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.

House built 1882, designed by Edmund Wright, sold 1914 to Marist Brothers for Sacred Heart College, a Catholic Boys school. Sale of contents Jun 1915 listed entrance hall, drawing room, ballroom, library, breakfast room, dining room, billiard room, sitting room, 11 bedrooms, sewing room, bathrooms and more.

“There is now on view in the window of Messrs. E. S. Wigg & Sons' premises, in Rundle-street, a beautifully executed perspective in pen and ink, drawn by Mr. J. S. Beaver, of a residence designed and being built at Somerton, near Brighton, for Mr. J. F. Cudmore.” [Register 9 Feb 1882]

“The house of 30 rooms was renowned for its woodwork and beautiful fittings. The stained-glass windows at the entrance hall depicted the Cudmore coat of arms. Entertaining was run on a lavish scale, and visitors to the house will remember the beautiful stained windows in the ballroom which represented the seasons of the year. Many of the rooms had walls of embossed oak leaves, and the Marshall Wood statuary, the wonderful pictures and china, and rare old silver kept connoisseurs in a state of rapture. The entrance hall was remarkable for its Italian tiles, and beautiful parquetry floored most of the rooms.” [The Mail 15 Dec 1928]

“the Chief Secretary received a letter from Mr. J. F. Cudmore, of Glenelg, of which the following is a copy:— ‘In view of the prospect of war with Russia, I beg to offer the Government without cost the use of my house, Paringa HalL New Glenelg, as a military hospital should such be required, and I am also prepared without expense to the Government to provide such furniture and bedding as may be found necessary. I would call the attention of the Government to the fact that the position of my house, the number of rooms, and the appointments (which include hot and cold water baths), would render it in every way suitable for the purposes above mentioned, as would also the fact of its having a tower and flagstaff, from which observations could be made and signals given.’” [Register 29 Apr 1885]

“CUDMORE.-On the 17th August at Paringa Hall, Somerton, Glenelg, James Francis beloved husband of Margaret Cudmore, aged 74 years.” [Register 19 Aug 1912]

“The death occurred on Saturday of Mr. J. F. Cudmore, of Paringa Hall, Brighton road, Somerton, at the age of 74 years. The deceased was one of the leading pastoralists of South Australia, and his activities extended to the other States. His father (the late Mr. D. Cudmore) originally came out from England to Tasmania to join a cousin, who was attached to a regiment of British troops there, but subsequently decided to settle on the mainland of Australia. He chartered a vessel to cross over to South Australia, and on the voyage the late Mr. J. F. Cudmore was born. The father started a brewery at Kapunda, but not long afterwards took up sheepfarming at Yongala Station. The son was educated at Sevenhills College, in the Clare district. About 1859 he crossed the River Murray, and became the occupier of Paringa Station, opposite to Renmark. In 1863 he proceeded to Brisbane, bought sheep there, travelled them along the coast to Rockhampton, and then out into Central Queensland in search of another pastoral holding. The flock was shorn en route. . . a few years later he ventured into Queensland again, started Gooyea Station, and next the Milo and Welford Downs, in South-Western Queensland. As time went on he became interested in land in Central Queensland, and took up Tara Station, with several of his sons. He established his home at Paringa Hall about 30 years ago. When the Western Australian gold rush occurred he was early on the Coolgardie field with a camel party, and erected what was believed to be the first crusher there. . . He has left six sons and four [five] daughters. The sons are Mr. K. Cudmore (Brisbane manager for Goldsbrough, Mort, & Co.), Dr. A. M. Cudmore (of Adelaide), Messrs. J. K. and D. C. Cudmore (of Tara), T. C. Cudmore (of near Blackall), and R. M. Cudmore (of Adelaide).” [Register 19 Aug 1912]

“CUDMORE.—On the 1st December, at Paringa Hall, New Glenelg, Margaret, widow of the late J. F. Cudmore.” [Register 2 Dec 1912]

“Mrs. Cudmore, widow of Mr. J. F. Cudmore, died at her residence, Paringa Hall, New Glenelg, on Sunday. Her husband, who for some years was one of the leading pastoralists in South Australia, besides being interested in squatting pursuits in the other States, died on August 17 last. Six sons and five daughters are left.” [Advertiser 3 Dec 1912]

“For Sale. . . Paringa Hall. The well-known residence of the late J. F. Cudmore, situated in 10 Acres of Grounds, with complete Stables, Outhouses, &c, and 7 Acres of adjoining Land, with Cottage.” [Register 20 Nov 1913]

“The purchase of Paringa Hall by the Marist Brothers of Sacred Heart College, Semaphore, demonstrates the great interest taken in educational extension by the educational authorities of the Roman Catholic faith; and in their latest possession, which cost originally £30,000 to build. Paringa College will be one of the most ornate educational institutions in the Commonwealth. When originally constructed by Mr. J. F. Cudmore, the question of expense was not allowed to enter into the minds of builder or architects, and one large set of stained glass windows alone cost 300 guineas. The upstair portion, surrounded by spacious balconies, will form the living quarters for the students and guardians, whilst the ground floor will be utilised for chapel, class, and living room.” [Advertiser 6 Jun 1914]

“Messrs. Theodore Bruce & Co.. auctioneers, wish to draw special attention to the fact that the furniture at Paringa Hall, as advertised in the auction columns, is of the highest quality throughout, having been manufactured to order by Walker and Sons, the well-known English manufacturers. The marble statuary and bronzes are also worthy of special mention, being works of art of the best quality. Included in the statuary are exceptionally fine examples by Marshall Wood, the world-famed sculptor.” [The Mail 13 Jun 1914]

This beautiful ciborium (c. 1293) stands over the altar in St Cecilia's basilica in Trastevere, Rome and it was executed by Arnolfo di Cambio.

Today, 22 November, is St Cecilia's feast day.

The Shot at Dawn Memorial can be seen near Alrewas in Staffordshire in an area which is first touched by the dawn light in remembrance of the 306 British and Commonwealth soldiers executed for a variety of believed offences including cowardice and desertion during World War I

The statue of a young blindfolded soldier is modelled on the likeness of Private Herbert Burden, 1st Battalion Northumberland Fusiliers, who lied about his age in order to enlist and who was shot for desertion in 1915 at Ypres aged 17.

His name and the names of those others who suffered the same fate of being shot at dawn are listed on the wooden stakes arranged behind him .

This 8.5 foot white concrete statue was created by the artist Andy De Comyn and was unveiled by Mrs Gertrude Harris, on 21st June 2001.

Source The National Memorial guide book, United Kingdom National Inventory of War Memorials, and Wikipedia

HUD Secretaries Visit Puerto Rico to Execute Disaster Grant Agreement

This statue of The Last Great Comanche War Chief Quanah Parker was executed by sculptor Jim Reno. Chief Quanah (circa 1845-1911) was the son of Peta Nocona, a Quahadi chief, and Cynthia Ann Parker, a white woman who had been captured as a child by the Indians. In the Comanches fierce campaigns to save the plains for the buffalo and the Indian, young Quanah soon became known as a great warrior. He was named paramount war chief for what turned out to be the Comanches last big raid, the battle of Adobe Walk. Here on, June 27, 1874, Quanah led 700 braves against a buffalo hunters' encampment. Defeated, he and his remaining warriors were hunted relentlessly by the U.S. Cavalary. In June 1875, to save his tribe from starvation, he surrendered at Fort Sill. As he approached the fort, he dismounted, turned his horse loose, and said, "There goes the spirit of the Comanche." In peace, he served as a tribal judge and school board president, learning the white man's ways and teaching them to his people.

The Briscoe Western Art Museum, at 210 West Market Street, opened in 2013 in a building that previously housed the Hertzberg Circus Museum. Named in honor of the late Texas Governor, Dolph Briscoe, Jr., and his wife Janey, it is the city's first dedicated Wester Art Museum and features over 700 objects preserving cowboy culture and exploring Native, Spanish and Mexican contributions to the area. The McNutt Sculpture Garden is the Briscoe Museum's lush public outdoor space that features a beautiful courtyard surrounded by bronze sculptures depicting iconic figures of the American West.

A classic example of the layered arcade design solution, a solution in which New York pioneered, the Romanesque Revival Lincoln Building is representative of an important transitional phase in the history of tall buildings. It was constructed in 1889-901 and was designed by the well-known New York architect R. H. Robertson.

Using interior metal skeleton skyscraper construction in combination with traditional masonry bearing walls, the building is executed in limestone, granite, and brick, and has exceptionally fine carved and terra cotta detail — which includes the corner griffin, acanthus scrolls, Byzantine capitals, crisp moldings, human and lion heads — that is effectively placed on both the Union Square West facade and on the 14th-Street elevation.

The Development of Union Square

The Commissioners Map of 1807-11, which first laid out the grid plan of Manhattan above Houston Street, allowed for certain existing thoroughfares to retain their original configuration. Bloomingdale Road (now Broadway), and the Bowery intersected at 16th Street.

The acute angle formed by this "union" was set aside by the Commissioners and named Union Place.2 Initially Union Place extended from 10th to 17th Streets, on land owned by the Manhattan Bank:

It then presented to the eye of the tourist and pedestrian a shapeless and ill-looking collection of lots, where garden sauce flourished — devoid of symmetry, and around which were reared a miserable group of shanties.

In 1815, the state legislature reduced the size of Union Place by making 14th Street its southern boundary.4 As the city expanded northward and land" use intensified, the need for open spaces became apparent. A report drafted by the street committee in 1831 states the need for public squares "for purposes of military, and civic parades, and festivities, and ... to serve as ventilators to a densely populated city."

Designated a public space in 1832 at the urging of local residents, additional land was acquired so that the area could be regularized. Graded, paved, and fenced, Union Place was finally opened to the public in July 1839. Throughout much of its history, the square has been used for public gatherings, political rallies, and demonstrations.

By the 1850s, Union Square (as it came to be known) was completely surrounded by buildings including some of the city's most splendid mansions; but, "already by 1860, the dramatic march of commerce had begun." Theaters, hotels, and luxury retailers predominated in the 1870s. By the 1890s, the vestiges of the fashionable residential area, as well as the elegant stores and theaters, had been supplanted on Union Square by taller buildings that catered to the needs of publishers and manufacturers who had moved uptown.

The block on which the Lincoln Building stands was originally part of the Henry Spingler farm, and the land, which was let on long leases, remained in the Spingler family's possession until 1958.The Lincoln Building, which replaced four smaller structures, was constructed for a Mr. Crawford, who was listed as the "owner" on the New Building Application and who may have been a trustee for the Spingler-Van Buren family's interests or connected with the lessee.

The Lincoln Building is prominently situated on the northwest corner of 14th street and Union Square West, considered the most desirable side of the square "probably because for all practical purposes it really was Broadway." Its early tenants included a wide variety of businesses and occupations — from the Eyelet Buttonhole Attachment Co. to a number of firms involved in building trades, as well as the offices of architects, including that of Alfred Zucker.

Robert H. Robertson 1849-1919

A successful and prolific architect, the Philadelphia-born Robert Henderson Robertson employed the major popular styles of the late nineteenth and early twentieth centuries.-- Montgomery Schuyler noted that Robertson had "taken part in every one of the successive *movements' that have agitated American architects in his time" — from the High Victorian Gothic to the Romanesque and later the neo-Renaissance.

Educated in Scotland and at Rutgers College, Robertson was first employed in the Philadelphia office of Henry Sims from 1869 to around 1872. After moving to New York, he worked briefly in the offices of the noted architect George B. Post and in 1873 and 1874 for Edward T. Potter.

During these years he designed the Phillips Presbyterian Church in New York, a High Victorian Gothic structure which displays the influence of Potter, who was an early advocate of the style. From 1875 to 1881, he formed a partnership with Potter's younger half-brother William A, Potter, who also favored the High Victorian Gothic style. Together they designed a number of early Shingle Style houses.

In later years Robertson was occasionally associated with others, including his son T. Markoe Robertson. Robertson joined the AIA in 1873, the New York City chapter in the following year, and was elevated to the status of Fellow in 1885; he became a member of the Architectural League in 1886.

In the 1880s, Robertson employed the Romanesque Revival style, an especially fine example being his Mott Haven Railroad Station (1885-86) . Although the noted New York critic Montgomery Schuyler observed that Robertson "took up the Romanesque in his own way and arrived at his own expression in it," the Lincoln Building (1889-90) shows the influence of H. H. Richardson and especially his later use of light stone for Romanesque designs, such as the Allegheny County Buildings in Pittsburgh (1883-88).

Robertson's other Romanesque Revival designs in New York include St. Luke's Episcopal Church (1892) located in the Hamilton Heights Historic District, and the YWCA at 7 East 15th Street (1883). The Lincoln Building is apparently his first skyscraper, soon followed by the Mclntyre Building (1890-92), the Corn Exchange Bank Building (1893-94, now demolished), the American Tract Society Building (1894-95), and the twenty-seven story Park Row Building (1896-99) , for a time the tallest building in the world.

Other notable commissions include St. James's Church (1883-85, rebuilt in 1923-24 by Ralph Adams Cram) in the Upper East Side Historic District; Saint Paul's Methodist Episcopal Church and Parish House (1895-97; now the United Church of Saint Paul and Saint Andrew), a designated New York City Landmark; Hammersmith Farm (1887-89) in Newport, Rhode Island for John W. Auchincloss; William Seward Webb House and Farm Buildings (1887-1902) in Shelburn, Vermont; The Margaret Louisa Home (1889-91) in New York; The Rutgers Rivers ide Church (1889-90), New York ; Hodge Hall, Princeton Theological Seminary (1893-94), New Jersey; New Yorfc Bank for ..Savings (1896-98); the Chas. T. Yerkes House (1896), New York; Lying-in Hospital of New York (1899-1902).

