoU
#Owlephant
•———————————•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•———————————•
#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
•-----------•----•💀•---•-------------•
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
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.
On 29 December 1880 Tuhiata, the convicted murderer of artist Mary Dobie, was executed in Wellington gaol.
Tuhiata, usually known as Tuhi, had later said the he never intended Mary harm. The pair had a fatal meeting out in the countryside where she was sketching, and by his account his attempt to ask her where she was from was misunderstood as she spoke no Māori and he little English. But when he dismounted from his horse and came towards her she became frightened and tried to give him the coins in her pocket to make him go away. She then uttered the fatal words that would lead to her death, telling him she would tell the soldiers about him. Fearful of being charged with theft he grabbed her and committed the far greater crime of murder, cutting her throat and dragging her body behind a flax bush.
Blood stained trousers believed to be Tuhi’s were recovered from the scene and his bloody knife was also found. The day of Mary’s murder was fine and she had visited the local store to buy a carpenter’s pencil for her sketching. A gifted artist she had supplied sketches of New Zealand scenery which were published in the London Graphic magazine. As she made her purchase Tuhi was also in the store where he unsuccessfully tried to buy a pair of moleskin trousers on credit. The same day he was seen dancing in the tap room of the local pub before riding his black horse in the direction Mary had taken. Before the murder he had been well thought of and was described by one witness as “usually a quiet man. He is not quarrelsome.” He was arrested and tried in Wellington where the jury took only 20 minutes to unanimously decide on his guilt. He was hanged soon after and the newspapers reported that he had walked “firmly” onto the scaffold and that death was instantaneous
Shown here is the coroner’s certification of Tuhiata’s death. It includes the official cause of death by hanging and the names of all witnesses present at the execution.
ACGS 16211 J1/283/u 1881/9
collections.archives.govt.nz/web/arena/search#/?q=R24425793
More information can be found here:
paperspast.natlib.govt.nz/newspapers/NZTIM18801230.2.50?q...
nzhistory.govt.nz/hokianga-chief-patuone-arrives-in-sydne...
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter www.twitter.com/ArchivesNZ
Material supplied by Archives New Zealand Te Rua Mahara o te Kāwanatanga
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...
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
Levez maintenant un instant les yeux vers le plafond. Surprise n'est-ce pas ? Nous y voyons une débauche de couleurs pastelles formant comme des nuages. Il n’est absolument pas figuratif sauf les bords qui montrent des coquilles dorées et des ornements déchiquetés blancs sur un fonds doré. Cette composition fut exécutée en 1972-1973 par un peintre berlinois au moment des restaurations du château de Charlottenburg. En effet, en 1943, le bâtiment avait été complètement détruit par un bombardement anglais et il ne restait de lui que les murs extérieurs à quelques exceptions prêts. Au moment de la reconstruction à l’identique de cette superbe salle, il fut impossible de réaliser le plafond original, car les restaurateurs ne disposaient que de photographies noires et blanches. Aussi le peintre Hann Trier exécuta cette fresque qui rappelle par ses couleurs un peu l’ambiance du 18e siècle, mais reste néanmoins moderne par sa conception. (source cityzeum)
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 Corvette C3 was patterned after the Mako Shark II designed by Larry Shinoda. Executed under Bill Mitchell's direction, the Mako II had been initiated in early 1964. Once the mid-engined format was abandoned, the Shinoda/Mitchell car was sent to Chevrolet Styling under David Holls, where Harry Haga's studio adapted it for production on the existing Stingray chassis. The resulting lower half of the car was much like the Mako II, except for the softer contours. The concept car's name was later changed to Manta Ray. The C3 also adopted the "sugar scoop" roof treatment with vertical back window from the mid-engined concept models designed by the Duntov group. It was intended from the beginning that the rear window and that portion of the roof above the seats to be removable.
For 1968, both the Corvette body and interior were completely redesigned. As before, the car was available in either coupe or convertible models, but coupe was now a notchback fitted with a near-vertical removable rear window and removable roof panels (T-tops). A soft folding top was included with convertibles, while an auxiliary hardtop with a glass rear window was offered at additional cost. Included with coupes were hold down straps and a pair of vinyl bags to store the roof panels, and above the luggage area was a rear window stowage tray.
The chassis was carried over from the second generation models, retaining the fully independent suspension (with minor revisions) and the four-wheel disc brake system. The engine line-up and horsepower ratings were also carried over from the previous year.
The engine line-up included the L79, a 350 hp (261 kW) high performance version of the 327 cu in (5.4 L) small-block. Also available were several variants of the big-block 427 cu in (7.0 L) V8 engine, that taken together made up nearly half the cars. There was the L36, a 390 hp (291 kW) version with a Rochester 4-barrel carburetor; The L68, a 400 hp (298 kW) motor with a Holley triple 2-barrel carb set up (3 X 2 tri-power); The L71, generating 435 bhp (441 PS; 324 kW) at 5,800 rpm and 460 lb⋅ft (624 N⋅m) at 4,000 rpm of torque also with a tri-power; The L89 option was the L71 engine but with much lighter aluminum cylinder heads rather than the standard cast iron. Then there was the L88 engine that Chevrolet designed strictly for off-road use (racing), with a published rating of 430 hp (321 kW), but featured a high-capacity 4-barrel carb, aluminum heads, a unique air induction system, and an ultra-high compression ratio (12.5:1). All small block cars had low-profile hoods. All big block cars had domed hoods for additional engine clearance with twin simulated vents and “427” emblems on either side of the dome.
