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

Soldiers execute jumps out of a C-130 Hercules Sept. 3, 2014, at Combined Arms Training Center Camp Fuji, Japan. The Soldiers are assigned to the 1st Battalion, 1st Special Forces Group (Airborne) and the C-130 is assigned to the 36th Airlift Squadron. (U.S. Air Force photo/Osakabe Yasuo)

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...

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

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

Today, Thursday 16 November 2017, police executed warrants at eight addresses across the Moss Side and Hulme areas of Manchester.

The warrants were executed as the latest phase of Operation Malham, targeting the supply of drugs in South Manchester.

This follows previous raids last week, which means more than 14 properties have been searched and eight people arrested in total as part of the operation.

Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: “We are dedicated to rooting out those who seek to make profits from putting drugs on our streets.

“Today’s raids have resulted in the arrests of five people which have only been made possible through the support of partner agencies and community intelligence.

“We are grateful for all your support and help and I would urge you to continue to report anything suspicious to help us stop people who are benefitting from crime and remove drugs from our city.”

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

To find out more about Greater Manchester Police please visit

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.

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/ **

Original binding. Fifteenth-century dark brown calf on wood boards embellished with cuir-ciselé leaf patterns; the design is executed by incised outline, against a ground with impressions of circular punches; two vertical undulating vines of trefoils and of large pointed leaves decorate the upper cover; the lower is filled by a single vine with large leaves; one clasp, now missing, was fastened onto a pin in the center of the upper cover.

This book of sermons in German and Latin was made in the second half of the fifteenth century. The parchment flyleaves, containing texts from Donatus' work on grammar, were written slightly earlier than the manuscript and used as pastedowns. The manuscript is exceptional for retaining its original binding of cuir-ciselé (chiseled leather) over wood boards. The binding is of a type current in the Austrian Tyrol at this period. Also a note on fol. 133v refers to Bernhard von Gottesgnaden (or von Rohr), archbishop of Salzburg from 1466 to 1481. These pieces of evidence locate the collection of sermons in Salzburg. Although the manuscript is lacking in miniatures or decorated initials, red ink is used for initials and rubrics marking the beginning of each sermon.

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

This portrait of James Monroe (Catalog Number INDE11916) was executed circa 1807-1811 and attributed to Felix Sharples. During their second visit to the United States beginning in the 1790s, the Sharples family of British pastelists resumed painting portraits of prominent Americans. James Sharples Senior is not known to have visited south of Philadelphia, therefore this pastel portrait of Monroe in the Sharples style is attributed to his son Felix, who traveled extensively in Virginia. Felix may have arranged this sitting after Monroe returned from England in 1807 and before he moved to Washington in early 1811. The portrait is competently done, but without James Sharples Senior's skill is modeling through the use of delicate shading. The pastel was purchased by the City of Philadelphia in 1874, from Murray Harrison.

James Monroe (1758-1831) was the fifth President of the United States (1817-1825). His administration was marked by the acquisition of Florida (1819); the Missouri Compromise (1820), in which Missouri was declared a slave state; and the profession of the Monroe Doctrine (1823), declaring U.S. opposition to European interference in the Americas, as well as breaking all ties with France remaining from the War of 1812.

The Second Bank of the United States, at 420 Chestnut Street, was chartered five years after the expiration of the First Bank of the United States in 1816 to keep inflation in check following the War of 1812. The Bank served as the depository for Federal funds until 1833, when it became the center of bitter controversy between bank president Nicholas Biddle and President Andrew Jackson. The Bank, always a privately owned institution, lost its Federal charter in 1836, and ceased operations in 1841. The Greek Revival building, built between 1819 and 1824 and modeled by architect William Strickland after the Parthenon, continued for a short time to house a banking institution under a Pennsylvania charter. From 1845 to 1935 the building served as the Philadelphia Customs House. Today it is open, free to the public, and features the "People of Independence" exhibit--a portrait gallery with 185 paintings of Colonial and Federal leaders, military officers, explorers and scientists, including many by Charles Willson Peale.

Independence National Historical Park preserves several sites associated with the American Revolution. Administered by the National Park Service, the 45-acre park was authorized in 1948, and established on July 4, 1956. The Second Bank of the United States was added to the Park's properties in 2006.

Second Bank of the United States National Register #87001293 (1987)

Independence National Park Historic District National Register #66000675 (1966)

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.

13 th. KOREA ORIGAMI CREATION CONTEST

korea origami association encourages creation of origami, and execute origami creation

contest to prepare origami's base extension and origami's culture on every year.

* WORK OF PARTICIPATION

1.one sheet and unpublished work.

2.unit work.

3.complex Work that use paper of more than 2 sheets.

* TARGET OF PARTICIPATION

- korea and foreign countries.

* METHOD OF APPLICATION

1.work (your original model)

- diagram or scrap also crease pattern is possible.

2.size of work

- in case of plane work : should be small more than A3 paper.

- in case of solid work : almost size of 30cm x 30cm x 30cm.

(Should be packaged well in the box so that your model is not damaged.)

3.the number of work

- maximum is 5 work about one person.

4.money for registration is no charge but you should pay delivery fare of work.

* PERIOD FOR REGISTRATION

- 2011.7.1 ~ 2011.7.30 (year/month/day)

- Your work is not returned and will be exhibited to 2th korea origami convention in seoul.

www.origami.or.kr/culture/noticeBoard.asp?section=view&am...

* METHOD OF DELIVERY AND ADDRESS

- by post

- KOREA ORIGAMI ASSOCIATION OFFICE,

Myeongjin Building-First Floor, 366-104 Bunji,

Sindang 3-dong, Jung-gu, Seoul,

100-830, South Korea (Republic of Korea)

* WINNER OF CONTEST THE ANNOUNCEMENT

- 2011.8.9 (year/month/day)

* PRESENTATION OF PRIZES AND EXHIBITION IN 2th KOREA ORIGAMI CONVENTION

- 2011.8.19 ~ 2011.8.21 (year/month/day)

- You can know your winning a prize at here.

www.origami.or.kr/home/home.asp

- location of convention is sookmyung women's university in seoul.

www.sookmyung.ac.kr/

* ABOUT PRIZE

first prize - testimonial and approximately USD 450 (1person)

gold prize - testimonial and approximately USD 270 (1person)

silver prize - testimonial and approximately USD 180 (2people)

copper prize - tsstimonial and approximately USD 90 (3people)

prize for encouragement - testimonial and approximately USD 45 (a few persons)

only wining a prize - testimonial and goods (a few persons)

* CAUTION

- a prize will cancel in case of is not your creation work.