Design of the Building

The Lincoln Building is a transitional skyscraper incorporating load-bearing masonry walls along with an interior

metal skeleton consisting of steel beams with steel girders and columns of cast iron-19 By the 1890s Robertson was employing the metal skeleton alone, often considered one of the essential criteria for a true skyscraper.

The arcaded elevations of the building visually suggest the hybrid nature of its construction. The two-story arcades relate to the verticality and height which skeletal construction permitted, while the layering or stacking of floors provides a horizontality associated with traditional masonry construction. In addition, while the Lincoln Building does have a defined base, shaft, and capital — thus embodying the tripartite columnar skyscraper analogy favored by contemporary critics for tall buildings — the layering of stories nevertheless predominates.

An interesting and important stage in the evolution of the skyscraper from the modern point of view, this emphasis on the horizontal led the famous nineteenth-century critic Montgomery Schuyler to chastise the architect:

In the Lincoln building, the subordinate division is carried so far as to confuse the principal division . . . The architect's power of design is shown in the parts [of the tall building], rather than in the whole, in the picturesque features in which his ... work abounds.

Within the context of the evolution of arcaded buildings in New York during the later nineteenth century, the Lincoln Building is a classic example of the layered type, a design solution in which New York pioneered.

Other comparable examples include McKim, Mead and White's Judge Building (1888-90) and George B. Post's New York Times Building (1888-89), an arcaded structure in the "popular Richardsonian style."

Despite Schuyler's reservations, he conceded that the ornament and detailing — "the picturesque features" — of Robertson's work are exceptionally fine; those of the Lincoln Building are particularly good. Moreover, Robertson's handling of textures in the design of the Lincoln Building — smooth and rusticated limestone, brick and terra cotta — is subtle, as is the placement of the extremely handsome carved and terra-cotta ornament, which includes acanthus scrolls, Byzantine capitals, crisp moldings, human and lion heads, and the fantastical and ferocious corner griffin.

Many of the buildings qualities — such as the rich textural contrasts, the massive stone arches, piers and columns, complex Byzantine and Celtic style carving, Norman zigzag moldings — are characteristic of the Romanesque Revival as it was employed after the Civil War.24 Schuyler judged Robertson's Romanesque work to be his best, observing that "the Romanesque, or at least the Romantic, phase of his design seems to be so much the more characteristic and important as to constitute artistically the bulk of his work."

The use of historical styles for modern tall buildings posed certain problems of adaptation.

The Romanesque Revival style could be adapted to arcaded designs, even if the massiveness and heaviness traditionally associated with it were less suited to the vertical ity demanded by the skyscraper and by open shop-fronts with their wide expanse of plate-glass windows.

And indeed — as skyscrapers grew ever taller and the arcaded type was abandoned, architects who favored medieval styles turned to the Gothic for inspiration, going on to create soaring spire-like towers, such as Cass Gilbert's famous Woolworth Building (1911-13)

Description

The Lincoln Building is a nine-story28 structure, which combines iron- and steel-framing with masonry bearing walls. Faced with light-colored smooth- and rock-faced Indiana limestone, light brick, and granite, the Union Square West facade is divided into four bays, the 14th Street elevation into seven.

Except at the ground floor, all the windows and arches at each story of the 14th Street elevation appear to be the same but wider than those of the Union Square facade. Located in the northernmost bay on the Union Square facade, the main entrance to the offices above is composed of a massive round arch with engaged columns and ornamented with a Norman zigzag molding; the arch spandrels contain Byzantine acanthus scroll carving.

Although the ground floor has been substantially altered, the original engaged colonettes with Byzantine detailing remain on six of the seven 14th-Street bays and on one side of the southernmost bay on the Union Square facade. The commercial bays on 14th Street and the southernmost bay on the Union Square West facade are flanked by the original rock-faced limestone piers (four now have display windows which are later additions). These piers rest on granite bases. The final westernmost bay on this elevation contains a service entrance that retains its cast-iron frame ornamented with bosses. Late nineteenth and early twentieth century photographic views show the original design.

The first three office stories are faced with smooth- and rock-faced limestone. The second- and third-story windows are set within a double-height arcade demarcated by smooth limestone piers with rock-faced arches. The pier capitals, arch spandrels, and imposts are ornamented by Byzantine foliage, Celtic intertwining bands, bunches of grapes, Norman zigzags, and expressive human heads. On the second story are pairs of windows separated by piers with Byzantine capitals. A molding of counterposed triangles decorates the chamfered upper edge of each window enframement.

Smooth rectangular panels outlined by bands of small square indentations separate the second-story windows from the round-arched third-story openings. A band of these indentations runs between the third and fourth stories. At the fourth story, paired round-arched windows are separated by squat

Byzantine columns. Elaborately embellished imposts and corbels support the smooth limestone voussoirs which have simple molded enframements.

At both Union Square corners of the building, very slender three-story colonnettes rise from the base of the second story ending in flaring foliate capitals that support bulbous cartouches surrounded by foliate decoration.

A crisp cornice of dentils placed within indentations surmounts the fourth story and articulates the transition to the simple brick and limestone fifth floor, with paired rectangular windows separated by piers with Byzantine curvilinear terminations. Surmounted by a protruding band of small square indentations, the fifth story forms a transition between the double-height arcades of the lower section and those above.

The design of the sixth and seventh stories echoes that of the second and thi*rd; however the upper stories are faced with brick and smooth limestone, and the architectural forms are lighter and more restrained. The sixth story has corbels at the corners of the windows which are separated by piers again with Byzantine capitals. The seventh-story windows are round-arched.

These two stories are divided by spandrels with recessed rectangular panels with terra-cotta egg-and-dart moldings. The moldings of the seventh story arches rest on corbels ornamented with human faces; at the corners, the moldings extend into rich acanthus scrolled banding at impost level. A stylized variant of a dentilled cornice runs above the seventh story. At the corner this cornice is accentuated by a flagpole base in the form of a large and impressive griffin. The paired round-arched windows of the eighth story are faced with terra-cotta panels.

Those of the upper half are cast in complex Byzantine guilloche and Celtic patterns. Above is a band of stylized triglyphs and metopes surmounted by a heavy projecting cornice consisting of moldings, a band of bosses, and a smooth band supported by a row of human and lion headed corbels. The ninth story, a loggia with paired terra-cotta spiral columns separating the small rectangular windows, is shorter than the stories below. Handsome strapwork embellishes the Union Square West corner. The attic is topped by an ovolo molding with recessed panels and incising.

- From the 1988 NYCLPC Landmark Designation Report

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.

www.gmp.police.uk

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

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

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

Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

Design for banner of the Collectantencollege - St. Stephanus, of the church of O.L.V. Onbevlekt Ontvangen in Amsterdam

Executed banner in Museum Amstelkring

Dutch

Design: Jan Eloy Brom

Production: Sint Bernulphushuis, Amsterdam

Date: c. 1928

William Rhea was hanged for murder at the Nebraska State Penitentiary in Lincoln, Nebraska on July 10, 1903. He's buried in Wyuka Cemetery in Lincoln, Nebraska. All his stone says is the year 1903 followed by the words "An unfortunate".

LUBLIN, Poland — LITPOLUKRBRIG moved to the next scenario stage executing ANAKONDA 16 training plan and held Civil-Military Cooperation Operations while affiliated units conducted clearance of buildings and deactivated improvised explosive devices and mines.

Thus, Lithuanian-Polish-Ukrainian Brigade Commander Brigadier General Adam Joks and the Deputy Colonel Volodymyr Yudanov accompanied with Chief S-9 section Major Tomasz Pędzik met a Governor of a fictional province and discussed requirements to recover the part of the country affected by terror. During the long and challenging chat the meeting participants came to a common point of view.

“Such events bring an outstanding opportunity to exercise personal diplomatic standards. We were supposed to carefully listen to the local official, express our readiness to help, but simultaneously be aware of political trades in the area of operation and take into account that we cannot be involved in the political speculation or other, so called, games. We did our best to offer meaningful help to the local population but to be reasonable with available resources,” Colonel Volodymyr Yudanov talked about the CIMIC meeting.

Meanwhile, combined Polish-Ukrainian unit entered the designated area of recovery and secured the area. The soldiers checked out the buildings in order to ensure no adversary followers remain in the town. Demining specialists searched for improvised explosive devices still threating civilians and military patrols.

“The main intent of the crisis-response operation is not just to suppress adversary but also to recover the area and mitigate suffering of the local population. For this reason, we exercised and examined the Multinational Brigade means of securing civilians and cooperation with them. Thus, I want to underline, that ANAKONDA 16 allows us to exercise a wide spectrum of LITPOLUKRBRIG functions and receive easy adaptable to any operation training. Also, it integrates Lithuanian-Polish-Ukrainian Brigade in the global operational environment, establishes mutual trust and understanding between the involved armies,” concluded Brigadier General Adam Joks.

“Анаконда-2016”: ЛИТПОЛУКРБРИГ налагоджує життя цивільного населення в районі проведення операції

Литовсько-Польсько-Українська бригада перейшла до наступного кроку виконання операції за сценарієм навчання “Анаконда-2016”. Зокрема, військовослужбовці провели заходи цивільно-військового співробітництва, зачистили будівлі населеного пукнту та розмінували саморобні вибухові пристрої.

Командир ЛИТПОЛУКРБРИГ бригадний генерал Адам Йокс, його заступник полковник Володимир Юданов разом з начальником секції С-9 майором Томашем Пенджіком провели робочу зустріч з місцевим губернатором під час якої вони обговорили аспекти відновлення регіону, що постраджав від діяльності незаконних збройних формувань. Протягом тривалої розмови учасники дійшли спільної думки.

— Такі навчальні події допомагають нам підготуватися дипломатично вирішувати складні ситуації. Ми уважно вислухали представника місцевої влади, висловили готовність допомагати, але водночас врахували особливості відносин між політичними течіями регіону. Ми не можемо бути втягнутими в якісь політичні конфлікти чи, так звані, ігри. Тому, оцінюючи власні сили і засоби, ми запропонували таку допомогу, яку зможемо надати – не більше, і не менше, — розповів про зустріч в рамках цивільно-військового співробітництва полковник Володимир Юданов.

Тим часом, польсько-український підрозділ прибув у визначений населений пункт і взяв його під охорону. Військові з двох країн перевірили будівлі з метою пересвідчитися, що прихильників ворога в містечку не залишилося. А сапери знешкодили закладені саморобні вибухові пристрої та міни, що загрожували цивільному населенню та військовим патрулям.

— Основне зусилля операцій з підтримки миру не тільки зменшити діяльність сил противника, а й мінімізувати страждання місцевого населення. З цією метою ми перевірили засоби багатонаціональної бригади щодо роботи з цивільним населенням і забезпечення їх безпеки. Також, я хочу наголосити, що “Анаконда-2016” дозволяє нам перевірити роботу широкого спектру сил і засобів ЛИТПОЛУКРБРИГ і отримати підготовку, що легко адаптовується до умов будь-яких майбутніх місій. Також, навчання інтегровує Литовсько-Польсько-Україську бригаду в міжнародне середовище виконання операцій, встановлює засади взаємної довіри і порозуміння між країнами-учасниками, — додав на завершення бригадний генерал Адам Йокс.

Фото: Олександр Гайн

José Protasio Rizal Mercado y Alonso Realonda (June 19, 1861 – December 30, 1896) was a Filipino nationalist, novelist, poet, ophthalmologist, journalist, and revolutionary. He is widely considered one of the greatest heroes of the Philippines. He was the author of Noli Me Tángere, El Filibusterismo, and a number of poems and essays. He was executed on December 30, 1896, by a squad of Filipino soldiers of the Spanish Army [Wikipedia.org]

The Orchard Beach Bathhouse and Promenade, which since 1936 has served as the major waterfront recreation complex for Bronx residents, is an outstanding example of the federally-funded public works projects executed during the Great Depression of the

1930s. Located in Pelham Bay Park and fronting on Long Island Sound, Orchard Beach was constructed in 1934-37 during the administration of Mayor Fiorello LaGuardia and Park Department Commissioner Robert Moses with funds obtained largely from the Works Progress Administration. Planned on a massive scale, its construction required a major landfill and a mile-long seawall to connect Hunter Island to the mainland, creating an entirely new, artificial landscape. Designed by a talented staff supervised by the well- known architect Aymar Embury II and the noted landscape architects Gilmore D. Clarke and Michael Rapuano, the facility contains a bathhouse in a Modern Classical style and a wide promenade, the plan of which was influenced by Beaux-Arts principles. The concrete, brick, and limestone bathhouse, embellished with tile and terrazzo finishes, features two monumental colonnades that radiate outward from a raised central terrace. The crescent-shaped promenade, which follows the curve of the beach, is paved with hexagonal blocks and edged by cast-iron railings evoking a nautical motif. Situated on the promenade are Moderne style concession and supply buildings, park benches, drinking fountains, and modernistic lamp posts. The original and creative use made of these materials and forms, and the careful siting of the facility, make it a distinguished, individual design. Orchard Beach, a major accomplishment of engineering and architecture, and New York City's most ambitious park project of the New Deal, is recognized as being among the most remarkable public recreational facilities ever constructed in the United States.