Tapestry: Chancellerie
Executed by Etienne-Claude Le Blond (French, about 1700 - 1751)
After designs by Guy-Louis Vernansal (French, 1648 - 1729)
and after designs by Claude Audran III (French, before 1658 - 1734)
Royal Factory of Furniture to the Crown at the Gobelins Manufactory (French, founded 1662 - present)
about 1728–1730
Medium: Wool and silk; modern linen straps and lining
Dimensions: 351.5 × 273.4 cm (138 3/8 × 107 5/8 in.)
Gift of J. Paul Getty
the Getty Center ● J. Paul Getty Museum
Los Angeles
20190308_143632
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.
Death of Captain Cook was executed by George Carter in 1783. George Carter, an English historian and painter, created at least four depictions of the death of Captain James Cook within a few years of its occurence. This painting dramatically shows the event at Ka'awaloa near Kealakekua Bay, in 1779. At the time of his demise, Cook was already seen as a hero in his native England for his lengthy explorations of the Pacific Ocean. Pictures like this one, in which the doomed Cook is the center of attention amidst a crowd of threatening Hawaiian men, were widely reprinted and served to solidy his legendary status.
The Bernice Pauahi Bishop Museum, designated the Hawai'i State Museum of Natural and Cultural History, located in the historic Kalihi district, is the largest museum in Hawai'i and home to the world's largest collection of Polynesian cultural and scientific artifact. The museum was founded in 1889 by Charles Reed Bishop, in honor of his late wife, Princess Bernice Pauahi Bishop, the last legal heir of the Kamehameha Dynasty. The museum was established to house the collection of Hawaiian artifacts and royal family heirlooms of the Princess, but has since expanded to include millions of artifacts, documents and photographs. Bishop built the Hawaiian Hall and Polynseian Hall, to the Richardsonian Romanesque design of architect William F. Smith, on the grounds of the origianl Kamehameha School for Boys in 1898. The Museum and School shared the Kapa-lama campus until 1940 when a new larger school complex was opened nearby, and the museum expanded.
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.
369 weeks lasted the Nazi regime in Vienna, during which more than 1,200 people, many for political reasons, were executed by the Guillotine.
369 Wochen dauerte das NS-Regime in Wien, während dessen mehr als 1.200 Menschen, viele aus politischen Motiven, durch die Guillotine exekutiert wurden.
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_...
A return visit to St Mary.
I was last here about 6 years ago, parking in the little square one warm September afternoon.
Much colder in March, but plenty of parking spaces, and St Mary was surprisingly open.
--------------------------------------------
The church stands in the village square removed from the main road. The flint rubble construction and severe restoration of the exterior does not look welcoming, but the interior is most appealing with plenty of light flooding through the clerestory windows. The rectangular piers of both north and south arcades with their pointed arches and boldly carved stops are of late twelfth-century date. Between them hang some eighteenth-century text boards. The character of the church is given in the main by late nineteenth- and early twentieth-century work. The high altar has four charmingly painted panels by John Ripley Wilmer in Pre-Raphaelite style, executed in 1907. At the opposite end of the church are the organ loft, font cover and baptistry, all designed by F.C. Eden, who restored the church in the early 1900s. He also designed the west window of the south aisle as part of a larger scheme which was not completed. In the south chancel wall are two windows of great curiosity. One contains a fifteenth-century figure of St Thomas Becket while the other shows figures of David and Saul. This dates from the nineteenth century and was painted by Frank Wodehouse who was the then vicar's brother. The face of David was based on that of Mme Carlotta Patti, the opera singer, while Gladstone and Disraeli can be identified hovering in the background! It is a shame that it has deteriorated badly.
www.kentchurches.info/church.asp?p=Elham
------------------------------------------
ELEHAM,
OR, as it is as frequently written, Elham, lies the next parish south-eastward from Stelling. It was written in the time of the Saxons both Uleham and Æiham, in Domesday, Albam. Philipott says, it was antiently written Helham, denoting the situation of it to be a valley among the hills, whilst others suppose, but with little probability, that it took its name from the quantity of eels which the Nailbourn throws out when it begins to run. There are Seven boroughsin it, of Bladbean, Boyke, Canterwood, Lyminge, Eleham, Town, Sibton, and Hurst.
Eleham is said to be the largest parish in the eastern parts of this county, extending itself in length from north to south, through the Nailbourn valley, about three miles and an half; and in breadth five miles and a half, that is, from part of Stelling-minnis, within the bounds of it, across the valley to Eleham down and Winteridge, and the southern part of Swinfield-minnis, almost up to Hairn-forstal, in Uphill Folkestone. The village, or town of Eleham, as it is usually called, is situated in the above-mentioned valley, rather on a rise, on the side of the stream. It is both healthy and pleasant, the houses in it being mostly modern and wellbuilt, of brick and fashed. As an instance of the healthiness of this parish, there have been within these few years several inhabitants of it buried here, of the ages of 95, 97, and 99, and one of 105; the age of 40 years being esteemed that of a young person, in this parish. The church, with the vicarage on the side of the church-yard, is situated on the eastern side of it, and the court lodge at a small distance from it. This is now no more than a small mean cottage, thatched, of, I believe, only two rooms on a floor, and unsit for habitation. It appears to be the remains of a much larger edifice, and is built of quarry-stone, with small arched gothic windows and doors, the frames of which are of ashlar stone, and seemingly very antient indeed. It is still accounted a market-town, the market having been obtained to it by prince Edward, afterwards king Edward I. in his father's life-time, anno 35 Henry III. to be held on a Monday weekly, which, though disused for a regular constancy, is held in the market-house here once in five or six years, to keep up the claim to the right of it; besides which there are three markets regularly held, for the buying and selling of cattle, in every year, on Palm, Easter, and Whit Mondays, and one fair on Oct. 20th, by the alteration of the stile, being formerly held on the day of St. Dionis, Oct. 9, for toys and pedlary. The Nailbourn, as has been already mentioned before, in the description of Liminage, runs along this valley northward, entering this parish southward, by the hamlet of Ottinge, and running thence by the town of Eleham, and at half a mile's distance, by the hamlet of North Eleham, where there are several deep ponds, in which are from time to time quantities of eels, and so on to Brompton's Pot and Wingmere, at the northern extremity of this parish. The soil in the valley is mostly an unfertile red earth, mixed with many flints; but the hills on each side of it, which are very frequent and steep, extend to a wild romantic country, with frequent woods and uninclosed downs, where the soil consists mostly of chalk, excepting towards Stelling and Swinfield minnis's, where it partakes of a like quality to that of the valley, tance,by the hamlet of North Eleham, where there only still more poor and barren. At the north-west corner of the parish, on the hill, is Eleham park, being a large wood, belonging to the lord of Eleham manor.
