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

 

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

 

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

 

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

 

This sculptural bust of Hipolito Yrigoyen was executed by Pedro Zonza Briano in 1926. Juan Hipólito del Sagrado Corazón de Jesús Irigoyen Alem (1852 – 1933) was twice President of Argentina (from 1916 to 1922, and again from 1928 to 1930). His activism became the prime impetus behind the obtainment of universal (male) suffrage in Argentina in 1912. Known as “the father of the poor,” Yrigoyen presided over a rise in the standard of living of Argentina's working class together with the passage of a number of progressive social reforms, including improvements in factory conditions, regulation of working hours, compulsory pensions,and the introduction of a universally accessible public education system.

 

El Salón de los bustos (The Hall of Busts) opens up into Salón de Honor (Hall of Honor) on the first floor of la Casa Rosada. These rooms, accessed from Rivadavia, serve as an entrance for distinguished guests. Marble busts of the many Presidents of Argentina have dotted the checkerboarded floor since 1973. Busts are commissioned for all presidents, excluding some who took power by coup or as a national authority prior to the era of a designated presidential office, who have been out of office for at least two terms.

 

La Casa Rosada (The Pink House), officially known as Casa de Gobierno, is the official executive mansion and office of the Presidente de la Nación Argentina (President of the Argentine Nation). Its balcony, which faces this large square, has famously served as a podium by many figures, including Eva Perón, who rallied the descamisados there, and Pope John Paul II, who visited Buenos Aires in 1998. Located at the east end of Plaza de Mayo, the Italian-style neoclassical building was built in phases, but dates back mostly to the late 19th century.

 

The site, originally at the shoreline of the Río de la Plata, was first occupied in 1594 by la Real Fortaleza de Don Juan Baltazar de Austria, and then its 1713 replacement, Castillo de San Miguel. In 1857, President Justo José de Urquiza largely replaced the fort with Edward Taylor's La Aduana Nueva, a new Italianate-style Custom house, but its administrative annex survived to be used as the Presidential offices of Bartolomé Mitre in the 1860s. President Domingo Sarmiento gave the building its characteristic pink hue--reportedly to defuse political tensions by mixing the red and white colors of the opposing political parties. An alternative explanation, though, suggests the original paint contained cow's blood to prevent damage from humidity. Sarmiento also commissioned Carl Kihlberg to build Casa de Correos, the Second Empire-style Central Post Office, next door in 1873. President Julio Roca commissioned Enrique Aberg to replace the cramped State House with one resembling the Central Post Office in 1882. In 1884, he commissioned Francesco Tamburini to unify the two with the now iconic Italianate archway. The resulting statehouse that stills stands today was completed in 1898 following an eastward expansion that included the demolition of Taylor's custom house.

The Sanctury of the St Kilda Presbyterian Church features three beautiful 1880s Ferguson and Urie stained glass windows; Faith on the left, Charity in the middle and Hope on the right. All are executed in iridescent reds, yellows, greens and blues, to reflect the colour palate used in other Ferguson and Urie windows elsewhere around the church.

 

Built on the crest of a hill in a prominent position overlooking St Kilda and the bay is the grand St Kilda Presbyterian Church.

 

The St Kilda Presbyterian Church's interior is cool, spacious and lofty, with high ceilings of tongue and groove boards laid diagonally, and a large apse whose ceiling was once painted with golden star stenciling. The bluestone walls are so thick that the sounds of the busy intersection of Barkley Street and Alma Road barely permeate the church's interior, and it is easy to forget that you are in such a noisy inner Melbourne suburb. The cedar pews of the church are divided by two grand aisles which feature tall cast iron columns with Corinthian capitals. At the rear of the building towards Alma Road there are twin porches and a narthex with a staircase that leads to the rear gallery where the choir sang from. It apparently once housed an organ by William Anderson, but the space today is used as an office and Bible study area. The current impressive Fincham and Hobday organ from 1892 sits in the north-east corner of the church. It cost £1030.00 to acquire and install. The church is flooded with light, even on an overcast day with a powerful thunder storm brewing (as the weather was on my visit). The reason for such light is because of the very large Gothic windows, many of which are filled with quarry glass by Ferguson and Urie featuring geometric tracery with coloured borders. The church also features stained glass windows designed by Ferguson and Urie, including the impressive rose window, British stained glass artist Ernest Richard Suffling, Brooks, Robinson and Company Glass Merchants, Mathieson and Gibson of Melbourne and one by Australian stained glass artist Napier Waller.

 

Opened in 1886, the St Kilda Presbyterian church was designed by the architects firm of Wilson and Beswicke, a business founded in 1881 by Ralph Wilson and John Beswicke (1847 - 1925) when they became partners for a short period. The church is constructed of bluestone with freestone dressings and designed in typical Victorian Gothic style. The foundation stone, which may be found on the Alma Road facade, was laid by the Governor of Victoria Sir Henry Barkly on 27 January. When it was built, the St Kilda Presbyterian Church was surrounded by large properties with grand mansions built upon them, so the congregation were largely very affluent and wished for a place of worship that reflected its stature not only in location atop a hill, but in size and grandeur.

 

The exterior facades of the church on Barkley Street and Alma Road are dominated by a magnificent tower topped by an imposing tower. The location of the church and the height of the tower made the spire a landmark for mariners sailing into Melbourne's port. The tower features corner pinnacles and round spaces for the insertion of a clock, which never took place. Common Victorian Gothic architectural features of the St Kilda Presbyterian Church include complex bar tracery over the windows, wall buttresses which identify structural bays, gabled roof vents, parapeted gables and excellent stone masonry across the entire structure.

 

I am very grateful to the Reverend Paul Lee for allowing me the opportunity to photograph the interior of the St Kilda Presbyterian Church so extensively.

 

The architects Wilson and Beswicke were also responsible for the Brighton, Dandenong, Essendon, Hawthorn and Malvern Town Halls and the Brisbane Wesleyan Church on the corner of Albert and Ann Streets. They also designed shops in the inner Melbourne suburbs of Auburn and Fitzroy. They also designed several individual houses, including "Tudor House" in Williamstown, "Tudor Lodge" in Hawthorn and "Rotha" in Hawthorn, the latter of which is where John Beswicke lived.

 

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

 

The unemployed of Marienthal (valley). A sociographic experiment on the effects of long-term unemployment (1933) is the title of a study by Marie Jahoda, Paul Lazarsfeld and Hans Zeisel on the consequences of unemployment, which is one of the classics of empirical sociology. The study pointed to the socio-psychological effects of unemployment and made it clear that long-term unemployment is not - as is often assumed - leading to revolt, but to passive resignation.

The investigation

Today, the project executed by a team around Marie Jahoda and Paul Lazarsfeld is considered a milestone in the development of empirical social research (see also participant observation and field research) and as a model of theory formation in combination of quantitative, qualitative, encountered and collected data. Even if those concepts are younger than the work on the unemployed of Marienthal, have been here - under the term of sociography - set foundations for those methods.

The workers' settlement Marienthal is located in Gramatneusiedl, a village near Vienna. After the closure of a factory, after whose commissioning the community was founded, arose suddenly an extensive unemployment during the Great Depression around 1931. Otto Bauer, who was then the leading man of the Austrian Social Democrats, proposed Lazarsfeld and Zeisel to conduct a study on this topic and also named the locality of Marienthal.

To gain access to the people in Marienthal, the authors of this study not only have sought contact with political and social groups and clubs, but also carried out collections of cloth, medical consultations, education consultations, gymnastics and drawing classes. The aim was to win the people for the research project. At the same time, each of those means (inclusively the in this regard ethically questionable consultation hours) also served the purpose by participant observation to obtain information about the Marienthal population.

For each family in Marienthal cadastral sheets were created, on which the various observations and interviews were recorded, from the ordered or disordered condition of the apartment when visiting because of the clothes collection to things in the educational counseling, visits to the doctor or during observation in the "Workers' House" were discussed. There were about thirty in-depth interviews conducted, made some journals about the time management and created food lists. Official statistics also have been used. Lotte Schenk-Danzinger played a big part in this work. In the work team but apparently tensions of personal and political nature occurred, so that Danzinger was not included in the publication as a co-author.

The published results of the study provide a broad and deep overview into the life of that form of unemployment benefits, with no early prospect of employment. In particular, is traced how as a result of the hopelessness because of unemployment the time budget changes. If actually a task had to be fulfilled, it nevertheless is left unattended. It is missing the time management, the fixed grid, a daily structure.

Implications of the study

By a combination, determined by each state of the research process, of qualitative with quantitative methods of social research (observation, structured observation protocols, household surveys, questionnaires, use of time sheets, interviews, conversations and simultaneous assistance), this work, in 1933 first published, methodically is pointing the way - even if its reception in German-speaking area only years or decades later followed. The group of Austrian research sociologists through the example of small town of Marienthal, marked by the decline of textile industry, in its field research study for the first time in this form, precision and depth proved socio-psychological effects of unemployment and showed in the main result that unemployment is not (as hitherto mostly expected) leading to active revolution, but rather leads to passive resignation.

However, the unemployed of Marienthal is not only a with many examples illustrated dense empirical description, but also a social-theoretically stimulating work with view at the four attitude types of the also internally unbroken, the resigned, the desperate and the neglected apathetic - only the first type yet knowing "plans and hopes for the future", while the resignation, despair and apathy of the other three types "led to the renunciation of a future that not even in the imagination as plan plays a role". As a crucial dimension proved to be the ability to preserve and develop "plans and hopes for the future" and, therefore, not to lose a fundamental dimension of human attitude: the anticipation of possible developments.

The written by Marie Jahoda research report in the print edition (1975) is complemented by a "preamble" written in the 1950s by Lazarsfeld, in which the study is classified in its relation to former and contemporary trends in sociology, and by the written for the first edition methodological annex from Zeisel on history of sociography.

After the authors of the study are in Vienna in the 17th district Hernals the Marie-Jahoda alley, in the 21nd district Floridsdorf the Lazarsfeld alley and in the 22nd district Danube city the Schenk-Danzinger alley named.

 

Filming

Meanwhile it is becoming noon is an Austrian television film about the Marienthal study by Karin Brandauer (first broadcast May 1, 1988 in the ORF).

Günter Kaindlstorfer: The unemployed of Marienthal, The Social Study of 1933, Austria in 2009, and on 3Sat.

 

Die Arbeitslosen von Marienthal. Ein soziographischer Versuch über die Wirkungen langandauernder Arbeitslosigkeit (1933) ist der Titel einer Untersuchung von Marie Jahoda, Paul Felix Lazarsfeld und Hans Zeisel zu den Folgen von Arbeitslosigkeit, die zu den Klassikern der empirischen Soziologie gehört. Die Studie zeigte die sozio-psychologischen Wirkungen von Arbeitslosigkeit auf und machte deutlich, dass Langzeitarbeitslosigkeit nicht – wie vielfach angenommen – zu Revolte, sondern zu passiver Resignation führt.

Die Untersuchung

Heute gilt das von einem Team rund um Marie Jahoda und Paul Lazarsfeld ausgeführte Projekt als Meilenstein in der Entwicklung der empirischen Sozialforschung (vgl. auch: Teilnehmende Beobachtung, Feldforschung) und als Musterbeispiel der Theoriebildung in Kombination von quantitativen, qualitativen, vorgefundenen und erhobenen Daten. Auch wenn diese Konzepte jünger sind als die Arbeit über die Arbeitslosen von Marienthal, wurden hier – unter dem Begriff Soziographie – Grundsteine für diese Methoden gesetzt.

Die Arbeitersiedlung Marienthal liegt in Gramatneusiedl, einem Ort in der Nähe Wiens. Nach der Schließung einer Fabrik, nach deren Inbetriebnahme die Gemeinde gegründet worden war, entstand während der Weltwirtschaftskrise um 1931 jäh eine umfangreiche Arbeitslosigkeit. Otto Bauer, der damals führende Mann der österreichischen Sozialdemokratie schlug Lazarsfeld und Zeisel vor, eine Studie über dieses Thema durchzuführen und nannte auch den Ort Marienthal.

Um Zugang zu den Menschen in Marienthal zu gewinnen, haben die Autoren dieser Studie nicht nur Kontakt zu politischen und gesellschaftlichen Gruppen und Vereinen gesucht, sondern auch Kleidersammlungen, ärztliche Sprechstunden, Erziehungsberatungen, Turn- und Zeichenkurse durchgeführt. Ziel war es, die Menschen für das Forschungsprojekt zu gewinnen. Zugleich diente jedes dieser Mittel (inkl. der in dieser Hinsicht ethisch fragwürdigen Sprechstunden) auch dazu, durch teilnehmende Beobachtung Informationen über die Marienthaler Bevölkerung zu erlangen.

Für jede Familie in Marienthal wurden Katasterblätter angelegt, auf denen die verschiedenen Beobachtungen und Interviews festgehalten wurden, vom ordentlichen oder ungeordneten Zustand der Wohnung beim Besuch wegen der Kleidersammlung bis hin zu Dingen, die bei der Erziehungsberatung, beim Arztbesuch oder bei der Beobachtung im „Arbeiterheim“ besprochen wurden. Es wurden etwa dreißig ausführliche Interviews geführt, einige Journale über die Zeiteinteilung angefertigt und Essenslisten erstellt. Die amtliche Statistik wurde ebenfalls herangezogen. Lotte Schenk-Danzinger hatte großen Anteil an diesen Arbeiten. In dem Arbeitsteam sind aber offenbar Spannungen persönlicher und politischer Art aufgetreten, sodass Danzinger in der Publikation nicht als Co-Autorin berücksichtigt wurde.

Das veröffentlichte Ergebnis der Studie gibt einen breiten und tiefgehenden Überblick in das Leben mit der damaligen Form von Arbeitslosenunterstützung, ohne baldige Aussicht auf Beschäftigung. Insbesondere wird nachgezeichnet, wie sich aufgrund der Hoffnungslosigkeit durch die Arbeitslosigkeit das Zeitbudget verändert. Wenn eigentlich eine Aufgabe zu erfüllen wäre, wird sie trotzdem liegen gelassen. Es fehlt die Zeiteinteilung, das feste Raster, eine Tagesstruktur.

Auswirkungen der Studie

Durch eine vom jeweiligen Stand des Forschungsprozesses bestimmte Kombination qualitativer mit quantitativen Methoden der Sozialforschung (Beobachtung, Strukturierte Beobachtungsprotokolle, Haushaltserhebungen, Fragebögen, Zeitverwendungsbögen, Interviews, Gespräche und gleichzeitige Hilfestellungen) ist diese 1933 erstveröffentlichte Arbeit methodisch richtungsweisend – auch wenn ihre Rezeption im deutschsprachigen Raum erst Jahre bzw. Jahrzehnte später erfolgte. Die Gruppe österreichischer Forschungssoziologen wies am Beispiel der von der niedergegangenen Textilindustrie geprägten Kleinstadt Marienthal in ihrer Feldforschungsuntersuchung erstmals in dieser Form, Präzision und Tiefe sozio-psychologische Wirkungen von Arbeitslosigkeit nach und zeigte im Hauptergebnis, dass Arbeitslosigkeit nicht (wie bis dahin meist erwartet) zur aktiven Revolution, sondern vielmehr zur passiven Resignation führt.

Die Arbeitslosen von Marienthal ist aber nicht nur eine mit vielen Beispielen illustrierte dichte empirische Beschreibung, sondern auch eine sozialtheoretisch anregende Arbeit mit Blick auf die vier Haltungstypen der auch innerlich Ungebrochenen, der Resignierten, der Verzweifelten und der verwahrlost Apathischen – wobei lediglich der erste Typus noch „Pläne und Hoffnungen für die Zukunft“ kannte, während die Resignation, Verzweiflung und Apathie der drei anderen Typen „zum Verzicht auf eine Zukunft führte, die nicht einmal mehr in der Phantasie als Plan eine Rolle spielt“. Als entscheidende Dimension erwies sich die Fähigkeit, „für die Zukunft Pläne und Hoffnungen“ bewahren und entwickeln zu können, also eine grundlegende Dimension humanen Gestaltungsvermögens nicht zu verlieren: die Antizipation möglicher Entwicklungen.

Der von Marie Jahoda geschriebene Forschungsbericht wird in der Buchausgabe (1975) durch einen in den 1950er Jahren geschriebenen „Vorspruch“ von Lazarsfeld, in dem die Studie in ihrem Verhältnis zu damaligen und zeitgenössischen Strömungen der Soziologie eingeordnet wird, und den für die Bucherstausgabe geschriebenen methodischen Anhang von Zeisel zur Geschichte der Soziografie ergänzt.

Nach den Autoren der Studie sind in Wien im 17. Bezirk Hernals die Marie-Jahoda-Gasse, im 21. Bezirk Floridsdorf die Lazarsfeldgasse und im 22. Bezirk Donaustadt die Schenk-Danzinger-Gasse benannt.

