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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)
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This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
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.
Paul Cézanne's Achille Emperaire was executed from 1867 to 1868.
Born in Aix, like Cézanne who was his elder by ten years, Achille Emperaire was also an artist. The two men met in Charles Suisse's studio in Paris in the early 1860s and were close friends for at least a decade.
Cézanne often spoke fondly of the companion of his youth saying: "He's a very talented boy and nothing in the art of the Venetians has been lost on him. I have often seen him do as well!" Unfortunately, out of money and luck, Achille Emperaire failed to establish a reputation and all that survives of him are a small number of rather spirited works.
A contemporary reported that in the two charcoal sketches made before the painted portrait of Achille, we see "a magnificent knight's head, in the style of Van Dyck", and sense "a burning soul, nerves of steel, and iron pride in a misshapen body [...], a cross between Don Quixote and Prometheus."
In the painting, on the contrary, Cézanne emphasises Emperaire's sickliness and deformed body. However, far from being a caricature, the work plays on its monumental format the frontal view, the majestic chair and the ostentatious inscription echo Ingres' Napoleon I on the Imperial Throne, right down to the pun on Emperor/Emperaire.
Going beyond the lessons in realism learnt from artists such as Courbet and Manet, Cézanne's vision is here infused with a raw kind of romanticism, which marks the apogee of this period that the master of Aix himself described as "ballsy".
The Musée d'Orsay (The Orsay Museum), housed in the former railway station, the Gare d'Orsay, holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography, and is probably best known for its extensive collection of impressionist masterpieces by popular painters such as Monet and Renoir. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986.
Officers from Titan - the North West Regional Crime Unit - and Greater Manchester Police have taken part in raids targeting people suspected of being involved in a £300 million pound drugs conspiracy.
Police executed warrants at a number of addresses in Altrincham, Prestwich, Salford and Bolton in the early hours of Wednesday 2 July 2014.
A quantity of cash and drugs have been seized and are being examined to identify what they are.
Eight men were arrested on suspicion of drugs trafficking offences and three women were arrested on suspicion of possessing Class B drugs.
This morning’s raids have been part of an extensive investigation into the supply of Class A, B and C drugs across the North West by officers from Titan.
Detective Superintendent Jason Hudson, Titan’s head of operations said: "The coordinated arrests this morning come as a result of an intensive and painstaking 12 month long investigation by my team.
“Our actions have delivered a massive blow against the organised criminals operating in the Manchester and North West region, and we continue to send a strong message to others involved in this type of crime that we will act on information we receive and we will be knocking on your door.
“We remain committed to tackling those involved in drugs offences by dismantling their hierachies and putting those involved before the courts.
"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.
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.
Palmin Margarine "Famous Women" c1904
Charlotte Corday 1768-93, executed by guillotine for the assassination of Jean-Paul Marat.
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.
We submit the sample photos in this series in three-nine-square.
Photos is possible to look here:
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Today, Thursday 16 November 2017, police executed warrants at eight addresses across the Moss Side and Hulme areas of Manchester.
The warrants were executed as the latest phase of Operation Malham, targeting the supply of drugs in South Manchester.
This follows previous raids last week, which means more than 14 properties have been searched and eight people arrested in total as part of the operation.
Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: “We are dedicated to rooting out those who seek to make profits from putting drugs on our streets.
“Today’s raids have resulted in the arrests of five people which have only been made possible through the support of partner agencies and community intelligence.
“We are grateful for all your support and help and I would urge you to continue to report anything suspicious to help us stop people who are benefitting from crime and remove drugs from our city.”
Anyone with information should contact police on 101 or Crimestoppers, anonymously, on 0800 555 111.
To find out more about Greater Manchester Police please visit
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
This morning (Tuesday 1 February 2022), we executed warrants at six properties in the Chadderton area.
A 25-year-old was arrested on suspicion of rape, sexual assault and trafficking a person within the UK for sexual exploitation.
A second 25-year-old was arrested on suspicion of sexual assault.
A 26-year-old was arrested on suspicion of sexual assault and trafficking a person within the UK for sexual exploitation.
A 27-year-old was arrested on suspicion of rape and trafficking a person within the UK for sexual exploitation.
A 28-year-old was arrested on suspicion of rape and trafficking a person within the UK for sexual exploitation.
The warrants were executed as part of Operation Gabel - an investigation into the child sexual exploitation of two teenage girls in 2012/2013.
Inspector Nick Helme, of GMP's Oldham district, said: "This morning's action at several properties in the Chadderton area was a result of just one of a number of ongoing investigations into historic child sexual exploitation in Greater Manchester.
"I can assure members of the public and warn offenders that investigating this type of crime is a top priority for the force. Regardless of time passed, dedicated teams in a specialist unit leave no stone unturned whilst gathering evidence to make arrests with the intention of bringing suspects to face justice.
"I hope these warrants build public trust and confidence that Greater Manchester Police is committed to fighting, preventing and reducing CSE to keep people safe and care for victims - giving them the faith they need in the force to come forward.
Greater Manchester is nationally recognised as a model of good practice in terms of support services available to victims.
If you or someone you know has been raped or sexually assaulted, we encourage you not to suffer in silence and report it to the police, or a support agency so you can get the help and support available.
- Saint Mary's Sexual Assault Referral Centre, Manchester provides a comprehensive and co-ordinated response to men, women and children who live or have been sexually assaulted within Greater Manchester. We offer forensic medical examinations, practical and emotional support as well as a counselling service for all ages. Services are available on a 24-hour basis and can be accessed by telephoning 0161 276 6515.
-Greater Manchester Rape Crisis is a confidential information, support and counselling service run by women for women over 18 who have been raped or sexually abused at any time in their lives. Call us on 0161 273 4500 or email us at help@manchesterrapecrisis.co.uk
- Survivors Manchester provides specialist trauma informed support to boys and men in Greater Manchester who have experienced sexual abuse, rape or sexual exploitation. Call 0161 236 2182.
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...
Growing up there was a story of a lady who was executed in my home town by hanging. She was the first in Illinois. I honestly always questioned the authenticity of the story. Recently, my wife and I were back in Lawrenceville and I was telling her and my little girl about it. My wife sear...
www.gagecaudell.com/elizabeth-reed-first-woman-executed-b...
6th Regiment, Basic Camp Cadets executing their Night Land Nav exercise during Cadet Summer Training 2018. (Fort Knox, Ky. July 11) Photos by: Jakob Coombes
An oil painting of the last meal of Cameron Todd Willingham, wrongfully convicted and executed in Texas by death penalty artist Kate MacDonald. 20 x 16", oil on canvas. © Kate MacDonald, All Rights Reserved.
Today, Thursday 16 November 2017, police executed warrants at eight addresses across the Moss Side and Hulme areas of Manchester.
The warrants were executed as the latest phase of Operation Malham, targeting the supply of drugs in South Manchester.
This follows previous raids last week, which means more than 14 properties have been searched and eight people arrested in total as part of the operation.
Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: “We are dedicated to rooting out those who seek to make profits from putting drugs on our streets.
“Today’s raids have resulted in the arrests of five people which have only been made possible through the support of partner agencies and community intelligence.