BY THE WAY if you need more information or question.

- e mail address : linetest@naver.com (responsible person is Lee, Kyung Gu)

* ORIGINAL POSTER OF CONTEST

www.jongiejupgi.or.kr/culture/contestBoard.asp?section=vi...

[출처] 공모전 해외홍보관련 (접지가인) |작성자 조폭군종

Klinkicht, Gerhard, * 1915, † 14.03.2000 Bavaria, Wehrmacht Captain. A commemorative plaque on St. Stephen's Cathedral (side of the gate Singertor) recalls that in April 1945 Klinkicht refused to execute the order to bombard the cathedral.

Klinkicht, Gerhard, * 1915, † 14.03.2000 Bayern, Wehrmachtshauptmann. Eine Gedenktafel am Stephansdom (Seite des Singertors) hält in Erinnerung, dass sich Klinkicht im April 1945 geweigert hatte, den Befehl zur Beschießung des Doms auszuführen.

Fire in St. Stephen's Cathedral: eyewitnesses cried in the face of devastation.

Despite great need after the war, the landmark of Austria was rebuilt within seven years.

04th April 2015

What happened in the heart of Vienna 70 years ago brought tears to many horrified residents. On 12 April 1945, the Pummerin, the largest bell of St. Stephen's Cathedral, fell as a result of a roof fire in the tower hall and broke to pieces. The following day, a collapsing retaining wall pierced through the vault of the southern side choir, the penetrating the cathedral fire destroyed the choir stalls and choir organ, the Imperial oratory and the rood screen cross. St. Stephen's Cathedral offered a pitiful image of senseless destruction, almost at the end of that terrible time when the Viennese asked after each bombing anxiously: "Is Steffl still standing?"

100 grenades for the cathedral

Already on April 10, the cathedral was to be razed to the ground. In retaliation for hoisting a white flag on St. Stephen's Cathedral, the dome must be reduced to rubble and ash with a fiery blast of a hundred shells. Such was the insane command of the commander of an SS Artillery Division in the already lost battle for Vienna against the Red Army.

The Wehrmacht Captain Gerhard Klinkicht, from Celle near Hanover, read the written order to his soldiers and tore the note in front of them with the words: "No, this order will not be executed."

What the SS failed to do, settled looters the day after. The most important witness of the events from April 11 to 13, became Domkurat (cathedral curate) Lothar Kodeischka (1905-1994), who, as the sacristan director of St. Stephen, was practically on the spot throughout these days. When Waffen-SS and Red Army confronted each other on the Danube Canal on April 11, according to Kodeischka a report had appeared that SS units were making a counter-attack over the Augarten Bridge. Parts of the Soviet artillery were then withdrawn from Saint Stephen's square. For hours, the central area of ​​the city center was without occupying forces. This was helped by gangs of raiders who set fire to the afflicted shops.

As a stone witness to the imperishable, the cathedral had defied all adversity for over 800 years, survived the conflagrations, siege of the Turks and the French wars, but in the last weeks of the Second World War St. Stephen was no longer spared the rage of annihilation. Contemporary witness Karl Strobl in those days observed "an old Viennese lady who wept over the burning cathedral".

The stunned spectators of destruction were joined, according to press reports, by a man in baggy trousers and a shabby hat, who incidentally remarked, "Well, we'll just have to rebuild him (the dome)." It was Cardinal Theodor Innitzer. Only a few weeks later, on May 15, 1945, the Viennese archbishop proclaimed to the faithful of his diocese: "Helping our cathedral, St. Stephen's Cathedral, to regain its original beauty is an affair of the heart of all Catholics, a duty of honor for all."

April 1945

In April 1945, not only St. Stephen's Cathedral burned. We did some research for you this month.

April 6: The tallest wooden structure of all time, the 190 meter high wooden tower (short-wave transmitter) of the transmitter Mühlacker, is blown up by the SS.

April 12: Following the death of President Franklin D. Roosevelt, Harry S. Truman is sworn in as the 33rd US President.

April 13: Vienna Operation: Soviet troops conquer Vienna.

April 25: Björn Ulvaeus, Swedish singer, member of the ABBA group, is born.

April 27: The provisional government Renner proclaims the Austrian declaration of independence.

April 30: The Red Army hoists the Soviet flag on the Reichstag building. Adolf Hitler, the dictator of the Third Reich, commits suicide with Eva Braun.

Brand im Stephansdom: Augenzeugen weinten angesichts der Verwüstung.

Trotz großer Not nach dem Krieg wurde das Wahrzeichen Österreichs binnen sieben Jahren wieder aufgebaut.

04. April 2015

Was vor 70 Jahren im Herzen Wiens passierte, trieb vielen entsetzten Bewohnern die Tränen in die Augen. Am 12. April 1945 stürzte die Pummerin, die größte Glocke des Stephansdoms, als Folge eines Dachbrandes in die Turmhalle herab und zerbrach. Tags darauf durchschlug eine einbrechende Stützmauer das Gewölbe des südlichen Seitenchors, das in den Dom eindringende Feuer zerstörte Chorgestühl und Chororgel, Kaiseroratorium und Lettnerkreuz. Der Stephansdom bot ein erbarmungswürdiges Bild sinnloser Zerstörung, und das fast am Ende jener Schreckenszeit, in der die Wiener nach jedem Bombenangriff bang fragten: "Steht der Steffl noch?"