 

Verfilmung

Einstweilen wird es Mittag ist ein bedeutender österreichischer Fernsehfilm über die Marienthalstudie von Karin Brandauer (Erstsendung 1. Mai 1988 im ORF).

Günter Kaindlstorfer: Die Arbeitslosen von Marienthal, Die Sozialstudie von 1933, Österreich 2009, und auf 3sat.

de.wikipedia.org/wiki/Die_Arbeitslosen_von_Marienthal

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

 

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

 

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

 

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

 

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

 

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

 

Detail of one of the three apse windows that constitute the first major stained glass commission of John Piper & Patrick Reyntiens, executed 1954-6 and portraying nine aspects of Christ's divinity.

 

The also constitute the first major flowering of a new, contemporary approach to stained glass design, radically different from anything produced in this country before, and therefore a milestone in the evolution of modern stained glass in Britain.

 

This was my second visit to Oundle School Chapel, an impressive building designed by Sir Arthur Blomfield in 1922-3 and standing completely detached in splendid isolation in the grounds of Oundle School. The chapel was built in a late Perpendicular Gothic style with a nave flanked by low aisles and a tall clerestorey that floods the interior with light..The east end is formed by a polygonal apse surrounded with a low ambulatory (forming a hidden corridor within).

 

The interior is vast and spacious as a grand school chapel should be, but fine though the architecture is it is the explosions of coloured light that punctuate the aisles and the deep, brooding tones of the glass in the apse that draw the eye here. Oundle's chapel is a treasure house of modern stained glass, from the three altar windows by John Piper & Patrick Reyntiens (their first ever commission dating from 1954-6, often considered the first windows in a modern style in Britain) to the extensive scheme of aisle windows recently commissioned from Mark Angus and installed in 2002-5.

 

Piper & Reyntiens' apse windows are quite unique, and more figurative than so much of their more familiar later work. The images represent nine aspects of Christ, each personifying a different aspect of his divinity. The colouring is rich and dense and the stylisation bold, many of the faces being more reminiscent of some powerful tribal mask than anything seen in a British church before. It took great vision and courage to commission these windows (Piper & Reyntiens had little experience at this stage and no previous collaboration to their names) and is perhaps symptomatic of postwar optimism and a more forward thinking approach than is often seen in today's commissions in glass. John Betjeman was so impressed on first seeing these works that he stated that the chapel would become a place of pilgrimage to art lovers, and so it should be to anyone with an interest in modern glass.

 

The aisle windows by Mark Angus are no less richly coloured, and some (at the west end) are equally figurative but most use a more abstract symbolic language. Much of the drawing has a rather charming, almost childlike naivety and the designs are in many cases kept refreshingly simple, allowing the various bold colours to dominate these smaller apertures.

 

Oundle School Chapel is a must for anyone with an interest in contemporary stained glass and the School is to be commended for its vision in making such a statement in its choice of artists. The chapel may be open to visitors much of the time but it might be advisable to check if making a special journey to see it.

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

According to sources, a confrontation between residents and Ethiopian government officials broke out on June 9, 2014, over a mass grave discovered at the former Hameressa military garrison near Harar city, eastern Oromia. The mass grave is believed to contain remains of political prisoners executed during both the Dergue era and the early reigns of the current TPLF regime. Among those who were executed and buried in the location was Mustafa Harowe, a famous Oromo singer who was killed around early 1990′s for his revolutionary songs. Thousands more Oromo political prisoners were kept at this location in early 1990′s – with many of them never to be seen again.

 

The mass grave was discovered while the Ethiopian government was clearing the camp with bulldozers to make it available to Turkish investors. Upon the discovery of the remains, the government tried to quietly remove them from the site. However, workers secretly alerted residents in nearby villages; upon the spread of the news, many turned up en mass to block the removal of the remains and demanded construction a memorial statue on the site instead. The protests is still continuing with elders camping on the site while awaiting a response from government.

 

In addition to the remains, belongings of the dead individuals as well as ropes tied in hangman’s noose were discovered at the site.

 

———————

 

Lafeen ilmaan Oromoo bara 1980moota keessa mootummaa Darguutin, baroota 1990moota keessa ammoo Wayyaaneen dhoksaan kaampii waraanaa Hammarreessaa keessatti ajjeefamanii argame. Ilmaan Oromoo mooraa san keessatti hidhamanii booda ajjeefaman keessa wallisaan beekamaan Musxafaa Harawwee isa tokko. Musxafaa Harawwee wallee qabsoo inni baasaa tureef jecha qabamee yeroo dheeraaf erga hiraarfamee booda toora bara ~1991 keessa ajjeefame. Hiraar Musxafaarra geessifamaa ture keessa tokko aara wallee isaatirraa qaban garsiisuuf muka afaanitti dhiibuun a’oo isaa cabsuun ni yaadatama.

 

Baroota 1990moota keessas Oromoonni kumaatamaan tilmaamaman warra amma aangorra jiru kanaan achitti hidhamanii, hedduun isaanii achumaan dhabamuun yaadannoo yeroo dhihooti.

 

Haqxi dukkana halkaniitiin ajjeesanii lafa jalatti awwaalan kunoo har’a rabbi as baase. Dhugaan Oromoo tun kan amma as bahe, mootummaa kaampii waraanaa kana diiguun warra lafa isaa warra Turkiitiif kennuuf osoo qopheessuuf yaaluti. Lafee warra dhumee akkuma arganiin dhoksaan achirra gara biraatti dabarsuuf osoo yaalanii hojjattonni ummata naannotti iccitii san himan. Ummanniis dafee wal-dammaqsuun bakka sanitti argamuun ekeraan nama keenyaa akka achii hin kaafamneefi siidaan yaadannoo akka jaaramu gaafachaa jiran.

 

Hamma feetes turtu dhugaan Oromoo awwaalamtee hin haftu.

 

-----

More on the Mass Grave of Oromos at Hameressa:

1) OLF on the Hameressa Mas Grave: gadaa.net/FinfinneTribune/2014/06/olf-press-release-one-o... .... or gadaa.net/FinfinneTribune/2014/06/ibsa-abo-ajjeechaa-ilma...

 

2) gadaa.net/FinfinneTribune/2014/06/jaal-araarsoo-biqilaa-h...

 

3) gadaa.net/FinfinneTribune/2014/06/oromoprotests-fdg-hamma...

 

4) gadaa.net/FinfinneTribune/2014/06/gulelepost-hameressa-ma...

A modified M1068A3 SICPS assigned to 278th Armored Cavalry Regiment, Tennessee Army National Guard, executes a tactical pause from their fighting position during Decisive Action Rotation 18-07 at the National Training Center, Fort Irwin, Calif., May 6, 2018. Decisive Action Rotations at the National Training Center ensure units remain versatile, responsive, and consistently available for current and future contingencies. (U.S. Army photo by Spc. Guy Mingo, Operations Group, National Training Center)

HMCS Charlottetown conducts a Replenishment At Sea (RAS) to take fuel from the German tanker RHON during Operation ACTIVE ENDEAVOUR with Standing NATO Maritime Group 1 in the Mediterranean Sea on February 3, 2012.

 

Le NCSM CHARLOTTETOWN exécute un ravitaillement en mer (REM) avec le navire-citerne allemand RHON lors de l’Op Active Endeavour dans la mer Méditerranée, avec le 1er Groupe de la Force navale permanente de réaction de l’OTAN, le 3 février 2012.

 

Photo : Cpl Ronnie Kinnie

 

HS2012-0071-121

Earlier this morning (Tuesday 7 September) officers from the Bury Divisional Tasking Team and Radcliffe Neighbourhood team executed a Misuse of Drugs Act warrant at an address on Scarr Avenue, Radcliffe.

 

Following a search of the property two people - a male and a female - were arrested on suspicion of possession with intent to supply and money laundering offences.

  

A couple of lively dogs were in the property at the time and one officer was snipped by one as they made entry. Thankfully no injuries were sustained though!

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

John Terken (American, 1912-1993)

Benjamin Franklin, 1960 (cast executed 1998), Bronze, 108 x 60 x 33 in.

Hofstra University Museum of Art, Funded from the Irving J. Chaykin account, HU99.1

 

History

Benjamin Franklin (American, 1706-1790) was one of the most influential of America’s “Founding Fathers.” A signer of both the Declaration of Independence and the Constitution, Franklin played an integral role in America’s independence from British colonial rule. Beyond his political and diplomatic accomplishments, Franklin was also a notable scientist and inventor, famously discovering electricity and inventing such items as the Franklin stove and bifocal glasses. He also founded one of the first American universities, the University of Pennsylvania in 1740.

 

Benjamin Franklin did own slaves (as many as seven) and profited from the slave trade by selling advertisements for slaves in his newspaper and general store. Later in life, however, he became an abolitionist, writing several essays that stressed the importance of the abolition of slavery and founding the Pennsylvania Society for Promoting the Abolition of Slavery in 1774.

 

About the Sculpture

This sculpture is a bronze cast of an original work completed in 1960 that is currently installed at the corner of Old Country Road and Clinton Road in Garden City, NY. The original sculpture was carefully transported to the Tallix Foundry in Beacon, NY where this exact copy was created. The artist of the original sculpture, John Terken, was a resident of East Meadow and taught art at East Meadow High School.

 

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.

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)

SHIZUOKA, Japan (Nov. 4, 2016) - Marines patrol the roads after the ground assault portion of a long-range raid from Marine Corps Air Station Futenma, Okinawa to the Combined Arms Training Center, Camp Fuji uring Blue Chromite 2017. The Marines honed their ability to project forces from afar by executing a long-range raid over 1,000 miles via MV-22B Osprey to include an aerial refueling by KC-130J Super Hercules. Blue Chromite is a U.S.-only exercise which strengthens the Navy-Marine Corps expeditionary, amphibious rapid-response capabilities based in Okinawa and the greater Indo-Asia-Pacific region. The Marines are with Company I, 3rd Battalion, 3rd Marine Regiment which is forward deployed from Kaneohe Bay, Hawaii, to 3rd Marine Division, III Marine Expeditionary Force, based in Okinawa, Japan. (U.S. Marine Corps photo by Lance Cpl. Kelsey Dornfeld/Released) 161104-M-PY134-122

 

** Interested in following U.S. Pacific Command? Engage and connect with us at www.facebook.com/pacific.command and twitter.com/PacificCommand and www.pacom.mil/ **

 

Ok, I got a whole year to make the final prizes of our dart competition within the company, quite many sketches and designs were done. Turned out, I executed the whole thing only on the day of our final match on 5th Dec 2009. Originally I intended to make leather dart cases which can be used as pass cases, you can imagine how many details were given up due to the last minute rush.

 

The fun part is the "UNRESTRICTED PASS" which the "bearer is authorized to produce ton8 or hattrick on demand unrestricted". Genuine machine readable QR codes and bar codes were included, when scanned names of the finalists can be decoded. The passes also included identity photos of the finalists.

 

It was real fun and I'm honored to make these prizes for the game. Seeing the winners using them on daily basis makes me happy. This also gave me more confidence on future leather craft projects I'm working on.

 

More on Scription blog: moleskine.vox.com/library/post/leather-dartpass-cases-as-...

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

 

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

  

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

 

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

 

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

 

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

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

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

 

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

 

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

 

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

 

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

 

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)

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

Growing up there was a story of a lady who was executed in my home town by hanging. She was the first in Illinois. I honestly always questioned the authenticity of the story. Recently, my wife and I were back in Lawrenceville and I was telling her and my little girl about it. My wife sear...

 

www.gagecaudell.com/elizabeth-reed-first-woman-executed-b...

Herman Heinrich C. J. Faje, one of fourteen people charged in civilian courts with aiding eight Nazi saboteurs who landed by submarine on U.S. shores In June 1942, is shown in a mugshot after his arrest.

 

Faje was aa close friend of Henrich Heinck, one of a group of German Nazi saboteurs who landed by U-boat near what is now Atlantic Beach on June 17, 1942.

 

Herman Faje born 1906 in Hamburg Germany and came to the United States in 1928. He lived in New York with his wife Hildegarde who was two years his junior. Upon arrival in the U.S., Faje worked as a steward aboard the Hamburg-American Line and on private yachts, in New York restaurants and as a hairdresser.

 

The German couple were naturalized citizens with Herman Fage becoming a citizen in 1936. Herman Faje and his wife Hlldegarde (no photo available), were Indicted on treason charges in November 1942 for harboring and helping Heinck.

 

They were specifically charged with holding $3,600 in money that Heinck had been provided and hiding the money belt in a radiator in their home. They were also allegedly fully aware of how Heinck and Richard Quirin had arrived and what their plans were.

 

Heinck allegedly told Faje that any German who helped the saboteurs would get an Iron Cross 2nd class medal for their efforts.

 

The eight saboteurs were quickly convicted--six of whom, including Heinck and Quirin, were executed in August 1942; one received a life sentence; and one received 30 years imprisonment following a Washington, D.C. military trial.

 

Fourteen other people, including the Fajes, were charged with aiding the eight saboteurs. The Fages were charged with treason and the government was seeking the death penalty.

 

The Fage’s trial was postponed in late 1942, but the two were apparently held as enemy aliens until January 1946 when Herman Faje pled guilty to a lesser charge. He was sentenced to five years in prison while charges were dropped against his wife.

 

Of the others charged with aiding the saboteurs some received various prison terms, some had charges dropped, some were detained as enemy aliens and deported after the war ended.

 

For more information and related images, see flic.kr/s/aHsmPiRmT4

 

The photographer is unknown. The image is believed to be a U.S. government photograph. It is housed in the D.C. Library Washington Star Collection.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Twelve people have today, Thursday 10 January 2013, been arrested by officers from Project Gulf, Salford’s multi agency task force set up to target organised crime groups.

 

In total 14 warrants were executed at addresses across Salford.

 

The arrests were made on suspicion of a variety of offences including violent disorder, drugs offences and money laundering.

 

They remain in police custody for questioning.

 

Items recovered as part of the warrants include cash, drugs, balaclavas, body armour and a crossbow. Pictures which could illustrate an affiliation to organised crime groups have also been seized.

 

The warrants follow an investigation into an incident of violent disorder at the Blue Bell pub on Monton Green on 9 December 2012, during which a group of men entered and assaulted a number of people inside.

 

Officers attended the premises following contact with the police but no complaints were made. They recovered CCTV from the premises and have been investigating the matter since.

 

As part of a joint agency approach three housing inspections, two visits from local authority social workers and eight benefit fraud inspections were also carried out.

 

Superintendent Wayne Miller, said: “Today’s action reflects the determined and pro active approach we are taking to identify and disrupt organised crime groups operating in Salford.

 

“We were not called directly to the incident but as soon as we became aware we took and continue to take steps to identify those involved.

 

“We recovered some CCTV that quite clearly shows a determined and coordinated effort on the part of a significantly large number of offenders to deliberately target some of those inside the pub.

 

“While we cannot speculate on the motive for this, it is clear to me that this was not a random incident but an attempt by a gang of men to commit serious violence and to intimidate and threaten our communities. “

 

Tony Lloyd, the Police and Crime Commissioner for Greater Manchester said: ”We will not tolerate such behaviour and are standing shoulder to shoulder with partner agencies to pick at these crime groups member by member to disrupt their criminality by whatever means necessary.

 

"Today's operation was a fantastic example of partnership working with the police, council and local community all joining forces to make a stand against organised crime. Project Gulf shows how working together can make a real difference to Greater Manchester people. It also acts as a warning to those involved in organised crime that it simply will not be tolerated."

 

ABOUT PROJECT GULF:

 

Project Gulf was set up in 2010 to tackle serious organised crime. The multi-agency team investigates every area of a suspected criminal's life - including their business interests, benefits, housing and associates.

 

The Gulf team includes representatives from Greater Manchester Police, Salford City Council, the Serious Organised Crime Agency, UK Border Agency, Environment Agency, Greater Manchester Fire and Rescue Service, DVLA, Department of Work and Pensions, Security Industry Association, Housing, HM Revenue & Customs and children’s services.

 

Serious organised crime causes devastating harm to local communities and the Project Gulf team is determined to taking these criminals off the streets, disrupting their lifestyles and making the streets of Salford a safer place to live.

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

You should call 101, the new 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

 

Pisa Baptistery, Pisa Cathedral and Leaning Tower of Pisa

 

Baptisterium, Dom zu Pisa und Schiefer Turm von Pisa

 

The Piazza dei Miracoli (Italian: [ˈpjattsa dei miˈraːkoli]; English: Square of Miracles), formally known as Piazza del Duomo (English: Cathedral Square), is a walled 8.87-hectare area located in Pisa, Tuscany, Italy, recognized as an important centre of European medieval art and one of the finest architectural complexes in the world.Considered sacred by the Catholic Church, its owner, the square is dominated by four great religious edifices: the Pisa Cathedral, the Pisa Baptistry, the Campanile, and the Camposanto Monumentale (Monumental Cemetery). Partly paved and partly grassed, the Piazza dei Miracoli is also the site of the Ospedale Nuovo di Santo Spirito (New Hospital of the Holy Spirit), which houses the Sinopias Museum (Italian: Museo delle Sinopie) and the Cathedral Museum (Italian: Museo dell'Opera del Duomo).