“We are grateful for all your support and help and I would urge you to continue to report anything suspicious to help us stop people who are benefitting from crime and remove drugs from our city.”
Anyone with information should contact police on 101 or Crimestoppers, anonymously, on 0800 555 111.
To find out more about Greater Manchester Police please visit
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
This portrait of John Marshall (Catalog Number INDE14087) was executed by George Kasson Knapp in 1899. Knapp copied Henry Inman's 1831-32 portrait of Marshall, commissioned for and still owned by the Philadelphia Bar ASsociation. Knapp's portrait was donated to the City of Philadelphia and Independence Hall's Museum in 1899.
John Marshall (1755–1835) was a statesman and jurist who shaped American constitutional law and made the Supreme Court a center of power. Marshall was Chief Justice of the United States, serving from February 4, 1801 until his death in 1835. He served in the United States House of Representatives from March 4, 1799 to June 7, 1800, and, under President John Adams, was Secretary of State from June 6, 1800 to March 4, 1801. Marshall was a native of the Commonwealth of Virginia and a leader of the Federalist Party. The longest serving Chief Justice in Supreme Court history, Marshall dominated the Court for over three decades. Most notably, he established that the courts are entitled to exercise judicial review, the power to strike down laws that violate the Constitution. Thus, Marshall has been credited with cementing the position of the judiciary as an independent and influential branch of government. Furthermore, Marshall made several important decisions relating to Federalism, shaping the balance of power between the federal government and the states during the early years of the republic. In particular, he repeatedly confirmed the supremacy of federal law over state law, and supported an expansive reading of the enumerated powers.
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)
There is a plethora of parish churches on either side of the Medway. And the previous evening, I had noticed two more I had yet to visit, so pencilled them in.
St Margaret sits in a quiet village, at the end of a dead end lane where there is no parking. This I know now but I parked in front of the no parking sign, so didn't see it until I left.
The church had a group of cyclists on the ride and stride charity ride.
I said hello and went about my work taking shots.
The church is ancient, Saxon in origin, and the walls have Roman tiles embedded in them.
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Here is a church which really shows its Saxon origins, the south chancel wall displaying the tell-tale herringbone masonry executed in part in salvaged Roman tile. The chancel arch and north and south arcades date from the thirteenth century and are simple cut-throughs, with plain piers between. The chancel has internal wall arcading with Bethersden marble shafts. Above the chancel arch hangs a George III Royal Arms while below it can be seen the notches where the rood beam was originally supported. The metal font - of twelfth-century date - is of cast lead with a king and an angel on each of its ten sides. It was discovered in 1921 hidden under plaster. There are the remains of some unclear fourteenth-century wall paintings and a very interesting piece of graffiti - a Persian beast with the head of a man, body of a lion, mane of quills and sting of a scorpion! This can be found on the south nave arcade.
www.kentchurches.info/church.asp?p=Lower+Halstow
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HALSTOW
LIES the next parish eastward from Upchurch, it is written in antient deeds Halegestow, and is usually called Lower Halstow, from its low situation, and to distinguish it from the parish of High Halstow, in the hundred of Hoo.
It is a very obscure and unfrequented parish, though the road from Chatham to the King's Ferry leads through the lower part of it, across a branch of the creek, here called the Stray, which is at high water hardly passable with safety. The little streamlet which rises southward near Newington church, runs on hither to the corn mill, belonging to All Souls college, situated on another branch of this creek, up to which the tide flows likewise, the mill being turned by it; below these the two branches acquire the name of Halstow creek, and soon afterwards joining, about three miles below, that of Standgate creek, a little further from which it flows into the river Medway, at some distance above Sheerness. At the lower end of Standgate creek, all vessels arriving from foreign countries, where the plague, or any other infections distemper is known to rage, are obliged by order of the privy council and the king's proclamation to perform quarantine for a limited time, and for the purpose of airing the cargoes of them, there are two large hospital ships, commonly called lazarettos, being the hulks of forty-four gun ships stationed here constantly, on board which the goods and merchandize are removed, for the purpose of airing them, and a government cutter attends to see this properly observed, and to prevent the crews getting on shore before the time is expired,
Halstow creek above this becomes so shallow, as to be used only by the small vessels belonging to the dredger men, who live here, and make up the principal part of the inhabitants of this parish, it is navigable in both branches as high up as the stray on the one, and the bridge built over the other, just above the church, where there is a wharf belonging to All Souls college, which, if in a proper condition, might be made of great use to the neighbouring country, which, as appears by the survey made in the 8th year of queen Elizabeth, by her order, was then called Halstow key, and that there were then in this parish houses inhabited twenty-four, ships and boats fourteen, from one ton to seven; and persons occupied in carrying from port to port and fishing fourteen. There are two small hamlets in the lower part of it, near the creek, the one built round a green, and called from thence Halstow-green, and the other at a small distance from it called Lower street. This part of the parish lies on a level, and open to the adjoining marshes, which render it most unpleasant, and at the same time unhealthy to an extreme, the look of which the inhabitants carry in their countenances; indeed, it seems so enveloped among creeks, marshes and salts, the look over which extends as far as the eye can see, that it seems a boundary, beyond which the traveller dreads to hazard his future safety.
The whole of this parish, excepting towards the marshes, has a woody appearance, the shaves and hedge-rows being very broad round the fields, it contains about twelve hundred acres of land, the soil of it is in general a very stiff and wet clay, a heavy tillage land, some few parts of it are gravel, and others, a black unfertile sand, with much broom and brakes, or fern on it. The clayey lands have of late years been much improved, by spreading them over with lime, brought at a heavy expence from the upper part of Hartlip, a distance of between three and four miles, by which means they produce a good crop of wheat. Near the stray there are some fertile meadows and orchards, the lands in general let at a high rent of fifteen and twenty shillings an acre, much of it throughout the parish belongs to All Souls college, as part of their manor farm of Horsham, in Upchurch. Towards the eastern part of the parish the hills rise pretty high, over much of which the adjoining manor of Norwood in Milton claims. In the north-east part is Basser farm, almost the whole of which is pasture, and some of it so fertile as to be good fatting land for beasts.
The paramount manor of Milton claims over this parish, subordinate to which is
THE MANOR OF BERKESORE, commonly called BASSER, which is situated in the north-east part of this parish. It was given to the monks of the priory of Christ-church, in Canterbury, to the finding of a light before the shrine of St. Anselm there, which gift was confirmed by Henry II. who added to it fifteen pounds of rent in this place likewise, as did Reginald de Clere, certain land bounding to that of Roger de Wardun and William de Northwode.
King Edward II. in his 10th year, granted and confirmed to the prior and convent of Christ-church, free-warren in all their demesne land in Berkesore, held in the time of his grandfather king Henry III.
In which state this manor continued till the dissolution of the above-mentioned priory, in the 31st year of Henry VIII. when it was, with all the lands and possessions belonging to it, surrendered up into the king's hands, who settled this manor, by his dotation-charter, in his 33d year, on his new erected dean and chapter of Canterbury, part of whose possessions it now remains.
The family of Darell, of Calehill, have for many generations been lessees of this manor under the dean and chapter. Sir Robert Darell held it as such in the 17th year of king James I. and in his descendants it has continued down to Henry Darell, esq. of Calehill, the present lessee of it. A court baron is regularly held for it.