100 Granaten für den Dom

Bereits am 10. April sollte der Dom dem Erdboden gleichgemacht werden. Als Vergeltung für das Hissen einer weißen Fahne auf dem Stephansdom ist der Dom mit einem Feuerschlag von 100 Granaten in Schutt und Asche zu legen. So lautete der wahnwitzige Befehl des Kommandanten einer SS-Artillerieabteilung im schon verlorenen Kampf um Wien gegen die Rote Armee.

Der aus Celle bei Hannover stammende Wehrmachtshauptmann Gerhard Klinkicht las die schriftlich übermittelte Anordnung seinen Soldaten vor und zerriss den Zettel vor aller Augen mit den Worten: "Nein, dieser Befehl wird nicht ausgeführt."

Was der SS nicht gelang, besorgten einen Tag später Plünderer: Zum wichtigsten Zeugen der Geschehnisse vom 11. bis 13. April wurde Domkurat Lothar Kodeischka (1905–1994), der als Sakristeidirektor von St. Stephan in diesen Tagen praktisch durchgehend an Ort und Stelle war. Als am 11. April Waffen-SS und Rote Armee einander am Donaukanal gegenüberstanden, war laut Kodeischka die Nachricht aufgetaucht, SS-Einheiten würden einen Gegenstoß über die Augartenbrücke unternehmen. Teile der sowjetischen Artillerie wurden daraufhin vom Stephansplatz abgezogen. Für Stunden sei der zentrale Bereich der Innenstadt ohne Besatzung gewesen. Dies nützten Banden von Plünderern, die Feuer in den heimgesuchten Geschäften legten.

Als steinerner Zeuge des Unvergänglichen hatte der Dom über 800 Jahre hinweg "allen Widrigkeiten getrotzt, hatte Feuersbrünste, Türkenbelagerungen und Franzosenkriege überstanden. Doch in den letzten Wochen des Zweiten Weltkrieges blieb auch St. Stephan nicht mehr verschont vor der Wut der Vernichtung. Zeitzeuge Karl Strobl beobachtete damals "eine alte Wienerin, die über den brennenden Dom weinte".

Zu den fassungslosen Betrachtern der Zerstörung gesellte sich laut Presseberichten ein Mann in ausgebeulten Hosen und mit abgeschabtem Hut, der so nebenbei bemerkte: "Na, wir werden ihn (den Dom) halt wieder aufbauen müssen." Es handelte sich um Kardinal Theodor Innitzer. Nur wenige Wochen danach, am 15. Mai 1945, ließ der Wiener Erzbischof an die Gläubigen seiner Diözese verlautbaren: "Unsere Kathedrale, den Stephansdom, wieder in seiner ursprünglichen Schönheit erstehen zu helfen, ist eine Herzenssache aller Katholiken, eine Ehrenpflicht aller."

April 1945

Im April 1945 brannte nicht nur der Stephansdom. Wir haben für Sie recherchiert wa noch in diesem Monat geschah.

6. April: Das höchste Holzbauwerk aller Zeiten, der 190 Meter hohe Holzsendeturm des Senders Mühlacker, wird von der SS gesprengt.

12. April: Nach dem Tod von Präsident Franklin D. Roosevelt wird Harry S. Truman als 33. Präsident der USA vereidigt.

13. April: Wiener Operation: Sowjetischen Truppen erobern Wien.

25. April: Björn Ulvaeus, schwedischer Sänger, Mitglied der Gruppe ABBA, kommt zur Welt.

27. April: Von der provisorischen Regierung Renner wird die österreichische Unabhängigkeitserklärung proklamiert.

30. April: Die Rote Armee hisst die sowjetische Fahne auf dem Reichstagsgebäude. Adolf Hitler, der Diktator des Dritten Reiches, begeht mit Eva Braun Selbstmord.

www.nachrichten.at/nachrichten/150jahre/ooenachrichten/Vo...

Klinkicht, Gerhard, * 1915, † 14.03.2000 Bavaria, Wehrmacht Captain. A commemorative plaque on St. Stephen's Cathedral (side of the gate Singertor) recalls that in April 1945 Klinkicht refused to execute the order to bombard the cathedral.

Klinkicht, Gerhard, * 1915, † 14.03.2000 Bayern, Wehrmachtshauptmann. Eine Gedenktafel am Stephansdom (Seite des Singertors) hält in Erinnerung, dass sich Klinkicht im April 1945 geweigert hatte, den Befehl zur Beschießung des Doms auszuführen.

Fire in St. Stephen's Cathedral: eyewitnesses cried in the face of devastation.

Despite great need after the war, the landmark of Austria was rebuilt within seven years.

04th April 2015

What happened in the heart of Vienna 70 years ago brought tears to many horrified residents. On 12 April 1945, the Pummerin, the largest bell of St. Stephen's Cathedral, fell as a result of a roof fire in the tower hall and broke to pieces. The following day, a collapsing retaining wall pierced through the vault of the southern side choir, the penetrating the cathedral fire destroyed the choir stalls and choir organ, the Imperial oratory and the rood screen cross. St. Stephen's Cathedral offered a pitiful image of senseless destruction, almost at the end of that terrible time when the Viennese asked after each bombing anxiously: "Is Steffl still standing?"

100 grenades for the cathedral

Already on April 10, the cathedral was to be razed to the ground. In retaliation for hoisting a white flag on St. Stephen's Cathedral, the dome must be reduced to rubble and ash with a fiery blast of a hundred shells. Such was the insane command of the commander of an SS Artillery Division in the already lost battle for Vienna against the Red Army.

The Wehrmacht Captain Gerhard Klinkicht, from Celle near Hanover, read the written order to his soldiers and tore the note in front of them with the words: "No, this order will not be executed."

What the SS failed to do, settled looters the day after. The most important witness of the events from April 11 to 13, became Domkurat (cathedral curate) Lothar Kodeischka (1905-1994), who, as the sacristan director of St. Stephen, was practically on the spot throughout these days. When Waffen-SS and Red Army confronted each other on the Danube Canal on April 11, according to Kodeischka a report had appeared that SS units were making a counter-attack over the Augarten Bridge. Parts of the Soviet artillery were then withdrawn from Saint Stephen's square. For hours, the central area of ​​the city center was without occupying forces. This was helped by gangs of raiders who set fire to the afflicted shops.