History of the Site1

DESCRIPTION AND ANALYSIS

The drive to acquire new parkland for the citizens of the City of New York began with FrederickLaw Olmsted, who was the chief of the Park Department's Bureau of Design and Superintendence in the 1870s. His vision for the developing the Bronx included a system of parks and parkways, with roads following the existing topography rather than a rigid grid system as in Manhattan. City officials rejected his recommendations and dismissed him in 1877. However, his ideas were not forgotten. John Mullaly, editor of the New York Herald Tribune, rallied public enthusiasm for the plan. In 1881, New York Park Association was formed. It was made up of many of the City's leading businessmen and professionals, such as Charles L. Tiffany, Gustav Schwab, Jordan L. Mott, Egbert L. Viele, and H.B. Claflin. They proposed creating new public parkland by preserving large tracts of open land in rural areas that were newly annexed or soon-to-be-annexed to the City. The Association was unsuccessful, however, in persuading the Mayor and the Board of Aldermen to authorize a commission to oversee the selection of new parkland, so they took their case to the New York State Legislature. Despite much political opposition, the Legislature created the Park Commission in 1883. It proposed three large parks: Pelham Bay, Bronx, and Van Cortlandt, and three smaller parks: Crotona, Claremont, and Saint Mary's.

New York City government officials opposed the purchase of these lands because of the cost of acquisition; they were especially hostile toward Pelham Bay Park because the land was still located beyond city limits. After much debate and a series of court cases, all of the parks, including the embattled Pelham Bay Park, were secured for the City by 1887. Not only would there be thousands of acres of new parkland, but also a system of parkways - the Pelham, Mosholu, Claremont and Crotona Parkways - which would serve as green linkages between the great parks. Pelham Bay Park, the largest tract of land purchased under the bill, officially became the City's first public seaside park, as well as its largest park,on December 12, 1888. The City consolidated several estates to create Pelham Bay Park, including lands belonging to the Hunter, Furman, Edgar, Lorillard, Morris, Stinard, Marshall, LeRoy, and Delancey families. The park's largely natural acreage was virtually ready-made parkland, requiring only the construction of roads and walks.

During the late nineteenth century, the Bronx Park Department leased some former estate buildings to various organizations, such as the Jacob Riis Settlement. One of these, the Bartow-Pell Mansion is a designated New York City Landmark. Several others were either demolished or converted into hotels and restaurants. By the 1930s, virtually all of them had been demolished. The Bartow-Pell Mansion Museum, however, remains and is a designated New York City Landmark. Around the turn of the twentieth century, the City began to lease land in the park to campers, who constructed tents and small bungalows on Hunters Island. When it became overcrowded, another camp was opened on Rodman's Neck in 1905. Orchard Beach was named for the numerous orchards behind it. Orchard Beach eventually grew into a summer colony of more than 300 tents and bungalows, with wooden locker rooms and bathhouses. In 1912, about 2,000 people occupied the beach on summer weekdays and 5,000 a day on weekends. Boating and fishing were also popular activities within the park, and the renowned film maker, D.W. Griffith used the park's islands as the setting for several early silent movies. By the late 1920s, urbanization had reached the areas bordering the park and the facilities were becoming overcrowded and run-down. Vandalism was rampant and sanitation was poor. The press began to decry the monopolization of the park by the leaseholders, who were mainly Tammany Hall insiders who paid nominal sums for their leases, and then sub-leased the sites at much higher rates. In 1932, in the midst of the Great Depression, the City obtained funds to construct improvements at Orchard Beach from the Civil Works Administration (CWA), one of the pre-New Deal Federal relief programs set up to combat unemployment. The hastily prepared changes to Orchard Beach were ill- conceived and poorly built.

An improperly designed breakwater and retaining wall, intended to expand the beach area, instead eroded the beach and caused flooding at high tide. The old unsanitary wooden bathhouses were replaced with poorly-ventilated and unattractive bathhouses built of paving blocks, and the beach was blanketed with uninviting, gray New England sand. Franklin D. Roosevelt was elected President of the United States in 1932 in the middle of the Great Depression that followed the stock market crash in 1929. Roosevelt promised to rebuild confidence in American capitalism and to improve the nation's standard of living by creating an economic program of unprecedented public spending on social programs and construction projects, known as the New Deal. New York City had been especially hard hit by the economic downturn,4 and its citizens, also hoping for change, elected Fiorello LaGuardia to the mayoralty of New York City in 1933 under a reform-minded "fusion" ticket. He chose New York State Park Commissioner, Robert Moses, a champion of reform politics, as New York City’s new Park Commissioner. The new mayor's success in securing a lion's share of monies made available by the federal Works Progress Administration (WPA), and Moses' superb management skills and his ability to attract talented designers and engineers to his staff, resulted in profound physical changes in the environment of New York City. The recreation of Orchard Beach, beginning in 1934, was one of the most ambitious and successful projects undertaken by Moses with funds largely provided by the WPA.

Fiorello LaGuardia, Robert Moses and the New Deal5

Fiorello H. La Guardia became the ninety-ninth mayor of the City of New York in January 1934, as an anti-Tammany Hall reform candidate. A maverick Republican and a five-term congressman from East Harlem, LaGuardia won the 1933 mayoral election on a "fusion" ticket, after losing the 1929 mayoral race on the Republican line. The Fusion Conference Committee at first considered Robert Moses, another Republican, who was appointed Chairman of the New York State Council of Parks in 1924 by his political mentor, Governor Alfred E. Smith, a Tammany Hall Democrat from New York City. However, the committee decided against Moses because of his association with Smith, and chose LaGuardia instead. At the time, Moses was a popular public figure with a reputation as a progressive and as the builder of great parks and parkways, such as Jones Beach and the Northern State Parkway on Long Island. His endorsement of LaGuardia during the campaign was considered instrumental in securing a victory for LaGuardia. As a reward, the mayor-elect invited Moses to join his future administration within a week of the election. Moses accepted the position of Commissioner of Parks on the condition that the existing five independent Park Departments, one for each borough, be consolidated into one with himself as the sole Commissioner, and that the Park Commissioner's authority include control of the City's parkways.

He also demanded that he be appointed the Chief Executive Officer of the Triborough Bridge Authority, which was then building the bridge of that name, and that a new agency, the Marine Parkway Authority, which would build a bridge to the Rockaways, be created with himself at the helm. Already in charge of the Long Island State Park Commission, the New York State Council of Parks, the Jones Beach State Park Authority, and the Bethpage State Park Authority, Moses would then be in control of all existing and proposed parks and parkways in the New York metropolitan region, with the exception of areas outside of New York State. Moses began to assess the state of the City's parks and to plan for the future as soon as LaGuardia announced his intention to appoint him as Commissioner of Parks. According to one source: "Immediately after the election he wrote out, on a single piece of paper, a plan for putting 80,000 men to work on 1,700 relief projects."

Moses hired a consulting engineer and three assistant engineers to survey every park and parkway in the City. It was completed by the time he took office in mid-January 1934. When Moses took over the Park Department, it was already employing 69,000 relief workers with a total monthly payroll of eight million dollars provided by the federal Civil Works Administration and the Temporary Emergency Relief Administration (TERA). However, Moses found the men to be ill- equipped and inadequately supervised, and thought that many of the construction projects had been poorly designed. Included among these was the earlier Orchard Beach reconstruction, which Moses considered to be an unacceptable design for such a grand site. He immediately began to revamp the entire operation of the Park Department and established a Division of Design at the Arsenal in Central Park. The staff was to be headed up by experienced professionals drawn mainly from his State agencies. They were a talented staff of young architects, landscape architects and engineers. Some of them had worked on the designs for Long Island's highly acclaimed parks, including Jones Beach, which is considered one of Moses' greatest accomplishments. His staff also included a number of well-known designers, among them architect Aymar Embury II and Gilmore D. Clarke, a landscape architect and civil engineer.

The Department needed to immediately begin producing plans and blueprints, so that the growing force of relief workers could be assigned to worthwhile projects. Within a week, Moses managed to persuade CWA officials to drop some of the regulations governing the hiring of staff and to relax its spending limits on project planning, allowing him to hire 600 architects, engineers and draftsmen at salaries above CWA wage guidelines. By the first of February, they were busily producing designs and blueprints. The Division of Design was organized in the following manner: a topographical unit of about 400 surveyors and draftsmen, a landscape architecture unit of about sixty people, an architecture unit made up of sixty architects and draftsmen, and an engineering unit of about fifty. Smaller units included an Arboricultural Department and an Inspection Department. All the work in the Division of Design was under the direct supervision of the Park Engineer, who was aided and advised by a Consulting Architect, a Consulting Landscape Architect, and a Consulting Engineer.7 All new projects began in the topographical unit, where a complete survey of the land was prepared. It then moved on to the landscaping unit, where the basic concept for the design was developed. Next, the three units: landscape, architecture, and engineering, collaborated to produce the final design and all the necessary construction documents.

The Park Engineer and his aides had to approve all the designs. Moses himself sometimes stepped in to revise or overrule a design, especially on the larger, more visible projects. Moses' superior management ability and political savvy allowed him to move projects along very quickly and to produce concrete results, gaining for him much public admiration. However, his personal demeanor, described as stubborn and arrogant, offended many and made him many enemies. He was known to sometimes fire people on the spot, and for no apparent reason. At times, he disregarded the legitimate authority of other governmental agencies. Once, when the Department of Plant and Structures refused to suspend a ferry service that used a terminal in the path of constructing the Triborough Bridge approach road, Moses had his men demolish the terminal while the boat was on the other side of the river. He feuded with President Franklin D. Roosevelt for years, even while Washington was pouring millions of dollars into Moses' own Park Department. His later battles with and subsequent triumphs over community groups opposed to the routing of the Gowanus and the Cross-Bronx Expressways through their neighborhoods are now legendary. To many he was a master builder; to others he was a spoiled bully; and he seemingly always had his way. In the summer of 1934, however, Robert Moses was a hero. Hundreds of projects, covering virtually every City neighborhood, had been completed. Structures were repainted, tennis courts resurfaced, and lawns reseeded. Hundreds of new construction projects were either underway or being designed.8 Among the projects being drawn up at the time was the new Orchard Beach.

The Design and Construction of Orchard Beach11

Orchard Beach and the entirety of Pelham Bay Park, geologically the southernmost extension of the jagged New England coastline and the most complex natural environment within New York City, sit on a foundation of Hartland bedrock. This bedrock underlies Long Island Sound, which had been a river until it was flooded at the end of the last ice age, 10,000 to 15,000 years ago. As the glaciers retreated, they left behind large boulders and a mixture of rocks, gouging out small coves in the bedrock, thus forming an irregular coastline. Glacial boulders in the Pelham Bay Park area include the Gray Mare Rock on Hunter Island and Mishow Rock at the north end of Orchard Beach. Left behind by the floodwaters were a series of salt and fresh water marshes, estuaries, coves, bays, inlets, islands, peninsulas, forests, uplands and meadows. At the time when Pelham Bay Park was acquired by the City, large urban parks were generally thought of as being pleasure grounds mainly for passive recreation and for the quiet contemplation of nature. Most parks, Pelham Bay Park among them, were preserved in their natural states or, like Central Park, landscaped to take advantage of the natural topography.

By 1930, all that had changed and, led by the thinking of Robert Moses, such parks came to be seen as vast recreational facilities for the urban masses. The value of the landscape was no longer just in the appreciation of nature, but rather in their potential for the placement within them of recreational facilities. Thus, the natural landscape could be manipulated and altered at will, as was the situation in Pelham Bay Park for the construction of Orchard Beach. The natural beauty of its shallow bays and rocky islands, gave way to a grandiose reshaping into an artificial landscape created with seawalls and landfills, a method of environmental manipulation known as land reclamation. Robert Moses was known to have been an avid swimmer who resided near the ocean in Babylon, Long Island. Thus, he took a special interest in the design and construction of the bathing and swimming facilities, such as Jones Beach, Orchard Beach and Riis Park, as well as the neighborhood swimming pools. Moses was said to have spent a lot of time at the Orchard Beach site, imagining about how best to remake the facility. After thinking of the concept for the new beach, he took his designers on a tour of the area, relaying his ideas to them.

The setting for Moses' vision of a new Orchard Beach was the easternmost area of the park fronting on Pelham Bay, a protected basin on Long Island Sound. Surrounding the bay are parts of Rodman Neck, a wooded peninsula on the Bronx mainland extending southward into Eastchester Bay; two large islands, Hunters and City Islands; and three smaller islands, the Twin Islands and High Island. Separating Rodman Neck from Hunters Island was a shallow inlet called LeRoy Bay. Moses' scheme consisted of creating a gigantic recreation area with a mile-long beach, a wide promenade, a large bathhouse including viewing terraces and concessions, picnic groves, game areas, playgrounds, and a parking field for several thousand cars. He instructed his designers to be imaginative, as they had been at Jones Beach, to make the new facility fit visually into the Pelham Bay Park environment. According to one account, it was Moses who first suggested the use of a colonnade at the site, citing the verticality of the site's wooded, hilly backdrop. To accomplish these plans, all the existing buildings on the site, including the private bungalow colony and the newly completed beach improvements, had to be demolished and Hunters Island had to be connected to Rodman Neck by filling in LeRoy Bay. On February 27, 1934, Moses publicly announced his plans for Orchard Beach, envisioning the proposed improvements to be similar to those made earlier at Jones Beach.