Charities.
A HOUSE, with a garden, and two acres of land, in this parish, occupied in 1775 by William Judson, at the yearly rent of 5l. were given by a person unknown, to the poor of this parish.
ONE ACRE of land in Southfield, in Halstow, belonging to West Hide, esq. in 1775 occupied by Samuel Buckland, at 10s. per annum, was given by a like person to the same purpose.
WILLIAM ROBINSON, of this parish, by will in 1632, gave 20s, in money, and two bushels of wheat, out of land now used with the Stray farm in this parish, to be distributed yearly on St. Thomas's Day for ever.
CATH. WOOTTON, of this parish, gave by will in 1678, a field called Budington, in Newington, of the annual produce of 20s. to be distributed yearly on Easter Monday to the poor of this parish for ever.
A PERSON UNKNOWN gave a cottage and two tenements, with a garden, in the lower street, worth 4l. per annum, to the poor of it; all which gifts are vested in the minister and churchwardens.
The poor constantly relieved here are about eighteen; casually sixteen.
HALSTOW is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church, which stands close to the creek, is dedicated to St. Margaret; it consists of three small isles and one chancel, with a low pointed steeple, in which hang five bells, and has nothing remarkable in it. The church of Halstow was part of the antient possessions of the priory of Christ-church in Canterbury, as appears by the instrument of archbishop Baldwin, who came to the see of Canterbury in 1184, who, at the presentation of the prior and convent, granted to his beloved son John de London, nephew of the then blessed martyr Thomas, the church of St. Margaret of Halegestowa, in perpetual alms; saving the pension of one marc, which the said John should be bound to pay to the monks above-mentioned, twice in each year. (fn. 1)
King Henry III. in his 19th year, granted to the prior and convent of Christ-church, the privilege of a fair at the church of Halowesto.
In which situation this church continued till the dissolution of the priory in the 31st year of king Henry VIII. when it was, with all the lands and possessions of it, surrendered up into the king's hands.
The church of Halstow, with the vicarage of it, did not remain long in the hands of the crown, for the king settled it by his dotation-charter, in his 33d year, on his new-erected dean and chapter of Canterbury, part of whose possessions it now remains, the parsonage being leased out by them for twenty-one years, but the advowson of the vicarage they retain in their own hands.
The yearly rent to the dean and chapter is 3l. 6s. 8d. who pay yearly to the archdeacon five shillings for procurations for it.
The vicarage is a discharged living in the king's books of the yearly certified value of forty pounds, the yearly tenths being 16s. 2¼d. In 1642 it was valued at sixty pounds per annum, first receipt. Communicants eighty-two.
Dr. Francis Walwin, prebendary of Canterbury, in 1770, but a short time before his death, paid into the hands of the Rev. John Tucker, of Canterbury, and rector of Ringwold, since deceased, ten pounds to be laid out for the benefit of this vicarage.
¶John White, vicar of this parish in 1696, presented a petition to archbishop Tension, setting forth, that he had two vicarage-houses, one an old uninhabited house adjoining to the sea side, which every spring tide overflowed with salt water, and which the seamen and others had in a manner demolished; that the other is a house given by two maids, who died there, and bequeathed it to the vicar for ever; that it had been recovered by his predecessor by course of law, and that he himself had inhabited it for twenty years. He therefore prayed the archbishop to grant him licence to demolish the former, in regard that the vicarage was small, not being worth thirty pounds per annum. To which the archbishop assented, and granted his licence for that purpose in 1696.
The scite of the old house and garden was afterwards taken possession of by a dredgerman; a house has been since rebuilt on it, by a person who now claims it as his freehold, and the vicar has not as yet made any attempt to disposses him of it.
This weekend was Heritage and Ride & Stride weekend, when many churches are open.
So, a grand tour round Kent's most difficult was planned and executed, with this being the first church of the day open, after four strike outs.
St Alphege is just the chancel of a larger church, so there isn't much to see, or room inside, but I got my shots and declined my first cuppa of the day.
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Hidden from the road and accessible only by footpath, this 13th century gem is a remarkable survivor. It is the chancel of the medieval church of Seasalter, the rest of which was demolished when the new church of St Alphege was built in what is now Whitstable. The west wall of flint is in contrast to the rubble construction of the medieval work and its lancet windows. Inside, all is squashed together but they even managed to get a proper organ in! High in the west wall is a lovely window by Lawrence Lee depicting St Alphege whose body rested in the previous church which stood out where the River Swale washes the shore today. This old church is still used and well loved by its congregation who now also have a brand new (2007) church a few hundred yards away for there regular services.
www.kentchurches.info/church.asp?p=Seasalter
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THE LIBERTY AND PARISH OF SEASALTER.
THIS liberty lies adjoining to the parish of Hernehill and hundred of Boughton Blean, north eastward, being so named from its near vicinity to the sea. (fn. 1)
The LIBERTY AND PARISH of Seasalter lies in an obscure out of the way situation, bounded by the sea northward, but the large tract of marshes which adjoin it westward, as well as the badness of the water, make it very unhealthy. The east and southern parts are mostly coppice wood, and the soil a deep clay. The church stands on the knoll of a hill, nearly in the middle of the parish, below which, westward, it is all marsh land to the sea shore, not far from which the few houses stand which make the village of Seasalter. There are forty-six houses in this parish, most of which are in Whitstaple-street, great part of which is within the bounds of it, and over part of which the borough of Harwich claims. There is an oyster fishery on the shore here, the grounds of which, called the Pollard, are an appendage to the manor of Seasalter, and as such belong to the dean and chapter of Canterbury, who demise them to seven fishermen or free dredgermen of Seasalter, at a certain yearly rent. In December, 1763, a live whale was driven on shore on Seasalter flats, which was about fifty-six feet long. The manor of Seasalter has the privilege of four fairs yearly, on the four principal feasts in the year; but there have not been any held for some years.
The MANOR OF SEASALTER was given, before the Norman conquest, to the priory of Christ-church, in Canterbury, but by whom, I have no where found; and it continued part of the possessions of it at the time of taking the survey of Domesday, in which record it is thus entered:
In Borowart lath, there lies a small borough named Sesaltre, which properly belongs to the kitchen of the archbishop. One named Blize held it of the monks. In demesne there is one carucate, and forty-eight borderers with one carucate. There is a church and eight fisheries, with a rent of twenty-five shillings. Wood for the pannage of ten hogs. In the time of king Edward the Confessor, and afterwards, it was worth twenty-five shillings, and now one hundred shillings.