 

The name Piazza dei Miracoli was coined by the Italian writer and poet Gabriele d'Annunzio who, in his novel Forse che sì forse che no (1910), described the square as the "prato dei Miracoli", or "meadow of miracles". The square is sometimes called the Campo dei Miracoli ("Field of Miracles"). In 1987, the whole square was declared a UNESCO World Heritage Site.

 

(Wikipedia)

 

The Pisa Baptistery of St. John (Italian: Battistero di San Giovanni) is a Roman Catholic ecclesiastical building in Pisa, Italy. Construction started in 1152 to replace an older baptistery, and when it was completed in 1363, it became the second building, in chronological order, in the Piazza dei Miracoli, near the Duomo di Pisa and the cathedral's free-standing campanile, the famous Leaning Tower of Pisa. The baptistery was designed by Diotisalvi, whose signature can be read on two pillars inside the building, with the date 1153.

 

Description

 

The largest baptistery in Italy, it is 54.86 m high, with a diameter of 34.13 m. The Pisa Baptistery is an example of the transition from the Romanesque style to the Gothic style: the lower section is in the Romanesque style, with rounded arches, while the upper sections are in the Gothic style, with pointed wimpergs and a rich figurative program. Like the cathedral and the campanile the Baptistery is built of bichromatic Carrara marble, white with recurring horizontal lines in blueish-grey stone, also used for abstract floral and graphic decoration, a unique trait of some of the most important religious buildings in Tuscany (In the neighboring Florence and Pistoia the dark marmo verde from Prato was used).

 

The east portal from probably around 1200 is facing the facade of the cathedral. The door is flanked by two columns with foliage decoration, a direct copy of a classical model. Engaged with the portal frame are two smaller three-quarter columns with a simpler, less deep floral ornamentation. The inner jambs between each pair of columns are decorated each with eleven figurative reliefs executed in Byzantine style. On the left there are depictions of the months (with September and October combined in one panel), beginning with January at the bottom. On the right it begins at the top with the Ascension of Christ, then angels, Mary with lifted hands, then the Apostels depicted in pairs looking up, and second to the bottom the Harrowing of Hell; the lowermost relief shows King David. The tripartite form is conveyed in the arch with three retreating archivolts with the Twenty-Four Elders in medaillons and the Lamb as the keystone.

 

The architrave is divided in two tiers. The upper one is slightly tilted and shows Christ between the Mary and St. John the Baptist, flanked by angels and the evangelists. The lower tier depicts several episodes in the life of St. John the Baptist, the natural patron of the baptistery: his sermon, the baptism of Christ, his imprisonment on behalf of Herod, Salome dances before Herod, his subsequent beheading and his burial. The architraves are probably by the same artists who also did the foiled columns and the reliefs on the jambs.[2]

 

Only the north portal has also figurative decoration on its architrave, picturing the Annunciation to Zechariah and St. Elizabeth, the parents of St. John, flanked by two prophets and two angels in light armour with swords.

 

The interior

 

The interior is overwhelming and lacks decoration. The octagonal font at the centre dates from 1246 and was made by Guido Bigarelli da Como. The bronze sculpture of St. John the Baptist at the centre of the font is a work by Italo Griselli.

 

The famous pulpit was sculpted between 1255-1260 by Nicola Pisano, father of Giovanni, the artist who produced the pulpit in the Duomo. The scenes on the pulpit, and especially the classical form of the nude Hercules, show Nicola Pisano's qualities as the most important precursor of Italian Renaissance sculpture by reinstating antique representations: surveys of the Italian Renaissance often begin with the year 1260, the year that Nicola Pisano dated this pulpit.

 

Constructed on the same unstable sand as the tower and cathedral, the Baptistery leans 0.6 degrees toward the cathedral. Originally the shape of the Baptistery, according to the project by Diotisalvi, was different. It was perhaps similar to the church of Holy Sepulchre in Pisa, with its pyramidal roof. After the death of the architect, Nicola Pisano continued the work, changing the style to the more modern Gothic one. Also, an external roof was added giving the shape of a cupola. As a side effect of the two roofs, the pyramidal inner one and the domed external one, the interior is acoustically perfect, making of that space a resonating chamber.

 

The exterior of the dome is clad with lead sheets on its east side (facing the cathedral) and red tiles on its west side (facing the sea), giving a half grey and half red appearance from the south.

 

An inscription, currently undeciphered, is located to the left of the door jamb of the Baptistery.

 

(Wikipedia)

 

Pisa Cathedral (Italian: Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa) is a medieval Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy, the oldest of the three structures in the plaza followed by the Pisa Baptistry and the Campanile known as the Leaning Tower of Pisa. The cathedral is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. Consecrated in 1118, it is the seat of the Archbishop of Pisa. Construction began in 1063 and was completed in 1092. Additional enlargements and a new facade were built in the 12th century and the roof was replaced after damage from a fire in 1595.

 

History

 

Construction on the cathedral began in 1063 (1064 according to the Pisan calendar of the time) by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship.

 

The church was erected outside Pisa's early medieval walls, to show that Pisa had no fear of being attacked.[citation needed] The chosen area had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria.[citation needed] Buscheto's grand new church was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta.

 

In 1092 the cathedral was declared primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome.

 

In the early 12th century the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new facade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door.

 

The structure's present appearance is the result of numerous restoration campaigns that were carried out in different eras. The first radical interventions occurred after the fire of 1595, following which the roof was replaced and sculptors from the workshop of Giambologna, among whom were Gasparo Mola and Pietro Tacca, created the three bronze doors of the facade. In the early 18th century began the redecoration of the inside walls of the cathedral with large paintings, the "quadroni", depicting stories of the blesseds and saints of Pisa. These works were made by the principal artists of the era, and a group of citizens arranged for the special financing of the project. Successive interventions occurred in the 19th century and included both internal and external modifications; among the latter was the removal of the original facade statues (presently in the cathedral museum) and their replacement with copies.

 

Other notable interventions include: the dismantling of Giovanni Pisano's pulpit between 1599 and 1601 that only in 1926 was reassembled and returned to the cathedral (with some original pieces missing, including the staircase); and the dismantling of the monument to Henry VII made by Lupo di Francesco that was found in front of the door of San Ranieri and later substituted by a simpler, symbolic version.

 

Description

 

The original building plan was a Greek cross with a grand cupola at the crossing, but today the plan is a Latin cross with a central nave flanked by two side aisles on each side, with the apse and transepts having three naves. The inside offers a spatial effect similar to that of the great mosques thanks to the use of raised lancet arches, the alternating layers of black and white marble, and the elliptical dome, inspired by the Moors. The presence of two raised matronea in the nave, with their solid, monolithic columns of granite, is a clear sign of Byzantine influence. Buscheto welcomed Islamic and Armenian influence.

 

Exterior

 

The rich exterior decoration contains multicolored marble, mosaic, and numerous bronze objects from the spoils of war, among which is the griffin. The arrival of the griffin in Pisa has been attributed to numerous Pisan military victories of the 11th and 12th centuries, including the 1087 Mahdia Campaign and the 1113-1115 Balearic Expedition. The griffin was placed on a platform atop a column rising from the gable above the apse at the east end of the roof, probably as continuation of the original construction that started in 1064. In the early 19th century the original sculpture, which can now be seen in the cathedral museum, was removed from the roof and replaced with a copy. The high arches show Islamic and southern Italian influence.Ref? The blind arches with lozenge shapes recall similar structures in Armenia. The facade of grey and white marble, decorated with colored marble inserts, was built by Master Rainaldo. Above the three doorways are four levels of loggia divided by cornices with marble intarsia, behind which open single, double, and triple windows.

 

The cathedral was heavily damaged by a fire in 1595. The heavy bronze doors of the façade were newly designed, executed and completed in 1602 by sculptors around Giambologna on the expense of Ferdinando I de' Medici, the Grand Duke of Tuscany. At the top there is a Madonna and Child and, in the angles, the four evangelists. The tomb of Buscheto is found to the left of the north door of the facade.

 

Contrary to what might be thought, from the beginning the faithful entered the cathedral through the Gate of Saint Rainerius, found in the south transept of the same name, which faces the bell tower. For townsfolk approaching by via Santa Maria it was the shortest way to enter the cathedral. The door wings were cast about 1180 by Bonanno Pisano, and it is the only door not destroyed in 1595. The 24 bronze reliefs show stories of the New Testament. This bronze portal is one of the first produced in Italy during the Middle Ages, and is a forerunner of the bronze doors created by Andrea Pisano for the Baptistery in Florence (1329–1336).

 

Of further interest

 

At the end of the 10th century Pisa established March 25 as the beginning of its new year. This date was considered very important because it is both the Feast of the Annunciation (occurring nine months before Christ's birth on December 25) and it falls very close to the spring equinox. To mark the beginning of the Pisan new year a system was devised in the cathedral whereby a beam of light shines through a round window on the south side of the nave and, precisely at noon on March 25, lands on the same spot every year: on top of a shelf affixed to a pylon on the opposite side of the church. This shelf rests on a marble egg, a symbol of birth and new life. In 1750 the first day of the new year was officially changed to January 1, but this event is still celebrated every year accompanied by solemn religious and civic celebrations.

The lamp at the center of the nave is called Galileo's lamp, because a legend says that the great scientist formulated his theory of isochronism of the pendulum while watching its oscillations from the roof of the nave. The original, however, smaller and very different than this one, is found today in the Camposanto.

On the north side, to the left side of the facade in front of the Camposanto at about eye level, is an original piece of Roman marble (as testified to by its decoration that can still in part be seen), on which are a series of small black marks. Legend says that these marks were left by the devil when he climbed up to the dome attempting to stop its construction, and so they are referred to as the scratches of the devil. (The legend also says that out of spite the number of scratches always changes when counted.)

Legend has it that the amphora placed on a small column on the right side of the apse was used by Christ at the wedding feast of Cana when he turned water into wine.

Pope Gregory VIII is buried in the cathedral.

 

(Wikipedia)

 

The Leaning Tower of Pisa (Italian: torre pendente di Pisa), or simply, the Tower of Pisa (torre di Pisa [ˈtorre di ˈpiːza; ˈpiːsa], is the campanile, or freestanding bell tower, of Pisa Cathedral. It is known for its nearly four-degree lean, the result of an unstable foundation. The tower is one of three structures in the Pisa's Cathedral Square (Piazza del Duomo), which includes the cathedral and Pisa Baptistry.

 

The height of the tower is 55.86 metres (183 feet 3 inches) from the ground on the low side and 56.67 m (185 ft 11 in) on the high side. The width of the walls at the base is 2.44 m (8 ft 0 in). Its weight is estimated at 14,500 tonnes (16,000 short tons). The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase.

 

The tower began to lean during construction in the 12th century, due to soft ground which could not properly support the structure's weight. It worsened through the completion of construction in the 14th century. By 1990, the tilt had reached 5.5 degrees. The structure was stabilized by remedial work between 1993 and 2001, which reduced the tilt to 3.97 degrees.

 

Architect

 

There has been controversy surrounding the identity of the architect of the Leaning Tower of Pisa. For many years, the design was attributed to Guglielmo and Bonanno Pisano, a well-known 12th-century resident artist of Pisa, known for his bronze casting, particularly in the Pisa Duomo.[citation needed] Pisano left Pisa in 1185 for Monreale, Sicily, only to come back and die in his home town. A piece of cast bearing his name was discovered at the foot of the tower in 1820, but this may be related to the bronze door in the façade of the cathedral that was destroyed in 1595. A 2001 study seems to indicate Diotisalvi was the original architect, due to the time of construction and affinity with other Diotisalvi works, notably the bell tower of San Nicola and the Baptistery, both in Pisa.

 

Construction

 

Construction of the tower occurred in three stages over 199 years. On 5 January 1172, Donna Berta di Bernardo, a widow and resident of the house of dell'Opera di Santa Maria, bequeathed sixty soldi to the Opera Campanilis petrarum Sancte Marie. The sum was then used toward the purchase of a few stones which still form the base of the bell tower. On 9 August 1173, the foundations of the tower were laid. Work on the ground floor of the white marble campanile began on 14 August of the same year during a period of military success and prosperity. This ground floor is a blind arcade articulated by engaged columns with classical Corinthian capitals. Nearly four centuries later Giorgio Vasari wrote: "Guglielmo, according to what is being said, in the year 1174, together with sculptor Bonanno, laid the foundations of the bell tower of the cathedral in Pisa".

 

The tower began to sink after construction had progressed to the second floor in 1178. This was due to a mere three-metre foundation, set in weak, unstable subsoil, a design that was flawed from the beginning. Construction was subsequently halted for the better part of a century, as the Republic of Pisa was almost continually engaged in battles with Genoa, Lucca, and Florence. This allowed time for the underlying soil to settle. Otherwise, the tower would almost certainly have toppled. On 27 December 1233, the worker Benenato, son of Gerardo Bottici, oversaw the continuation of the tower's construction.

 

On 23 February 1260, Guido Speziale, son of Giovanni Pisano, was elected to oversee the building of the tower. On 12 April 1264, the master builder Giovanni di Simone, architect of the Camposanto, and 23 workers went to the mountains close to Pisa to cut marble. The cut stones were given to Rainaldo Speziale, worker of St. Francesco. In 1272, construction resumed under Di Simone. In an effort to compensate for the tilt, the engineers built upper floors with one side taller than the other. Because of this, the tower is curved. Construction was halted again in 1284 when the Pisans were defeated by the Genoese in the Battle of Meloria.

 

The seventh floor was completed in 1319. The bell-chamber was finally added in 1372. It was built by Tommaso di Andrea Pisano, who succeeded in harmonizing the Gothic elements of the belfry with the Romanesque style of the tower. There are seven bells, one for each note of the musical major scale. The largest one was installed in 1655.

 

History following construction

 

Between 1589 and 1592, Galileo Galilei, who lived in Pisa at the time, is said to have dropped two cannonballs of different masses from the tower to demonstrate that their speed of descent was independent of their mass, in keeping with the law of free fall. The primary source for this is the biography Racconto istorico della vita di Galileo Galilei (Historical Account of the Life of Galileo Galilei), written by Galileo's pupil and secretary Vincenzo Viviani in 1654, but only published in 1717, long after his death.

 

During World War II, the Allies suspected that the Germans were using the tower as an observation post. Leon Weckstein, a U.S. Army sergeant sent to confirm the presence of German troops in the tower, was impressed by the beauty of the cathedral and its campanile, and thus refrained from ordering an artillery strike, sparing it from destruction.

 

Numerous efforts have been made to restore the tower to a vertical orientation or at least keep it from falling over. Most of these efforts failed; some worsened the tilt. On 27 February 1964, the government of Italy requested aid in preventing the tower from toppling. It was, however, considered important to retain the current tilt, due to the role that this element played in promoting the tourism industry of Pisa.

 

Starting in 1993, 870 tonnes of lead counterweights were added, which straightened the tower slightly.

 

The tower and the neighbouring cathedral, baptistery, and cemetery are included in the Piazza del Duomo UNESCO World Heritage Site, which was declared in 1987.

 

The tower was closed to the public on 7 January 1990, after more than two decades of stabilisation studies and spurred by the abrupt collapse of the Civic Tower of Pavia in 1989. The bells were removed to relieve some weight, and cables were cinched around the third level and anchored several hundred meters away. Apartments and houses in the path of a potential fall of the tower were vacated for safety. The selected method for preventing the collapse of the tower was to slightly reduce its tilt to a safer angle by removing 38 cubic metres (1,342 cubic feet) of soil from underneath the raised end. The tower's tilt was reduced by 45 centimetres (17+1⁄2 inches), returning to its 1838 position. After a decade of corrective reconstruction and stabilization efforts, the tower was reopened to the public on 15 December 2001, and was declared stable for at least another 300 years. In total, 70 metric tons (77 short tons) of soil were removed.

 

After a phase (1990–2001) of structural strengthening, the tower has been undergoing gradual surface restoration to repair visible damage, mostly corrosion and blackening. These are particularly pronounced due to the tower's age and its exposure to wind and rain. In May 2008, engineers announced that the tower had been stabilized such that it had stopped moving for the first time in its history. They stated that it would be stable for at least 200 years.

 

Earthquake survival

 

At least four strong earthquakes have hit the region since 1280, but the apparently vulnerable tower survived. The reason was not understood until a research group of 16 engineers investigated. The researchers concluded that the tower was able to withstand the tremors because of dynamic soil-structure interaction (DSSI): the height and stiffness of the tower, together with the softness of the foundation soil, influences the vibrational characteristics of the structure in such a way that the tower does not resonate with earthquake ground motion. The same soft soil that caused the leaning and brought the tower to the verge of collapse helped it survive.