As a stone witness to the imperishable, the cathedral had defied all adversity for over 800 years, survived the conflagrations, siege of the Turks and the French wars, but in the last weeks of the Second World War St. Stephen was no longer spared the rage of annihilation. Contemporary witness Karl Strobl in those days observed "an old Viennese lady who wept over the burning cathedral".

The stunned spectators of destruction were joined, according to press reports, by a man in baggy trousers and a shabby hat, who incidentally remarked, "Well, we'll just have to rebuild him (the dome)." It was Cardinal Theodor Innitzer. Only a few weeks later, on May 15, 1945, the Viennese archbishop proclaimed to the faithful of his diocese: "Helping our cathedral, St. Stephen's Cathedral, to regain its original beauty is an affair of the heart of all Catholics, a duty of honor for all."

April 1945

In April 1945, not only St. Stephen's Cathedral burned. We did some research for you this month.

April 6: The tallest wooden structure of all time, the 190 meter high wooden tower (short-wave transmitter) of the transmitter Mühlacker, is blown up by the SS.

April 12: Following the death of President Franklin D. Roosevelt, Harry S. Truman is sworn in as the 33rd US President.

April 13: Vienna Operation: Soviet troops conquer Vienna.

April 25: Björn Ulvaeus, Swedish singer, member of the ABBA group, is born.

April 27: The provisional government Renner proclaims the Austrian declaration of independence.

April 30: The Red Army hoists the Soviet flag on the Reichstag building. Adolf Hitler, the dictator of the Third Reich, commits suicide with Eva Braun.

Brand im Stephansdom: Augenzeugen weinten angesichts der Verwüstung.

Trotz großer Not nach dem Krieg wurde das Wahrzeichen Österreichs binnen sieben Jahren wieder aufgebaut.

04. April 2015

Was vor 70 Jahren im Herzen Wiens passierte, trieb vielen entsetzten Bewohnern die Tränen in die Augen. Am 12. April 1945 stürzte die Pummerin, die größte Glocke des Stephansdoms, als Folge eines Dachbrandes in die Turmhalle herab und zerbrach. Tags darauf durchschlug eine einbrechende Stützmauer das Gewölbe des südlichen Seitenchors, das in den Dom eindringende Feuer zerstörte Chorgestühl und Chororgel, Kaiseroratorium und Lettnerkreuz. Der Stephansdom bot ein erbarmungswürdiges Bild sinnloser Zerstörung, und das fast am Ende jener Schreckenszeit, in der die Wiener nach jedem Bombenangriff bang fragten: "Steht der Steffl noch?"

100 Granaten für den Dom

Bereits am 10. April sollte der Dom dem Erdboden gleichgemacht werden. Als Vergeltung für das Hissen einer weißen Fahne auf dem Stephansdom ist der Dom mit einem Feuerschlag von 100 Granaten in Schutt und Asche zu legen. So lautete der wahnwitzige Befehl des Kommandanten einer SS-Artillerieabteilung im schon verlorenen Kampf um Wien gegen die Rote Armee.

Der aus Celle bei Hannover stammende Wehrmachtshauptmann Gerhard Klinkicht las die schriftlich übermittelte Anordnung seinen Soldaten vor und zerriss den Zettel vor aller Augen mit den Worten: "Nein, dieser Befehl wird nicht ausgeführt."

Was der SS nicht gelang, besorgten einen Tag später Plünderer: Zum wichtigsten Zeugen der Geschehnisse vom 11. bis 13. April wurde Domkurat Lothar Kodeischka (1905–1994), der als Sakristeidirektor von St. Stephan in diesen Tagen praktisch durchgehend an Ort und Stelle war. Als am 11. April Waffen-SS und Rote Armee einander am Donaukanal gegenüberstanden, war laut Kodeischka die Nachricht aufgetaucht, SS-Einheiten würden einen Gegenstoß über die Augartenbrücke unternehmen. Teile der sowjetischen Artillerie wurden daraufhin vom Stephansplatz abgezogen. Für Stunden sei der zentrale Bereich der Innenstadt ohne Besatzung gewesen. Dies nützten Banden von Plünderern, die Feuer in den heimgesuchten Geschäften legten.

Als steinerner Zeuge des Unvergänglichen hatte der Dom über 800 Jahre hinweg "allen Widrigkeiten getrotzt, hatte Feuersbrünste, Türkenbelagerungen und Franzosenkriege überstanden. Doch in den letzten Wochen des Zweiten Weltkrieges blieb auch St. Stephan nicht mehr verschont vor der Wut der Vernichtung. Zeitzeuge Karl Strobl beobachtete damals "eine alte Wienerin, die über den brennenden Dom weinte".

Zu den fassungslosen Betrachtern der Zerstörung gesellte sich laut Presseberichten ein Mann in ausgebeulten Hosen und mit abgeschabtem Hut, der so nebenbei bemerkte: "Na, wir werden ihn (den Dom) halt wieder aufbauen müssen." Es handelte sich um Kardinal Theodor Innitzer. Nur wenige Wochen danach, am 15. Mai 1945, ließ der Wiener Erzbischof an die Gläubigen seiner Diözese verlautbaren: "Unsere Kathedrale, den Stephansdom, wieder in seiner ursprünglichen Schönheit erstehen zu helfen, ist eine Herzenssache aller Katholiken, eine Ehrenpflicht aller."

April 1945

Im April 1945 brannte nicht nur der Stephansdom. Wir haben für Sie recherchiert wa noch in diesem Monat geschah.

6. April: Das höchste Holzbauwerk aller Zeiten, der 190 Meter hohe Holzsendeturm des Senders Mühlacker, wird von der SS gesprengt.