After which, this manor appears to have been let to ferme by the prior and convent, to Roger de Wadenhale, in king Henry the IId.'s reign, at the yearly rent of six pounds, with a reservation of all royal fish, wrec, &c. and afterwards to Clemencia, daughter of Henry de Hanifeld, at that of ten marcs, which rent was afterwards raised to twenty pounds per annum. In 1494, prior Thomas Goldstone caused a new mansion, or court-lodge to be built here, and at the rectory he rebuilt all the edifices, except the barn. In which situa tion this manor continued with the priory till its dissolution, in the 31st year of king Henry VIII. when it was surrendered into the king's hands, and was by his dotation-charter, in his 33d year, settled on his newfounded dean and chapter of Canterbury, with whom the inheritance still continues. (fn. 2)
A court leet and court baron is regularly held by the dean and chapter for this manor; but the demesne lands, as well as the rectory or parsonage of the church, were lately demised on a beneficial lease to Isaac Rutton, M. D. of Ashford, who died in 1792, whose descendants assigned them to Mr. William Baldock, brewer, of Canterbury, and they were again assigned by him in 1798, to Mr. King, of Whitstaple. (fn. 3)
ELYNDENNE, or Ellenden, as it is now written, is a small manor, situated at the southern boundary of this parish, among the woods adjoining to the ville of Dunkirk, within the bounds of which, one half of the house, as well as part of the lands are situated, though in the deeds belonging to this manor, it is constantly described as within this parish and Whitstaple. It was once the property of a family of its own name, one of whom, John Elyndenne, gave it to the abbot and convent of Faversham, as appeared by the lerger book of that abbey, (fn. 4) with which it staid till its dissolution, anno 30 Henry VIII. when this manor came, with the rest of its estates, into the king's hands, who in his 35th year granted it to Thomas Ardern, gent. of Faversham, to hold in capite, (fn. 5) and he that year passed it away to John Needham, whose son, of the same name, alienated it, in the 32d year of queen Elizabeth, to Michael Beresford, esq. of Westerham, and he soon after conveyed it to Sir George Newman, LL.D. in whose descendants, who bore for their arms, Or, a fess dancette, gules, between three eagles, sable, (fn. 6) it continued till it was alienated to St. Leger, and Sir John St. Leger, in the reign of William and Mary, passed it away to Sir Henry Furnese, bart. of Waldershare, who died possessed of it in 1712, but his grandson Sir Henry Furnese, bart. dying in 1735, under age and unmarried, this, among the rest of his estates, became vested in his three sisters, coheirs of their father, in equal shares in coparcenary, in tail general, and on a partition anno 9 George II. this manor was allotted, among others, to Anne the eldest daughter, wife of John, viscount St. John, whose grandson the right hon. George St. John, lord viscount Bolingbrooke, sold it in 1791 to Mr. John Daniels, of Whitstaple, and he in 1793 sold it to Mr. Hayward, of the Black Friars, Canterbury, who dying in the year 1794, his widow is the present possessor of it.
Charities.
THERE have been given to the use of the poor of this parish, five acres of land, late occupied by Fenner, of the annual produce of 3l. a field of three acres, called the Peters field, of the annual produce of 2l. 6s. four acres of land, in two pieces, of the annual produce of 4l. and two acres of woodland, sold in 1785 at eighteen years growth for 6l. sundry yearly annuities, of 2s. 6d. of 40s paid by the parish of Whitstaple, and of 12s. paid by Mrs Gillow.
The poor constantly maintained are about twenty, casually one hundred.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Westbere.
The church, which is dedicated to St. Alphage, is small, consisting of only one isle and a chancel, having a low pointed turret of wood at the west end, in which hangs one bell. There is no memorial or inscription in it. In the north window of the isle are some small remains of painted glass. There are two hatchments in the isle, one, Argent, two bends wavy, on a chief, gules, three estoiles, or; the other the same, impaling, Paly bendy, or, and sable, a bend, counterchanged, which were for the family of Taylor, who once owned lands in this parish, and lie buried in this church. There is a gallery at the west end.
By the great storm, which happened on Jan. 1, 1779, there was discovered among the beach on the sea shore, at Codhams corner, about half a mile westward of the present church, the stone foundations of a large long buildings, lying due east and west, supposed to have been the remains of the antient church of Seasalter. Many human bones were likewise uncovered, by the shifting of the beach, both within and about it, all of which that could be found, were collected together and buried in the church-yard of Seasalter; but those which have been since uncovered remain at this time sticking up an end among the beach.
¶This church was always appendant to the manor of Seasalter, belonging to the priory of Christ church, to which it was appropriated in 1236, for the maintenance of the monks there, and was by the archbishop afterwards allotted to the almonry. In which state it continued till the dissolution of the priory in the 31st year of Henry VIII. when it came into the king's hands, who settled it, with the advowson of the vicarage and the manor, by his dotation-charter, in his 33d year, on his new-founded dean and chapter of Canterbury, part of whose possessions they still continue.
In the 8th year of Richard II. anno 1384, the vicarage of this church was not, on account of the smallness of its income, taxed to the tenth. It is valued in the king's books at 11l. but it is now a discharged living, of the clear yearly certified value of 25l. 19s. 8d. In 1588 here were communicants seventy-six. In 1640 the same, and it was then valued at 60l.
Among the archives of the dean and chapter is an examination relating to the bounds of the parishes of Seasalter and Hernehill, anno 1481, and another taken the same year by the archbishop's commissary. (fn. 7)
www.british-history.ac.uk/survey-kent/vol8/pp499-504
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A liberty was an English unit originating in the Middle Ages, traditionally defined as an area in which regalian right was revoked and where the land was held by a mesne lord (i.e. an area in which rights reserved to the king had been devolved into private hands). It later became a unit of local government administration.[1]
Liberties were areas of widely variable extent which were independent of the usual system of hundreds and boroughs for a number of different reasons, usually to do with peculiarities of tenure. Because of their tenurial rather than geographical origin, the areas covered by liberties could either be widely scattered across a county or limited to an area smaller than a single parish: an example of the former is Fordington Liberty, and of the latter, the Liberty of Waybayouse, both in Dorset.
In northern England, the liberty of Bowland was one of the larger tenurial configurations covering some ten manors, eight townships and four parishes under the sway of a single feudal lord, the Lord of Bowland, whose customary title is Lord of the Fells.[2][3] Up until 1660, such lords would have been lords paramount.
Legislation passed in 1836 ended the temporal jurisdiction of the Archbishop of York and the Bishop of Ely in several liberties, and the Liberties Act 1850 permitted the merging of liberties in their counties. By 1867, only a handful remained: Ely, Havering-atte-Bower, St Albans, Peterborough, Ripon and Haverfordwest. St Albans was subsequently joined to the county of Hertfordshire in 1875.
The Local Government Act 1888 led to the ending of the special jurisdictions in April 1889: the Isle of Ely and Soke of Peterborough became administrative counties, while the three remaining liberties were united to their surrounding counties.
en.wikipedia.org/wiki/Liberty_(division)
Netherlands, after 1622 - The tied-up Dutch provinces before the Duke of Alba. Cardinal Granvelle inflates the Duke with vengeance and lust to kill using a bellows. The devil dupes them with the supposed reward for their evil deeds of the imperial throne and papal tiara. Seventeen chained women symbolise the 17 Dutch provinces. Behind them representatives of nobility and state stand on ploes and hold their hands before their mouths as a sign of heir fear of moving or talking. In the background the Dutch nobles Egmont and Horn are executed while in front of this, Margarete of Parma is fishing the confiscated chattels from the blood of the executed : detail
According to sources, a confrontation between residents and Ethiopian government officials broke out on June 9, 2014, over a mass grave discovered at the former Hameressa military garrison near Harar city, eastern Oromia. The mass grave is believed to contain remains of political prisoners executed during both the Dergue era and the early reigns of the current TPLF regime. Among those who were executed and buried in the location was Mustafa Harowe, a famous Oromo singer who was killed around early 1990′s for his revolutionary songs. Thousands more Oromo political prisoners were kept at this location in early 1990′s – with many of them never to be seen again.