 

Technical information

 

Elevation of Piazza del Duomo: about 2 metres (6 feet, DMS)

Height from the ground floor: 55.863 m (183 ft 3+5⁄16 in),[37] 8 stories

Height from the foundation floor: 58.36 m (191 ft 5+1⁄2 in)

Outer diameter of base: 15.484 m (50 ft 9+5⁄8 in)

Inner diameter of base: 7.368 m (24 ft 2+1⁄16 in)

Angle of slant: 3.97 degrees[40] or 3.9 m (12 ft 10 in) from the vertical

Weight: 14,700 metric tons (16,200 short tons)

Thickness of walls at the base: 2.44 m (8 ft 0 in)

Total number of bells: 7, tuned to musical scale, clockwise:

1st bell: L'Assunta, cast in 1654 by Giovanni Pietro Orlandi, weight 3,620 kg (7,981 lb)

2nd bell: Il Crocifisso, cast in 1572 by Vincenzo Possenti, weight 2,462 kg (5,428 lb)

3rd bell: San Ranieri, cast in 1719–1721 by Giovanni Andrea Moreni, weight 1,448 kg (3,192 lb)

4th bell: La Terza (1st small one), cast in 1473, weight 300 kg (661 lb)

5th bell: La Pasquereccia or La Giustizia, cast in 1262 by Lotteringo, weight 1,014 kg (2,235 lb)

6th bell: Il Vespruccio (2nd small one), cast in the 14th century and again in 1501 by Nicola di Jacopo, weight 1,000 kg (2,205 lb)

7th bell: Dal Pozzo, cast in 1606 and again in 2004, weight 652 kg (1,437 lb)

Number of steps to the top: 296

About the 5th bell: The name Pasquareccia comes from Easter, because it used to ring on Easter day. However, this bell is older than the bell-chamber itself, and comes from the tower Vergata in Palazzo Pretorio in Pisa, where it was called La Giustizia (The Justice). The bell was tolled to announce executions of criminals and traitors, including Count Ugolino in 1289. A new bell was installed in the bell tower at the end of the 18th century to replace the broken Pasquareccia.

 

The circular shape and great height of the campanile were unusual for their time, and the crowning belfry is stylistically distinct from the rest of the construction. This belfry incorporates a 14 cm (5+1⁄2 in) correction for the inclined axis below. The siting of the campanile within the Piazza del Duomo diverges from the axial alignment of the cathedral and baptistery of the Piazza del Duomo.

 

Guinness World Records

 

Two German churches have challenged the tower's status as the world's most lopsided building: the 15th-century square Leaning Tower of Suurhusen and the 14th-century bell tower in the town of Bad Frankenhausen. Guinness World Records measured the Pisa and Suurhusen towers, finding the former's tilt to be 3.97 degrees. In June 2010, Guinness World Records certified the Capital Gate building in Abu Dhabi, UAE as the "World's Furthest Leaning Man-made Tower"; it has an 18-degree slope, almost five times more than the Tower of Pisa, but was deliberately engineered to slant. The Leaning Tower of Wanaka in New Zealand, also deliberately built, leans at 53 degrees to the ground.

 

(Wikipedia)

 

Die Piazza dei Miracoli (italienisch Platz der Wunder), wie die Piazza del Duomo im Volksmund auch genannt wird, ist der Domplatz der toskanischen Stadt Pisa. Der Name stammt vom italienischen Dichter und Schriftsteller Gabriele D’Annunzio. Er beschrieb in seinem Buch Forse che sì forse che no den Platz als Wiese der Wunder. Die Piazza dei Miracoli ist eine Grünfläche nahe der Stadtbefestigung im nordwestlichen Teil der Altstadt. Die dezentrale Lage am Rande des Historischen Stadtkerns ist ungewöhnlich. Auf dem Platz steht das berühmte Ensemble, bestehend aus dem Baptisterium als größte Taufkirche der Welt, dem Friedhof Camposanto Monumentale und dem kreuzförmigen Dom Santa Maria Assunta mit seinem Campanile, dem Schiefen Turm. Sie gehören zu den Meisterwerken der mittelalterlichen Architektur und hatten einen großen Einfluss auf die monumentalen Kunst in Italien vom 11. bis zum 14. Jahrhundert. Seit 1987 gehört der Platz zum UNESCO-Welterbe.

 

(Wikipedia)

 

Der frei auf der Piazza dei Miracoli stehende Bau wurde 1152 von Diotisalvi als Ergänzung zum Dom im romanischen Stil auf kreisförmigem Grundriss nach dem Vorbild der Anastasis Rotunde des Heiligen Grabes in Jerusalem begonnen. Es ist die mit insgesamt 54 Meter Höhe und einem Umfang von 107 Meter größte Taufkirche in der christlichen Geschichte.

 

Architektur

 

Nach einem finanziell bedingten Baustopp am Ende des 12. Jahrhunderts wurde die Außenverkleidung erst 1270 von Niccolò Pisano und nach dessen Tod 1278 von seinem Sohn Giovanni Pisano fortgeführt. Während die Fassade der ersten Etage noch mit rundbogigen Blendarkaden im Stil des Doms ausgeführt wurde, gestaltete man die zweite Etage zwar auch mit einer Galerie, wie sie vielstöckig die Domfassade prägt, setzte dieser jedoch gotische Fialen und Ziergiebel, sogenannte Wimperge, aus Maßwerk auf und stattete diese mit einem bis dahin auf Außenwänden seltenen und erstmals so reichen Figurenprogramm aus. Je drei Bögen entsprechen dem Abstand zwischen zwei Säulen der Blendarkade. Wie am Dom liegt dem Kapitellkelch jeweils ein aus der Wand ragender Gebälkblock auf, auf dem wiederum ein kleiner Kämpfer den Brustteil für die kleinen Frauen- und Männerköpfe bildet, die zwischen den Bogenanfängern liegen, 60 an der Zahl und 45–50 cm groß. Die 60 Schlusssteine der Bögen sind mit etwas kleineren Männer- und Tiermasken verziert. Über jeweils zwei Säulen der Galerie stehen die Wimperge, die mit Krabbenkämmen dekoriert und von insgesamt 30 eineinhalb Meter hohen Skulpturen bekrönt werden, 27 ganzfigurigen Heiligen und über dem Hauptportal drei Halbfiguren von Christus, Maria und Johannes dem Täufer. Die Giebel fassen Dreipassbögen auf stilisierten ionischen Säulchen ein, die als Rahmen für die immensen, 160–180 cm großen, Halbfiguren dienen. Die Skulpturen stellen Heilige mit ihren Attributen dar und stehen, wie auch die viergliedrigen Fialen, auf dekorativen Konsolen. Der Stil der Halbfiguren ist heterogen. Zum Teil weisen sie starke klassische Züge auf, andere wirken französisch (speziell Reims). Man ist sich weitestgehend einig, dass die meisten Köpfe von Nicolà Pisano stammen, wenn auch nur teilweise von ihm ausgeführt, so doch zumindest im Entwurf. Auch John Pope-Hennessy sieht Nicolà als Autor mindestens der zentralen großen Halbfiguren der Jungfrau mit Kind, des Johannes und der sich ihm anschließenden vier Evangelisten. Allgemein jedoch werden die Halbfiguren in den Giebeln seinem Sohn Giovanni und dessen Werkstatt zugeschrieben und auf die Zeit datiert, nachdem dieser mit der Arbeit an der Fontana Maggiore in Perugia fertig war, also nach 1278.

 

Der Bau hat innen einen zweigeschossigen Stützenkranz aus 12 Pfeilern und Säulen, der einen kreuzgratgewölbten Umgang vom Mittelbereich unter der Innenkuppel trennt. Diese Innenkuppel besteht aus einem Kegelstumpf, der zunächst oben offen blieb. Die äußere Segmentkuppel, die die Innenkuppel teils überdeckt, wurde erst 1358 von Cellino di Nese und von Zibellinus, einem Baumeister aus Bologna, errichtet. Dabei fügte man dem Bau ein drittes Außengeschoss hinzu. 1394 schloss man die offene Mitte der alten Kegelkuppel mit einem kleinen Gewölbe, was den Bau auf seine heutige Gesamthöhe brachte.

 

Auf der Spitze der Kirche steht eine drei Meter hohe Bronzestatue von Johannes dem Täufer, die am Anfang des 15. Jahrhunderts dort befestigt wurde. Das Hauptportal ist von zwei mit Reliefs verzierten Säulen eingerahmt. Zwei Architrave liegen über dem Portal, das obere, leicht geneigte zeigt Jesus flankiert von Maria und Evangelisten alternierend mit Engeln. Der untere gibt Szenen aus der Lebensgeschichte von Johannes dem Täufer wieder. Im Giebelfeld steht eine Kopie der Maria mit Kind von Giovanni Pisano (um 1295).

 

Ausstattung im Innenraum

 

In der Mitte des Kirchenraums steht ein achteckiges Taufbecken, das von Guidobono Bigarelli da Como 1246 vollendet wurde. 1929 wurde eine Statue von Johannes dem Täufer durch Italo Griselli hinzugefügt.

 

Die Marmorkanzel Niccolò Pisanos

 

Die freistehende Marmorkanzel im Baptisterium stammt von Niccolò Pisano und ist von ihm mit dem Jahr 1260 signiert. Toskanischer Stil vereinigt sich hier erstmalig mit französischer Gotik und antiken Einflüssen aus Süditalien, wo Niccolò vermutlich herkam und am Hof Friedrichs II. mit französischer wie antiker Skulptur vertraut wurde. Die Kanzel gilt mit ihrer Verwendung dieser antiker Vorbilder in der Kunstgeschichte als früher Markstein auf dem Weg zur Renaissance (siehe auch Protorenaissance).

 

Sieben Säulen tragen das sechseckige Kanzelbecken, auf dem das Lesepult von einem Adler getragen wird. Die Kapitelle sind mit gotischem Blattwerk verziert, drei der Säulen sind verkürzt und werden von naturalistisch gehauenen Löwen getragen, während die Basis der Mittelsäule von grotesken Figuren und Tieren gesäumt wird. An der Brüstung der Kanzel befinden sich fünf Reliefs mit den neutestamentarischen Szenen Maria Verkündung/Geburt Jesu/Verkündung an die Schäfer, Anbetung der heiligen drei Könige, Darstellung im Tempel, Kreuzigung und Jüngstes Gericht. In den Zwickeln sind gepaart Propheten zu sehen, unter der Kreuzigung und dem Jüngsten Gericht sind es Evangelisten. Über den Kapitellen sind die fünf Tugenden und unter dem Pult Johannes der Täufer dargestellt. Die Stärke findet ihr Vorbild in einem nackten Herkules.

 

Über Treppen kann man sowohl auf den Emporen-Umgang als auch unter das Kuppeldach gelangen. Auf dem Umgang sind Skizzen der größtenteils zerstörten Fresken aus dem Camposanto ausgestellt.

 

Das Baptisterium hat durch seine zylindrische Bauweise ein besonderes Echoverhalten. Gelegentlich stimmt einer der Wächter mehrere verschiedene Gesangstöne an, die in Kombination miteinander durch das Echo im Gebäude zu einem Klangerlebnis werden.

 

Wie in vielen mittelalterlichen Sakralgebäuden wird auch im Pisaner Baptisterium der Zahlensymbolik bezüglich der Zahl von Architekturelementen (zum Beispiel Säulen, Stützen usw.) eine besondere Bedeutung beigemessen und ihre Anzahl mit Zahlen, die in der Bibel vorkommen, in Zusammenhang gebracht. Im Baptisterium sind besonders die Vier, die Acht und die Zwölf vertreten.

 

(Wikipedia)

 

Der Dom Santa Maria Assunta (italienisch Cattedrale Metropolitana Primaziale di Santa Maria Assunta) ist eine Kirche in Pisa, zu der der weltweit berühmte Schiefe Turm von Pisa gehört. Sie ist die Kathedrale des Erzbistums Pisa.

 

Der Dom steht auf dem weitläufigen Rasenplatz der Piazza del Duomo, auf dem sich auch die drei dazugehörenden Bauwerke Baptisterium, Camposanto Monumentale und der Campanile („Der Schiefe Turm von Pisa“) befinden. Dieser Platz wurde vom Dichter D’Annunzio als Piazza dei Miracoli (Platz der Wunder) bezeichnet und wird noch heute so genannt. Trotz einer Bauzeit von über 200 Jahren wurde durch den gleichbleibenden Baustoff Carrara-Marmor und die einheitliche Fassadengestaltung ein zusammenhängendes Bild geschaffen. Der Dom wurde zum Vorbild für spätere Dombauten wie z. B. in Florenz und Siena und galt jahrhundertelang als monumentalster Bau der christlichen Geschichte.

 

Papst Gelasius II. weihte 1118 den damals noch unvollendeten Dom ein. Er trägt das Patrozinium der Himmelfahrt Mariens.

 

Baugeschichte

 

Buscheto di Giovanni Giudice begann mit dem Bau des Doms im Jahre 1063 auf dem Schwemmboden vor der alten Stadtmauer. Finanziert wurde das Bauwerk mit den im gleichen Jahr von den Sarazenen vor Palermo eroberten Schätzen. Durch den weichen Untergrund sank auch der Dom im Osten leicht ein. Die kreuzförmige Grundfläche des Doms war zu diesem Zeitpunkt in Italien neu. Über der Vierung der fünfschiffigen Basilika mit dem dreischiffigen Querhaus erhebt sich eine elliptische Kuppel mit einem oktogonalen Ansatz. Sie wurde erst 1380 durch Lupo di Gante und Puccio di Gadduccio im gotischen Stil nachträglich hinzugefügt.

 

Die Fassade wurde am Ende des 12. Jahrhunderts von Rainaldo geschaffen und wurde als Pisaner Romanik in der gesamten Toskana zum Vorbild. Bei der westlichen Fassade erheben sich über den sieben Blendarkadenbögen im Erdgeschoss mit seinen drei Portalen vier Galerien mit insgesamt 52 Säulen. Auf dem Giebel der 35,5 m breiten und 34,2 m hohen Fassade steht eine Madonna mit Kind von Andrea Pisano. An ihrer Seite stehen Engel, die zusammen mit den beiden Evangelisten auf der ersten Galerie durch Schüler von Giovanni Pisano entstanden. Das mittlere Portal ist dem Leben Marias gewidmet. Im linken Bogen der Fassade ist das Grab des ersten Dombaumeisters Buscheto mit einer antiken Sarkophagspolie und einer langen Huldigung in die Wand eingefasst.

 

Die drei Bronzetore aus dem 17. Jahrhundert ersetzen die von Bonanno Pisano geschaffenen Tore von 1180, die bei einem schweren Feuer 1595 zerstört wurden. Die neuen Türen mit umfangreichen Reliefszenen wurden bis 1602 durch Schüler Giambolognas, Francavilla, Mocchi und Tacca, in loser Anlehnung an das alte Vorbild gegossen. Die Porta di San Ranieri am südlichen Seitenschiff ist dem Campanile zugewandt. Hier ist das restaurierte Original des Meisters Bonanno Pisano von 1186 noch erhalten. Es ist nach dem Schutzpatron Pisas benannt und stellt u. a. Szenen aus dem Leben Christi dar.

 

Am gesamten Gebäude findet man vielfach zusammenhanglose Zeichen auf den Außenwänden. Der Grund dafür liegt darin, dass man antike Baumaterialien wiederverwendete oder Materialien aus eroberten Städten holte.

 

Datierungsprobleme

 

Im Hinblick auf die Datierung des Baus und die historische Herleitung ihrer einzelnen Bauformen gibt es in der Forschung seit langem unterschiedliche Ansichten. Eine verbreitete Theorie nennt konkrete Zahlen und die Namen verschiedener Baumeister. Andere Kunsthistoriker halten diese Geschichten für bereits im Mittelalter erfundene Legenden.

 

Nach der ersten Theorie war der Seesieg bei Palermo über die damals im Mittelmeer herrschenden Sarazenen im Jahr 1063 Anlass zum Bau der Gesamtanlage. In Venedig spielten diese sarazenischen Seeräuber ebenfalls eine Rolle. Auch dort war die Abwendung dieser Gefahr Anlass gewesen, den Markusdom neu zu bauen, und zwar im selben Jahr 1063, in dem die Anlage in Pisa möglicherweise begonnen wurde. Auch die Pisaner hatten durch diesen Seesieg reiche Beute gemacht und den Ertrag zur Glorifizierung ihrer Stadt genutzt; Pisa war im 11. Jahrhundert die mächtigste Stadt der Toskana.

 

Nach der zweiten Ansicht ist lediglich erwiesen, dass im Jahr 1118 die Kathedrale im Bau befindlich war. Das sei das einzige zuverlässige Datum. Man habe damals die eher zufällige Anwesenheit des Papstes Gelasius II. genutzt, um eine angemessene Weihe zu vollziehen. Der Bau musste für diesen Fall schon weit genug fortgeschritten gewesen sein, so dass sich die angesetzten Entstehungszeiten der beiden Theorien nicht wesentlich unterscheiden.