12. April: Nach dem Tod von Präsident Franklin D. Roosevelt wird Harry S. Truman als 33. Präsident der USA vereidigt.

13. April: Wiener Operation: Sowjetischen Truppen erobern Wien.

25. April: Björn Ulvaeus, schwedischer Sänger, Mitglied der Gruppe ABBA, kommt zur Welt.

27. April: Von der provisorischen Regierung Renner wird die österreichische Unabhängigkeitserklärung proklamiert.

30. April: Die Rote Armee hisst die sowjetische Fahne auf dem Reichstagsgebäude. Adolf Hitler, der Diktator des Dritten Reiches, begeht mit Eva Braun Selbstmord.

www.nachrichten.at/nachrichten/150jahre/ooenachrichten/Vo...

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

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.

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

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#ELDER_SCROLL_OF_MNEM_0.0♾😻

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ℹ️8️⃣📞📲📳☎️♾💁‍♂️

ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM

First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.

Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.

Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.

That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shot🔫 to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀‍

Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀‍

☎️▶️⏯⏩⏭➡️🔀↕️🔘https://music.youtube.com/watch?v=qKVkhQQXEGE&feature=share

She asked me to cum⛲️💦💧🌊🎣🐟🔫 over, to #Steinway🎹🏭, in #Astoria👸; & then, after driving from #Pennsylvania #Pistolvania, she was on the #AOL_IM #AIM, w/ #JesseHenry. I told her that she was being rude; & she told me to go & fuck myself. So; I left, drove home🏡, & ate the cost💸 of travel. &, I went & fuckt myself. &; she was unhappy that I left; & she didn't get none. &; I don't really give a fuck. She can eat shit💩🚽, & die💀.👀‍❄️ @/#GregGutfeld #CarleyShimkus

#OliviaCampbellPatton #OliviaWildeNeeCockburne

🏰🏯🔘https://en.wikipedia.org/wiki/Sigiriya

By the way; it is #Ceylon; do not offend me again. This is your first(ly)☝️, & only⏳⌛️ warning⚠️⛔️☣️☢️

#SAP_q / #SAR_Q, how-ever, not #SAP-q / #SAR-Q; #RobertCharles #THE_COMMODORES_CIRCLE.👀‍😾😠😤😡

‍👀😎⚠️⛔️☣️☢️🔘https://en.wikipedia.org/wiki/Special_access_program#:~:text=Special%20access%20programs%20%28SAPs%29%20in%20the%20U.S.%20Federal,that%20exceed%20those%20for%20regular%20%28collateral%29%20classified%20information.

☝️; there is no quick select, of 20,000+ images, on #iPhone, #Apple #TimCook. ✌️; there is no #conspicuous way to remove the #Slideslow option, on #iPhone, w/ your shitty, shitty musick selection. Therefore, I cannot turn it off. Oh, by the way; I cannot trash individual #AppCaches, neither, all of them, in a single tap. Take a wild guess what that means for you; all of you. #HighTreason = #Execution🔫 @ the #Gallows💀😵, or #Gibbet💀😵.👋👋👋

3️⃣; @/ #GregGutfeld‼️⚠️ : The #Saxophone🎷 is lame, gey, & any-person, who may believe it to be kool, or trendy, or even good; they may eat shit💩🚽, & die💀😵.

4️⃣ By the way; #SullyErna; you're a bitch.👋💀

🔘https://music.youtube.com/watch?v=R8pj2y39_jc&feature=share

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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.

@/ #JennaLeeUSA I 👀‍ see ❄️🍧🍨🍦⛸🇮🇸 (also, #Björk) two✌️👩‍⚖️😌 #RingsOfPower ‍♀️🆗🙆‍♀️☎️🔥♨️💍🔏✍️👩‍💃👩‍💍👨‍👌🙆‍♂️🆗☑️🔲🔳▫️ℹ️🔘https://youtu.be/Pqijx0pnn3c

As you were excited to speak w/ me?🔘https://flic.kr/p/2nE3Sns

#Owlephant

•———————————•

#ELDER_SCROLL_OF_MNEM_0.0♾😻

•———————————•

#EvanRachelWood-._•✏️📝✍️🔏🐧

--WRW

_.• ✍️🔏

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Executed by the Iranian regime

charcoal and pastel on paper

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.

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.

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

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

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

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

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

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

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

To find out more about Greater Manchester Police please visit

www.gmp.police.uk

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

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

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

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

the 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

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.

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

. . of sadness.

Oradour-sur-Glane, France

Early on the morning of 10 June 1944 the 1st Battalion of the 4th SS Panzer Grenadier ("Der Führer") Regiment of the 2nd SS Panzer ("Das Reich") Division executed 642 inhabitants of Oradour-sur-Glane in a matter of hours.

Women and children were locked in the church while the village was looted. The men were led to barns and sheds where machine-gun nests were already emplaced and where the German soldiers aimed for their legs so that they would die more slowly. The wounded victims were then covered with fuel and the barns set on fire.

The soldiers proceeded to the church, placed an incendiary device to set it on fire, and then machine-gunned the women and children as they tried to escape through the doors and windows of the church.

The battalion commander, Adolf Diekmann, claimed his troop's action was a just retaliation for nearby partisan activity.

Today, remnants of the former village still stand as a memorial to the dead and to the cruelty of the Nazi occupation.

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...

Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.

"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"

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

Building

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

Canaletto: View of Palais Liechtenstein

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

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

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

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

Sala terrene of the Palais

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

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

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

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

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

Use as a museum

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

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

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

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

The Domesday Book is the record of the great survey of much of England and parts of Wales completed in 1086, executed for William I of England, or William the Conqueror.

"While spending the Christmas of 1085 in Gloucester, William had deep speech with his counsellors and sent men all over England to each shire to find out what or how much each landholder had in land and livestock, and what it was worth" (Anglo-Saxon Chronicle).

One of the main purposes of the survey was to determine who held what and what taxes had been liable under Edward the Confessor; the judgment of the Domesday assessors was final—whatever the book said about who held the material wealth or what it was worth, was the law, and there was no appeal.