The mass grave was discovered while the Ethiopian government was clearing the camp with bulldozers to make it available to Turkish investors. Upon the discovery of the remains, the government tried to quietly remove them from the site. However, workers secretly alerted residents in nearby villages; upon the spread of the news, many turned up en mass to block the removal of the remains and demanded construction a memorial statue on the site instead. The protests is still continuing with elders camping on the site while awaiting a response from government.
In addition to the remains, belongings of the dead individuals as well as ropes tied in hangman’s noose were discovered at the site.
———————
Lafeen ilmaan Oromoo bara 1980moota keessa mootummaa Darguutin, baroota 1990moota keessa ammoo Wayyaaneen dhoksaan kaampii waraanaa Hammarreessaa keessatti ajjeefamanii argame. Ilmaan Oromoo mooraa san keessatti hidhamanii booda ajjeefaman keessa wallisaan beekamaan Musxafaa Harawwee isa tokko. Musxafaa Harawwee wallee qabsoo inni baasaa tureef jecha qabamee yeroo dheeraaf erga hiraarfamee booda toora bara ~1991 keessa ajjeefame. Hiraar Musxafaarra geessifamaa ture keessa tokko aara wallee isaatirraa qaban garsiisuuf muka afaanitti dhiibuun a’oo isaa cabsuun ni yaadatama.
Baroota 1990moota keessas Oromoonni kumaatamaan tilmaamaman warra amma aangorra jiru kanaan achitti hidhamanii, hedduun isaanii achumaan dhabamuun yaadannoo yeroo dhihooti.
Haqxi dukkana halkaniitiin ajjeesanii lafa jalatti awwaalan kunoo har’a rabbi as baase. Dhugaan Oromoo tun kan amma as bahe, mootummaa kaampii waraanaa kana diiguun warra lafa isaa warra Turkiitiif kennuuf osoo qopheessuuf yaaluti. Lafee warra dhumee akkuma arganiin dhoksaan achirra gara biraatti dabarsuuf osoo yaalanii hojjattonni ummata naannotti iccitii san himan. Ummanniis dafee wal-dammaqsuun bakka sanitti argamuun ekeraan nama keenyaa akka achii hin kaafamneefi siidaan yaadannoo akka jaaramu gaafachaa jiran.
Hamma feetes turtu dhugaan Oromoo awwaalamtee hin haftu.
-----
More on the Mass Grave of Oromos at Hameressa:
1) OLF on the Hameressa Mas Grave: gadaa.net/FinfinneTribune/2014/06/olf-press-release-one-o... .... or gadaa.net/FinfinneTribune/2014/06/ibsa-abo-ajjeechaa-ilma...
2) gadaa.net/FinfinneTribune/2014/06/jaal-araarsoo-biqilaa-h...
3) gadaa.net/FinfinneTribune/2014/06/oromoprotests-fdg-hamma...
4) gadaa.net/FinfinneTribune/2014/06/gulelepost-hameressa-ma...
According to sources, a confrontation between residents and Ethiopian government officials broke out on June 9, 2014, over a mass grave discovered at the former Hameressa military garrison near Harar city, eastern Oromia. The mass grave is believed to contain remains of political prisoners executed during both the Dergue era and the early reigns of the current TPLF regime. Among those who were executed and buried in the location was Mustafa Harowe, a famous Oromo singer who was killed around early 1990′s for his revolutionary songs. Thousands more Oromo political prisoners were kept at this location in early 1990′s – with many of them never to be seen again.
The mass grave was discovered while the Ethiopian government was clearing the camp with bulldozers to make it available to Turkish investors. Upon the discovery of the remains, the government tried to quietly remove them from the site. However, workers secretly alerted residents in nearby villages; upon the spread of the news, many turned up en mass to block the removal of the remains and demanded construction a memorial statue on the site instead. The protests is still continuing with elders camping on the site while awaiting a response from government.
In addition to the remains, belongings of the dead individuals as well as ropes tied in hangman’s noose were discovered at the site.
———————
Lafeen ilmaan Oromoo bara 1980moota keessa mootummaa Darguutin, baroota 1990moota keessa ammoo Wayyaaneen dhoksaan kaampii waraanaa Hammarreessaa keessatti ajjeefamanii argame. Ilmaan Oromoo mooraa san keessatti hidhamanii booda ajjeefaman keessa wallisaan beekamaan Musxafaa Harawwee isa tokko. Musxafaa Harawwee wallee qabsoo inni baasaa tureef jecha qabamee yeroo dheeraaf erga hiraarfamee booda toora bara ~1991 keessa ajjeefame. Hiraar Musxafaarra geessifamaa ture keessa tokko aara wallee isaatirraa qaban garsiisuuf muka afaanitti dhiibuun a’oo isaa cabsuun ni yaadatama.
Baroota 1990moota keessas Oromoonni kumaatamaan tilmaamaman warra amma aangorra jiru kanaan achitti hidhamanii, hedduun isaanii achumaan dhabamuun yaadannoo yeroo dhihooti.
Haqxi dukkana halkaniitiin ajjeesanii lafa jalatti awwaalan kunoo har’a rabbi as baase. Dhugaan Oromoo tun kan amma as bahe, mootummaa kaampii waraanaa kana diiguun warra lafa isaa warra Turkiitiif kennuuf osoo qopheessuuf yaaluti. Lafee warra dhumee akkuma arganiin dhoksaan achirra gara biraatti dabarsuuf osoo yaalanii hojjattonni ummata naannotti iccitii san himan. Ummanniis dafee wal-dammaqsuun bakka sanitti argamuun ekeraan nama keenyaa akka achii hin kaafamneefi siidaan yaadannoo akka jaaramu gaafachaa jiran.
Hamma feetes turtu dhugaan Oromoo awwaalamtee hin haftu.
-----
More on the Mass Grave of Oromos at Hameressa:
1) OLF on the Hameressa Mas Grave: gadaa.net/FinfinneTribune/2014/06/olf-press-release-one-o... .... or gadaa.net/FinfinneTribune/2014/06/ibsa-abo-ajjeechaa-ilma...
2) gadaa.net/FinfinneTribune/2014/06/jaal-araarsoo-biqilaa-h...
3) gadaa.net/FinfinneTribune/2014/06/oromoprotests-fdg-hamma...
4) gadaa.net/FinfinneTribune/2014/06/gulelepost-hameressa-ma...
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Executing another warrant.
More than 40 Special Constables have today (17/5/13) given up their day job to help Greater Manchester Police as part of Give & Gain Day 2013.
The national day will see more than 11,000 employees across the UK donate their time to help out the communities they live or work in.
Specials taking part in the day have been given a day’s paid annual leave to support the day of action and their bosses have been invited to see what they do first hand.
Businesses supporting the national day include Tesco, Inspire 2 Independence (i2i) Ltd, Willmott Dixon Construction, AKW, Trafford Park, Lloyds Banking Group, NHS Blood & Transplant Service, Ofsted, Dept of Work Pensions, Bury Council, Asda Pilsworth and BT.