Dr. Plot says, he was informed, that there was the custom of borough English prevailing over some copyhold lands in this parish, the general usage of which is, that the youngest son should inherit all the lands and tenements which his father had within the borough, &c. but I cannot find any here subject to it. On the contrary, the custom here is, to give the whole estate to the eldest son, who pays to the younger ones their proportions of it, as valued by the homage of the manor, in money.
At the time of taking the survey of Domesday, anno 1080, this place was part of the possessions of the bishop of Baieux, under the general title of whose lands it is thus entered in it:
In Honinberg hundred, the bishop of Baieux holds in demesne Alham. It was taxed at six sulins. The arable land is twenty-four carucates. In demesne there are five carucates and forty-one villeins, with eight borderers having eighteen carucates. There is a church, and eight servants, and two mills of six shillings, and twenty eight acres of meadow. Wood for the pannage of one hundred hogs. In the time of king Edward the Confessor, and afterwards, it was worth thirty pounds, now forty, and yet it yields fifty pounds. Ederic held this manor of king Edward.
Four years after the bishop was disgraced, and all his possessions were consiscated to the crown, whence this manor seems to have been granted to William de Albineto, or Albini, surnamed Pincerna, who had followed the Conqueror from Normandy in his expedition hither. He was succeeded by his son, of the same name, who was made Earl of Arundel anno 15 king Stephen, and Alida his daughter carried it in marriage to John, earl of Ewe, in Normandy, whose eldest son Henry, earl of Ewe, was slain at the siege of Ptolemais in 1217, leaving Alice his sole daughter and heir, who entitled her husband Ralph D'Issondon to the possession of this manor, as well as to the title of earl of Ewe. She died in the reign of king Henry III. possessed of this manor, with the advowson of the church, and sealed with Barry, a label of six points, as appears by a deed in the Surrenden library; after which it appears to have come into the possession of prince Edward, the king's eldest son, who in the 35th year of it obtained the grant of a market on a Monday, and a fair, at this manor, (fn. 1) and afterwards, in the 41st year of that reign, alienated it to archbishop Boniface, who, left he should still further inflame that enmity which this nation had conceived against him, among other foreigners and aliens, by thus increasing his possessions in it, passed this manor away to Roger de Leyborne, who died possessed of it in the 56th year of that reign, at which time it appears that there was a park here; (fn. 2) and in his name it continued till Juliana de Leyborne, daughter of Thomas, became the sole heir of their possessions, from the greatness of which she was usually called the Infanta of Kent. She was thrice married, yet she had no issue by either of her husbands, all of whom she survived, and died in the 41st year of king Edward III. upon which this manor, among the rest of her estates, escheated to the crown, there being no one who could make claim to them, by direct or even by collateral alliance. (fn. 3) Afterwards it continued in the crown till king Richard II. vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, in his palace of Westminster, which he had in his 22d year, completed and made collegiate, and had the year before granted to the dean and canons this manor, among others, in mortmain. (fn. 4) All which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 9th year, granted to them a fair in this parish yearly, on the Monday after Palm-Sunday, and on the Wednesday following, with all liberties, &c. In which situation it continued till the 1st year of king Edward VI. when this college was, with all its possessions, surrendered into the king's hands, where this manor did not continue long; for the king in his 5th year, granted it to Edward, lord Clinton and Saye, and he reconveyed it to the crown the same year. After which the king demised it, for the term of eighty years, to Sir Edward Wotton, one of his privy council, whose son Thomas Wotton, esq. sold his interest in it to Alexander Hamon, esq. of Acrise, who died in 1613, leaving two daughters his coheirs, the youngest of whom Catherine, married to Sir Robert Lewknor, entitled him to it; he was at his death succeeded by his son Hamon Lewknor, esq. but the reversion in see having been purchased of the crown some few years before the expiration of the above-mentioned term, which ended the last year of king James I.'s reign, to Sir Charles Herbert, master of the revels. He at the latter end of king Charles I.'s reign, alienated it to Mr. John Aelst, merchant, of London; after which, I find by the court rolls, that it was vested in Thomas Alderne, John Fisher, and Roger Jackson, esqrs. who in the year 1681 conveyed it to Sir John Williams, whose daughter and sole heir Penelope carried it in marriage to Thomas Symonds, esq. of Herefordshire, by the heirs of whose only surviving son Thomas Symonds Powell, esq. of Pengethley, in that county, it has been lately sold to Sir Henry Oxenden, bart. who is now entitled to it.