It was written in Latin, although there were some vernacular words inserted for native terms with no previous Latin equivalent, and the text was highly abbreviated. Richard FitzNigel, writing c. 1179, stated that the book was known by the English as 'Domesday', that is the Day of Judgement "for as the sentence of that strict and terrible last account cannot be evaded by any skilful subterfuge, so when this book is appealed to ... its sentence cannot be put quashed or set aside with impunity. That is why we have called the book 'the Book of Judgement' ... because its decisions, like those of the Last Judgement, are unalterable."

See also:

en.wikipedia.org/wiki/Domesday_Book

ThroughView publishes collections of 2d-3d conversion as applications for the iPhone and iPad. If interested, see my website or this link on the iTunes store: itunes.com/apps/throughview

A Porsche that was later seized.

Officers from Titan and Greater Manchester Police have taken part in raids targeting a £10 million pound money laundering operation.

Police executed warrants at a number of addresses in Cheetham Hill, Salford and Hale Barns, Altrincham, Openshaw, Bolton, Oldham and Sale in the early hours of Tuesday 2 November 2014.

Officers have seized high value cars including Porsches, a Range Rover and a Mercedes, alongside designer handbags and shoes, perfume and a significant amount of cash and laptops.

Seven men and two women aged between 27 and 50 have been arrested on suspicion of international money laundering and remain in police custody for questioning.

This morning’s raids have been part of an eight-month investigation into money laundering by organised crime groups across Europe by officers from Titan, the North West Regional Organised Crime Unit.

Detective Superintendent Jason Hudson, Titan’s head of operations said: "The coordinated arrests come as a result of an extensive and thorough eight month long investigation by my team.

“This investigation into money laundering that has a reach far wider than just Manchester, with criminal operations reaching as far as Paris, and we believe as much as £10 million may have been moved.”

“Along with our colleagues from Greater Manchester Police, HMRC, DWP and also the French Police, we have taken a significant step today in dismantling organised crime groups who are damaging communities with illegal money laundering, and the other crime this funds.

“We have seized a number of high-value cars today, which I hope will show the public that we will and do strip criminals of their assets.

“I send the message to people involved in this type of crime: your actions will eventually catch up with you and we will knock on your door.

"I would urge decent, law-abiding members of the community who have information about criminality where they live to share that information with their local police force or Crimestoppers so that positive action can be taken."

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.

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

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.

Officers from Titan and Greater Manchester Police have taken part in raids targeting a £10 million pound money laundering operation.

Police executed warrants at a number of addresses in Cheetham Hill, Salford and Hale Barns, Altrincham, Openshaw, Bolton, Oldham and Sale in the early hours of Tuesday 2 November 2014.

Officers have seized high value cars including Porsches, a Range Rover and a Mercedes, alongside designer handbags and shoes, perfume and a significant amount of cash and laptops.

Seven men and two women aged between 27 and 50 have been arrested on suspicion of international money laundering and remain in police custody for questioning.

This morning’s raids have been part of an eight-month investigation into money laundering by organised crime groups across Europe by officers from Titan, the North West Regional Organised Crime Unit.

Detective Superintendent Jason Hudson, Titan’s head of operations said: "The coordinated arrests come as a result of an extensive and thorough eight month long investigation by my team.

“This investigation into money laundering that has a reach far wider than just Manchester, with criminal operations reaching as far as Paris, and we believe as much as £10 million may have been moved.”

“Along with our colleagues from Greater Manchester Police, HMRC, DWP and also the French Police, we have taken a significant step today in dismantling organised crime groups who are damaging communities with illegal money laundering, and the other crime this funds.

“We have seized a number of high-value cars today, which I hope will show the public that we will and do strip criminals of their assets.

“I send the message to people involved in this type of crime: your actions will eventually catch up with you and we will knock on your door.

"I would urge decent, law-abiding members of the community who have information about criminality where they live to share that information with their local police force or Crimestoppers so that positive action can be taken."

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.

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

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

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

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

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

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

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

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

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

The cathedral is generally open to visitors most days. For more see below:-

www.coventrycathedral.org.uk/

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)

After executing the rare 'G666' self destruct command...

Le week-end a exécuté du temple confucien - L'orchestre d'intérieur de guitares du dessus /17 années de fille viennent de Nantes France - J'ai oublié son nom

孔子廟週未表演活動 - 拓譜吉他室內樂團 / 法國南特來的十七歲女孩 - 我忘了她的名字

The weekend performed of the Confucian temple - The guitars indoor orchestra of the Top / The 17 years old girl come from Nantes France - I forgot her name

El fin de semana se realizó del templo confuciano - La orquesta de interior de las guitarras de la tapa / Los 17 años de la muchacha vienen de Nantes Francia - Olvidé su nombre

孔子廟周は出演の活動です - 拓はギターの室内の楽団に曲をつけます / フランスのナントの来る17歳の女の子 - 私は彼女の名前を忘れました

Das Wochenende führte vom konfuzianischen Tempel durch - Das Gitarreninnenorchester der Oberseite / Die 17 Jahre alte Mädchen kommen aus Nantes Frankreich - Ich vergaß ihren Namen

Tainan Taiwan / Tainan Taiwán / 台灣台南

{在我的吉他裡/私のギターの内部/Inside My Guitar}

{View large size on black}

{大員戀愛物語-安平追想曲2009}

{The Love story of Tayouan - Anping melody of the memorise 2009}

{La historia de amor de Tayouan - Melodía de Anping de la memorización 2009}

{大員の恋愛する物語 -安平は曲の2009を追憶します}

{Die Liebesgeschichte von Tayouan - Anping-Melodie merken 2009}

{My Blog / 不斷成長與進步的喜悅-管樂雅集}

{My Blog / The joy of the Grows unceasingly and the progress - Wind instrument music elegant gathering}

{Mi blog / La alegría del crece incesante y el progreso - Reunión elegante de la música del instrumento de viento}

{Mein Blog / Die Freude an wächst fortwährend und der Fortschritt - Elegante Versammlung der Windinstrument-Musik}