Specials working on the day are taking part in a variety of different tasks including warrants, an ANPR operation and burglary initiative.
Chief Superintendent Nick Adderley, programme director for the Special Constabulary, said: “Every day I’m blown away by the dedication, commitment and good work being done by our Special Constables to keep communities safe.
“These are people who want to make a real difference to the area which is commendable in itself but when you add to this the fact that they are giving up their spare time and aren’t being paid, I have nothing but the uttermost respect for them.
“Being a Special Constable enables individuals to gain hands on experience in dealing with challenging situations that they might not encounter in any other career. This helps to improve confidence, develop communication skills and manage conflict, which can help them in both their personal and professional lives.
“I’m delighted to take part in Give & Gain Day 2013 and would like to extend a personal thank you to the organisations that have allowed their staff to take a day off to help make Greater Manchester a safer place to live, work and visit.”
Simon Butcher, Director of Operations of Willmott Dixon Construction Northern said: “As an organisation we recognise the significant contribution that specials make in the policing of Greater Manchester and the significant personal risks it brings in protecting the public and serving the community.
“At Willmott Dixon we are always happy to support whether that be at an event like today or time off work for duties and training. Furthermore we recognise the significant benefits it brings to both individuals and company. Chief Inspector Mike Walmsley is one of our ‘Top Flight’ Project Managers and I have no doubts that Mike’s career with Willmott Dixon has benefited by the experience and training he has received in his voluntary role with the Specials.
“I am very much looking forward to spending a day in the life of a Special Constable and witnessing with my own eyes the marvellous work that these people carry out.”
Special Constable Oliver Mayall, who is being supported by his employer Inspire 2 Independence (i2i), said: "I joined the Special Constabulary because I wanted to give something back to my community. However, my experiences in the challenging role of a volunteer police officer have also enabled me to further develop my own skills and abilities.
"My paid employer is supporting me in this day of action by giving me the day off to undertake policing duties within the communities of Manchester. This makes me feel fulfilled as an employee, as it shows that I work for an organisation that is not only supportive of my own personal development, but also keen to contribute towards increasing public safety and confidence within Greater Manchester.”
To find out more about Greater Manchester Police please visit our website.
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.
Please attribute to Lorie Shaull if used elsewhere.
"Scaffold," a wood & steel sculpture by the artist Sam Durant, was a composite of the representations of 7 historical gallows used in US state-sanctioned executions by hanging between 1859 and 2006. One of them being the gallows constructed in Mankato, Minnesota to simultaneously hang 38 Dakota men on December 26, 1862 on orders signed by President Lincoln following the U.S.-Dakota War. The Mankato execution is the largest one-day execution in US history.
Some additional information on the context of historical events surrounding the Mankato hanging:
www.mprnews.org/story/2017/05/30/why-scaffold-struck-so-f...
The names of the 38 Dakota men executed in Mankato on December 26, 1862:
1. Ti-hdo’-ni-ca (One Who Jealousy Guards His Home)
2. Ptan Du-ta (Scarlet Otter)
3. O-ya’-te Ta-wa (His people)
4. Hin-han’-sun-ko-yag-ma-ni (One who Walks Clothed in Owl Feathers)
5. Ma-za Bo-mdu (Iron Blower)
6. Wa-hpe Du-ta (Scarlet Leaf)
7. Wa-hi’na (I Came)
8. Sna Ma-hi (Tinkling Walker)
9. Hda In-yan-ka (Rattling Runner)
10. Do-wan’-s’a (Sings A Lot)
11. He-pan (Second Born Male Child)
12. Sun-ka Ska (White Dog)
13. Tun-kan’ I-ca’hda Ma-ni (One Who Walks by His Grandfather)
14. Wa-kin’-yan-na (Little Thunder)
15. I-te’ Du-ta (Scarlet Face)
16. Ka-mde’-ca (Broken to Pieces)
17. He pi’ da (Third Born Male)
18. Ma-hpi’-ya A-i’-na-zin (Cut Nose)
19. Henry Milord
20. Cas-ke’-da (First Born)
21. Baptiste Campbell
22. Ta-te’ Ka-ga (Wind Maker)
23. He in’-kpa (The Tip of the Horn)
24. Hypolite Auge
25. Na-pe’-sni (Fearless)
26. Wa-kan Tan-ka (Great Spirit)
27. Tun-kan’ K o-yag I-na’-zin (One Who Stands Cloaked in Stone)
28. Ma-ka’-ta I-na’ (One Who Stands on Earth)
29. Ma-za Ku-te Ma-ni (One Who Shoots As He Walks)
30. Ta-te’ Hdi-da (Wind Comes Home)
31. Wa-si’-cun (White Man)
32. A-i’-ca-ge (To Grow Upon)
33. Ma-hu’-we-hi (He Comes for Me)
34. Ho-i’-tan-in Ku (Returning Clear Voice)
35. Ce-tan’ Hun-ka’ (Elder Hawk)
36. Can-ka-hda (Near the Woods)
37. Hda’-hin-hde (Sudden Rattle)
38. O-ya’-te A-ku’ (He Brings the People)
The names of the 2 Dakota men subsequently executed on November 11, 1865 at Fort Snelling for participating in the US-Dakota War:
Wa-kan-o-zhan-zhan (Medicine Bottle)
Sakpedan (Shakopee, Little Six)
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"
Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
This portrait of Benjamin Franklin (Catalog Number INDE14050) was executed by David Rent Etter in 1835. Etter, a Philadelphia sign painter, based his portait on Charles Willson Peale's 1772 copy (now at the American Philosophical Society) of David Martin's 1767 replica portrait (originally owned by Franklin and now at the Pennsylvania Academy of Fine Arts) and his life portrait (now at the White House). Etter's portrait was given by the Southwark District to Independence Hall to commemorate the 1854 consolidation of Philadelphia and its neighbors into one municipality.
Benjamin Franklin (1706-1790) was one of the Founding Fathers of the United States of America. A noted polymath, Franklin was a leading author and printer, satirist, political theorist, politician, scientist, inventor, civic activist, statesman and diplomat. A major figure in the Enlightenment and the history of physics for his discoveries and theories regarding electricity, he invented the lightning rod, bifocals, the Franklin stove, carriage odometer, and glass armonica. He formed both the first public lending library in America and first fire department in Pennsylvania. He was an early proponent of colonial unity and as a diplomat during the American Revolution, he secured the French alliance that helped to make independence possible.
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)
This bust of Thomas Jefferson, elected to the Hall of Fame for Great Americans in 1900, was executed by Robert Aitken in 1924. Thomas Jefferson (1743-1826) was the third President of the United States (1801–1809), the principal author of the Declaration of Independence (1776), and one of the most influential Founding Fathers for his promotion of the ideals of republicanism in the United States. Major events during his presidency include the Louisiana Purchase (1803) and the Lewis and Clark Expedition (1804–1806). He idealized the independent yeoman farmer as exemplar of republican virtues, distrusted cities and financiers, and favored states' rights and a strictly limited federal government. Jefferson supported the separation of church and state and was the author of the Virginia Statute for Religious Freedom (1779, 1786). He was the eponym of Jeffersonian democracy and the co-founder and leader of the Democratic-Republican Party, which dominated American politics for a quarter-century. Jefferson served as the wartime Governor of Virginia (1779–1781), first United States Secretary of State (1789–1793) and second Vice President (1797–1801). A polymath, Jefferson achieved distinction as, among other things, a horticulturist, statesman, architect, archaeologist, paleontologist, author, inventor and founder of the University of Virginia.