He described Orchard Beach in its current state as a "monstrosity," criticizing the poor design of the recently constructed seawall and bathhouses and accusing the Tammany-connected campers of "monopolizing" the beach. He vowed to open the beach to all the public. During the next couple of months, while the Division of Design was preparing the preliminary plans, Moses was engaged in a legal battle to evict the campers from the beach. By mid-May 1934, the courts decided that the City had the right to break the campers' leases, clearing the way for the project. The very next day, the Division of Design released the chart of development for Orchard Beach, showing a configuration of two smaller curving beaches, rather than the one large crescent-shaped beach that was eventually built.12 Soon thereafter, the bungalow colony was demolished. Over the course of the next year, the design for the facility was revised and fine-tuned, with the final design officially being released to the public in July of 1935. The published rendering showed a layout and design that was very close to what was eventually to be built: a curving beach and promenade with a concave plaza framed by two curving colonnades, joined at the center by a large terrace. Spreading out beside each colonnade were large, open-air locker rooms that were more expansive than what was actually built. Behind the bathhouse stretched a long tree-lined mall with a parking lot on one side and groves on the other.

Robert A. Caro credits Moses with the idea to use a colonnade in the design of the bath house, but not specifically for suggesting its concave plan.13 It is known, however, that the plan of the bath house was revised from convex to concave between Spring 1934 and Summer 1935. At about the same time, a competition was conducted to redesign the Palais du Trocadero, an art museum and theater across the Seine River from the Eiffel Tower in Paris. The winning scheme by the architects J. Carlu, L. Boileau and L. Azema was a classically-influenced design consisting of a concave plan facing the river, featuring two wings joined by a raised central terrace in an arrangement very similar to the bath house at Orchard Beach. Furthermore, the curving wings were constructed of white stone and have vertically arranged windows flanked by tall pilasters. The curving colonnades at Orchard Beach produce a similar effect. The design for the Trocadero was widely published at the time. Embury and his design team may have been influenced by its design in their scheme for Orchard Beach. Landfill operations at the site began in early 1935, and problems immediately arose concerning the quality of the fill. Commissioner Moses planned to use sand only, but was pressured by the Board of Estimate and Apportionment to use municipal waste provided by the Department of Sanitation in an apparent cost saving measure.14

Since the seawalls needed to hold back the fill were only partially built, refuse began washing out into Pelham Bay and Long Island Sound, polluting the coastline for miles around.15 The work was stopped, and Moses demanded that the Department of Sanitation clean up the mess. It had become clear that municipal waste was not a suitable fill material for the site, so Moses appealed to the Board to immediately appropriate $500,000 for 1,700,000 cubic yards of sand needed to complete the fill operation, so that the beach could open for the 1936 season.16 The main seawall, on the east side of the site facing Long Island Sound, was built by placing boulders and large rocks in a mile- long, crescent-shaped pile to created the curve of the beach. The wall is twenty-five feet wide at the floor of the bay and rises twenty-one feet, tapering to a point above high tide. A somewhat smaller seawall was constructed on the west side of the beach, creating a lagoon on the back bay behind Hunter Island. A total of 4,000,000 cubic yards of landfill was deposited, most of it dredged from Jamaica Bay and Sandy Hook, New Jersey. Barges carried the sand to the site, discharging it into hydraulic pumps, which then deposited it a rate of 4,000 cubic yards per day.

Approximately 115 acres of dry land were created in this manner. Schematic drawings of the bathhouse facility and related buildings were made by the Division of Design during 1935 and the working drawings were produced and revised over the course of several months beginning in late 1935 through early 1937, with production peaking in Spring 1936. The construction of the facility would be phased over the course of two years to permit the reopening of the beach for the 1936 season. The plan was to first complete a part of the southern section of the beach, a piece of the south bath house, and a small parking area in 1936, while work continued on the rest of the site. The pace of construction accelerated greatly in Spring 1936 in anticipation of opening the facility that summer. Some 4,000 relief workers funded through the Works Progress Administration (WPA) were being bused to the site every day from the I.R.T. Pelham Bay station.17 The crews were able to complete a remarkable amount of work in the three months prior to the opening of the beach in late July. Roads were laid, the temporary parking lot built, 250,000 cubic yards of sand were deposited on the beach, and one of the six bath house units was completed. To accomplish all this, crews worked for twenty-four hours a day in three shifts. Nevertheless, the opening was delayed for one week due to a shortage of available heavy equipment needed to deliver sand from Rockaway Inlet in Queens. On July 25, 1936, the partially built facility was opened with much fanfare.

As planned, the temporary facility included part of the south section of the permanent bathhouse containing shower and locker space for about 2,300 people, a beach with a capacity for 35,000 bathers, and parking for 2,000 cars. The festivities were attended by 10,000 people. Several dignitaries were present, including Mayor LaGuardia, Commissioner Moses, Bronx Borough President James J. Lyons, and federal Public Works Administrator Victor L. Ridder. Also in attendance was George Mand of the Bronx Chamber of Commerce, who was cheered by the crowd when he labeled the beach "The Riviera of New York City." The celebration culminated in a fireworks show with a ninety foot display in which the words "Orchard Beach" were spelled out in fiery letters.18 On opening day, the larger part of the bath house, including the colonnade consisted only of its steel frame, and the facility, including much of the promenade and most of the beach and parking lot, was more than a year away from completion. Construction took place all summer long while the temporary beach and bath house remained open to the public. Work at Orchard Beach continued at a frenzied pace during the following winter, and when the beach reopened to little fanfare for the 1937 summer season, bathers were treated to a modern shorefront facility, which included a classically-inspired bath house building with an 180-degree panorama of Long Island Sound. Crews were, however, still on hand putting the finishing touches on the bathhouse, and the seawall, promenade, parking area and mall were not completely done until the next summer.

The completed facility boasted a mile-long beach, 200 feet wide at high tide, with a capacity of 100,000 bathers, bath house facilities for 7,000 people, a forty -five acre parking lot for 8,000 cars, and a mile-long, fifty-foot wide promenade. In addition to having showers, lockers and lavatories, the one- thousand by two-hundred foot bath house building included spacious waiting rooms, flower-lined ramps, administrative offices, reception areas, first aid stations, concessions spaces, a large cafeteria, an upstairs restaurant, storage areas, a boiler room, and a laboratory for testing water quality. The upper terrace of the bath house featured a large decorative fountain (removed in 1941), while the lower terrace had a dance floor and a bandstand (also now removed). Four utility and storage buildings, one story in height and constructed of brick, were built in pairs along the promenade, about a thousand feet to the north and to the south of the bath house. Eighteen lifeguard stations on the beach protected the bathers. The facility also included a large park area with picnic groves, baseball diamonds, football fields, tennis courts and children's play areas. Nearby a sewerage disposal plant and a large incinerator were constructed. There were also a water treatment plant, an incinerator, and a bus terminal large enough to hold twenty buses at a time. The natural vegetation of Rodman Neck and Hunter's Island was preserved, consisting mainly of chestnut, oak, hickory, black locust and black cherry trees. The newly created land was landscaped with flower beds, shrubbery and sod, along with a variety of trees, including poplars, oaks and elms.

Planters for flowers, shrubs and small trees were installed on the upper terrace, while the lower terrace was planted with trees. The facility, which was open daily from 9 a.m. to 8 p.m. during the summer season, was expected to generate nearly $175,000 per year in gross revenue, with an operating cost of approximately $134,000. While no charge was imposed for admission to the beach itself, it cost fifty cents to enter the dressing rooms and the fee for renting a locker was fifteen cents for children and a quarter for adults. Other fees included bathing suit rentals for one dollar including a fifty cent deposit, thirty-five cents for towel rentals including a fifteen cent deposit, and parking fees of a quarter for cars and motorcycles, and fifty cents for buses. A large staff was necessary to operate the facility, including a general supervisor of operations with two assistants, a stenographer and typist, nurses, watchmen, gardeners, laborers, ticket agents, engineers, mechanics, electricians, plumbers, carpenters, and numerous attendants, lifeguards and clerks. Although the new Orchard Beach was generally considered a great success by the public and the press, several problems arose during it first year of operation. Rowdy behavior at the facility became a major concern, resulting in the opening of a special Orchard Beach Court at the nearby 45th Precinct Station House. A hurricane in 1938 caused $50,000 in damage to the facility, including $10,000 worth to the bath house. The cost of operating and maintaining the vast facility was higher than the original estimates, and Robert Moses complained to Mayor LaGuardia that the current operating fund for Orchard Beach and Riis Park did not allow for the proper maintenance of these facilities.19 He threatened to not open the beaches that summer without the necessary personnel. Water pollution caused by sewage discharges from City Island was another problem. Only after Moses threatened to close the beach permanently did the Board of Estimate approved $250,000 for the construction of a treatment plant on City Island. Traffic jams caused by the crowds on weekends affected nearby neighborhoods, especially the residents and businesses of City Island.

Subsequent History20

In 1938, just one year after completing it, the city began planning a substantial expansion of the popular Orchard Beach facility. The proposal called for expanding the locker rooms and for extending the beach and promenade northward to the Twin Islands. The first phase to be carried out was a 150 foot extension to the south locker room in 1939, which was built using materials and detailing that matched the original design. The stone fountain, removed from the upper terrace in 1941, was replaced by the present pavement featuring a compass motif. The rest of the work was delayed by material and manpower shortages during the Second World War. 21 Construction resumed in 1945 with the enlargement of the north locker room in a more simplified design than the original. In 1946-47, work on the beach and promenade extension got underway. The seawall and landfill were extended northward connecting Hunter and the Twin Islands, permitting the promenade to be lengthened by 1,200 feet and creating seven new acres of beach. Prior to this, the bathing area ended at the inlet that separated Twin Island from Hunter Island. The new section of promenade was paved with hexagonal blocks to match the existing, and the original fencing, lamp posts and benches were replicated for the new section. Two new jetties at either end of the beach were constructed to break the strong tides and to prevent the beach's sand from being washed away.

Also, the brick utility buildings on the promenade were altered for the installation of concessions. A number of alterations occurred in the 1950s. In 1952, new concession windows were added under the stairs leading from the upper to the lower terraces. Following a series of severe storms that damaged the beach, the north jetty was enlarged in 1955, and new beach sand was deposited. In 1962, a brick comfort station and concession building was constructed on the promenade, 2,800 feet north of the bath house. During the middle and late 1960s, the windows and doors were restored and new lockers were installed. Following that, however, came an extended period of neglect lasting through the 1970s. A proposal to replace the north locker room with a theater was rejected in 1974. By 1980, Orchard Beach had become a rundown facility with a reputation for being unsanitary and unsafe. Beginning in 1980, the Parks Department began planning for the rehabilitation of Orchard Beach to coincide with its fiftieth anniversary in 1986. Over $1,000,000 was spent on a variety of work, the most noticeable of which is the replacement of the original steel doors to the cafeteria with new aluminum units. However, the rehabilitation was not complete. Many parts of the bath house, including the north locker room, remain closed to the public.

The Architecture and Site of the Orchard Beach Bathhouse and Promenade

The New Deal construction projects within New York City, such as Orchard Beach, were a part of a national trend which included similar projects undertaken by various governmental agencies, ranging from the vast Tennessee Valley Authority to small cities and towns. Urban projects built with WPA funding often possessed similar qualities from region to region, partly because the difficult economic climate dictated the use of inexpensive building materials, but also because the programs provided employment opportunities for a generation of young architects and engineers who were committed to modernism. For example, the bathhouse and waterfront facilities at Aquatic Park in San Francisco are similar in plan and appearance to the public pool and beachfront projects being built at about the same time in New York City. The California facility, with its streamlined, concrete facade and steel-framed windows, bears a striking resemblance to the facade added in 1936 with WPA funds to the bathhouse at Jacob Riis Park in Queens. Influenced by Beaux-Arts planning principles, the architecture of the Orchard Beach bathhouse is a simple and restrained interpretation of classical styles, while the promenade features streamlined Moderne characteristics employing nautical motifs. Like the public pools and other waterfront projects built in New York City by Robert Moses during the New Deal, Orchard Beach used inexpensive materials, particularly concrete, red brick, and asphalt paving, in its construction. However, the original and creative use made of these modest materials by Moses' talented design teams and the careful siting of each project makes every one of them a distinguished, individual design, as much related to their specific environment and needs as to one another

Police in North Manchester have raided a network of shops selling 'legal highs' or New Psychoactive Substances.

It follows an investigation by Greater Manchester Police who previously seized a large amount of legal highs from a storage unit in the Strangeways area. These packets were forensically tested and a large proportion were found to contain illegal class B drugs such as Methylphenidate and Ethylphenidate.

Today, 20 May 2015, officers from Greater Manchester Police's North Manchester division have executed warrants at two shops in Manchester city centre as well as a shop in Strangeways and a private property in Sale.

As a result of today's raids, numerous packets of legal highs, non-descript bags of pills and a large amount of unknown powder have been seized from the shops and will now be subject to forensic analysis by experts to establish their true chemical composition.

Police Sergeant Adam Cronshaw said: "Today's warrants are GMPs response to safeguard vulnerable people from 'legal highs.' We are encountering increasing numbers of young people across Manchester under the influence of these drugs making them vulnerable to child sexual exploitation and addictive behaviour. We want to satisfy ourselves and the community that illegal products are not being sold.