A court leet and court baron is held for this manor, which is very extensive. There is much copyhold land held of it. The demesnes of it are tithe-free. There is a yearly rent charge, payable for ever out of it, of 87l. 13s. 1d. to the ironmongers company, in London.
Shottlesfield is a manor, situated at the southeast boundary of this parish, the house standing partly in Liminge, at a small distance southward from the street or hamlet of the same name. It was, as early as the reign of king Edward II. the inheritance of a family called le Grubbe, some of whom had afterwards possessions about Yalding and Eythorne. Thomas le Grubbe was possessed of it in the 3d year of that reign, and wrote himself of Shottlesfeld, and from him it continued down by paternal descent to John Grubbe, who in the 2d year of king Richard III. conveyed it by sale to Thomas Brockman, of Liminge, (fn. 5) whose grandson Henry Brockman, in the 1st year of queen Mary, alienated it to George Fogge, esq. of Braborne, and he, in the beginning of queen Elizabeth's reign, sold it to Bing, who, before the end of that reign, passed it away to Mr. John Masters, of Sandwich, from whom it descended to Sir Edward Masters, of Canterbury, who at his decease, soon after the death of Charles I. gave it to his second son, then LL. D. from whose heirs it was alienated to Hetherington, whose last surviving son the Rev. William Hetherington, of North Cray place, died possessed of it unmarried in 1778, and by will devised it, among his other estates, to Thomas Coventry, esq. of London, who lately died possessed of it s. p. and the trustees of his will are now entitled to it.
The manor of Bowick, now called Boyke, is situated likewise in the eastern part of this parish, in the borough of its own name, which was in very antient times the residence of the Lads, who in several of their old evidences were written De Lad, by which name there is an antient farm, once reputed a manor, still known, as it has been for many ages before, in the adjoining parish of Acrise, which till the reign of queen Elizabeth, was in the tenure of this family. It is certain that they were resident here at Bowick in the beginning of king Henry VI.'s reign, and in the next of Edward IV. as appears by the registers of their wills in the office at Canterbury, they constantly stiled themselves of Eleham. Thomas Lade, of Bowick, died possessed of it in 1515, as did his descendant Vincent Lade in 1563, anno 6 Elizabeth. Soon after which it passed by purchase into the name of Nethersole, from whence it quickly afterwards was alienated to Aucher, and thence again to Wroth, who at the latter end of king Charles I.'s reign sold it to Elgar; whence, after some intermission, it was sold to Thomas Scott, esq. of Liminge, whose daughter and coheir Elizabeth, married to William Turner, esq. of the Friars, in Canterbury, at length, in her right, became possessed of it; his only surviving daughter and heir Bridget married David Papillon, esq. of Acrise, and entitled him to this manor, and his grandson Thomas Papillon, esq. of Acrise, is the present owner of it.
Mount and Bladbean are two manors, situated on the hills, on the opposite sides of this parish, the former near the eastern, and the latter near the western boundaries of it; the latter being antiently called Bladbean, alias Jacobs-court, a name now quite forgotten. Both these manors appear to have been in the reign of the Conqueror, part of the possessions of Anschitillus de Ros, who is mentioned in Domesday as holding much land in the western part of this county, their principal manor there being that of Horton, near Farningham. One of this family made a grant of it to the Cosentons, of Cosenton, in Aylesford, to hold of their barony of Ros, as of their manor of Horton before-mentioned, by knight's service. In the 7th year of Edward III. Sir Stephen de Cosenton obtained a charter of freewarren for his lands here. He was the son of Sir William de Cosenton, sheriff anno 35 Edward I. and was sometimes written of Cosenton, and sometimes of Mount, in Eleham. At length his descendant dying in the beginning of king Henry VIII.'s reign, without male issue, his three daughters, married to Duke, Wood, and Alexander Hamon, esq. became his coheirs, and shared a large inheritance between them, and upon their division of it, the manor of Bladbean, alias Jacobs-court, was allotted to Wood, and Mount to Alexander Hamon.
The manor of Bladbean, alias Jacobs-court, was afterwards alienated by the heirs of Wood to Thomas Stoughton, esq. of St. Martin's, near Canterbury, who by will in 1591 (fn. 6) gave this manor, with its rents and services, to Elizabeth his daughter and coheir, married to Thomas Wilde, esq. of St. Martin's, whose grandson Colonel Dudley Wilde, at his death in 1653, s. p. devised it to his widow, from whom it went by sale to Hills, and Mr. James Hills, in 1683, passed it away to Mr. Daniel Woollet, whose children divided this estate among them; a few years after which John Brice became, by purchase of it at different times, possessed of the whole of it, which he in 1729 conveyed by sale to Mr. Valentine Sayer, of Sandwich, who died possessed of it in 1766, and the heirs of his eldest son Mr. George Sayer, of Sandwich, are now entitled to it.
The manor of Mount, now called Mount court, which was allotted as above-mentioned, to Alexander Hamon, continued down to his grandson, of the same name, who died possessed of it in 1613, leaving two daughters his coheirs, the youngest of whom, Catherine, entitled her husband Sir Robert Lewknor, to it, in whose descendants it continued till Robert Lewknor, esq. his grandson, in 1666, alienated it, with other lands in this parish, to Thomas Papillon, esq. of Lubenham, in Leicestershire, whose descendant Thomas Papillon, esq. of Acrise, is the present proprietor of it.