The Hall of Fame for Great Americans--the original "Hall of Fame", was conceived of by Dr. Henry Mitchell MacCracken, Chancellor of New York University from 1891 to 1910. It was designed as part of the school's undergraduate campus in University Heights in the Bronx, which is today the campus of Bronx Community College of The City University of New York. The Hall of Fame stands on the heights occupied by the British army in its successful attack upon Fort Washington in the autumn of 1776. MacCracken, once said "Lost to the invaders of 1776, this summit is now retaken by the goodly troop of 'Great Americans', General Washington their leader. They enter into possession of these Heights and are destined to hold them, we trust, forever."
The memorial structure is a sweeping open-air colonnade, 630 feet in length, designed in neoclassical style by the Stanford White. Financed by a gift from Mrs. Finley J. Shepard (Helen Gould), the Hall of Fame was formally dedicated on May 30, 1901. The Colonnade was designed with niches to accommodate 102 sculptured works and currently houses the busts and commemorative plaques of 98 of the 102 honorees elected since 1900. Each bronze bust, executed by a distinguished American sculptor, must be made specifically for The Hall of Fame and must not be duplicated within 50 years of its execution. To be eligible for nomination, a person must have been a native born or naturalized citizen of the United States, must have been dead for 25 years and must have made a major contribution to the economic, political, or cultural life of the nation. Of the 17 categories in The Hall of Fame, Authors is the largest, with Statesmen following closely.
The complex of three buildings adjoining the Colonnade--Gould Memorial Library, the Hall of Languages, and Cornelius Baker Hall of Philosophy--were also designed by Stanford White and bear a close conceptual relationship to the Colonnade, with the library as the central focus.
National Register #79001567
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
______________________________
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
______________________________
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Today, Thursday 9 November 2017, saw Greater Manchester Police execute warrants at addresses across the Moss Side and Hulme areas of Manchester.
The warrants, which were supported by the Immigration Service, were executed as part of Operation Malham targeting the supply of drugs in South Manchester.
Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: "Over the past 6 months we have had a dedicated team of detectives trawling through community concerns and information about drug supply in the Moss Side and Hulme areas.
“Today, we have made arrests after executing warrants across these areas and I would like to thank the community for working with us, as well as partners, and making this possible.
“Please continue to report anything suspicious to help us stop the criminals benefiting from drug supply and organised crime.
“Drugs never be tolerated by us and we are determined to bring those responsible to justice.”
To find out more about Greater Manchester Police please visit our website.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information.
Your call will not be traced or recorded and you do not have to go to court or give a statement.
Today, Thursday 9 November 2017, saw Greater Manchester Police execute warrants at addresses across the Moss Side and Hulme areas of Manchester.
The warrants, which were supported by the Immigration Service, were executed as part of Operation Malham targeting the supply of drugs in South Manchester.
Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: "Over the past 6 months we have had a dedicated team of detectives trawling through community concerns and information about drug supply in the Moss Side and Hulme areas.
“Today, we have made arrests after executing warrants across these areas and I would like to thank the community for working with us, as well as partners, and making this possible.
“Please continue to report anything suspicious to help us stop the criminals benefiting from drug supply and organised crime.
“Drugs never be tolerated by us and we are determined to bring those responsible to justice.”
To find out more about Greater Manchester Police please visit our website.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information.
Your call will not be traced or recorded and you do not have to go to court or give a statement.
Mental Escape Plan, an aerosol and acrylic paint on panel was executed by David Choe in 2010 as part of the Terminal Kings exhibit. DIA commissioned Choe, along with Sam Flores and Highraff to create a mural exhibition that would display in various airport locations over the several years. The artists each produced 100’ x 8’ murals on movable panels to be used as construction barricades at the sites of ongoing airport improvement projects.
Denver International Aiport (DEN), often called DIA, opened on February 28, 1995, replacing Stapelton Intenrational Airport as Denver's primary airport. The project began with Perez Architects in 1989 and was completed by Fentress Bradburn Architects of Denver. Its signature profile, suggestive of the snow capped Rocky Mountains, was first hand sketched by Design Director Curtis W. Fentress, and along with its user-optimized curbside to airside navigation won global acclaim. The central Jeppesen Terminal, named after aviation safety pioneer Elrey Jeppensen, houses shops and security screening, and connects to the 95 full service gates on 3 separate midfield concourses via train.
Denver International Airport is, by land size at 53- qaure-miles, by far the largest international airport in the United States and the third largest in the world. Its Runway 16R/34L is the longest public use runway in the United States. In 2009, Denver International Airport was the tenth-busiest airport in the world by passenger traffic, and the fourth-busiest by aircraft movement.
Mental Escape Plan, an aerosol and acrylic paint on panel was executed by David Choe in 2010 as part of the Terminal Kings exhibit. DIA commissioned Choe, along with Sam Flores and Highraff to create a mural exhibition that would display in various airport locations over the several years. The artists each produced 100’ x 8’ murals on movable panels to be used as construction barricades at the sites of ongoing airport improvement projects.
Denver International Aiport (DEN), often called DIA, opened on February 28, 1995, replacing Stapelton Intenrational Airport as Denver's primary airport. The project began with Perez Architects in 1989 and was completed by Fentress Bradburn Architects of Denver. Its signature profile, suggestive of the snow capped Rocky Mountains, was first hand sketched by Design Director Curtis W. Fentress, and along with its user-optimized curbside to airside navigation won global acclaim. The central Jeppesen Terminal, named after aviation safety pioneer Elrey Jeppensen, houses shops and security screening, and connects to the 95 full service gates on 3 separate midfield concourses via train.
Denver International Airport is, by land size at 53- qaure-miles, by far the largest international airport in the United States and the third largest in the world. Its Runway 16R/34L is the longest public use runway in the United States. In 2009, Denver International Airport was the tenth-busiest airport in the world by passenger traffic, and the fourth-busiest by aircraft movement.
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.
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
In 1945, a few days before the end of the war, Wehrmacht Captain Gerhard Klinkicht was ordered by City Commander Dietrich to blow the "Dom" first to pieces with 100 shells. If that is not enough, you have to continue shooting until it is completely destroyed. "But for moral reasons, Gerhard Klinkicht refused to execute this order and thus saved St. Stephen's Cathedral from total destruction.
On 14 March 2000 Gerhard Klinkicht died in Bavaria in his 86th year. A few months before his death, he presented Dr. Christoph Cardinal Schönborn a check worth around 70,000 euros for the restoration of St. Stephen's Cathedral. In total, Klinkicht donated 150,000 euros for "Our St. Stephen's Cathedral".