A recent report revealed that since 2009, the number of deaths attributed to these 'legal highs' has increased by 800 percent, which shows the very real dangers anyone faces when taking these substances. Essentially, you are playing Russian Roulette with your own lives. Even though these shops will say that they only sell to over 18s it is clear that they are eventually ending up in the hands of children. They only cost £8 per packet and so are easily affordable. Some of these shops even sell their products over the internet.

Users may have no idea what substances may be contained within the packets as there are no legal quality controls and the packets are often marked with 'Not For Human Consumption' to absolve the sellers from any responsibilities should someone become ill from taking them.

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

www.gmp.police.uk

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

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

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

Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

the iliveisl sim, Enercity Park, goes away shortly after these pics were taken. it was one of only 100 or so remaining openspace sims.

it had been 3750 prims but when Linden Lab poorly executed their change in policy and pricing and went from $75 to $95 per month and from 3750 prims to 750 prims, this became the most expensive type of land isl

but i promised my residents that Enercity would have a park so kept it until the estate was transferred to the very best residents in all of second life

the park was the closest to a home that Ener Hax had. two sparse fallout shelters would become Ener's homes

one just a bare mattress and cardboard boxes to reduce drafts from broken windows and had and old turret slowly rotating that stood as a silent sentinel to bygone eras when we humans could have taken a lesson from our own avatars and the other a small emergency shelter for the bus stop

the lake in the park was called Butterfly Lake from its shape when viewed from the air and had a swan and ducklings swimming and a nice bench for friends to sit and visit under a weeping willow. near that spot was an old underground shelter to park military vehicles. that spot became an underground skatepark and was connected to the city's catacombs. these catacombs, like in Paris, ran below the city streets

zombies lived in one section near a small graveyard. no one knew why zombies were there, some suspect it was related to the war time bunkers. the manhole cover near the zombies was opened and the catacombs tagged with "i <3 ener hax" and "subQuark sux"

the most favourite spot for Ener Hax was near the bus stop and the 1950's era rotating and steaming coffee billboard (hmm, maybe the chemical smoke from that big coffee cup is to blame for the zombies? after all, the "steam" does drift over the grave yard

the fave spot looked over the smaller lake west of the bus stop and was in view of one of the parks two waterfalls. that spot was made very special because of Mr. Bunny. Ener loved to sit on the ground and just watch Mr. Bunny hop around and doze occasionally. what a cute bunny =) he even had his own carrots planted by Ener

high above the eastern part of the park was the huge zebra striped zeppelin. a bit of a trademark of the iliveisl estate

it was a lovely spot, even had tai chi on the big bunker and a zip line from the water tower

ooh, the water tower! as a surprise gift, DreamWalker scripted the water tower and turned it int a funky hang out spot. there was an abandoned pool inside the tower (???) and place to sit and talk. even a cute ladybug called it home. the water tower's top would slide up and down and also turn invisible. for romance, a moon beam came through the towers top port and could even have its brightness changed

even though the park was outrageously expensive, it was Ener Hax and Mr. Bunnies home and will be sincerely missed

namas te

The Air France aircraft that had just executed a go-around is now entering the downwind leg to come back for a second landing attempt.

On the ground, there are two Air New Zealand aircraft (767-300ER and 777-300ER), as well as a United (Continental) 757 in front of the Continental hangar. Also visible are a Southern Air 747F, an Allegiant Air MD-80, and the tail of an EVA Air 777-300ER.

F-GSPI, Boeing 777-200ER

(History.com) Oct. 29 - On this day in 1901, President William McKinley's assassin, Leon Czolgosz, is executed in the electric chair at Auburn Prison in New York. Czolgosz had shot McKinley on September 6, 1901; the president succumbed to his wounds eight days later.

McKinley was shaking hands in a long reception line at the Pan-American Exhibition in Buffalo, New York, when a 28-year-old anarchist named Leon Czolgosz approached him with a gun concealed in a handkerchief in his right hand. McKinley, perhaps assuming the handkerchief was an attempt by Czolgosz to hide a physical defect, kindly reached for the man's left hand to shake. Czolgosz moved in close to the president and fired two shots into McKinley's chest. The president reportedly rose slightly on his toes before collapsing forward, saying "be careful how you tell my wife." Czolgosz was attempting to fire a third bullet into the stricken president when aides wrestled him to the ground.

McKinley suffered one superficial wound to the sternum and another bullet dangerously entered his abdomen. He was rushed into surgery and seemed to be on the mend by September 12. Later that day, however, the president's condition worsened rapidly and, on September 14, McKinley died from gangrene that had remained undetected in the internal wound. According to witnesses, McKinley's last words were those of the hymn "Nearer My God to Thee." Vice President Theodore Roosevelt was sworn in as president immediately following McKinley's death.

Czolgosz, a Polish immigrant, grew up in Detroit and had worked as a child laborer in a steel mill. As a young adult, he gravitated toward socialist and anarchist ideology. He claimed to have killed McKinley because the president was the head of what Czolgosz thought was a corrupt government. The unrepentant killer's last words were "I killed the president because he was the enemy of the good people—the working people." His electrocution was allegedly filmed by Thomas Edison.

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

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

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

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

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

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

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

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

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

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

For more see below:-

www.coventrycathedral.org.uk/

Seventeen people have today, Thursday 18 October 2012, been arrested following a crackdown on the supply of drugs in Cheetham Hill and Crumpsall.

As part of a pre-planned operation, dubbed Operation Cairo, warrants have been executed at eighteen addresses in north Manchester and Salford.

Specialist officers from GMP's tactical aid unit have teamed up with detectives and neighbourhood officers from the north Manchester division as part of this day of action.

Superintendent Vanessa Jardine said: "The supply of drugs can blight our communities but today's action is aimed at ridding our streets of this nuisance.

"Community-led intelligence has told us that there has been issue developing of dealing of heroin in particular in Cheetham Hill and Crumpsall, including reports of drugs being bought and sold in broad daylight.

"We also have intelligence to suggest there are tensions between rival gangs of drug dealers and that a 'turf war' is developing.

"These issues cannot be tolerated.

"It is a priority for Greater Manchester Police to tackle the threat of organised crime, and to increase confidence in policing. Today we have shown that we are committed to these priorities.

"Not only do drugs fuel many other crimes such as burglary, robbery and vehicle crime, they are also a major driving force behind organised crime groups and today we have hit them where it hurts by disrupting their income.

"I hope we have also increased confidence in policing by proving to the vast majority of decent, law-abiding residents of Cheetham Hill and Crumpsall that we listen to their concerns and act on the information that they give us.

"The fact that more than 20 local people, be they residents, councillors or businesspeople, came to our 5.30am briefing shows that we are all working together to root out this problem.

"Let today be a stark warning to anyone involved in drugs activity that not only will they face the full force of the law, but through Proceeds of Crime Act legislation, they will also end up out of pocket.

"Residents will also notice an increased police presence today, as leaflets will be dropped through letterboxes to explain what is happening, and drugs workers are also on hand to support addicts affected by today's operation."

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

www.gmp.police.uk

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

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

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

Officers seized a number of exhibits during searches of property. Chief Constable Alf Hitchcock also attended a number of addresses during the operation.

On Monday 15th April Bedfordshire Police executed warrants at 40 properties across Luton and arrested 19 people as part of a significant operation to tackle burglary and the handling of stolen goods.

Most of those arrested have been identified as handling property taken from burglaries committed across the county following a lengthy and on-going covert investigation codenamed Operation Sabre. The warrants were executed under the Theft Act 1968; more are expected to follow in the weeks to come. Others were arrested for a variety of offences including possession with intent to supply illegal substances.

The warrants were executed simultaneously at 7am in Luton, by unarmed officers from Bedfordshire Police and a number of collaborated units including police dogs, members of the Beds, Cambs and Herts Roads Policing Unit and the Beds, Cambs and Herts Scenes of Crime Unit. PCSOs from the local policing teams across Luton have deployed into the areas where the warrants were carried out to assist neighbours and residents.

Chief Constable Alf Hitchcock was on the ground as the warrants were executed and said today’s operation was significant and a direct response to public concerns about burglary and the handling of stolen goods. He said: “There has been significant reduction in burglary offences across the county. Crimes associated with burglary such as handling stolen goods are also an issue that we are determined to address. We are acutely aware of the concern burglary brings to our communities, which is why this operation has been carried out. It has taken many months to piece together the necessary information, intelligence and evidence in order for today to happen. There is a long way to go but we are confident offenders will be charged and brought to justice.”

Commissioner Olly Martins was also present and welcomed the success of the operation. He added; “My Police and Crime Plan is quite clear: I support robust action against criminals who cause our communities such harm. Burglars who steal from people's homes must be brought to justice, as must those who handle stolen goods. That's what this operation is all about. Burglary across the county is falling and I am confident that Operation Sabre will help keep that welcome trend going, so reducing the number of people who fall victim to this often traumatic crime".

Mondays operation was an intelligence-led operation that has been achieved through information supplied by the public. If you have information about burglary and handling stolen goods please contact the police in the following ways.

Call Crimestoppers, anonymously, on 0800 555 111; text Bedfordshire Police on 07786 200011; email enquiries@bedfordshire.pnn.police.uk

At Bedfordshire Police our aim is "fighting crime, protecting the public."

We cover 477 square miles, serve a population of around 550,000 and employ in the region of 1,260 Police Officers, 950 police staff and 120 Police Community Support Officers (PCSOs). For more details about the force, visit our website www.bedfordshire.police.uk

Crown Fountain is an interactive work of public art and video sculpture featured in Chicago's Millennium Park, which is located in the Loop community area. Designed by Catalan artist Jaume Plensa and executed by Krueck and Sexton Architects, it opened in July 2004. The fountain is composed of a black granite reflecting pool placed between a pair of glass brick towers. The towers are 50 feet (15.2 m) tall, and they use light-emitting diodes (LEDs) to display digital videos on their inward faces. Construction and design of the Crown Fountain cost $17 million. Weather permitting, the water operates from May to October, intermittently cascading down the two towers and spouting through a nozzle on each tower's front face.

Residents and critics have praised the fountain for its artistic and entertainment features. It highlights Plensa's themes of dualism, light, and water, extending the use of video technology from his prior works. Its use of water is unique among Chicago's many fountains, in that it promotes physical interaction between the public and the water. Both the fountain and Millennium Park are highly accessible because of their universal design.

Crown Fountain has been one of the most controversial of all the Millennium Park features. Before it was even built, some were concerned that the sculpture's height violated the aesthetic tradition of the park. After construction, surveillance cameras were installed atop the fountain, which led to a public outcry (and their quick removal).

However, the fountain has survived its somewhat contentious beginnings to find its way into Chicago pop culture. It is a popular subject for photographers and a common gathering place. While some of the videos displayed are of scenery, most attention has focused on its video clips of local residents; hundreds of Chicagoans visit the fountain hoping to see themselves appearing on one of the fountain's two screens. The fountain is a public play area and offers people an escape from summer heat, allowing children to frolic in the fountain's water.

en.wikipedia.org/wiki/Crown_Fountain

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

(•) – The Lockheed Martin HC-130J Hercules The Combat King II is the U.S. Air Force's only dedicated fixed-wing personnel recovery platform and is flown by the Air Education and Training Command (AETC) and Air Combat Command (ACC). This C-130J variation specializes in tactical profiles and avoiding detection and recovery operations in austere environments. The HC-130J replaces HC-130P/Ns as the only dedicated fixed-wing Personnel Recovery platform in the Air Force inventory. It is an extended-range version of the C-130J Hercules transport. Its mission is to rapidly deploy to execute combatant commander directed recovery operations to austere airfields and denied territory for expeditionary, all weather personnel recovery operations to include airdrop, airland, helicopter air-to-air refueling, and forward area ground refueling missions. When tasked, the aircraft also conducts humanitarian assistance operations, disaster response, security cooperation/aviation advisory, emergency aeromedical evacuation, and noncombatant evacuation operations.

Features

Modifications to the HC-130J have improved navigation, threat detection and countermeasures systems. The aircraft fleet has a fully-integrated inertial navigation and global positioning systems, and night vision goggle, or NVG, compatible interior and exterior lighting. It also has forward-looking infrared, radar and missile warning receivers, chaff and flare dispensers, satellite and data-burst communications, and the ability to receive fuel inflight via a Universal Aerial Refueling Receptacle Slipway Installation (UARRSI).

The HC-130J can fly in the day; however, crews normally fly night at low to medium altitude levels in contested or sensitive environments, both over land or overwater. Crews use NVGs for tactical flight profiles to avoid detection to accomplish covert infiltration/exfiltration and transload operations. To enhance the probability of mission success and survivability near populated areas, crews employ tactics that include incorporating no external lighting or communications, and avoiding radar and weapons detection.

Drop zone objectives are done via personnel drops and equipment drops. Rescue bundles include illumination flares, marker smokes and rescue kits. Helicopter air-to-air refueling can be conducted at night, with blacked out communication with up to two simultaneous helicopters. Additionally, forward area refueling point operations can be executed to support a variety of joint and coalition partners.

Background

The HC-130J is a result of the HC/MC-130 recapitalization program and replaces Air Combat Command's aging HC-130P/N fleet as the dedicated fixed-wing personnel recovery platform in the Air Force inventory. The 71st and 79th Rescue Squadrons in Air Combat Command, the 550th Special Operations Squadron in Air Education and Training Command, the 920th Rescue Group in Air Force Reserve Command and the 106th Rescue Wing, 129th RQW and 176th Wing in the Air National Guard will operate the aircraft.