{My Blog / 一個從未結束的時代-日本時代}

{My Blog / The Never Ending Times - Japanese Times}

{Mi blog / Los tiempos interminables - épocas japonesas}

{Mein Blog / Die immer währenden Zeiten - japanische Zeiten}

{My Blog / 2009 Zeelandia city-Anping melody of the sword Lions}

{My Blog / 2009熱蘭遮城-劍獅追想曲}

{Mi ciudad blog / 2009 de Zeelandia - melodía de Anping de los leones de la espada}

{My Blog / 2009熱の蘭遮城-剣の獅子は曲を追憶します}

{Meine Blog / 2009 Zeelandia Stadt - Anping-Melodie der Klinge Löwen}

{My Blog / 2009七娘媽生-府城做十六歲}

{My Blog / The Big Dipper empress birth day 2009-The prefectural city makes 16 years old}

{Mi blog / El día 2009 del nacimiento de la emperatriz del cazo grande - La ciudad de la prefectura hace 16 años}

{Mein Blog / Der Wagenkaiseringeburtstag 2009 - Die Präfekturstadt bildet 16 Jahre alt}

{My Blog / 臺灣之門鹿耳門-北汕尾風情畫}

{My Blog / The Deer ear door of the Taiwan - The north sandbank character and style picture}

{Mi blog / La puerta del oído de los ciervos del Taiwán - El cuadro del norte del carácter y del estilo del banco de arena}

{Mein Blog / Die Rotwildohrtür des Taiwans - Die Nordsandbankbuchstaben- und -artabbildung}

NIKKOR 180mm 1:2.8 *ED AIS

光圈全開

The aperture all opens

La abertura toda se abre

開きはすべて開く

Alle Blendenöffnung öffnet sich

原圖JPG直出無後製

Original picture JPG is straight has no children the system

El JPG original del cuadro es recto no tiene ninguÌn niño el sistema

原図JPGはずっと跡継ぎがいなくてつくることを出します

Ursprünglicher Abbildung JPG ist hat keine Kinder das System gerade

本圖無合成無折射

This chart does not have the refraction without the synthesis

Esta carta no tiene la refracción sin la síntesis

当合成がないことを求めて屈折がありません

Dieses Diagramm hat die Brechung nicht ohne die Synthese

可用放大鏡開1:1原圖

The available magnifying glass opens 1:1 original picture

La lupa disponible abre el cuadro de la original del 1:1

利用できる拡大鏡は1:1の原物映像を開ける

Die vorhandene Lupe öffnet 1:1vorlagenabbildung

The building's origins

The original idea of constructing a church dedicated to the Sacred Heart, with its origins in the aftermath of the French Revolution among ultra-Catholics and legitimist royalists developed more widely in France after the Franco-Prussian War and the ensuing radical Paris Commune of 1870-71. Though today it is asserted to be dedicated in honor of the 58,000 who lost their lives during the war, the decree of the Assemblée nationale, 24 July 1873, responding to a request by the archbishop of Paris by voting its construction, specifies that it is to "expiate the crimes of the communards". Montmartre had been the site of the Commune's first insurrection, and many hard-core communards were forever entombed in the subterranean galleries of former gypsum mines where they had retreated, by explosives detonated at the entrances by the Army of Versailles. Hostages had been executed on both sides, and the Communards had executed Georges Darboy, Archbishop of Paris, who became a martyr for the resurgent Catholic Church. His successor Guibert, climbing the Butte Montmartre in October 1872, was reported to have had a vision, as clouds dispersed over the panorama: "It is here, it is here where the martyrs are, it is here that the Sacred Heart must reign so that it can beckon all to come". Today it is viewed as a tacit acknowledgement of the massacre of the communards by the Versailles army.

In the moment of inertia following the resignation of the government of Adolphe Thiers, 24 May 1873, François Pie, bishop of Poitiers, expressed the national yearning for spiritual renewal— "the hour of the Church has come"— that would be expressed through the "Government of Moral Order" of the Third Republic, which linked Catholic institutions with secular ones, in "a project of religious and national renewal, the main features of which were the restoration of monarchy and the defense of Rome within a cultural framework of official piety", of which Sacré-Coeur is the chief lasting monument.

The decree voting its construction as a "matter of public utility", 24 July, followed close on Thiers' resignation. The project was expressed by the Church as a National Vow (Voeu national) and financial support came from parishes throughout France. The dedicatory inscription records the Basilica as the accomplishment of a vow by Alexandre Legentil and Hubert Rohault de Fleury, ratified by Joseph-Hippolyte Guibert, Archbishop of Paris. The project took many years to complete.

Construction

In 1873 the city council of Paris voted a law of public utility to seize land at the summit of Montmartre for the construction of the basilica. Architect Paul Abadie designed the basilica after winning a competition over 77 other architects. With delays in assembling the property, The foundation stone was finally laid 16 June 1875. Passionate debates concerning the Basilica were raised in the Conseil Municipal in 1880, where the Basilica was called "an incessant provocation to civil war" and it was debated whether to rescind the law of 1873 granting property rights, an impracticable proposition. The matter reached the Chamber of Deputies in the summer of 1882, the Basilica being ably defended by Archbishop Guibert and Georges Clemenceau expressing the view that the Basilica sought to stigmatise the Revolution. The law was rescinded, but the Basilica was saved by a technicality and was not reintroduced in the next session. A further attempt to halt the construct levi is gayion was defeated in 1897, by which time the interior was substantially complete and had been opened

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...

Prisoners who were executed have an "X" or "EX" and the execution number on their headstone, and not much else.

But there is a list of those who have been executed with bare bones stats. According to the list, Clarence Booker was born in Travis County in 1908. He was convicted of murder, and was the 120th person put to death in Huntsville on December 29, 1933.

He was buried beneath this rough concrete headstone that was made by inmates who would have known him. The grave would have been dug, and the casket buried by a burial detail of inmates, probably supervised by armed guards on horseback.

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.

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

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

No PS, only a real live painting with light.

We submit the sample photos in this series in three-nine-square.

Photos is possible to look here:

www.horyma.ru/forum/viewtopic.php?f=28&t=393

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.

Memorial to the German spies who were executed by firing squad at the Tower of London during WWI. Their bodies were taken to the East London Cemetery in Plaistow for burial.