A memorial plaque at the foot of the high tower commemorates the savior of St. Stephen's Cathedral:
"Captain Gerhard Klinkicht thank you. By his decision of conscience he saved St. Stephen's Cathedral from destruction in April 1945. "
St. Stephen's Cathedral and the Second World War
During the Second World War, of course, hardly any restoration work could be carried out. Priority was the valuable art treasures to protect against possible bomb attacks: thus, for example, the pulpit and the tomb of Friedrich had been walled, the beautiful, colorful glass panes were removed, the giant gate secured and movable art objects brought into the catacombs.
On the night of April 11 to 12, 1945, the scaffolding on the north tower began to burn. Since there was no water to extinguish, the fire could spread to the roof. As a result of the fire, the Pummerin collapsed, including the belfry, the great organ was destroyed, the medieval choir stalls were burned and the vaults of the central and south choir collapsed: essential substance of St. Stephen's Cathedral was lost.
Yet 1945 was begun with the reconstruction of St. Stephen's Cathedral. From 1945 to 1948, the back of the cathedral was used as a church, while the choir (separated by a wall) was restored. In 1952, the choir was solemnly opened and the new Pummerin - a gift from Upper Austria - brought to Vienna.
Actions such as the "roof tile action" (a roof tile cost 5 shillings) or the Dombaulotterie (cathedral building lottery) contributed significantly to the rapid reconstruction of St. Stephen's Cathedral. The material that was used in 1945 (St. Margarethner limestone), was basically good. In some cases, however, layers were used that were biologically interfused and thus vulnerable. This material is still being replaced today.
In 1945 it was also considered to build a flat roof (such as the Milan Cathedral) instead of the steep Gothic roof. The idea was rejected.
The year 1960 marked the end of the reconstruction, from this point on one speaks of restoration work.
Wehrmachtshauptmann Gerhard Klinkicht erhielt 1945 einige Tage vor Kriegsende von Stadtkommandant Dietrich den Befehl, den „... Dom zunächst mit 100 Granaten in Schutt und Asche zu legen. Sollte das nicht ausreichen, ist bis zu seiner völligen Zerstörung weiterzuschießen." Doch Gerhard Klinkicht verweigerte aus moralischen Gründen die Ausführung dieses Befehls und rettete damit den Stephansdom vor der totalen Zerstörung.
Am 14. März 2000 ist Gerhard Klinkicht in Bayern im 86. Lebensjahr verstorben. Einige Monate vor seinem Tod überreichte er Dr. Christoph Kardinal Schönborn einen Scheck im Wert von rund 70.000 Euro für die Restaurierung des Stephansdoms. Insgesamt spendete Klinkicht 150.000 Euro für „Unser Stephansdom“.
Eine Gedenktafel am Fuß des Hochturms erinnert an den Retter des Stephansdoms:
„Hauptmann Gerhard Klinkicht zum Dank. Durch seine Gewissensentscheidung bewahrte er im April 1945 den Stephansdom vor der Zerstörung."
Der Stephansdom und der Zweite Weltkrieg
Während des Zweiten Weltkriegs konnten selbstverständlich kaum Restaurierungsarbeiten durchgeführt werden. Vorrangig waren die wertvollen Kunstschätze vor möglichen Bombeneinschlägen zu schützen: So wurden z. B. die Kanzel und das Friedrichsgrab ummauert, die schönen, bunten Glasscheiben wurden ausgebaut, das Riesentor gesichert und bewegliche Kunstgegenstände in die Katakomben gebracht.
In der Nacht von 11. auf 12. April 1945 begann das Gerüst auf dem Nordturm zu brennen. Da kein Wasser zum Löschen vorhanden war, konnte sich das Feuer auf das Dach ausbreiten. Infolge des Brandes stürzte die Pummerin samt Glockenstuhl herab, die große Orgel wurde zerstört, das mittelalterliche Chorgestühl verbrannte und das Gewölbe des Mittel- und Südchores stürzte ein: Wesentliche Substanz des Stephansdoms war verloren.
Noch 1945 wurde mit dem Wiederaufbau des Stephansdoms begonnen. In den Jahren 1945 bis 1948 wurde der hintere Teil des Doms als Kirche verwendet, während der Chor (durch eine Wand getrennt) wiederhergestellt wurde. 1952 wurde der Chor feierlich eröffnet und die neue Pummerin – ein Geschenk Oberösterreichs – nach Wien gebracht.
Aktionen wie die „Dachziegelaktion“ (ein Dachziegel kostete 5 Schilling) oder die Dombaulotterie trugen wesentlich zum raschen Wiederaufbau des Stephansdoms bei. Das Material, das 1945 verwendet wurde (St. Margarethner Kalksandstein), war grundsätzlich gut. Teilweise kamen aber Schichten zum Einsatz, die biologisch durchsetzt und somit anfällig waren. Noch heute wird dieses Material ausgetauscht.
1945 wurde auch überlegt, ein Flachdach (wie z. B. am Mailänder Dom) anstelle des steilen gotischen Daches zu errichten. Die Idee wurde jedoch verworfen.
Das Jahr 1960 markiert das Ende des Wiederaufbaus, ab diesem Zeitpunkt spricht man von Restaurierungsarbeiten.
Cadets with 3rd Regiment Advanced Camp Army ROTC prepare for and execute essential Army tasks as part of a situational training exercise at Ft. Knox, Ky., June 25, 2022. Cadets at Advanced Camp spend a total of 35 days at Ft. Knox to train to become future officers and leaders in the U.S. Army. (U.S. Army Photo by Staff Sgt. Evan Ruchotzke)
Saline's Jordan Toor executes a dive at the MHSAA women's diving regional at Huron High School on Nov. 16, 2010. Angela J. Cesere | AnnArbor.com
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.
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.
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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
Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Three people have been arrested after early morning warrants were executed in Manchester.
Earlier this morning (Friday 29 November 2019), officers executed warrants at two addresses in Cheetham Hill and made three arrests in relation to an ongoing firearms investigation.
The action comes after GMP launched a dedicated operation – codenamed Heamus - earlier in the month. The operation is set to tackle a dispute between two local crime groups, following a series of firearms discharges which have taken place since the beginning of September 2019.
Superintendent Rebecca Boyce, of GMP’s City of Manchester division, said: “Following this morning’s direct action, we have three people in custody and I would like to thank those officers who have worked extremely hard as part of this ongoing operation and who are committed to keeping the people of Cheetham Hill safe.
“Whilst we believe that these incidents have been targeted, we understand and appreciate how concerned local residents may be and as a result of this have set up this dedicated operation. We want to reassure those who feel affected that we are doing all that we can and stress that we are treating these incidents as an absolute priority.
“This is a complex investigation, which brings its own challenges and whilst we have made arrests, we are continuing to appeal for the public’s help. We believe that answers lie within the community and would urge anyone with information to get in touch. Whether you want to speak to us directly, or whether you’d prefer to talk to Crimestoppers anonymously, please do so if you think you can assist our enquiries with even the smallest piece of information.
“We will continue to work closely with partners in order to disrupt this kind of activity and I hope that this morning’s action demonstrates that are working hard in order to prevent any further incidents and protect those in our communities.
“This type of criminal behaviour is reckless and dangerous- it will not be tolerated on our streets.”
Anyone with information should call 0161 856 1146, quoting incident number 2348 of 18/11/19. Reports can also be made anonymously to the independent charity Crimestoppers on 0800 555 111.