First flight was 29 July 2010, and the aircraft will serve the many roles and missions of the HC-130P/Ns. It is a modified KC-130J aircraft designed to conduct personnel recovery missions, provide a command and control platform, in-flight-refuel helicopters and carry supplemental fuel for extending range or air refueling.

In April 2006, the personnel recovery mission was transferred back to Air Combat Command at Langley AFB, Va. From 2003 to 2006, the mission was under the Air Force Special Operations Command at Hurlburt Field, Fla. Previously, HC-130s were assigned to ACC from 1992 to 2003. They were first assigned to the Air Rescue Service as part of Military Airlift Command.

General Characteristics

Primary function: Fixed-wing Personnel Recovery platform

Contractor: Lockheed Aircraft Corp.

Power Plant: Four Rolls Royce AE2100D3 turboprop engines

Thrust: 4,591 Propeller Shaft Horsepower, each engine

Wingspan: 132 feet, 7 inches (40.4 meters)

Length: 97 feet, 9 inches (29.57 meters)

Height: 38 feet, 9 inches (11.58 meters)

Operating Weight: 89,000 pounds (40,369 kilograms)

Maximum Takeoff Weight: 164,000 pounds (74,389 kilograms)

Fuel Capacity: 61,360 pounds (9,024 gallons)

Payload: 35,000 pounds (15,875 kilograms)

Speed: 316 knots indicated air speed at sea level

Range: beyond 4,000 miles (3,478 nautical miles)

Ceiling: 33,000 feet (10,000 meters)

Armament: countermeasures/flares, chaff

Basic Crew: Three officers (pilot, co-pilot, combat system officer) and two enlisted loadmasters

Unit Cost: $66 million (fiscal 2010 replacement cost)

Initial operating capability: 2013.

(•) – The Sikorsky MH-60G/HH-60G Pave Hawk is a twin turboshaft engine helicopter in service with the United States Air Force. It is a derivative of the UH-60 Black Hawk and incorporates the US Air Force PAVE electronic systems program. The HH-60/MH-60 is a member of the Sikorsky S-70 family.

The MH-60G Pave Hawk's primary mission is insertion and recovery of special operations personnel, while the HH-60G Pave Hawk's core mission is recovery of personnel under stressful conditions, including search and rescue. Both versions conduct day or night operations into hostile environments. Because of its versatility, the HH-60G may also perform peace-time operations such as civil search and rescue, emergency aeromedical evacuation (MEDEVAC), disaster relief, international aid and counter-drug activities.

Executing 50/50 Highchair wheelei at the 224 year old abonded train station in Istanbul Turkey!

Logan’s Square has kind of a gruesome history in that this was the square where they publically executed and buried criminals in the early 1,800s. The last public hanging was in 1823. William Penn laid out the site in 1682. Current it is a 12.2 acre park surrounded by historical sites and museums and in the center is this wonder fountain. In 1914 the planted trees called “Tribute Trees” in honor and gratitude of the men and woman who served our country in the great war.

I was in Philadelphia, “The City of Brotherly Love”, recently for business. In the short time that I was there my scheduled only allowed me a few hours of light in the evening. I was limited to walking a 5 mile radius around my hotel and was fortunate to find that it was located in the center of town giving me access to many historical monuments and museums. Because it was about 5PM when I got started on my way, many of the museums were already closed for the day for the exception of the Liberty Bell and Independence Hall. As an American and this being my first time to Philadelphia it was eye opening and in some cases jaw dropping. You could not walk around without having a great sense of patriotism. I loved the American Flags against many of the historic buildings throughout the city. The city hall building in Philadelphia is one of the most magnificent buildings I have ever seen. Because it was literally right across the street from my hotel gave me more time to examine closer. It’s no wonder that the Mason’s building is the second largest building next to it in the center of the city. The masonry work is amazing.

This album is a representation of capturing what I could in a very limited amount of time and light. I did not have a tripod so evening shots was not in the cards. I am however very pleased I brought my camera with me as I had contemplated not lugging it around with me.

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

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

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

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

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

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

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

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

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

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

For more see below:-

www.coventrycathedral.org.uk/

Commissioner Olly Martins and the Detective Sergeant leading one of the teams are interviewed by the press during Mondays operation.

On Monday 15th April Bedfordshire Police executed warrants at 40 properties across Luton and arrested 19 people as part of a significant operation to tackle burglary and the handling of stolen goods.

Most of those arrested have been identified as handling property taken from burglaries committed across the county following a lengthy and on-going covert investigation codenamed Operation Sabre. The warrants were executed under the Theft Act 1968; more are expected to follow in the weeks to come. Others were arrested for a variety of offences including possession with intent to supply illegal substances.

The warrants were executed simultaneously at 7am in Luton, by unarmed officers from Bedfordshire Police and a number of collaborated units including police dogs, members of the Beds, Cambs and Herts Roads Policing Unit and the Beds, Cambs and Herts Scenes of Crime Unit. PCSOs from the local policing teams across Luton have deployed into the areas where the warrants were carried out to assist neighbours and residents.

Chief Constable Alf Hitchcock was on the ground as the warrants were executed and said today’s operation was significant and a direct response to public concerns about burglary and the handling of stolen goods. He said: “There has been significant reduction in burglary offences across the county. Crimes associated with burglary such as handling stolen goods are also an issue that we are determined to address. We are acutely aware of the concern burglary brings to our communities, which is why this operation has been carried out. It has taken many months to piece together the necessary information, intelligence and evidence in order for today to happen. There is a long way to go but we are confident offenders will be charged and brought to justice.”

Commissioner Olly Martins was also present and welcomed the success of the operation. He added; “My Police and Crime Plan is quite clear: I support robust action against criminals who cause our communities such harm. Burglars who steal from people's homes must be brought to justice, as must those who handle stolen goods. That's what this operation is all about. Burglary across the county is falling and I am confident that Operation Sabre will help keep that welcome trend going, so reducing the number of people who fall victim to this often traumatic crime".

Mondays operation was an intelligence-led operation that has been achieved through information supplied by the public. If you have information about burglary and handling stolen goods please contact the police in the following ways.

Call Crimestoppers, anonymously, on 0800 555 111; text Bedfordshire Police on 07786 200011; email enquiries@bedfordshire.pnn.police.uk

At Bedfordshire Police our aim is "fighting crime, protecting the public."

We cover 477 square miles, serve a population of around 550,000 and employ in the region of 1,260 Police Officers, 950 police staff and 120 Police Community Support Officers (PCSOs). For more details about the force, visit our website www.bedfordshire.police.uk

Frederic Remington's War Bridle was executed in 1909. Often considered a severe or even brutal piece of equipment, a "war bridle" is sometimes used in place of a traditional bit and halter to train a particularly difficult horse. These cowboys are saddling the horse and tightening the cinch, or strap, around his torso. The contraption tied to the horse's leg is also meant to break the horse--that is, make him fit to ride.

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

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

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

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

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

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

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

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

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

To find out more about Greater Manchester Police please visit

www.gmp.police.uk

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

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

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

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

the iliveisl sim, Enercity Park, goes away shortly after these pics were taken. it was one of only 100 or so remaining openspace sims.

it had been 3750 prims but when Linden Lab poorly executed their change in policy and pricing and went from $75 to $95 per month and from 3750 prims to 750 prims, this became the most expensive type of land isl

but i promised my residents that Enercity would have a park so kept it until the estate was transferred to the very best residents in all of second life

the park was the closest to a home that Ener Hax had. two sparse fallout shelters would become Ener's homes

one just a bare mattress and cardboard boxes to reduce drafts from broken windows and had and old turret slowly rotating that stood as a silent sentinel to bygone eras when we humans could have taken a lesson from our own avatars and the other a small emergency shelter for the bus stop

the lake in the park was called Butterfly Lake from its shape when viewed from the air and had a swan and ducklings swimming and a nice bench for friends to sit and visit under a weeping willow. near that spot was an old underground shelter to park military vehicles. that spot became an underground skatepark and was connected to the city's catacombs. these catacombs, like in Paris, ran below the city streets

zombies lived in one section near a small graveyard. no one knew why zombies were there, some suspect it was related to the war time bunkers. the manhole cover near the zombies was opened and the catacombs tagged with "i <3 ener hax" and "subQuark sux"

the most favourite spot for Ener Hax was near the bus stop and the 1950's era rotating and steaming coffee billboard (hmm, maybe the chemical smoke from that big coffee cup is to blame for the zombies? after all, the "steam" does drift over the grave yard

the fave spot looked over the smaller lake west of the bus stop and was in view of one of the parks two waterfalls. that spot was made very special because of Mr. Bunny. Ener loved to sit on the ground and just watch Mr. Bunny hop around and doze occasionally. what a cute bunny =) he even had his own carrots planted by Ener

high above the eastern part of the park was the huge zebra striped zeppelin. a bit of a trademark of the iliveisl estate

it was a lovely spot, even had tai chi on the big bunker and a zip line from the water tower

ooh, the water tower! as a surprise gift, DreamWalker scripted the water tower and turned it int a funky hang out spot. there was an abandoned pool inside the tower (???) and place to sit and talk. even a cute ladybug called it home. the water tower's top would slide up and down and also turn invisible. for romance, a moon beam came through the towers top port and could even have its brightness changed

even though the park was outrageously expensive, it was Ener Hax and Mr. Bunnies home and will be sincerely missed

namas te

This statue of Charles Goodnight was executed by sculptor Jim Reno. Born in Illinois, Charles Goodnight (1836-1929) was brought to Milam County, Texas, as a child. He grew up on the frontier, becoming a ranger and Indian scout. During the Civil War, he served as a scout and guide in a frontier regiment. In 1865 Goodnight and his partner, Oliver Loving, decided to sell their cattle in New Mexico rather than on the Texas market, which was depressed following the war. The trail they blazed from Fort Belknap, Texas, to Fort Sumner, New Mexico, became one of the most widely used cattle trails in the West, famed as the Goodnight-Loving Trail. Goodnight later extended the trail to Granada, Colorado; it became the Goodnight Trail. In 1877 he and John Adair established the JA Ranch, also known as the Goodnight Ranch, in the Panhandle. In time, they ran 100,000 cattle on a million acres. Among Goodnight's accomplishments as a rancher and founder of the Panhandle Stockmen's Association was the introduction of Hereford bulls and the development of "cattalo"--a cross between the buffalo and Polled Angus cattle.

The Briscoe Western Art Museum, at 210 West Market Street, opened in 2013 in a building that previously housed the Hertzberg Circus Museum. Named in honor of the late Texas Governor, Dolph Briscoe, Jr., and his wife Janey, it is the city's first dedicated Wester Art Museum and features over 700 objects preserving cowboy culture and exploring Native, Spanish and Mexican contributions to the area. The McNutt Sculpture Garden is the Briscoe Museum's lush public outdoor space that features a beautiful courtyard surrounded by bronze sculptures depicting iconic figures of the American West.

Monument à Valmy 1792 (Monument to the The Battle of Valmy 1792), executed by Jules Desbois in 1929, sits in the Western Nave of the Panthéon. It celebrates the first victory of the Republican army in 1792 (1913-1929).

Le Panthéon, atop Montagne Sainte-Geneviève at Place du Panthéon, was originally built by King Louis XIV between 1757-1790 as Église Sainte-Geneviève, dedicated to Sainte-Geneviève, the patron saint of Paris. Designed by Jacques-Germain Soufflot, it is considered one of the earliest and most prominent works of Neoclassicism. After many changes over the year, the Panthéon now combines liturgical functions with its role as burial place for famous French heroes.

When Louis suffered from a mysterious illness in 1744 he vowed to build a church dedicated to Sainte-Geneviève if he would survive. After he recovered, he entrusted the Marquis of Marigny with the task of replacing the ruined 6th century basilica, Abbey Sainte-Geneviève. Foundations were laid in 1758, but due to financial difficulties, it wasn't completed until 1789-after Soufflot's death, by his pupil Jean-Baptiste Rondelet. In the midst of the French Revolution, the Constituent Assembly of the Revolution decided by decree to transform the church into a mausoleum to accommodate the remains of the great men of France and building was adapted by architect Quatremère de Quincy. In 1806, the building was turned into a church again, but since 1885 it has served civically as a "Temple of Fame." In 1851 physicist Léon Foucault famously demonstrated the rotation of the Earth by constructing the 67-meterFoucault's pendulum beneath the central dome.

The Panthéon is designed in a Greek-cross plan, 110-meters long and 85-meters wide, with a massive portico of Corinthian columns, modeled on the Pantehon in Rome, surmounted by a small dome that reaches a height of 83-meters. The dome features three superimposed shells, similar to the St. Paul's Cathedral in London.

The vast crypt covers the whole surface of the building, Among those buried in its necropolis are Voltaire, Rousseau, Victor Hugo, Alexandre Dumas, Louis Braile, Jean Jaurès, Marie Curie, Emile Zola, and Soufflot.

Operation Vulcan executed their latest warrant yesterday (3 May 2023) at a property on Great Ducie Street in Cheetham Hill.

The warrant was carried out after intelligence came to light suggesting the property - a large distribution warehouse - was being used to supply a network of counterfeit stores throughout Cheetham Hill.

The number of items seized have an estimated worth of £1.2million pounds.

The enterprise was so vast officers made use of a conveyor belt to speed up the transfer of seized items into waiting vehicles.