The dates are on which the executions occured.

Carl Hans Lody. 6 November 1914.

Carl Frederick Muller. 23 June 1915..

Willem Johnnes Roos. 30 July 1915.

Haicke Petrus Marinus Janssen. 30 July 1915.

Ernst Melin. 10 September 1915.

Augusto Alfredo Roggen. 17 September 1915.

Fernando Buschman. 19 September 1915.

George Traugott Breeckow. 26 October 1915.

Irving Guy Ries. 27 October 1915.

Albert Meyer. 2 December 1915..

Ludovico Hurwitz-y-Zender. 11 April 1916.

Also listed in order as inscribed on the memorial are seven Germans who died in British prisons.

John Filmann. 21 November 1918.

August Johannson. 12 August 1916.

Jakob Muga. 24 March 1916.

Carl Rudolphson. 24 February 1915.

Gustav Stoop. 21 January 1915.

Sam Theophilus. 19 May 1915.

Enno Wiemann. 27 September 1915.

In November of ever year, representatives of the Royal British Legion place a Poppy Wreath on the memorial.

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.

Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens. The font in the foreground is formed of a boulder from a hillside near Bethlehem.

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

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

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

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

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

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

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

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

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

For more see below:-

www.coventrycathedral.org.uk/

Twenty people have been arrested following the latest phase of an operation to tackle the sale of stolen metal in Greater Manchester.

Earlier today, Wednesday 22 May 2013, Greater Manchester Police and British Transport Police executed a number of warrants at scrap metal dealers across the area as part of an intelligence-led Operation Alloy day of action.

Raids were executed at scrapyards in Rochdale, Bury, north Manchester, Oldham, Bolton and Salford.

The initiative also saw officers search the home addresses of those arrested as well as a number of partner agencies assist in the search of recycling yards and the recovery of potentially stolen metal.

Superintendent Craig Thompson, who leads Greater Manchester Police's Operation Alloy team, said: "Since Operation Alloy was launched more than two years ago, we have made huge inroads into tackling metal theft.

"However, despite a sharp drop in incidents of metal theft, we know there is still a culture that exists among thieves who believe they can off-load stolen metal onto scrapyards.

"Any scrapyard dealer who knowingly accepts stolen goods or pays cash for metal is propagating this cycle of criminality, creating a market for thieves for prosper, and that is exactly why we have taken this action today. If a burglar knows he can sell stolen metal to a rogue dealer, it will entice them into committing offences that can cause real hardship to businesses and victims.

"For example, if a pensioner has her boiler stolen in winter they will be unable to heat their home which could put their life in danger. We also know of businesses that have been forced to shell out hundreds of thousands of pounds to pay for repairs as a direct result of metal thieves. The knock-on effect of that is to put people's jobs on the line as businesses struggle to fund those repairs, so the human cost of what these rogue dealers are doing should not be underestimated.

"It is important to stress that of the 70 scrapyards across Greater Manchester, the vast majority have worked hand-in-hand with police and are fully compliant with all the legislation. They have helped us to create a hostile environment that has made it very difficult for thieves to off-load stolen metal.

"What today is all about is targeting those rogue dealers who are suspected of lining their own pockets and making huge swathes of cash by knowingly selling stolen metal. In terms of officer numbers and the sheer scale of the investigation, this is the biggest operation ourselves and British Transport Police have run which shows our determination to tackling metal theft."

When Operation Alloy was originally launched in August 2011 the region was recording up to 900 incidents of metal theft per month, a number which has now been reduced to about 200 per month.

T/Chief Superintendent Pete Mason, BTP's North West Area Commander, said: "Today's warrants are the culmination of a year-long joint investigation into the trade in stolen metal across Greater Manchester.

"Metal theft is a serious issue which has a major impact on the lives of those living and working in Greater Manchester.

"Whether thieves target railway cable, power lines, electrical substations or lead from homes or business, the impact felt by communities is marked and causes not only disruption but also financial loss and potential risk of harm.

"Thankfully, during the past 12 months, there have been significant reductions in the number of thefts recorded - due, in part, to legislative change which has gone hand in hand with enforcement activity under Operation Alloy."

T/Chief Supt Mason added: "Unfortunately, despite this recent success, the issue has not gone away and some scrap metal recyclers are keeping the market for stolen metal alive by continuing to flout the law and purchase metal with a 'no questions asked' attitude.

"This has to stop and GMP and BTP, together with partner agencies across the region, will continue to work together to take action against both thieves and unscrupulous scrap metal dealers."

Steve Cox, future network manager for Electricity North West, the company which owns and maintains the regional power network, said: "We have been working closely with Greater Manchester Police and British Transport Police and today's successful day of action highlights our commitment to crack down on this very serious crime.

"Metal theft not only affects us, your network operator, but also communities and residents, who could be left without power in their homes.

"These thieves, who are breaking into our substations or stealing from our overhead lines, are putting themselves and others in great danger and it causes thousands of pounds worth of damage.

"We are investing a lot of money and resources into putting a stop to metal theft in our region once and for all, but we would still urge people to get in touch if they hear or see anything suspicious."

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.

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.

In that each stripe is individually executed to be viewed at once alone and in conjunction with the others, Gene Davis’ Niagara Knife is not unlike public health at the global level. Each laboriously painted thin or thick stripe, each narrow or wide interval, each lyrical color combination a nation; marching bands of color a dazzling array of diversity and separateness; and altogether as Davis intended them, a bright ensemble, a symphony of color, a public health collaboration as spectacular as any bouquet of flowers. “Painting stripe paintings is a vigorous thing,” Davis said. Laboriously, line by line, the painting becomes an integrated total. The same vigor applies to drafting international regulations, including those intended to protect public health. Outbreak by outbreak, experience with Public Health Emergencies of International Concern delineates what requires international reporting to improve global health and emergency response. Distinguishing which events pose international threats is as ambiguous as a Davis painting, and therefore, implementation of the International Health Regulations has not yet realized its full potential.

Full text available at:

dx.doi.org/10.3201/eid1807.AC1807

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.