 

Die Kathedrale gehört zusammen mit dem Markusdom in Venedig zu den ersten Monumentalbauten des mittelalterlichen Italiens. Daher stellt sich die Frage, auf wen die entscheidenden Bauideen zurückgehen. Die Stadt Pisa popularisierte schon sehr früh eine eigene lokalpatriotische Version, die dem Baumeister die gesamte Anlage als geniale, völlig eigenständige Idee zuschrieb, ohne dass fremde Einflüsse eine Rolle spielten. Demzufolge soll der erste Baumeister der Kathedrale Buscheto gewesen sein, über den nur sehr wenig bekannt ist. Vasari berichtet in seinen Vite, "Busketos" sei griechischer Herkunft gewesen – also kein geborener Pisaner. Dies wird mancherorts bestritten und vor allem lokal dadurch unterstrichen, dass man ihn „Buscheto Pisano“ nennt. Belegt ist seine Eigenschaft als Prokurator der Pfarre und als Mitglied der Dombauhütte.

 

Keine Einigkeit besteht in der Forschung, wer die Idee zu der Kathedrale hatte und was seine stilistischen Vorbilder waren. Pisa hatte – wie Venedig – als Seemacht intensive Handelsbeziehungen im östlichen Mittelmeer. Deshalb liegt es nahe, dass die östliche Baukunst hier Einfluss ausüben konnte. Auf jeden Fall war der Baumeister mit dem byzantinischen Kulturraum vertraut. Seine Baukunst nimmt Anleihen auf bei persischen Moscheen und bei frühchristlichen Kirchen in Armenien und Georgien. Zudem vereint sie Elemente der italienischen Romanik mit Motiven aus der Stadtmauer von Kairouan. Inschriften im Dom belegen die Mitarbeit von Heiden: Türken, Afrikanern, Persern und Chaldäern.

 

Auch wenn sich die Bauzeit des Pisaner Doms lange hinzog, ist der Gesamteindruck einheitlich. Der ersten Theorie zufolge verlief die weitere Entwicklung folgendermaßen: Vor Fertigstellung des Doms habe der neue Baumeister Rainaldus um 1100 den ursprünglichen Grundriss geändert. Er ließ das Langhaus verlängern, den Obergaden erhöhen – die ursprüngliche Höhe ist noch am Querhaus erkennbar – und das untere Geschoss der Fassade errichten. Vollendet worden soll der Bau bis 1160 durch den Innsbrucker Meister Wilhelm gen. Guglielmus (auch Guilielmus)., der um diese Zeit auch die erste Kanzel für den Dom schuf.

 

Rechts über dem mittleren Portal der Westfassade sind zwei Inschriften in die Wand eingelassen, deren erste Rainaldo als Bauherrn rühmen. Als demütige Replik folgt ein Bibelzitat aus der Vulgata (Psalm 21, Vers 22):

 

Hoc opus eximium tam mirum tam pretiosum

Rainaldus prudens operator et ipse magister

constituit mire sollerter et ingeniose

De ore leonis libera me domine et

a cornibus unicornium humilitatem meam

Dieses hervorragende Werk, ebenso wunderbar wie kostspielig,

errichtete Rainald, der kluge Erbauer und selbst [Bau]meister,

in wundervoller, kunstvoller und erfinderischer Weise.

Aus dem Rachen des Löwen befreie mich, o Herr,

und von den Hörnern der Einhörner meine Niedrigkeit.

 

Bedeutung der Fassade für die Datierung

 

Die Westfassade des Doms stellt für die abendländische Architekturgeschichte eine entscheidende Neuerung dar, den Übergang von der glatten Wand zur plastisch gestalteten Schaufläche. Daher ist auch die Frage ihrer genauen Datierung wichtig, denn ähnlich gestaltete Fassaden wurden auch andernorts gebaut, etwa in Lucca an der Kathedrale San Martino, dessen Baumeister Guidetto da Como, der auch in Pisa tätig war, auf der Fassade mit dem Datum 1204 verewigt wurde.

 

Die kritischere zweite Theorie akzeptiert lediglich, dass in der zweiten Hälfte des 12. Jahrhunderts im Westen des Hauptschiffes drei Joche angefügt und die heutige Fassade begonnen wurden. Namen werden in dieser Theorie nicht genannt. Demnach könnte die gesamte Fassade auch erst um 1200 fertig und möglicherweise von Anfang an in ihrer heutigen Form geplant gewesen sein. Andere Schätzungen nehmen sogar erst die Mitte des 13. Jahrhunderts an – also hundert Jahre nach dem Datierungszeitraum der ersten Theorie.

 

Trotzdem spricht viel dafür, dass man zwei verschiedene Phasen in der Entwicklung des Dekorationssystems unterscheiden kann. Die ursprüngliche Konzeption hätte demnach vorgesehen, die Außenmauern im Erdgeschoss durch folgende Elemente zu gliedern: erstens durch Blendbögen, sodann durch waagerechte Streifen aus farbigem Marmor – nach dem Vorbild des Baptisteriums in Florenz – und durch eingelegte Ornamente und Medaillons. Dieses Schema gilt für das ganze Kathedraläußere, an den Seitenwänden auch für die oberen Geschosse. Doch in den über dem Erdgeschoß liegenden Etagen der Westfassade übertraf man diesen Formenreichtum noch um ein Vielfaches. Statt flächiger Aufblendung ließ man in vier Galerien übereinander eine plastische Dekorationsschicht aus Säulen und verzierten Bögen vor der eigentlichen Kirchenmauer deutlich hervortreten.

 

Legenden

 

Im Hauptschiff hängt ein bronzener Leuchter von Vincenzo Possenti aus dem Jahre 1587, der Entwurf stammt aber von Giovanni Battista Lorenzi. Es gibt die Geschichte, dass an dem Leuchter Galileo Galilei die Gesetze der Pendelschwingung gefunden haben soll. Sollte es ein Leuchter in dieser Kirche gewesen sein, der ihn auf das Gesetz brachte, kann es allerdings nicht dieser Leuchter gewesen sein, da Galileo Galilei das Gesetz um 1584 veröffentlicht hat.

 

Zwischen dem nördlichen Seitenschiff und der westlichen Fassade findet man an der Außenwand des Doms an einem Pfeiler einen Stein mit vielen schwarzen Punkten. Von diesem Stein erzählt man sich, dass er vom Teufel sei. Zählt man zweimal hintereinander die Punkte nach, so kommt man jeweils auf ein anderes Ergebnis.

 

(Wikipedia)

 

Der Schiefe Turm von Pisa (italienisch Torre pendente di Pisa) ist das wohl bekannteste geneigte Gebäude der Welt und Wahrzeichen der Stadt Pisa in Italien.

 

Der Turm war als freistehender Glockenturm (Campanile) für den Dom in Pisa geplant. 12 Jahre nach der Grundsteinlegung am 9. August 1173, im Jahr 1185, als der Bau bei der dritten Etage angelangt war, begann sich der Turmstumpf in Richtung Südosten zu neigen. Daraufhin ruhte der Bau rund 100 Jahre. Die nächsten vier Stockwerke wurden dann mit einem geringeren Neigungswinkel als dem bereits bestehenden gebaut, um die Schieflage auszugleichen. Danach musste der Bau nochmals unterbrochen werden, bis 1372 auch die Glockenstube vollendet war.

 

Der Grund für seine Schieflage liegt in dem Untergrund aus lehmigem Morast und Sand, der sich unter dem Gewicht verformt. Neuesten Ausgrabungen zufolge steht der Turm am Rande einer ehemaligen Insel direkt neben einem antiken, zur Bauzeit bereits versandeten Hafenbecken. Die Schieflage des Turms beträgt nach dem Ende der Sanierungsarbeiten rund vier Grad, entsprechend einer Auslenkung an der Spitze von 3,9 m (bei rund 55,8 m Höhe). Im Inneren des Turmes hängt ein Pendel, das oben in der Mitte befestigt ist und durch die Schieflage unten beinahe die Seitenwand berührt.

 

Der Legende nach hat der aus Pisa stammende Galileo Galilei bei Fallversuchen vom Turm die Fallgesetze entdeckt.

 

Im Jahre 1987 wurde das Ensemble auf der Piazza del Duomo aus dem Turm, dem Dom, dem Baptisterium und dem Camposanto von der UNESCO zum Weltkulturerbe erklärt.

 

Architektur

 

Der 56 Meter hohe und 12 Meter durchmessende Campanile besteht aus 14.500 Tonnen weißen Carrara-Marmors und hat sieben Glocken, die aber längere Zeit wegen der Einsturzgefahr nicht läuten durften. Er sollte der Höhepunkt der ganzen Anlage der Piazza dei Miracoli sein. Er unterscheidet sich von den üblichen quadratischen Türmen Mittelitaliens und steht in einem großen Gegensatz zu den spitz zulaufenden Türmen des nördlichen Europa. Er ruht auf einem spiralförmigen Fundament aus 700 m³ Bruchstein und Mörtel. Neben dem Eingang sind Monat und Jahr des Baubeginns eingemeißelt: August 1173. In Urkunden wird jedoch stets 1174 genannt, denn für die Pisaner begann nach damaligem Kalender das neue Jahr bereits am 25. März. Giorgio Vasari bezeichnete Bonanno Pisano und einen gewissen Guglielmo als ursprüngliche Architekten des Turms.

 

Der Campanile hatte – außer dass er die Glocken tragen sollte – noch eine andere Funktion. Bei äußerer Gefahr flüchtete damals der Klerus in den Turm. Maueröffnungen und -vorsprünge im Zylinderschacht machten es möglich, bei Bedarf in jedem Stockwerk Gebälk und Fußböden einzuziehen.

 

Jedes Stockwerk hat eine Tür hinaus auf die Säulengalerie, die aus jeweils 30 Säulen besteht. Auf der Südseite führen oben sechs Stufen zur Glockenstube hinauf, auf der Nordseite nur vier. Die Treppe zur obersten Aussichtsterrasse soll Brunelleschi inspiriert haben, einen ähnlichen Aufgang zur Laterne auf der Kuppel des Doms in Florenz zu bauen.

 

Vom 7. Januar 1990 an musste der 14.500 Tonnen schwere Turm für Besucher gesperrt werden, da die Schräglage zu gefährlich wurde. Es gab eine weltweite Aufforderung an Baustatiker, die besten Lösungen zur Stabilisierung auszuarbeiten und einzureichen.

 

Nach 13-jährigen Sanierungsmaßnahmen, bei denen der Turm wieder um 44 Zentimeter aufgerichtet wurde, ist er seit Dezember 2001 wieder für Touristen geöffnet. Besucher können gegen Entgelt den Turm in Gruppen von maximal 40 Besuchern für eine Dauer von 15 Minuten besteigen.

 

Der Schiefe Turm von Pisa ist nicht das schiefste Gebäude bzw. der schiefste Turm der Welt, wie häufig vermutet wird. Dennoch gehört er zu den schiefsten Bauwerken, die – aufrecht geplant – unabsichtlich in eine Schieflage geraten sind.

 

Glocken

 

Die sieben Kirchenglocken des Domes werden aus statischer Vorsicht nur noch mittels innenliegender elektromagnetischer Schlaghämmer angeschlagen, und zwar mittags um 12 Uhr und jeweils vor den Messen.

 

Zuvor wurden die Glocken entsprechend ihrer Namen liturgisch eingesetzt, so etwa die Terza zur Terz, der dritten Stunde des liturgischen Tages, also um 9 Uhr vormittags, oder die Vespruccio zur Vesper, 18 Uhr. Das Läuten erfolgte von Hand; an Festtagen wurden die Glocken voll – a slancio – ausgeschwungen.

 

Die kleinste Glocke von 1501, Vespruccio genannt, hat eine sehr schlanke, zuckerhutartige Form. Die Glocke Del Pozzo ist ein originalgetreuer Nachguss der Vorgängerin, 1606 von Nicolaus Castellum gegossen.

 

Sanierungsmaßnahmen

 

Versuche im Mittelalter, den Bau durch besondere Baumaßnahmen wie geneigte Böden sowie dünnere und leichtere Mauern auf der überhängenden Seite zu retten, zeigten keine ausreichende Wirkung, so dass von den ursprünglich geplanten 100 Metern Höhe nur 54 Meter gebaut wurden.

 

Seit dem Beginn exakter Messungen 1911 nahm die Neigung stetig zu, und die Rate der Zunahme verdoppelte sich von den 1930er-Jahren bis 1990. In diesem Jahr betrug die jährliche Zunahme der Neigung 6 Bogensekunden. Außerdem zeigte die Vermessung, dass es sich um eine Rotationsbewegung handelte, wobei das Zentrum des Kreises in Höhe des Bodens der ersten Galerie senkrecht über dem Mittelpunkt des Turms auf Bodenebene liegt, der selbst keine vertikale Bewegung ausführte. Bei zwei heftigen Starkregenereignissen konnte 1995 eine Neigungszunahme in der Größenordnung einer Bogensekunde in wenigen Stunden festgestellt werden. Daraus wurde geschlossen, dass die Ursache nicht – wie üblicherweise angenommen – im Kriechen der weichen marinen Tonschicht (Horizont B ab einer Tiefe von etwa 10 m bis zu einer Tiefe von 40 m, wo Horizont C mit dichtem marinen Sand beginnt) lag, sondern an dem darüberliegenden Horizont A (Sand, sandige und tonige Schluffe), in der regelmäßig im September bis Dezember auftretende Unwetter mit heftigen Niederschlägen eine verstärkte Rotationsbewegung auslösten.

 

Seit der vorübergehenden Schließung 1990 waren diverse Sanierungsmaßnahmen unternommen worden. Im Mai 1992 wurde der Campanile mit Stahlreifen im zweiten Geschoss gesichert, da sich dort gefährliche Risse im tragenden Marmor gezeigt hatten. Insgesamt wurden 18 dieser Reifen angebracht. Zusätzlich wurden im Juli 1993 im Fundament 600 Tonnen Bleibarren als Gegengewicht auf der Nordseite eingelagert. Dadurch konnte die Schieflage des Turmes 1993 um eine Bogenminute verringert werden. 1995 wurden weitere Sanierungsmaßnahmen (Bodenvereisung und Stahlkabel-Verankerung) durchgeführt, da man die Bleigewichte als störend empfand. In der Folge erhöhte sich dabei allerdings die Neigung. Daraufhin wurde die höhere Seite des Fundaments an seinem Vorsprung außen am Turm im September 1995 erneut, diesmal mit 900 Tonnen Bleibarren, beschwert (siehe Bild), was die Neigung stoppte.

 

Ein Komitee internationaler Fachleute, das über die Sanierungsmaßnahmen des Turmes befinden sollte (1990 bis 2001 unter Leitung von Michele Jamiolkowski), konnte sich auf keine bestimmten Maßnahmen festlegen und wurde deshalb zum Ende 1996 von der italienischen Regierung aufgelöst. Nach dem großen Erdbeben vom September 1997 wurde das Komitee jedoch wieder eingesetzt. Man einigte sich im Herbst 1998 mehrheitlich auf eine neue Maßnahme zur Sanierung des Campanile, die sogenannte Bodenextraktions-Methode (geplant von John Burland nach einer Idee des Ingenieurs Fernando Terracina aus dem Jahr 1962). Dazu wurden im folgenden Jahr schräge Löcher in den Boden (Tiefe rund 4 bis 5 m, innerhalb von Horizont A) unter dem nördlichen Teil des Turmes gebohrt, so dass etwa 50 m³ Material entfernt wurde. Das Erdreich sackte langsam nach, schließlich auch der Boden des Turmes, und der ganze Turm richtete sich zunehmend nach Norden auf. Die Gesamtneigung des Turmes wurde von 5,5 Grad vor dem Beginn der Sanierungsarbeiten (um 1990) auf etwa vier Grad verringert. Damit ist der Turm voraussichtlich für die nächsten 300 Jahre gesichert. Nach dem Abschluss der Sanierungsmaßnahmen wurde der Turm am 15. Dezember 2001 wieder zur Besichtigung freigegeben.

 

Zur Sicherung während dieser Arbeiten wurde der Turm 1998 mit zwei starken Stahlseilen von 103 Metern Länge so befestigt, dass er nicht durch unerwartete Bewegungen einstürzen konnte.

 

Bei Bauarbeiten zur Sicherung des Gebäudes ist eine alte Römerstraße entdeckt worden, die noch in alten Plänen verzeichnet war, außerdem ein mittelalterliches Grab samt vollständigem Skelett.