Ladwood is another manor in this parish, lying at the eastern boundary of it, likewise on the hills next to Acrise. It was written in old evidences Ladswood, whence it may with probability be conjectured, that before its being converted into a farm of arable land, and the erecting of a habitation here, it was a wood belonging to the family of Lad, resident at Bowick; but since the latter end of king Edward III.'s reign, it continued uninterrupted in the family of Rolse till the reign of king Charles II. soon after which it was alienated to Williams, in which name it remained till Penelope, daughter of Sir John Williams, carried it in marriage to Thomas Symonds, esq. the heirs of whose only surviving son Thomas Symonds Powell, esq. sold it to David Papillon, esq. whose son Thomas Papillon, esq. now possesses it.
The manor of Canterwood, as appears by an old manuscript, seemingly of the time of Henry VIII. was formerly the estate of Thomas de Garwinton, of Welle, lying in the eastern part of the parish, and who lived in the reigns of Edward II. and III. whose greatgrandson William Garwinton, dying s. p. Joane his kinswoman, married to Richard Haut, was, in the 9th year of king Henry IV. found to be his heir, not only in this manor, but much other land in these parts, and their son Richard Haut having an only daughter and heir Margery, she carried this manor in marriage to William Isaak. After which, as appears from the court-rolls, which do not reach very high, that the family of Hales became possessed of it, in which it staid till the end of queen Elizabeth's reign, when it went by sale to Manwood, from which name it was alienated to Sir Robert Lewknor, whose grandson Robert Lewknor, esq. in 1666 sold it, with other lands in this parish already mentioned, to Thomas Papillon, esq. of Lu benham, in Leicestershire, whose descendant Thomas Papillon, esq. of Acrise, is the present owner of it.
Oxroad, now usually called Ostrude, is a manor, situated a little distance eastward from North Eleham. It had antiently owners of the same name; Andrew de Oxroad held it of the countess of Ewe, in the reign of king Edward I. by knight's service, as appears by the book of them in the king's remembrancer's office. In the 20th year of king Edward III. John, son of Simon atte Welle, held it of the earl of Ewe by the like service. After which the Hencles became possessed of it, from the reign of king Henry IV. to that of king Henry VIII. when Isabel, daughter of Tho. Hencle, marrying John Beane, entitled him to it, and in his descendants it continued till king Charles I.'s reign, when it was alienated to Mr. Daniel Shatterden, gent. of this parish, descended from those of Shatterden, in Great Chart, which place they had possessed for many generations. At length, after this manor had continued for some time in his descendants, it was sold to Adams, in which name it remained till the heirs of Randall Adams passed it away by sale to Papillon, in whose family it still continues, being now the property of Thomas Papillon, esq. of Acrise.
Hall, alias Wingmere, is a manor, situated in the valley at the northern boundary of this parish, next to Barham, in which some part of the demesne lands of it lie. It is held of the manor of Eleham, and had most probably once owners of the name of Wigmere, as it was originally spelt, of which name there was a family in East Kent, and in several antient evidences there is mention made of William de Wigmere and others of this name. However this be, the family of Brent appear to have been for several generations possessed of this manor, and continued so till Thomas Brent, of Wilsborough, dying in 1612,s. p. it passed into the family of Dering, of Surrenden; for in king James I.'s reign Edward Dering, gent. of Egerton, eldest son of John, the fourth son of John Dering, esq, of Surren den, who had married Thomas Brent's sister, was become possessed of it; and his only son and heir Thomas Dering, gent. in 1649, alienated it to William Codd, gent. (fn. 7) of Watringbury, who was succeeded in it by his son James Codd, esq. of Watringbury, who died s. p. in 1708, being then sheriff of this county, and being possessed at his death of this manor in fee, in gavelkind; upon which it came to the representatives of his two aunts, Jane, the wife of Boys Ore, and Anne, of Robert Wood, and they, in 1715, by fine levied, entitled Thomas Manley, and Elizabeth, his wife, to the possession of this manor for their lives, and afterwards to them in fee, in separate moieties. He died s. p. in 1716, and by will gave his moiety to John Pollard; on whose death s. p. it came, by the limitation in the above will, to Joshua Monger, whose only daughter and heir Rachael carried it in marriage to her husband Arthur Pryor, and they in 1750 joined in the sale of it to Mr. Richard Halford, gent. of Canterbury. The other moiety of this manor seems to have been devised by Elizabeth Manley above-mentioned, at her death, to her nephew Thomas Kirkby, whose sons Thomas, John, and Manley Kirkby, joined, in the above year, in the conveyance of it to Mr. Richard Halford above-mentioned, who then became possessed of the whole of it. He was third son of Richard Halford, clerk, rector of the adjoining parish of Liminge, descended from the Halfords, of Warwickshire, as appears by his will in the Prerogative-office, Canterbury, by which he devised to his several sons successively in tail, the estate in Warwickshire, which he was entitled to by the will of his kinsman William Halford, gent, of that county. They bear for their arms, Argent, a greybound passant, sable, on a chief of the second, three fleurs de lis, or. He died possessed of it in 1766, leaving by Mary his wife, daughter of Mr. Christopher Creed, of Canterbury, one son Richard Halford, gent. now of Canterbury; and two daughters, Mary married to Mr. John Peirce, surgeon, of Canterbury; and Sarah. In 1794, Mr. Peirce purchased the shares of Mr. Richard and Mrs. Sarah Halford, and he is now the present owner of this manor. He bears for his arms, Azure field, wavy bend, or, two unicorns heads, proper.