Over the last 6 months through relentless policing and support from dedicated partners, Operation Vulcan has turned the tide against the criminals. The support of partners has been integral to Operation Vulcan and that was on full display yesterday (3 May 2023) with over 15 departments, teams, organisations and partner representatives in attendance - including from Greater Manchester Fire and Rescue Service, Intellectual Property Office, Trading Standards, Brand Experts and Border Force.

GMFRS also raised concerns about the safety of the building, which led to it being issued it with a prohibition order.

Inspector Andy Torkington said: "The network of counterfeit stores in Cheetham Hill might seem chaotic and disorganised but this is far from the truth. The latest warrant demonstrates that these stores are well funded and well supplied and it's big business for organised crime groups who have been operating out of the area.

"This warrant is an opportunity to make a huge dent in the supply chain by cutting off the head of the supply snake. I hope it sends a message to any remaining counterfeit stores in the area who persist in trading to pack up now or face the consequences.

"Operation Vulcan is here to stay and we will continue making it unsustainable for criminal businesses to exist here and will work shoulder-to-shoulder with our partners to re-build the area into a thriving community where people feel safe.”

Neil Fairlamb, Strategic Director of Neighbourhoods for Manchester City Council said: "The work that has taken place throughout Operation Vulcan has shown the scope and scale of the counterfeit industry. It is huge enterprise, one which has had an incredibly negative impact on our communities. By striking a blow against this criminal supply chain we will succeed in forcing these traders out for good."

The Intellectual Property Office’s Deputy Director of Intelligence and Law Enforcement, Marcus Evans said: The Intellectual Property Office’s Deputy Director of Intelligence and Law Enforcement, Marcus Evans said: “Criminal networks are seeking to exploit consumers and communities for their own financial gain through the trade in illegal counterfeits – with absolutely no regard for the quality or safety of the items being sold, which are often dangerous and defective. Such items can cause genuine harm to the people who buy and use them, as well as those workers often exploited during their production.

“As well as helping to sustain serious and organised crime, the sale of counterfeit goods has been estimated to contribute to over 80,000 job loses each year in the UK by diverting funds away from legitimate traders and into the hands of criminals. We are pleased to support the ongoing activity by Greater Manchester Police to clamp down on this illegal activity and help protect the public, as we continue to work with partners across in industry, local government, and law enforcement to help empower consumers and raise awareness of the damage these goods cause.”

Jean-Léon Gérôme (1824-1904), Aimé Morot (1850-1913)

Gérôme Executing The Gladiators, Monument to Gérôme

Between 1878 and 1909

Bronze group

H. 360; W. 182; D. 170 cm

© RMN (Musée d'Orsay) / Christian Jean

The taste for reality and historical truth taken to the extreme is manifest in the astonishing sculptural group, The Gladiators. This first sculpture by the painter Gérôme, long believed to be lost, was used by the artist's son-in-law, Aimé Morot, himself a painter and sculptor, to pay tribute to Gérôme. Morot portrayed his father-in-law in the process of sculpting The Gladiators, and so included the original group in his own composition. The group was installed in the gardens of the Louvre as a memorial in 1909.

The portrait of Gérôme gives us a realistic picture of his working conditions: the smock, the tools he is holding, and his surprised glance at the spectator all suggest that he was interrupted in his work and caught in action as if by a snapshot. The gladiators themselves, a helmeted myrmillo and a retiary with his net, sculpted by Gérôme in 1878, are life-sized versions of the two gladiators he had painted six years before. Gérôme was famous for his Neo-Grec tastes and his Orientalism. A stickler for archaeological precision, he arranged for casts of antique gladiators' equipment to be sent from Naples and invested large sums in properties for his Parisian model.

The clock, created by John Flanagan (1865-1952), is constructed of a variety of brilliantly colored precious marbles against a mosaic background encircled by the signs of the zodiac in bronze. Above the clock a life-size figure of Father Time, executed in bronze, strides forward with scythe in hand.

To the left and right are the figures of maidens with children representing the seasons. The dial of the clock is approximately four feet in diameter and in the center is a gilt glory, or sunburst. The hands of the clock, which are also gilded, are jeweled with semiprecious stones.

3rd c. CE, executed by a mosaicist from the mosaic school at Daphne near Antioch, as attested by a fragmentary inscription.

From the triclinium of the 'House of Dionysos', near the Plateia Agoras in Khania, excavated in 1977.

Archaeological Museum of Chania, Crete - Αρχαιολογικό Μουσείο Χανίων (Interkriti, Wikipedia)

Chania, Ancient Cydonia / Kydonia / Κυδωνία (Pleiades; Wikipedia)

(note: this is the old, pre-2020, location; a new purpose-built museum opened in 2022)

In the early hours of Wednesday morning (12 April 2023) Operation Vulcan executed 10 simultaneous warrants at a number of properties across Greater Manchester and Lancashire.

A search of the properties resulted in large amounts of suspected class B and class C drugs and approximately £60,000 being seized by Operation Vulcan – supported by Manchester North Neighbourhood Officers and GMP Serious Organised Crime Group - as part of their investigation into the suspected drug distribution and exploitation of minors.

These arrests are the latest in Operation Vulcan, a proactive multi agency approach to tackling to serious organised crime in the Cheetham Hill and Strangeways areas of Manchester.

Detective Inspector Chris Julien, one of Operation Vulcan’s specialist officers said: “I hope today’s arrests and seizures demonstrate that Operation Vulcan is about much more than seizing counterfeit clothing.

“The sale of drugs and the exploitation of young, vulnerable people is a product of the criminality that has been embedded in the area for decades, and we are absolutely committed to tackling these issues, identifying those who are responsible, and bringing them to justice.

“At its heart, Operation Vulcan is a partnership effort, and whilst enforcement is an important element; real, sustainable change would not be possible without the help of the local community and our dedicated partner agencies. The multi-agency approach Operation Vulcan has adopted allows for maximum intelligence and evidence sharing to make sure every victim is identified early on and safeguarded.

“I’d like to take this opportunity to appeal to members of the public for information. If you’ve noticed any suspicious activity in your area, or you suspect an individual may be being taken advantage of by criminal gangs, please report it. We will act on this information.”

Could you spot a child who is at risk of Child Criminal Exploitation?

Spot the signs of child exploitation: changes in behaviour; not coming home when they say they will or going missing; changes in appearance; reluctant to talk about friends/relationships and becoming secretive; struggling to engage in school; overly protective of their messages/social media; having more than one phone; accompanied by individuals older than them; concerns surrounding the use of alcohol or drugs; sudden changes/fear of people/friends.

If something doesn’t feel right – report it.

Information can be shared online at www.gmp.police.uk or by calling 101. Alternatively, details can be shared via the independent charity Crimestoppers anonymously on 0800 555 111.

Antoine Étex (March 20, 1808 Paris – July 14, 1888 Chaville) was a French sculptor, painter and architect.

Biography

He first exhibited in the Paris Salon of 1833, his work including a reproduction in marble of his Death of Hyacinthus, and the plaster cast of his Cain and His Race Cursed By God. Adolphe Thiers, who was at this time minister of public works, now commissioned him to execute the two groups of Peace and War, flanking the arch on the east facade of the Arc de Triomphe. This last, which established his reputation, he reproduced in marble in the Paris Salon of 1839.

The French capital contains numerous examples of the sculptural works of Étex, which included mythological and religious subjects besides a great number of portraits. Among the best known of his architectural productions is Étex's tomb of Théodore Géricault in Père Lachaise Cemetery, which includes a bronze figure of the painter, and a low-relief version the painter's controversial Raft of the Medusa on a front panel.

Étex's paintings include the subjects of Eurydice and the martyrdom of Saint Sebastian, and he also wrote a number of essays on subjects connected with the arts. The last year of his life was spent at Nice, and he died at Chaville, Seine-et-Oise in 1888. He was buried in the Cimetière du Montparnasse in Paris.

Works

Sainte-Geneviève, marble, 1830, Clamecy, collégiale Saint-Martin

Caïn et sa race maudits de Dieu, marble, (1832–1839), Lyon, musée des Beaux-Arts

La Résistance de 1814, stone, (1833–1837), Paris, arc de triomphe de l'Étoile, western façade

La Paix, stone, (1833–1837), Paris, arc de triomphe de l'Étoile, western façade

Tombeau de Géricault, Paris, Père Lachaise Cemetery, its plaster model was at the 1841 Salon, Rouen, Musée des Beaux-Arts

Portrait de Léon Pelet, bust, marble, 1848, Paris, musée du Louvre

Portrait du baron Dufour, maire de Metz (1769–1842), medal, marble, 1845, Metz, Grand salon de l'Hôtel de Ville

Médaillon du poète Auguste Brizeux (1803–1858) at the cemetery of Carnel in Lorient; medal, marble, 1858

The Treaty of Paris of 1815, also known as the Second Treaty of Paris, was signed on 20 November 1815, after the defeat and the second abdication of Napoleon Bonaparte. In February, Napoleon had escaped from his exile on Elba, entered Paris on 20 March and began the Hundred Days of his restored rule. After France's defeat at the hands of the Seventh Coalition at the Battle of Waterloo, Napoleon was persuaded to abdicate again, on 22 June. King Louis XVIII, who had fled the country when Napoleon arrived in Paris, took the throne for a second time on 8 July.

The 1815 treaty had more punitive terms than the treaty of the previous year. France was ordered to pay 700 million francs in indemnities, and its borders were reduced to those that had existed on 1 January 1790. France was to pay additional money to cover the cost of providing additional defensive fortifications to be built by neighbouring Coalition countries. Under the terms of the treaty, parts of France were to be occupied by up to 150,000 soldiers for five years, with France covering the cost. However, the Coalition occupation under the command of the Duke of Wellington was deemed necessary for only three years; the foreign troops withdrew from France in 1818 (Congress of Aix-la-Chapelle).

In addition to the definitive peace treaty between France and Great Britain, Austria, Prussia and Russia, there were four additional conventions and an act confirming the neutrality of Switzerland, signed on the same day.

The Arc de Triomphe de l'Étoile ('Triumphal Arch of the Star') is one of the most famous monuments in Paris, France, standing at the western end of the Champs-Élysées at the centre of Place Charles de Gaulle, formerly named Place de l'Étoile—the étoile or "star" of the juncture formed by its twelve radiating avenues. The location of the arc and the plaza is shared between three arrondissements, 16th (south and west), 17th (north), and 8th (east). The Arc de Triomphe honours those who fought and died for France in the French Revolutionary and Napoleonic Wars, with the names of all French victories and generals inscribed on its inner and outer surfaces. Beneath its vault lies the Tomb of the Unknown Soldier from World War I.

The central cohesive element of the Axe historique (historic axis, a sequence of monuments and grand thoroughfares on a route running from the courtyard of the Louvre to the Grande Arche de la Défense), the Arc de Triomphe was designed by Jean Chalgrin in 1806; its iconographic programme pits heroically nude French youths against bearded Germanic warriors in chain mail. It set the tone for public monuments with triumphant patriotic messages. Inspired by the Arch of Titus in Rome, Italy, the Arc de Triomphe has an overall height of 50 metres (164 ft), width of 45 m (148 ft) and depth of 22 m (72 ft), while its large vault is 29.19 m (95.8 ft) high and 14.62 m (48.0 ft) wide. The smaller transverse vaults are 18.68 m (61.3 ft) high and 8.44 m (27.7 ft) wide. Three weeks after the Paris victory parade in 1919 (marking the end of hostilities in World War I), Charles Godefroy flew his Nieuport biplane under the arch's primary vault, with the event captured on newsreel.

Paris's Arc de Triomphe was the tallest triumphal arch until the completion of the Monumento a la Revolución in Mexico City in 1938, which is 67 metres (220 ft) high. The Arch of Triumph in Pyongyang, completed in 1982, is modelled on the Arc de Triomphe and is slightly taller at 60 m (197 ft). La Grande Arche in La Défense near Paris is 110 metres high. Although it is not named an Arc de Triomphe, it has been designed on the same model and in the perspective of the Arc de Triomphe. It qualifies as the world's tallest arch.

The Arc de Triomphe is located on the right bank of the Seine at the centre of a dodecagonal configuration of twelve radiating avenues. It was commissioned in 1806, after the victory at Austerlitz by Emperor Napoleon at the peak of his fortunes. Laying the foundations alone took two years and, in 1810, when Napoleon entered Paris from the west with his new bride, Archduchess Marie-Louise of Austria, he had a wooden mock-up of the completed arch constructed. The architect, Jean Chalgrin, died in 1811 and the work was taken over by Jean-Nicolas Huyot.

During the Bourbon Restoration, construction was halted, and it would not be completed until the reign of King Louis-Philippe, between 1833 and 1836, by the architects Goust, then Huyot, under the direction of Héricart de Thury. The final cost was reported at about 10,000,000 francs (equivalent to an estimated €65 million or $75 million in 2020).

On 15 December 1840, brought back to France from Saint Helena, Napoleon's remains passed under it on their way to the Emperor's final resting place at Les Invalides. Prior to burial in the Panthéon, the body of Victor Hugo was displayed under the Arc during the night of 22 May 1885.

The sword carried by the Republic in the Marseillaise relief broke off on the day, it is said, that the Battle of Verdun began in 1916. The relief was immediately hidden by tarpaulins to conceal the accident and avoid any undesired ominous interpretations. On 7 August 1919, Charles Godefroy successfully flew his biplane under the Arc. Jean Navarre was the pilot who was tasked to make the flight, but he died on 10 July 1919 when he crashed near Villacoublay while training for the flight.