 

(Wikipedia)

U.S. Marine Cpl. Joseph Burk executes speed-reload drills aboard the USS Rushmore (LSD 47) during Certification Exercise (CERTEX) off the coast of San Diego April 10, 2015. Burk is a team leader with Kilo Company, Battalion Landing Team 3rd Battalion, 1st Marine Regiment, 15th Marine Expeditionary Unit. As members of the 15th MEU’s ground combat element, these Marines must maintain a state of readiness while preparing to deploy later this spring. (U.S. Marine Corps photo by Sgt. Emmanuel Ramos/Released)

  

Facebook: on.fb.me/1cj34Am

Twitter: bit.ly/1xr6HiM

 

love story. folk paintings of sohni-mahiwal have been executed in the kangra style across punjabs in both india and pakistan. the best known modern version is perhaps by sobha singh and is at the amar palace museum at jammu in original. for some reason it is displayed high up hence the perspective loss :|

 

legend/Around the 18th c., the beautiful girl Sohni was born to a potter named Tulla. They lived in Gujrat town (present-day Pakistan). At the time, Gujrat, on the river Chenab, was a caravanserai on the trade route between Bukhara and Delhi. as Sohni grew up, she helped her father decorate his pots. Their shop is said to have been near Rampyari Mahal by the river. As soon as the Surahis (water-pitchers) and mugs came off the wheel, she would draw artistic designs on them and set them up for sale. Shahzada Izzat Baig, a rich trader from Bukhara (Uzbekistan), came to Punjab on business and halted in the town of Gujrat. Here he saw Sohni at the shop and was completely smitten. The song goes that instead of looking after the 'mohars' (gold coins) in his pockets, he roamed around with his pockets full of love. Just to get a glimpse of Sohni, he would end up buying the water pitchers and mugs everyday.

Sohni too lost her heart to Izzat Baig. Instead of returning to Bukhara with his caravan, the noble-born Izzat Baig took up the job of a servant in the house of Tulla, Sohni's father. He would even take their buffaloes for grazing. Soon, he came to be known as Mehar or "Mahiwal" (buffalo herder). When the people got to know about the love of Sohni and Mahiwal, there was a commotion within the Kumhar community, who consider themselves a higher caste. It was not acceptable that a daughter from this community would marry an outsider, so her parents immediately arranged her marriage with another potter. Izzat Baig renounced the world and started living like a faqir (hermit). He eventually moved to a small hut across the river from Sohni's new home. The earth of Sohni’s land was like a shrine for him. He had forgotten his own land, his own people and his world.

In the dark of night, when the world was fast asleep, the lovers would meet by the river. Sohni would come by the riverside and Izzat would swim across to meet her. Meanwhile, rumours of their romantic rendezvous spread. One day Sohni’s sister-in-law followed her and saw the hiding place where Sohni used to keep her earthenware pitcher inside the bushes. The next day, the sister-in-law removed the hard baked pitcher and replaced it with an unbaked one. That night, when Sohni tried to cross the river with the help of the pitcher, it dissolved in the water and Sohni drowned. From the other side of the river, Mahiwal saw Sohni drowning and jumped into the river and drowned as well.Thus their union was effected.

Twelve people have today, Thursday 10 January 2013, been arrested by officers from Project Gulf, Salford’s multi agency task force set up to target organised crime groups.

 

In total 14 warrants were executed at addresses across Salford.

 

The arrests were made on suspicion of a variety of offences including violent disorder, drugs offences and money laundering.

 

They remain in police custody for questioning.

 

Items recovered as part of the warrants include cash, drugs, balaclavas, body armour and a crossbow. Pictures which could illustrate an affiliation to organised crime groups have also been seized.

 

The warrants follow an investigation into an incident of violent disorder at the Blue Bell pub on Monton Green on 9 December 2012, during which a group of men entered and assaulted a number of people inside.

 

Officers attended the premises following contact with the police but no complaints were made. They recovered CCTV from the premises and have been investigating the matter since.

 

As part of a joint agency approach three housing inspections, two visits from local authority social workers and eight benefit fraud inspections were also carried out.

 

Superintendent Wayne Miller, said: “Today’s action reflects the determined and pro active approach we are taking to identify and disrupt organised crime groups operating in Salford.

 

“We were not called directly to the incident but as soon as we became aware we took and continue to take steps to identify those involved.

 

“We recovered some CCTV that quite clearly shows a determined and coordinated effort on the part of a significantly large number of offenders to deliberately target some of those inside the pub.

 

“While we cannot speculate on the motive for this, it is clear to me that this was not a random incident but an attempt by a gang of men to commit serious violence and to intimidate and threaten our communities. “

 

Tony Lloyd, the Police and Crime Commissioner for Greater Manchester said: ”We will not tolerate such behaviour and are standing shoulder to shoulder with partner agencies to pick at these crime groups member by member to disrupt their criminality by whatever means necessary.

 

"Today's operation was a fantastic example of partnership working with the police, council and local community all joining forces to make a stand against organised crime. Project Gulf shows how working together can make a real difference to Greater Manchester people. It also acts as a warning to those involved in organised crime that it simply will not be tolerated."

 

ABOUT PROJECT GULF:

 

Project Gulf was set up in 2010 to tackle serious organised crime. The multi-agency team investigates every area of a suspected criminal's life - including their business interests, benefits, housing and associates.

 

The Gulf team includes representatives from Greater Manchester Police, Salford City Council, the Serious Organised Crime Agency, UK Border Agency, Environment Agency, Greater Manchester Fire and Rescue Service, DVLA, Department of Work and Pensions, Security Industry Association, Housing, HM Revenue & Customs and children’s services.

 

Serious organised crime causes devastating harm to local communities and the Project Gulf team is determined to taking these criminals off the streets, disrupting their lifestyles and making the streets of Salford a safer place to live.

 

To find out more about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

You should call 101, the new 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

 

Headstone marking the grave of Kelley Moss in the Crayne Cemetery

 

Crayne, Kentucky....

 

Kelley Moss was born on March 23, 1913 in Crayne. Moss spent much of his life incarcerated for a variety of crimes ranging from assault to robbery.

 

In September 1957, he was released from the Kentucky State Penitentiary in Eddyville, Kentucky after serving a three-year sentence for robbery. Less than two months later, Moss beat his elderly stepfather to death in the kitchen of his home.

 

Kelley Moss was executed in the electric chair at the Kentucky State Penitentiary on the night of March 2, 1962 for the beating death of his stepfather. He was given a porterhouse steak and steak fries for his last meal but refused to eat any of it. Those in attendance at his execution stated that tears rolled down Moss' face just before the hood was placed over his head....

 

Moss was the last man executed by the state of Kentucky until 1997....

  

The Kentucky State Penitentiary where Moss was executed....the prison is home to Kentucky's Death Row:

 

www.flickr.com/photos/144957155@N06/34813506426/in/photol...

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

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.

James Bama's Young Plains Indian, an oil paint on masonite, was executed in 1980. Bama emphasizes that the people in his paintinings "are not make-believe, Hollywood shoot-'em-up people. They are people who stand here today." Bama snapped a picture of this young man as he rode by at one of Montana's annual Crow Fairs. "He could have been living in 1879, not 1979."

 

The Denver Art Museum, a private, non-profit museum, is known for its collection of American Indian art. Its impressive collection of more than 68,000 works includes pieces from around the world including modern and contemporary art, European and American painting and sculpture, and pre-Columbian and Spanish Colonial art. The museum was originally founded in 1893 as the Denver Artists Club. In 1918, it moved into galleries in the Denver City and County Building, and became the Denver Art Museum.

 

In 1971, the museum opened what is now known as the North Building, designed by Italian architect Gio Ponti and Denver-based James Sudler Associates. The seven-story structure, 210,000-square-foot building allowed the museum to display its collections under one roof for the first time. The Frederic C. Hamilton Building, designed by Studio Daniel Libeskind and Denver firm Davis Partnership Architects, opened on October 7, 2006 to accommodate the Denver Art Museum's growing collections and programs.

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.

 

Upper West Side, Manhattan, New York City, New York, United States

 

The Beresford Apartments, completed in 1929 and designed by Emery Roth, then at the pinnacle of his career as a specialist in apartment house design, is one of the largest and grandest of the apartment buildings along Central Park West. Prominently located at the corner of 81st Street across from the American Museum of Natural History, it takes full advantage of its site, with two monumental facades crowned by comer towers. Executed in brick with limestone and terra-cotta detailing, the Beresford is distinctively ornamented with a sculptural program of late Renaissance inspiration which features winged cherubs, angels, dolphins and rams' heads, along with elaborate cartouches, festoons, rosettes and finials. Its vast scale and dramatic profile make the Beresford one of the most important elements on the Central Park West skyline, as well as a reminder of the heyday of luxury apartment building in New York.

 

Development of Central Park West

 

Central Park West, the northern continuation of Eighth Avenue bordering on the park, is today one of New York's finest residential streets, but in the mid-nineteenth century it was a rural and inhospitable outpost, notable for its rocky terrain, browsing goats and ramshackle shanties. With the creation of Central Park in the 1860s, followed by Riverside Park , as well as a series of transportation improvements such as the Ninth Avenue Elevated Railroad , the Upper West Side in general experienced a period of intense real estate speculation. Hie 1880s were the first decade of major development, and set the pattern for the Upper West Side, where rowhouses line the side streets, and multiple dwellings, commercial and institutional structures are sited on the avenues.

 

Not surprisingly, those avenues closest to the parks, Central Park West and Riverside Drive, were immediately considered the most desirable. The potential of the parkside avenues for development as prime locations led to an anticipatory increase in land values; prices rose to such extravagant heights that many speculative builders shied away from row house and tenement construction, from which they would realize relatively meager returns, while the very wealthy, who could afford to build mansions, for the most part remained on the more fashionable East Side. As a result, the development of Central Park West lagged behind the general development of the Upper West Side. It was not until the turn of the century that Central Park West's construction boon began and it emerged as a boulevard of elegant tall apartments punctuated by impressive institutional buildings—a kind of grand proscenium to the architectural variety show of the Upper West Side.

 

The stage had been set by two great monuments, the American Museum of Natural History between 77th and 81st Streets, , and the Dakota, the pioneering luxury apartments at 72nd Street . Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses. A few apartment hotels had been constructed by the early 1890s, including the Hotel Beresford at the northwest corner of 81st Street across from the museum on Manhattan Square. Opened in late 1889, this original Beresford was described as the first apartment hotel to be constructed on the Upper West Side.

 

The property, already considered at that date, " one of the choicest and most costly on the west side of the city," had gene through a number of real estate speculators' hands. 2 The six-story hotel was constructed by Alva S. Walker, who also owned the northern portion of the Central Park West blockfront which he intended to turn into a small park " with two tennis courts in the centre, with seats around for the use of the guests." Apparently the success of the Beresford and ever rising land values prescribed a change of course, and a ten-story wing was added instead.

 

Among the other early apartments on Central Park West were the Majestic at 71st Street, the San Remo at 75th Street, and the El Dorado at 90th Street, which, like the Beresford, have all been replaced by their towered namesakes of the late 1920s and early 1930s. A few grand apartment buildings were constructed prior to World War I, including the Prasada at 65th, the Langham at 73rd, and the Kenilworth at 75th Street. This phase in Central Park West's development was interrupted by the war, when construction ground to a halt. The second major phase of development began with the great prosperity of the '20s, producing the Art Deco towered buildings, and Roth's Beresford and San Remo Apartments, which now define the skyline.

 

The 1920s provided a generation of aspiring immigrants with the opportunity to move up in the world, both economically and geographically. Many Jewish immigrants, refugees from Csarist pogroms, had achieved prosperity in New York by the late 1920s, and looked from the Lower East Side to the Upper West Side as a cultural and architectural haven. By the mid-1930s more than half the residents of the Upper West Side from 72nd to 96th Streets were Jewish, and more than a third of these families were headed by a parent born in Europe. Emery Roth was himself a Jewish immigrant of Horatio Algeresque stamina and optimism, a family man and Upper West Sider, although he arrived by a more circuitous route than most of his neighbors.

  

The Architect

 

Emery Roth was born in 1871 in the town of Gal zees, Hungary, then part of the Austro-Hungarian Empire. When he was thirteen the family's fortunes took a turn for the worse, and it was decided that young Emery, alone, would immigrate to America. Passing through Ellis Island, he continued on to Chicago where his success story began.

 

When still a teenager living a hand to mouth existence in Bloomington, Illinois, Roth determined to become an architect. He worked for both a local builder and a local architect. In 1889, having won a national-government sponsored contest, the Maize Competition—for which he drew a living roan utilizing the com plant as a decorative motif—Roth took his $100 prize money and set out for Kansas City. Apparently he could not find architectural employment there, but while he was still in Bloomington, had applied to join the office of Burnham & Root. Offered the job by mail, Roth moved cm to Chicago and worked under Charles Atwood

 

Roth helped to prepare drawings for the celebrated Palace of Fine Arts. While at the fair, he met Richard Morris Hunt, the recognized dean of American architects, who offered to hire him if he ever came to New York. After the fair, with true to form optimism, Roth made his way to New York, where Hunt's casual offer was honored. Assigned to draft interior perspectives for The Breakers, the Newport mansion of Cornelius Vanderbilt, Roth came in contact with Ogden Codman, a noted architect, interior designer and socialite. In 1895 Roth went to work for Codman, where his decorative and planning abilities were sharpened.

 

By 1898 Roth believed himself ready for private practice. Two young architects, Theodore G. Stein and E. Yancy Cohen, after involved negotiations, sold Roth their architectural practice for $1000. As part of the agreement, Roth was entitled to represent himself as a partner in Stein, Cohen & Roth in order to capitalize on the good will of the existing firm. In fact, Roth was on his own.

 

Roth's first major commission was the Hotel Bell eel aire of 1901-03 on upper Broadway, a designated New York City Landmark. While it was under construction Roth was approached by Leo and Alexander Bing, Manhattan real estate developers. The Bing brothers admired the Belleclaire and commissioned Roth to design a group of five-story apartment buildings in Washington Heights. This alliance inaugurated a lifelong association.

 

In the following years, Roth had several commissions, among them Bancroft Hall of 1910—a student housing facility for Columbia University, and a series of religious structures, including the Congregation Ahavith Achem of 1908 in Brooklyn and the First Reformed Hungarian Church of 1916 on Bast 69th Street in Manhattan.

 

The year 1918 was a traumatic one for Rath. He lost his vision in one eye, the result of glaucoma, and nearly died in the great influenza epidemic. But the prosperity of the 1920s was to carry him into a period of great achievement. After the hiatus in construction caused by the First World War, building was again undertaken. In New York City, a 1921 ordinance exempting new residential construction from real estate taxes for the next decade, opened the door to a building boon. The Bing brothers commissioned a series of apartment buildings and hotels from Roth, many of which Ruttenbaum aptly terms "fine background buildings," while two other developers, Samuel Minskoff and Harris H. Uris commissioned' Roth to design a number of handsome medium height apartment houses which the architect dubbed "skyscratchers."

 

In 1926 Roth in association with Thomas Hastings, the surviving partner of the eminent firm of Carrere & Hastings, designed the Ritz Tower at Park Avenue and 57th Street, a 41-story apartment hotel in a neo-Renaissance style, its extreme height malting it "a symbol of a new way to live for wealthy New Yorkers." After the Ritz Tower, Roth went on to design a host of luxury residential skyscrapers, among them the Oliver Cromwell Hotel on West 72nd Street , the San Remo Apartments on Central Park West, and as a consultant to Margon & Holder, the Art Deco style Eldorado Apartments also on Central Park West .

 

From the mid-1920s on, the signature of a major Roth apartment house was its tower. Initially designed to conceal water tanks, they evolved into a major element of the design. In the San Remo, among Roth's finest works, the towers become an integral component of this residential skyscraper. This fusing of the functional with the aesthetic was equally characteristic of his apartment plans. Roth's sons credit their father with the creation of the foyer plan, and if not the originator he was certainly a refiner of this type. Roth's best apartments seem effortlessly interlocked, wasteful corridor space reduced to a minimum, with spacious, well-lit rooms in their stead.

 

Roth's last great work was the Normandy Apartments on Riverside Drive of 1938-39 , by which time his sons had joined the firm. The majority of his later buildings in concession to the Depression had smaller apartments and fewer amenities, while still maintaining high standards. Roth died in 1947, and his sons continued the firm, which has been prosperous and prolific.

 

The Beresford

 

Officially completed on September 13, 1929, just a few weeks before the Black Friday stock market crash, the Beresford had been planned during the most halcyon days of the 1920s. It was constructed by the H.R.H. Construction Company, which also built the San Remo. In an article in the New Yorker magazine, Penthouse [Marcia Clarke Davenport] remarks that the Beresford demonstrates that one can still find "really large rooms, really high ceilings; and you can pay—very very well for them." She further admires the windows "by far the most triumphant feature," affording unobstructed views, and the "hung" ceilings without visible beams.