The manor OF Clavertigh is situated on the hills at the north-west boundary of this parish, next to Liminge, which antiently belonged to the abbey of Bradsole, or St. Radigund, near Dover, and it continued among the possessions of it till the 27th year of king Henry VIII. when by the act then passed, it was suppressed, as not having the clear yearly revenue of two hundred pounds, and was surrendered into the king's hands, who in his 29th year, granted the scite of this priory, with all its lands and possessions, among which this manor was included, with certain exceptions, however, mentioned in it, to archbishop Cranmer, who in the 38th year of that reign, conveyed this manor of Clavertigh, with lands called Monkenlands, late belonging to the same priory in this parish, back again to the king, who that same year granted all those premises to Sir James Hales, one of the justices of the common pleas, to hold in capite, (fn. 8) and he, in the beginning of king Edward VI.'s reign, passed them away to Peter Heyman, esq. one of the gentlemen of that prince's bedchamber who seems to have had a new grant of them from the crown, in the 2d year of that reign. He was succeeded by his eldest son, Ralph Heyman, esq. of Sellindge, whose descendant Sir Peter Heyman, bart. alienated the manor of Clavetigh to Sir Edward Honywood, of Evington, created a baronet in 1660, in whose descendants this manor has continued down to Sir John Honywood, bart. of Evington, who is the present possessor of it.
Charities.
Jonas Warley, D. D. gave by will in 1722, 50l. to be put out on good security, the produce to be given yearly in bread on every Sunday in the year, after divine service, to six poor widows, to each of them a two-penny loaf. The money is now vested in the vicar and churchwardens, and the produce of it being no more than 2l. 5s. per annum, only a three-halfpenny loaf is given to each widow.
Land in this parish, of the annual produce of 1l. was given by a person unknown, to be disposed of to the indigent. It is vested in the minister, churchwardens, and overseers.
Four small cottages were given to the parish, by a person unknown, and are now inhabited by poor persons. They are vested in the churchwardens and overseers.
Sir John Williams, by will in 1725, founded A CHARITY SCHOOL in this parish for six poor boys, legal inhabitants, and born in this parish, to be taught reading, writing, and accounts, to be cloathed once in two years; and one such boy to be bound out apprentice, as often as money sufficient could be raised for that use. The minister, churchwardens, and overseers to be trustees, who have power to nominate others to assist them in the management of it. The master has a house to live in, and the lands given to it are let by the trustees.
The poor constantly relieved are about seventy-five, casually fifty-five.
Eleham is within the ecclesiastical jurisdiction of the diocese of Canterbury, and deanry of its own name.
The church, which is dedicated to St. Mary, is large and handsome, consisting of three isles, the middle one having an upper range of windows, and one chancel, having a tower steeple, with a spire shast on it, at the west end, in which are eight bells, a clock, and chimes. Within the altar-rails is a memorial for John Somner, gent. son of the learned William Somner, of Canterbury, obt. 1695; arms, Ermine, a chevron voided. In the chancel a brass plate for Michael Pyx, of Folkestone, mayor and once high bailisf to Yarmouth, obt. 1601. Another for Nicholas Moore, gent. of Bettenham, in Cranbrooke; he died at Wingmer in 1577. In the middle isle a memorial for Captain William Symons, obt. 1674; arms, Parted per pale, and fess, three trefoils slipt. A brass plate for John Hill, dean and vicar of Eleham, obt. 1730. In this church was a lamp burning, called the light of Wyngmer, given before the year 1468, probably by one of the owners of that manor.
The church of Eleham was given by archbishop Boniface, lord of the manor of Eleham, and patron of this church appendant to it, at the instance of Walter de Merton, then canon of St. Paul's, and afterwards bishop of Rochester, to the college founded by the latter in 1263, at Maldon, in Surry. (fn. 9) After which the archbishop, in 1268, appropriated this church to the college, whenever it should become vacant by the death or cession of the rector of it, saving a reasonable vicarage of thirty marcs, to be endowed by him in it, to which the warden of the college should present to him and his successors, a fit vicar, as often as it should be vacant, to be nominated to the warden by the archbishop; otherwise the archbishop and his successors should freely from thence dispose of the vicarage for that turn. (fn. 10)
¶The year before this, Walter de Merton had begun a house in Oxford, whither some of the scholars were from time to time to resort for the advancement of their studies, to which the whole society of Maldon was, within a few years afterwards, removed, and both societies united at Oxford, under the name of the warden and fellows of Merton college. This portion of thirty marcs, which was a stated salary, and not tithes, &c. to that amount, was continued by a subsequent composition or decree of archbishop Warham, in 1532; but in 1559, the college, of their own accord, agreed to let the vicarial tithes, &c. to Thomas Carden, then vicar, at an easy rent, upon his discharging the college from the before-mentioned portion of thirty marcs: and this lease, with the like condition, has been renewed to every subsequent vicar ever since; and as an addition to their income, the vicars have for some time had another lease, of some wood grounds here, from the college. (fn. 11)
The appropriation or parsonage of this church is now held by lease from the warden and fellows, by the Rev. John Kenward Shaw Brooke, of Town-Malling. The archbishop nominates a clerk to the vicarage of it, whom the warden and fellows above-mentioned present to him for institution.
This vicarage is valued in the king's books at twenty pounds, (being the original endowment of thirty marcs), and the yearly tenths at two pounds, the clear yearly certified value of it being 59l. 15s. 2d. In 1640 it was valued at one hundred pounds per annum. Communicants six hundred. It is now of about the yearly value of one hundred and fifty pounds.
All the lands in this parish pay tithes to the rector or vicar, excepting Parkgate farm, Farthingsole farm, and Eleham-park wood, all belonging to the lord of Eleham manor, which claim a modus in lieu of tithes, of twenty shillings yearly paid to the vicar. The manor farm of Clavertigh, belonging to Sir John Honywood, bart and a parcel of lands called Mount Bottom, belonging to the Rev. Mr. Thomas Tournay, of Dover, claim a like modus in lieu of tithes.
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...
[출처] 공모전 해외홍보관련 (접지가인) |작성자 조폭군종
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...
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.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Basilique romane de Sant’ Angelo in Formis ; commune de Capoue, province de Caserte, région de Campanie, Italie
C’est un édifice basilical sans transept, subdivisé en trois nefs, suivies de trois absides, par deux rangées de colonnes libres (sept de chaque côté) sur lesquelles retombent huit arcs en plein cintre.
La construction est précédée d’un porche à cinq arcs brisés soutenus par de grosses colonnes de remploi; l’arc central est sensiblement plus haut et plus large que les arcs latéraux. Les fenêtres des absides, trois dans l’abside centrale et une dans les latérales, ont été obturées afin de disposer de toute la surface pour la décoration picturale à l’intérieur. Il s’agit évidemment d’une modification du projet originel exécutée à une époque immédiatement postérieure à l’achèvement de construction, comme le montre (au moins pour l’abside centrale et celle de gauche) la parfaite identité du matériau employé. …
… Avant d’en venir à l’analyse de la décoration du porche et de l’intérieur, jetons un bref regard sur le clocher. Construit sur plan carré en retrait par rapport à la façade du porche, ce campanile semble contemporain de la basilique. C’est en effet à un moment assez voisin de la renaissance classiciste de l’art figuratif, survenue en Campanie vers la fin du XIe siècle, que renvoient les motifs décoratifs sculptés le long de la corniche qui sépare le premier registre du second. La présence de certains éléments de nature nettement dassicisante (denticules, cordelière et oves), parfaitement combinés avec des motifs végétaux de divers genres, offre des points de comparaison précis avec des solutions analogues (par exemple sur les portails de la cathédrale d’Aversa) datables avec certitude des vingt dernières années du XIe siècle. Une telle combinaison, légèrement simplifiée toutefois, se retrouvera dans les corniches extérieures de la nef et du transept de la cathédrale de Calvi, de trente ou quarante ans plus tardive. …
Ne subsistant qu’aux deux tiers de sa hauteur, le campanile avait un troisième étage légèrement en retrait (d’après certaines aquarelles de G. Carelli) et se terminait par une « petite coupole ou chapeau d’une très grande beauté à son sommet et par une croix ».
Les fresques qui ornent l’église à l’intérieur constituent la manifestation la plus importante, en quantité et en qualité, des tendances formelles apportées au Mont-Cassin par les mosaïstes byzantins. Homogènes entre elles, c’est-à-dire certainement de la même époque, on en peut fixer la date avec certitude entre 1072 et 1087. En effet, sur l’abside, l’abbé Desiderius est figuré avec un nimbe rectangulaire qui, dans la coutume médiévale, voulait dire explicitement que le personnage en question était vivant …. Le riche programme de la campagne décorative, qui recouvre encore aujourd’hui la presque totalité des parois disponibles, s’articule de la façon suivante : dans l’abside centrale, entouré des symboles des évangélistes, trône le Christ en majesté donnant la bénédiction (sur son livre le verset à nette référence eschatologique montre une des « incompréhensions » … dues à des peintres locaux, de celle sorte que l’oméga qui, en même temps que l’alpha, est le symbole du commencement et de la fin des temps, est figuré à tort comme un omicron. Au registre inférieur sont figurés en vraie grandeur les trois archanges, l’abbé Desiderius offrant le modèle architectural réduit de l’église, et (entièrement repeint) saint Benoît. Sur les écoinçons de l’arc d’entrée de l’abside, deux séraphins. Les trois registres de chacune des parois de la nef centrale se subdivisent en cadres où sont (ou étaient) représentées des scènes au contenu christologique, disposées dans leur ensemble comme dans les basiliques paléochrétiennes (par exemple à Saint-Paul-hors-les-Murs), Ces scènes commençaient au registre supérieur du mur de droite près de l’abside. De là, se développant dans le sens de l’écriture, elles arrivaient au mur d’entrée et de là, passant sur le mur opposé, elles retournaient vers l’abside. De nouveau sur le mur de droite elles se
poursuivaient au registre médian pour se terminer enfin, en suivant la même progression, auprès de l’abside au terme du troisième registre. Bien que les scènes initiales soient totalement perdues, on peut faire crédit à l’hypothèse que formule avec justesse M. de Jerphanion, et qui voit dans l’Annonciation la première scène et dans les autres récits de l’enfance du Christ les scènes qui suivent immédiatement; ce qui termine la longue séquence, c’est l’Ascension, développée sur les deux registres inférieur et médian. Au revers de la façade, sur la paroi tout entière est peinte une majestueuse représentation du jugement dernier (la figure du Christ-Juge y est malheureusement repeinte de façon irrémédiable), Sur les écoinçons entre les arcs sont figurés des prophètes, parmi lesquels trouve place même la sibylle Éri- thrée. Chaque prophète tient un