 

Die plans for the Beresford reflect the luxurious standard of living envisioned for its tenants. A number of apartments contained not only the usual maids' rooms, but "servants' halls." Other amenities were provided,

 

such as dressing rooms, large cedar storage closets, breakfast roans, sun porches and numerous bathrooms. Sane of the large duplex apartments were virtually the equivalent of a large townhouse, both in size and arrangement.

 

But the economic mayhem of the Depression years resulted in serious financial difficulties for the Beresford. In 1940, it was sold along with Roth's other grand Central Park West apartment, the San Remo, which had suffered a similar plight, for a mere $25,000 over existing mortgages, despite the fact that the combined value of these two structures has been estimated at a pre-Depression value of ten million dollars.

 

The Beresford has long been associated with famous tenants in the arts and shew business. It was converted to co-operative ownership in 1962.

 

Architectural style

 

The Beresford has been compared to a medieval fortress and to a grand country villa, both allusions to its commanding presence and traditional style. Although in fact a huge 20-story skyscraper with three surmounting water tanks, the blocky massive proportions of the building emphasize its Renaissance allusions. Emery Roth had a life-long predilection for classicism and eclecticism, both clearly revealed in the Beresford design, late Renaissance and vaguely Baroque details are used relatively sparingly but are key elements.

 

Roth's aesthetic treatment of water tanks, on many buildings merely a functional eyesore, is the salient example of the architect's ability to combine traditional architectural values and modern functional requirements. At the Beresford, the water tanks—originally planned with three "observation rooms" beneath—are transformed into elegant pavilions, and integral components of the overall design. This solution, with setbacks below, allows the corners of the facade to be perceived as tower pavilions. With Roth's next major commission, the San Remo, Roth took this concept even further, resulting in its grand twin towered profile.

 

The sculptural program of the Beresford deserves special note. Few buildings of its type and date have figural ornament in such profusion. Winged cherub heads adorn keystones, angels flank doorways, and high above the street and well beyond the range of the naked eye, half-figures of cherubs support cartouches and urns, while rams' heads and skulls support festoons. Best appreciated from the terraces, this detailing is a potent symbol of the architectural extravagance of the '20s.

 

Description

 

The Beresford Apartments is a 20-story skyscraper occupying the Central Park West block front between 81st and 82nd streets, with two principal elevations facing the avenue and the south. The north elevation is similarly detailed, but secondary owing to its placement. The rear elevation with a central courtyard is not ornamented. The building is constructed in buff brick with a limestone base, with sculptural detailing in limestone at the lower four stories, and in terra cotta at the upper stories, and with mission tile roofs, metal railings and grilles, and copper lanterns. There aire four main entrances, two on the south, one on the north and one on the avenue. These lead to separate elevator banks,

 

each elevator opening to only one or two apartments per floor. Apartments originally ranged in size from 4 to 16 roans, both simplex and duplex. One of the last of the grand apartments built prior to the Depression, the building is luxuriously detailed, both on the exterior and interior. The detail is in the style of the late Italian Renaissance. Setbacks appear at the 14th, 16th, 18th and 20th stories, providing terraces. Three water tanks in towers at the principal corners of the building are the crowning elements of the corner pavilions.

 

On the three street elevations, the first three stories are faced in limestone above a granite water table. The first story is separated by a bandcourse from the two above and has bush-hammered rustication. The upper two stories have smooth rustication. A broad bandcourse separates the limestone base from the main brick portion of the building. Bandcourses comprised of two terra-cotta moldings appear between the 9th and 10th stories, the 12th and 13th, and the 13th and 14th.

 

The fenestration on these three elevations is of one basic type with two metal casement windows, beneath a single-paned transom.

 

The building rises to the 14th story in an uninterrupted block, constructed to the building line. The setbacks above articulate the corner pavilions which aire surmounted by two-story penthouses and the watertank towers. Chimneys, beginning at the 18th story are centrally located, and a large chimney appears at the west end of the southern elevation.

 

Central Park West Elevation

 

This elevation is 29 bays wide with windows in groupings to the 14th story: 3-3-5-3-3-5-3-4. At the 14th story a balustraded terrace 16 bays wide is located between corner pavilions, 6 and 7 bays wide. The central 16 bay-portion continues to the 17th story above which are two further setbacks at the 19th and 20th stories. The corner pavilions on this elevation are 6 bays wide and 7 bays wide at the 14th and 15th stories; 5 bays wide each up to the 18th story and 3 larger bays each at the 19th. The two penthouse stories appear above these corner pavilions under the observation roans and watertank coverings.

 

A. Main Entrance: located between 15th and 16th bays.

 

A canopy on bronze supports, flanked by ground level plantings behind low simple metal guard rails. Double doors glazed with plain bronze muntins and mullions. Bronze and glass lanterns flanking the doorway. Doorway with limestone enframement with scrolled keystone and carved relief panels to each side, depicting Renaissance-style stands composed of acanthus leaves, symmetrically disposed and supporting a winged frontal figure of an angel playing a horn. Above, a broken lintel with a central large scrolled cartouche, with floral festoon. At second-story level a yellow marble panel with limestone enframement, with a winged cherub head in relief above a festoon suspended from rosettes, all beneath a lintel.

 

B. Office entrances: 2, located between 15th and 16th bays.

 

Set within reveals, single doors of bronze with glazed upper panel and glazed transom.

 

C. Balustrade: above 3rd story, 13th to 18th bays.

 

Carved in limestone relief, centered above main entrance, on modillions.

 

D. Plaque and cartouches: above 4th story, at 13th and 18th, 6th and 25th

 

bays.

 

Four scrolled cartouches enliven facade, 2 inner ones frame plaque with festoons, guttae, scrolls and cartouche, inscribed "Erected 1929".

 

E. Cartouche: 14th story, between 15th and 16th bays.

 

Above main entrance, large scale, with scrolls, set in center of balustrade . Held by flanking half-figures of winged cherubs which emerge from foliate ornament- Cherub heads atop and below the cartouche scrolls.

 

F. Windows: 10th and 11th stories; 3 bays wide, at 5th-7th, 13th-15th, 16th-18th, and 24th-26th bays.

 

Two-story groupings of windows in threes enframed by terra cotta, above bandcourse with pseudo-balustrades. Between the two stories a beribboned cartouche flanked by winged cherub heads and scrolled brackets. A rosette above the central 11th-story window of each grouping.

 

G. Windows: 14th and 15th stories, 3 bays wide, at 5th-7th bays, and 24th-26th bays.

 

located at the first setback level, groupings with rosettes beneath each window at the 14th story, a balcony projection at the central bay at this level, the rosette in an octagonal frame. The two-story composition enframed by brick pilasters supporting a triangular broken pediment. An ornamental grille at the center of the pediment. The central bays at each story with enframements. At the 14th story a curved broken pediment, with a ram's head at the center, supporting festoons, and a scroll above. The 15th story central window with cartouche and flanking festoons.

 

H. Windows: 19th and 20th stories, at 3rd and 27th bays.

 

Set in the corner pavilions, 2-story compositions with enframed windows separated by a balustrade. Pilasters at the 20th story on console brackets under a curved broken pediment, with a central segmental-arched dormer with a round-arched opening containing a grille. At the 20th story above the central window, a winged cherub head on a tablet, with festoons.

 

I. Cartouche: 17th story, between 15th and 16th bays.

 

An elaborate scrolled and beribboned cartouche, continuing central composition above the main entrance, also signalizing chimneys above. A

 

rami's skull at the base, with festoon.

 

J. Finials: above the 20th story.

 

Set at the corners of balustrades, at the 1st story of penthouses; urn-shaped.

 

Water tank towers

 

Octagonal, with broader faces set rectilinealy and narrower faces set diagonally. Four double-height round-arched windows above a balustrade, each flanked by engaged columns on console brackets, supporting a lintel and broken triangular pediment with a central bull's-eye opening with surmounting winged cherub head. Half-figures of cherubs emerging from foliate ornament flank and hold an urn with ram's head below. Drapery swags suspended from rosettes with a central scrolled keystone.

 

Interspersed by 4 square-headed blind windows surmounted by triangular broken pediments with central winged cherub heads in panels above. Beneath the windows console brackets support simple obelisk shaped finials. Copper and glass lanterns surmount the roofs.

 

South Elevation

 

This facade with two main entrances and three office doors is 30 bays wide with windows grouped in threes except in the outermost bays where there is a single pair at the east and and 2 pairs at the west, up to the 14th story, where the setbacks begin. From the 14th to 17th stories the center of the facade is 15 bays wide, flanked by 8 bays to the west and 7 to the east. Terraces appear at the 18th to 20th stories at the center. A large chimney rises from the 17th story beneath the western tower.

 

Main entrance: 2,at 5th-7th bays, and 23rd-25th bays.

 

A canopy on bronze supports, flanked by ground level plantings behind simple guard rails. Double doors with simple bronze muntins and mullions. Bronze and glass lanterns flank the doors. Doorway with limestone enframement and carved relief panels to each side, depicting Renaissance style stands of acanthus leaves, symmetrically disposed adorned with a pair of dolphins. Above, a curved broken pediment with a central scrolled cartouche, above a console bracket, ornamented with a festoon. At 2nd story level, an enframed central window with a winged cherub head beneath a lintel.

 

Office doors: 3, located at 14th, 19th and 28th bays. See "B." above.

 

Cartouches: above 4th story, at 6th, 12th, 18th, 24th bays.

 

Windows: 10th and 11th stories, at the 5th-7th, 11th-13th, 17th-19th, 23rd-25th bays.

 

See "F." above.

 

Windows: 14th and 15th stories, at the 5th-7th, 23rd-25th bays.

 

See "H." above.

 

Windows: 20th story, at 15th-16th bays.

 

Two windows with eared enframements, surmounted by a central cartouche.

 

Balustrade: 14th story, from the 8th to 22nd bays.

 

North elevation

 

This elevation has 29 bays in groupings of three with two additional bays at the west. A series of graduated setback terraces with curved parapet wall and metal railings appears at the westernmost five bays beginning at the 9th story and continuing to roof level.

 

Main entrance: 1, at 7th bay .

 

Single doorway, flanked by small glass and bronze lanterns. Surmounted by a cartouche set on the door enframent. A glazed transom, with metal grille, enframed, and surmounted by a garland, winged cherub head, and scroll.

 

Office doors: 4, at the 6th, 13th, 19th and 27th bays.

 

See "B." above. Cartouches: Above the 4th story at the 10th and 23rd bays.

 

Windows: 10th and 11th stories,

 

See "F." above.

 

Windows: 14th and 15th stories,

 

See "G." above.

 

Balustrade: 14th story, from 12th to 23rd bays.

 

Service Entrances: 2, at the westerly ends of the side street elevations.

 

Each one story in height, with round-arched doorways in a rusticated wall, with a metal grille gate, A winged cherub head keystone,

 

- From the 1987 NYCLPC Landmark Designation Report

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.

According to sources, a confrontation between residents and Ethiopian government officials broke out on June 9, 2014, over a mass grave discovered at the former Hameressa military garrison near Harar city, eastern Oromia. The mass grave is believed to contain remains of political prisoners executed during both the Dergue era and the early reigns of the current TPLF regime. Among those who were executed and buried in the location was Mustafa Harowe, a famous Oromo singer who was killed around early 1990′s for his revolutionary songs. Thousands more Oromo political prisoners were kept at this location in early 1990′s – with many of them never to be seen again.

 

The mass grave was discovered while the Ethiopian government was clearing the camp with bulldozers to make it available to Turkish investors. Upon the discovery of the remains, the government tried to quietly remove them from the site. However, workers secretly alerted residents in nearby villages; upon the spread of the news, many turned up en mass to block the removal of the remains and demanded construction a memorial statue on the site instead. The protests is still continuing with elders camping on the site while awaiting a response from government.

 

In addition to the remains, belongings of the dead individuals as well as ropes tied in hangman’s noose were discovered at the site.

 

———————

 

Lafeen ilmaan Oromoo bara 1980moota keessa mootummaa Darguutin, baroota 1990moota keessa ammoo Wayyaaneen dhoksaan kaampii waraanaa Hammarreessaa keessatti ajjeefamanii argame. Ilmaan Oromoo mooraa san keessatti hidhamanii booda ajjeefaman keessa wallisaan beekamaan Musxafaa Harawwee isa tokko. Musxafaa Harawwee wallee qabsoo inni baasaa tureef jecha qabamee yeroo dheeraaf erga hiraarfamee booda toora bara ~1991 keessa ajjeefame. Hiraar Musxafaarra geessifamaa ture keessa tokko aara wallee isaatirraa qaban garsiisuuf muka afaanitti dhiibuun a’oo isaa cabsuun ni yaadatama.

 

Baroota 1990moota keessas Oromoonni kumaatamaan tilmaamaman warra amma aangorra jiru kanaan achitti hidhamanii, hedduun isaanii achumaan dhabamuun yaadannoo yeroo dhihooti.

 

Haqxi dukkana halkaniitiin ajjeesanii lafa jalatti awwaalan kunoo har’a rabbi as baase. Dhugaan Oromoo tun kan amma as bahe, mootummaa kaampii waraanaa kana diiguun warra lafa isaa warra Turkiitiif kennuuf osoo qopheessuuf yaaluti. Lafee warra dhumee akkuma arganiin dhoksaan achirra gara biraatti dabarsuuf osoo yaalanii hojjattonni ummata naannotti iccitii san himan. Ummanniis dafee wal-dammaqsuun bakka sanitti argamuun ekeraan nama keenyaa akka achii hin kaafamneefi siidaan yaadannoo akka jaaramu gaafachaa jiran.

 

Hamma feetes turtu dhugaan Oromoo awwaalamtee hin haftu.

 

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More on the Mass Grave of Oromos at Hameressa:

1) OLF on the Hameressa Mas Grave: gadaa.net/FinfinneTribune/2014/06/olf-press-release-one-o... .... or gadaa.net/FinfinneTribune/2014/06/ibsa-abo-ajjeechaa-ilma...

 

2) gadaa.net/FinfinneTribune/2014/06/jaal-araarsoo-biqilaa-h...

 

3) gadaa.net/FinfinneTribune/2014/06/oromoprotests-fdg-hamma...

 

4) gadaa.net/FinfinneTribune/2014/06/gulelepost-hameressa-ma...

Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.

 

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

 

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

 

For more see below:-

www.coventrycathedral.org.uk/

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

  

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

There is a plethora of parish churches on either side of the Medway. And the previous evening, I had noticed two more I had yet to visit, so pencilled them in.

 

St Margaret sits in a quiet village, at the end of a dead end lane where there is no parking. This I know now but I parked in front of the no parking sign, so didn't see it until I left.

 

The church had a group of cyclists on the ride and stride charity ride.

 

I said hello and went about my work taking shots.

 

The church is ancient, Saxon in origin, and the walls have Roman tiles embedded in them.

 

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Here is a church which really shows its Saxon origins, the south chancel wall displaying the tell-tale herringbone masonry executed in part in salvaged Roman tile. The chancel arch and north and south arcades date from the thirteenth century and are simple cut-throughs, with plain piers between. The chancel has internal wall arcading with Bethersden marble shafts. Above the chancel arch hangs a George III Royal Arms while below it can be seen the notches where the rood beam was originally supported. The metal font - of twelfth-century date - is of cast lead with a king and an angel on each of its ten sides. It was discovered in 1921 hidden under plaster. There are the remains of some unclear fourteenth-century wall paintings and a very interesting piece of graffiti - a Persian beast with the head of a man, body of a lion, mane of quills and sting of a scorpion! This can be found on the south nave arcade.

 

www.kentchurches.info/church.asp?p=Lower+Halstow

 

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HALSTOW

LIES the next parish eastward from Upchurch, it is written in antient deeds Halegestow, and is usually called Lower Halstow, from its low situation, and to distinguish it from the parish of High Halstow, in the hundred of Hoo.

 

It is a very obscure and unfrequented parish, though the road from Chatham to the King's Ferry leads through the lower part of it, across a branch of the creek, here called the Stray, which is at high water hardly passable with safety. The little streamlet which rises southward near Newington church, runs on hither to the corn mill, belonging to All Souls college, situated on another branch of this creek, up to which the tide flows likewise, the mill being turned by it; below these the two branches acquire the name of Halstow creek, and soon afterwards joining, about three miles below, that of Standgate creek, a little further from which it flows into the river Medway, at some distance above Sheerness. At the lower end of Standgate creek, all vessels arriving from foreign countries, where the plague, or any other infections distemper is known to rage, are obliged by order of the privy council and the king's proclamation to perform quarantine for a limited time, and for the purpose of airing the cargoes of them, there are two large hospital ships, commonly called lazarettos, being the hulks of forty-four gun ships stationed here constantly, on board which the goods and merchandize are removed, for the purpose of airing them, and a government cutter attends to see this properly observed, and to prevent the crews getting on shore before the time is expired,

 

Halstow creek above this becomes so shallow, as to be used only by the small vessels belonging to the dredger men, who live here, and make up the principal part of the inhabitants of this parish, it is navigable in both branches as high up as the stray on the one, and the bridge built over the other, just above the church, where there is a wharf belonging to All Souls college, which, if in a proper condition, might be made of great use to the neighbouring country, which, as appears by the survey made in the 8th year of queen Elizabeth, by her order, was then called Halstow key, and that there were then in this parish houses inhabited twenty-four, ships and boats fourteen, from one ton to seven; and persons occupied in carrying from port to port and fishing fourteen. There are two small hamlets in the lower part of it, near the creek, the one built round a green, and called from thence Halstow-green, and the other at a small distance from it called Lower street. This part of the parish lies on a level, and open to the adjoining marshes, which render it most unpleasant, and at the same time unhealthy to an extreme, the look of which the inhabitants carry in their countenances; indeed, it seems so enveloped among creeks, marshes and salts, the look over which extends as far as the eye can see, that it seems a boundary, beyond which the traveller dreads to hazard his future safety.