cartouche dont les versets permettent des références précises aux scènes qui les surmontent, présentant ainsi cette concordantia Veteris et Novi Testament qui, dans l’art chrétien, nous est connue dès ses réalisations monumentales originelles (à Rome comme à Ravenne) mais qui, dans le milieu oriental et particulièrement dans le célèbre manuscrit syriaque (VIe siècle) aujourd’hui à Rossano Calabro, se présente dans les formes les plus proches de cette concordance campanienne (de Francovich). Sur l’absidiole de droite (celle qui lui correspondait à gauche a disparu) figure le buste de la Vierge à l’Enfant entre deux anges, au-dessus d’un registre inférieur avec des saints martyrs. Sur les murs des collatéraux (en y incluant les parties latérales du revers de la façade) se déploie, fort incomplet, sur deux registres le cycle vétéro-testamentaire. Une scène y est étrangère par son thème : le martyre de saint Pantaléon, sur le registre inférieur au mur occidental du côté gauche (en entrant dans l’église). Sur les écoinçons des deux collatéraux sont peints enfin les figures de saints de l’ordre bénédictin et de saintes. L’état de conservation des fresques, bien que bon en général (les zones altérées ayant été repeintes), a été cependant gâché par les restaurations des années 30, En effet, comme on l’a révélé seulement récemment (Thiery) et comme le prouve la comparaison entre les photos antérieures aux années 30 et l’état actuel, à cette occasion, on a enlevé par un lavage malheureux les glacis à la détrempe qui faisaient partie intégrante de la contexture dernière de l’œuvre. Il s’ensuit que les scènes maltraitées en question (de la partie droite de la Crucifixion jusqu’à l’Ascension, y compris les figures des prophètes) présentent un caractère estompé et une légèreté de couleur nullement voulus par le peintre. Malgré cela subsiste la possibilité de distinguer les « mains » des nombreux peintres qui, tous membres d’une équipe unique d’où émergent quelques « maîtres » plus vigoureux (parmi lesquels ceux qui ont travaillé, par exemple, sur le cul-de-four de l’abside ou dans la scène de la Samaritaine au puits) durent exécuter le travail en un temps relativement court. Leur formation artistique, pour la compréhension de laquelle la perte de la décoration cassinaise est sans remède, est substantiellement d’origine byzantine, teintée cependant de reflets provenant des manières de faire occidentales (tant dans l’iconographie, par exemple dans le thème même de l’abside, que pour les composantes du style, par exemple dans les bandes polychromes servant de fond aux scènes). … A l’extérieur, le décor pictural couvre les deux tympans au fond de l’arcade centrale et les quatre qui correspondent aux arcades latérales du porche. Le tympan supérieur, … porte l’image de la Vierge en majesté à l’intérieur d’une gloire soutenue par deux anges en plein vol (celui de droite est entièrement repeint); le tympan inférieur, encore en place, représente l’archange Michel en buste. Les étroites coïncidences de style entre l’un et l’autre ont toujours porté les historiens de l’art à leur donner une même date. Celle-ci doit se situer en un second temps par rapport à la campagne désidérienne de travaux, du fait que la fresque de la Vierge se superpose à une autre dont des traces fragiles ont été révélées à la suite de la dépose (dans la partie basse du tympan sur la droite). …
(extrait de : Campanie romane ; Mario d’Onofrio, Ed. Zodiaque, Coll. La nuit des Temps, 1981, pp. 169-178)
Coordonnées GPS : N41.118396 ; E14.260211
OFFENSE
Peyton ManningQBKurt Warner
Thomas JonesRBAdrian Peterson
Le'Ron McClainFBMike Sellers
Andre JohnsonWRLarry Fitzgerald
Brandon MarshallWRAnquan Boldin
Tony GonzalezTEJason Witten
Jason Peters*OTJordan Gross
Joe ThomasOTWalter Jones*
Alan FanecaOGSteve Hutchinson
Kris DielmanOGChris Snee
Kevin Mawae*CAndre Gurode
DEFENSE
Mario WilliamsDEJulius Peppers
Dwight FreeneyDEJustin Tuck
Albert HaynesworthDTKevin Williams
Kris JenkinsDTJay Ratliff
James HarrisonOLBDeMarcus Ware
Joey PorterOLBLance Briggs
Ray LewisILBPatrick Willis
Nnamdi AsomughaCBCharles Woodson*
Cortland FinneganCBAntoine Winfield
Ed ReedFSNick Collins
Troy PolamaluSSAdrian Wilson
SPECIAL TEAMS
Shane LechlerPJeff Feagles
Stephen GostkowskiKJohn Carney
Leon WashingtonKRClifton Smith
Brendon AyanbadejoSTSean Morey hirty-one NFL players made their Pro Bowl debuts this year, and most of them proved on Sunday that they belong.
Jets CB Darrelle Revis made an amazing one-handed interception of Eli Manning’s pass in the end zone in the third quarter to preserve the AFC’s lead.
Besides that interception, Manning had a solid showing in his first all-star game. He finished 8-of-14 for 111 yards and threw the winning touchdown pass to game MVP Larry Fitzgerald.
Vikings CB Antoine Winfield, making his first Pro Bowl appearance after 10 years in the league, intercepted Kerry Collins‘ pass deep in NFC territory in the third quarter, preventing the AFC from building on its lead.
The star of the AFC defensive effort was Colts first-timer Robert Mathis. In the first quarter, he sacked Drew Brees, forced a fumble and then recovered the ball. He brought down Brees again in the second quarter for a 13-yard loss.
On offense, Ravens RB Le’Ron McClain ran for the AFC’s only touchdown in the fourth quarter, while Texans receiver Owen Daniels‘ 9-yard TD reception capped the AFC’s six-play, 52 yard drive just before halftime. McClain’s touchdown came on the rarely ever seen, but well-executed, fumble-rooskie play.
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.
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.