 

The whole of this parish, excepting towards the marshes, has a woody appearance, the shaves and hedge-rows being very broad round the fields, it contains about twelve hundred acres of land, the soil of it is in general a very stiff and wet clay, a heavy tillage land, some few parts of it are gravel, and others, a black unfertile sand, with much broom and brakes, or fern on it. The clayey lands have of late years been much improved, by spreading them over with lime, brought at a heavy expence from the upper part of Hartlip, a distance of between three and four miles, by which means they produce a good crop of wheat. Near the stray there are some fertile meadows and orchards, the lands in general let at a high rent of fifteen and twenty shillings an acre, much of it throughout the parish belongs to All Souls college, as part of their manor farm of Horsham, in Upchurch. Towards the eastern part of the parish the hills rise pretty high, over much of which the adjoining manor of Norwood in Milton claims. In the north-east part is Basser farm, almost the whole of which is pasture, and some of it so fertile as to be good fatting land for beasts.

 

The paramount manor of Milton claims over this parish, subordinate to which is

 

THE MANOR OF BERKESORE, commonly called BASSER, which is situated in the north-east part of this parish. It was given to the monks of the priory of Christ-church, in Canterbury, to the finding of a light before the shrine of St. Anselm there, which gift was confirmed by Henry II. who added to it fifteen pounds of rent in this place likewise, as did Reginald de Clere, certain land bounding to that of Roger de Wardun and William de Northwode.

 

King Edward II. in his 10th year, granted and confirmed to the prior and convent of Christ-church, free-warren in all their demesne land in Berkesore, held in the time of his grandfather king Henry III.

 

In which state this manor continued till the dissolution of the above-mentioned priory, in the 31st year of Henry VIII. when it was, with all the lands and possessions belonging to it, surrendered up into the king's hands, who settled this manor, by his dotation-charter, in his 33d year, on his new erected dean and chapter of Canterbury, part of whose possessions it now remains.

 

The family of Darell, of Calehill, have for many generations been lessees of this manor under the dean and chapter. Sir Robert Darell held it as such in the 17th year of king James I. and in his descendants it has continued down to Henry Darell, esq. of Calehill, the present lessee of it. A court baron is regularly held for it.

 

Charities.

A HOUSE, with a garden, and two acres of land, in this parish, occupied in 1775 by William Judson, at the yearly rent of 5l. were given by a person unknown, to the poor of this parish.

 

ONE ACRE of land in Southfield, in Halstow, belonging to West Hide, esq. in 1775 occupied by Samuel Buckland, at 10s. per annum, was given by a like person to the same purpose.

 

WILLIAM ROBINSON, of this parish, by will in 1632, gave 20s, in money, and two bushels of wheat, out of land now used with the Stray farm in this parish, to be distributed yearly on St. Thomas's Day for ever.

 

CATH. WOOTTON, of this parish, gave by will in 1678, a field called Budington, in Newington, of the annual produce of 20s. to be distributed yearly on Easter Monday to the poor of this parish for ever.

 

A PERSON UNKNOWN gave a cottage and two tenements, with a garden, in the lower street, worth 4l. per annum, to the poor of it; all which gifts are vested in the minister and churchwardens.

 

The poor constantly relieved here are about eighteen; casually sixteen.

 

HALSTOW is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

The church, which stands close to the creek, is dedicated to St. Margaret; it consists of three small isles and one chancel, with a low pointed steeple, in which hang five bells, and has nothing remarkable in it. The church of Halstow was part of the antient possessions of the priory of Christ-church in Canterbury, as appears by the instrument of archbishop Baldwin, who came to the see of Canterbury in 1184, who, at the presentation of the prior and convent, granted to his beloved son John de London, nephew of the then blessed martyr Thomas, the church of St. Margaret of Halegestowa, in perpetual alms; saving the pension of one marc, which the said John should be bound to pay to the monks above-mentioned, twice in each year. (fn. 1)

 

King Henry III. in his 19th year, granted to the prior and convent of Christ-church, the privilege of a fair at the church of Halowesto.

 

In which situation this church continued till the dissolution of the priory in the 31st year of king Henry VIII. when it was, with all the lands and possessions of it, surrendered up into the king's hands.

 

The church of Halstow, with the vicarage of it, did not remain long in the hands of the crown, for the king settled it by his dotation-charter, in his 33d year, on his new-erected dean and chapter of Canterbury, part of whose possessions it now remains, the parsonage being leased out by them for twenty-one years, but the advowson of the vicarage they retain in their own hands.

 

The yearly rent to the dean and chapter is 3l. 6s. 8d. who pay yearly to the archdeacon five shillings for procurations for it.

 

The vicarage is a discharged living in the king's books of the yearly certified value of forty pounds, the yearly tenths being 16s. 2¼d. In 1642 it was valued at sixty pounds per annum, first receipt. Communicants eighty-two.

 

Dr. Francis Walwin, prebendary of Canterbury, in 1770, but a short time before his death, paid into the hands of the Rev. John Tucker, of Canterbury, and rector of Ringwold, since deceased, ten pounds to be laid out for the benefit of this vicarage.

 

¶John White, vicar of this parish in 1696, presented a petition to archbishop Tension, setting forth, that he had two vicarage-houses, one an old uninhabited house adjoining to the sea side, which every spring tide overflowed with salt water, and which the seamen and others had in a manner demolished; that the other is a house given by two maids, who died there, and bequeathed it to the vicar for ever; that it had been recovered by his predecessor by course of law, and that he himself had inhabited it for twenty years. He therefore prayed the archbishop to grant him licence to demolish the former, in regard that the vicarage was small, not being worth thirty pounds per annum. To which the archbishop assented, and granted his licence for that purpose in 1696.

 

The scite of the old house and garden was afterwards taken possession of by a dredgerman; a house has been since rebuilt on it, by a person who now claims it as his freehold, and the vicar has not as yet made any attempt to disposses him of it.

 

www.british-history.ac.uk/survey-kent/vol6/pp34-40

executing Samar2Alpha departure out of OPLA

According to sources, a confrontation between residents and Ethiopian government officials broke out on June 9, 2014, over a mass grave discovered at the former Hameressa military garrison near Harar city, eastern Oromia. The mass grave is believed to contain remains of political prisoners executed during both the Dergue era and the early reigns of the current TPLF regime. Among those who were executed and buried in the location was Mustafa Harowe, a famous Oromo singer who was killed around early 1990′s for his revolutionary songs. Thousands more Oromo political prisoners were kept at this location in early 1990′s – with many of them never to be seen again.

 

The mass grave was discovered while the Ethiopian government was clearing the camp with bulldozers to make it available to Turkish investors. Upon the discovery of the remains, the government tried to quietly remove them from the site. However, workers secretly alerted residents in nearby villages; upon the spread of the news, many turned up en mass to block the removal of the remains and demanded construction a memorial statue on the site instead. The protests is still continuing with elders camping on the site while awaiting a response from government.

 

In addition to the remains, belongings of the dead individuals as well as ropes tied in hangman’s noose were discovered at the site.

 

———————

 

Lafeen ilmaan Oromoo bara 1980moota keessa mootummaa Darguutin, baroota 1990moota keessa ammoo Wayyaaneen dhoksaan kaampii waraanaa Hammarreessaa keessatti ajjeefamanii argame. Ilmaan Oromoo mooraa san keessatti hidhamanii booda ajjeefaman keessa wallisaan beekamaan Musxafaa Harawwee isa tokko. Musxafaa Harawwee wallee qabsoo inni baasaa tureef jecha qabamee yeroo dheeraaf erga hiraarfamee booda toora bara ~1991 keessa ajjeefame. Hiraar Musxafaarra geessifamaa ture keessa tokko aara wallee isaatirraa qaban garsiisuuf muka afaanitti dhiibuun a’oo isaa cabsuun ni yaadatama.

 

Baroota 1990moota keessas Oromoonni kumaatamaan tilmaamaman warra amma aangorra jiru kanaan achitti hidhamanii, hedduun isaanii achumaan dhabamuun yaadannoo yeroo dhihooti.

 

Haqxi dukkana halkaniitiin ajjeesanii lafa jalatti awwaalan kunoo har’a rabbi as baase. Dhugaan Oromoo tun kan amma as bahe, mootummaa kaampii waraanaa kana diiguun warra lafa isaa warra Turkiitiif kennuuf osoo qopheessuuf yaaluti. Lafee warra dhumee akkuma arganiin dhoksaan achirra gara biraatti dabarsuuf osoo yaalanii hojjattonni ummata naannotti iccitii san himan. Ummanniis dafee wal-dammaqsuun bakka sanitti argamuun ekeraan nama keenyaa akka achii hin kaafamneefi siidaan yaadannoo akka jaaramu gaafachaa jiran.

 

Hamma feetes turtu dhugaan Oromoo awwaalamtee hin haftu.

 

-----

More on the Mass Grave of Oromos at Hameressa:

1) OLF on the Hameressa Mas Grave: gadaa.net/FinfinneTribune/2014/06/olf-press-release-one-o... .... or gadaa.net/FinfinneTribune/2014/06/ibsa-abo-ajjeechaa-ilma...

 

2) gadaa.net/FinfinneTribune/2014/06/jaal-araarsoo-biqilaa-h...

 

3) gadaa.net/FinfinneTribune/2014/06/oromoprotests-fdg-hamma...

 

4) gadaa.net/FinfinneTribune/2014/06/gulelepost-hameressa-ma...

According to sources, a confrontation between residents and Ethiopian government officials broke out on June 9, 2014, over a mass grave discovered at the former Hameressa military garrison near Harar city, eastern Oromia. The mass grave is believed to contain remains of political prisoners executed during both the Dergue era and the early reigns of the current TPLF regime. Among those who were executed and buried in the location was Mustafa Harowe, a famous Oromo singer who was killed around early 1990′s for his revolutionary songs. Thousands more Oromo political prisoners were kept at this location in early 1990′s – with many of them never to be seen again.

 

The mass grave was discovered while the Ethiopian government was clearing the camp with bulldozers to make it available to Turkish investors. Upon the discovery of the remains, the government tried to quietly remove them from the site. However, workers secretly alerted residents in nearby villages; upon the spread of the news, many turned up en mass to block the removal of the remains and demanded construction a memorial statue on the site instead. The protests is still continuing with elders camping on the site while awaiting a response from government.

 

In addition to the remains, belongings of the dead individuals as well as ropes tied in hangman’s noose were discovered at the site.

 

———————

 

Lafeen ilmaan Oromoo bara 1980moota keessa mootummaa Darguutin, baroota 1990moota keessa ammoo Wayyaaneen dhoksaan kaampii waraanaa Hammarreessaa keessatti ajjeefamanii argame. Ilmaan Oromoo mooraa san keessatti hidhamanii booda ajjeefaman keessa wallisaan beekamaan Musxafaa Harawwee isa tokko. Musxafaa Harawwee wallee qabsoo inni baasaa tureef jecha qabamee yeroo dheeraaf erga hiraarfamee booda toora bara ~1991 keessa ajjeefame. Hiraar Musxafaarra geessifamaa ture keessa tokko aara wallee isaatirraa qaban garsiisuuf muka afaanitti dhiibuun a’oo isaa cabsuun ni yaadatama.

 

Baroota 1990moota keessas Oromoonni kumaatamaan tilmaamaman warra amma aangorra jiru kanaan achitti hidhamanii, hedduun isaanii achumaan dhabamuun yaadannoo yeroo dhihooti.

 

Haqxi dukkana halkaniitiin ajjeesanii lafa jalatti awwaalan kunoo har’a rabbi as baase. Dhugaan Oromoo tun kan amma as bahe, mootummaa kaampii waraanaa kana diiguun warra lafa isaa warra Turkiitiif kennuuf osoo qopheessuuf yaaluti. Lafee warra dhumee akkuma arganiin dhoksaan achirra gara biraatti dabarsuuf osoo yaalanii hojjattonni ummata naannotti iccitii san himan. Ummanniis dafee wal-dammaqsuun bakka sanitti argamuun ekeraan nama keenyaa akka achii hin kaafamneefi siidaan yaadannoo akka jaaramu gaafachaa jiran.

 

Hamma feetes turtu dhugaan Oromoo awwaalamtee hin haftu.

 

-----

More on the Mass Grave of Oromos at Hameressa:

1) OLF on the Hameressa Mas Grave: gadaa.net/FinfinneTribune/2014/06/olf-press-release-one-o... .... or gadaa.net/FinfinneTribune/2014/06/ibsa-abo-ajjeechaa-ilma...

 

2) gadaa.net/FinfinneTribune/2014/06/jaal-araarsoo-biqilaa-h...

 

3) gadaa.net/FinfinneTribune/2014/06/oromoprotests-fdg-hamma...

 

4) gadaa.net/FinfinneTribune/2014/06/gulelepost-hameressa-ma...

Nous y voyons une débauche de couleurs pastel 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)

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.

 

Rose McClendon, a 42" cast stone statue executed by Richmond Barthe in 1932, sits adjacent to Fallingwater's canopied walkway connecting the Main House to the Huest House. The subject is Rose McClendon, a leading African American Broadway actress of the 1920s and the co-founder of the Negro People's Theatre in Harlem.

  

Fallingwater, sometimes referred to as the Edgar J. Kaufmann Sr. Residence or just the Kaufmann Residence, located within a 5,100-acre nature reserve 50 miles southeast of Pittsburgh, was designed by Frank Lloyd Wright and built between 1936 and 1939. Built over a 30-foot flowing waterfall on Bear Run in the Mill Run section of Stewart Township, Fayette County, Pennsylvania, the house served as a vacation retreat for the Kaufmann family including patriarch, Edgar Kaufmann Sr., was a successful Pittsburgh businessman and president of Kaufmann's Department Store, and his son, Edgar Kaufmann, Jr., who studied architecture briefly under Wright. Wright collaborated with staff engineers Mendel Glickman and William Wesley Peters on the structural design, and assigned his apprentice, Robert Mosher, as his permanent on-site representative throughout construction. Despite frequent conflicts between Wright, Kaufmann, and the construction contractor, the home and guesthouse were finally constructed at a cost of $155,000.

 

Fallingwater was designated a National Historic Landmark in 1966. It was listed among the Smithsonian's 28 Places to See Before You Die. In a 1991 poll of members of the American Institute of Architects (AIA), it was voted "the best all-time work of American architecture." In 2007, Fallingwater was ranked #29 on the AIA 150 America's Favorite Architecture list.

 

National Register #74001781 (1974)

Thirty three (33) people have so far today, Wednesday 28 January 2015, been arrested following a huge crackdown on the supply of drugs across Greater Manchester.

 

Officers have executed warrants at 53 addresses across the region this morning as part of Operation Trafalgar, a pre-planned operation.

 

Police have also seized an imitation firearm, a quantity of heroin, several thousands of pounds of cash, three cars and discovered two cannabis farms.

 

Specialist officers from GMP’s Tactical Aid Unit teamed up with detectives and neighbourhood officers on each of Greater Manchester’s 11 divisions.

 

Superintendent Craig Thompson from the Specialist Operations Branch said: “Today’s operation sends a clear message to drug dealers that we will take robust action to disrupt their activity and put them in front of the courts.

 

“Drug dealers have no respect for local communities and we will not stand by and allow them to cause misery in order to fuel their own dishonest and antisocial lifestyles.

 

“Tackling drug-related crime is daily business and officers are out there every single day of the year hunting those responsible for bringing drugs into our communities.

 

“Help us weed out these individuals and put them behind bars where they deserve to be by calling the police or Crimestoppers anonymously.”

 

For updates on Operation Trafalgar, follow #OpTrafalgar on Twitter.

 

Visit our website for information about Neighbourhood Policing in your area of Greater Manchester. 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.

  

Thalinatrix.Execute Program 032-A-Zero.

 

Models: Thalia + meh

Photographer: Meh

 

Done with:

SL: Phoenix Firestorm Viewer

Corel Photopaint

Google Picasa

 

Please comment :) Am well able to listen to your critique and opinion.

 

July 30th, 2012

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

 

Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/public_domain