Following its construction, the Arc de Triomphe became the rallying point of French troops parading after successful military campaigns and for the annual Bastille Day military parade. Famous victory marches around or under the Arc have included the Germans in 1871, the French in 1919, the Germans in 1940, and the French and Allies in 1944 and 1945. A United States postage stamp of 1945 shows the Arc de Triomphe in the background as victorious American troops march down the Champs-Élysées and U.S. airplanes fly overhead on 29 August 1944. After the interment of the Unknown Soldier, however, all military parades (including the aforementioned post-1919) have avoided marching through the actual arch. The route taken is up to the arch and then around its side, out of respect for the tomb and its symbolism. Both Hitler in 1940 and de Gaulle in 1944 observed this custom.

By the early 1960s, the monument had grown very blackened from coal soot and automobile exhaust, and during 1965–1966 it was cleaned through bleaching. In the prolongation of the Avenue des Champs-Élysées, a new arch, the Grande Arche de la Défense, was built in 1982, completing the line of monuments that forms Paris's Axe historique. After the Arc de Triomphe du Carrousel and the Arc de Triomphe de l'Étoile, the Grande Arche is the third arch built on the same perspective.

In 1995, the Armed Islamic Group of Algeria placed a bomb near the Arc de Triomphe which wounded 17 people as part of a campaign of bombings.

In late 2018, the Arc de Triomphe suffered acts of vandalism as part of the Yellow vests protests. The vandals sprayed the monument with graffiti and ransacked its small museum.

The astylar design is by Jean Chalgrin (1739–1811), in the Neoclassical version of ancient Roman architecture. Major academic sculptors of France are represented in the sculpture of the Arc de Triomphe: Jean-Pierre Cortot; François Rude; Antoine Étex; James Pradier and Philippe Joseph Henri Lemaire. The main sculptures are not integral friezes but are treated as independent trophies applied to the vast ashlar masonry masses, not unlike the gilt-bronze appliqués on Empire furniture. The four sculptural groups at the base of the Arc are The Triumph of 1810 (Cortot), Resistance and Peace (both by Antoine Étex) and the most renowned of them all, Departure of the Volunteers of 1792 commonly called La Marseillaise (François Rude). The face of the allegorical representation of France calling forth her people on this last was used as the belt buckle for the honorary rank of Marshal of France. Since the fall of Napoleon (1815), the sculpture representing Peace is interpreted as commemorating the Peace of 1815.

In the attic above the richly sculptured frieze of soldiers are 30 shields engraved with the names of major French victories in the French Revolution and Napoleonic wars. The inside walls of the monument list the names of 660 people, among which are 558 French generals of the First French Empire; The names of those generals killed in battle are underlined. Also inscribed, on the shorter sides of the four supporting columns, are the names of the major French victories in the Napoleonic Wars. The battles that took place in the period between the departure of Napoleon from Elba to his final defeat at Waterloo are not included.

For four years from 1882 to 1886, a monumental sculpture by Alexandre Falguière topped the arch. Titled Le triomphe de la Révolution ("The Triumph of the Revolution"), it depicted a chariot drawn by horses preparing "to crush Anarchy and Despotism".

Inside the monument a permanent exhibition, conceived by artist Maurice Benayoun and architect Christophe Girault, opened in February 2007.

Tomb of the Unknown Soldier

Beneath the Arc is the Tomb of the Unknown Soldier from World War I. Interred on Armistice Day 1920, an eternal flame burns in memory of the dead who were never identified (now in both world wars).

A ceremony is held at the Tomb of the Unknown Soldier every 11 November on the anniversary of the Armistice of 11 November 1918 signed by the Entente Powers and Germany in 1918. It was originally decided on 12 November 1919 to bury the unknown soldier's remains in the Panthéon, but a public letter-writing campaign led to the decision to bury him beneath the Arc de Triomphe. The coffin was put in the chapel on the first floor of the Arc on 10 November 1920, and put in its final resting place on 28 January 1921. The slab on top bears the inscription: Ici repose un soldat français mort pour la Patrie, 1914–1918 ("Here rests a French soldier who died for the Fatherland, 1914–1918").

In 1961, U.S. President John F. Kennedy and First Lady Jacqueline Kennedy paid their respects at the Tomb of the Unknown Soldier, accompanied by President Charles de Gaulle. After the 1963 assassination of President Kennedy, Mrs. Kennedy remembered the eternal flame at the Arc de Triomphe and requested that an eternal flame be placed next to her husband's grave at Arlington National Cemetery in Virginia.

Details

The four main sculptural groups on each of the Arc's pillars are:

Le Départ de 1792 (or La Marseillaise), by François Rude. The sculptural group celebrates the cause of the French First Republic during the 10 August uprising. Above the volunteers is the winged personification of Liberty. This group served as a recruitment tool in the early months of World War I and encouraged the French to invest in war loans in 1915–1916.

Le Triomphe de 1810, by Jean-Pierre Cortot celebrates the Treaty of Schönbrunn. This group features Napoleon, crowned by the goddess of Victory.

La Résistance de 1814, by Antoine Étex commemorates the French Resistance to the Allied Armies during the War of the Sixth Coalition.

La Paix de 1815, by Antoine Étex commemorates the Treaty of Paris, concluded in that year.

Six reliefs sculpted on the façades of the Arch, representing important moments of the French Revolution and of the Napoleonic era include:

Les funérailles du général Marceau (General Marceau's burial), by Henri Lemaire (Southern façade, right).

La bataille d'Aboukir (The Battle of Aboukir), by Bernard Seurre (Southern façade, left).

La bataille de Jemappes (The Battle of Jemappes), by Carlo Marochetti (Eastern façade).

Le passage du pont d'Arcole (The Battle of Arcole), by Jean-Jacques Feuchère (Northern façade, right).

La prise d'Alexandrie (The Fall of Alexandria), by John-Étienne Chaponnière (Northern façade, left).

La bataille d'Austerlitz (The Battle of Austerlitz), by Théodore Gechter (Western façade).

The names of 158 battles fought by the French First Republic and the First French Empire are engraved on the monument.

96 battles are engraved on the inner façades, under the great arches:

The names of 660 military leaders who served during the French First Republic and the First French Empire are engraved on the inner façades of the small arches

The great arcades are decorated with allegorical figures representing characters in Roman mythology (by James Pradier):

Access

The Arc de Triomphe is accessible by the RER and Métro, with exit at the Charles de Gaulle–Étoile station. Because of heavy traffic on the roundabout of which the Arc is the centre, it is recommended that pedestrians use one of two underpasses located at the Champs Élysées and the Avenue de la Grande Armée. A lift will take visitors almost to the top – to the attic, where a small museum contains large models of the Arc and tells its story from the time of its construction. Another 40 steps remain to climb to reach the top, the terrasse, from where one can enjoy a panoramic view of Paris.

The location of the arc, as well as the Place de l'Étoile, is shared between three arrondissements, 16th (south and west), 17th (north), and 8th (east).

Replicas

While many structures around the world resemble the Arc de Triomphe, some were actually inspired by it. Replicas that used its design as a model include Arch of Triumph in Pyongyang, North Korea; Arcul de Triumf in Bucharest, Romania; Rosedale World War I Memorial Arch in Kansas City, Kansas, US; and a miniature version at the Paris Casino in Las Vegas, US.

More than 250 people (the exact number is unknown) were executed by firing squad on the Waalsdorpervlakte at the dunes of Meijendel, situated near The Hague during the Second World War. This site has become one of the main memorial sites of the Dutch remembrance day.

On the 4th of May a silent remembrance procession is held. For this occasion the Dutch flag is formed with painted pine cones (in earlier years this was done with flowers). On both sides of the monument torches are placed and there is an honor guard of six persons. The big Bourdon Bell rings just a couple of moments before 20.00 hours. After the trumpet signal Taptoe, there's a two minutes silence. This is followed by the Dutch national anthem. Participants of the procession then walk past the monument to lay flowers and wreaths. The Bourdon Bell will sound again until the last interested party has passed the monument. The commemoration of 2010 attracted 3,325 visitors. The last one past the monument at 22.47. The numbers for this year's commemoration aren't in yet.

Twelve people were arrested during police raids at properties across Wigan borough between 13 and 19 September 2010.

In addition to the arrests, police executed 14 search warrants and shut down a £500,000 cannabis farm in Orrell.

Officers also seized £6,500 in cash, cocaine worth £8,000, four firearms and a large amount of white powder thought to be mephedrone.

Chief Inspector Clara Williams of Greater Manchester Police’s Wigan Division said: “These raids were another step towards cracking down on those who choose to engage in drug-related crime and break the law. We are determined to work tirelessly to improve community safety and would urge the public to get in touch to report any drugs-related intelligence they may have.”

The recent crackdown on drug-related crime was organised as part of the multi-agency campaign ‘Tackling Drugs – Changing Lives’, which involves the police, council, NHS and other agencies working together to stem the damage caused by drugs to local communities.

Kevin Anderson, Wigan Council’s cabinet champion for neighbourhoods, said: "For the third year running, the Rat on a Rat campaign has again generated support from members of the local community who are committed to helping us put drug dealers behind bars.

"Drug dealing at street level causes untold misery and affects the entire community, not least because of the strong link between the misuse of drugs and acquisitive crime.

"I urge people to continue supporting this campaign, and to carry on providing invaluable intelligence which helps us make our streets safer for everybody."

Anyone with information about drug dealing should call police on 0161 872 5050 or Crimestoppers anonymously on 0800 555 111.

Crimestoppers is an independent charity that 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.

If you’ve got a policing issue in your area please contact your local neighbourhood policing team:

To contact the Pemberton Neighbourhood Policing Team call 0161 856 7188 or email: pemberton.apt@gmp.police.uk

To contact the Wigan Neighbourhood Policing Team call 0161 856 7124 or email: wigan.apt@gmp.police.uk

To contact the Hindley Neighbourhood Policing Team call 0161 856 7436 or email: hindley.apt@gmp.police.uk

To contact the Leigh Neighbourhood Policing Team call 0161 856 7225 or email: leigh.apt@gmp.police.uk

To contact the Atherton Neighbourhood Policing Team call 0161 856 7319 or email: atherton.apt@gmp.police.uk

To find out more about your Neighbourhood Policing Team please visit our website.

www.gmp.police.uk

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

Building

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

Canaletto: View of Palais Liechtenstein

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

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

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

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

Sala terrene of the Palais

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

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

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

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

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

Use as a museum

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

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

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

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

The Wonders Of The Invisible World. Being An Account Of The Tryals Of Several Witches Lately Executed In New-England.

By Cotton Mather, D.D.

To Which Is Added

A Farther Account Of The Tryals Of The New-England Witches.

By Increase Mather, D.D. President Of Harvard College.

London: John Russell Smith, Soho Square, 1862.

The two very rare works reprinted in the present volume, written by two of the most celebrated of the early American divines, relate to one of the most extraordinary cases of popular delusion that modern times have witnessed. It was a delusion, moreover, to which men of learning and piety lent themselves, and thus became the means of increasing it. The scene of this affair was the puritanical colony of New England, since better known as Massachusetts, the colonists of which appear to have carried with them, in an exaggerated form, the superstitious feelings with regard to witchcraft which then prevailed in the mother country. In the spring of 1692 an alarm of witchcraft was raised in the family of the minister of Salem, and some black servants were charged with the supposed crime. Once started, the alarm spread rapidly, and in a very short time a great number of people fell under suspicion, and many were thrown into prison on very frivolous grounds, supported, as such charges usually were, by very unworthy witnesses. The new governor of the [Pg vi]colony, Sir William Phipps, arrived from England in the middle of May, and he seems to have been carried away by the excitement, and authorized judicial prosecutions. The trials began at the commencement of June; and the first victim, a woman named Bridget Bishop, was hanged. Governor Phipps, embarrassed by this extraordinary state of things, called in the assistance of the clergy of Boston.

There was at this time in Boston a distinguished family of puritanical ministers of the name of Mather. Richard Mather, an English non-conformist divine, had emigrated to America in 1636, and settled at Dorchester, where, in 1639, he had a son born, who was named, in accordance with the peculiar nomenclature of the puritans, Increase Mather. This son distinguished himself much by his acquirements as a scholar and a theologian, became established as a minister in Boston, and in 1685 was elected president of Harvard College. His son, born at Boston in 1663, and called from the name of his mother's family, Cotton Mather, became more remarkable than his father for his scholarship, gained also a distinguished position in Harvard College, and was also, at the time of which we are speaking, a minister of the gospel in Boston. Cotton Mather had adopted all the most extreme notions of the puritanical party with regard to witchcraft, and he had recently had an opportunity of displaying them. In the summer of the year 1688, the children of a mason of Boston named John Goodwin were suddenly seized with fits and strange afflictions, which were at once ascribed to witchcraft, and an Irish washerwoman named Glover, employed by the [Pg vii]family, was suspected of being the witch. Cotton Mather was called in to witness the sufferings of Goodwin's children; and he took home with him one of them, a little girl, who had first displayed these symptoms, in order to examine her with more care. The result was, that the Irish woman was brought to a trial, found guilty, and hanged; and Cotton Mather published next year an account of the case, under the title of "Late Memorable Providences, relating to Witchcraft and Possession," which displays a very extraordinary amount of credulity, and an equally great want of anything like sound judgment. This work, no doubt, spread the alarm of witchcraft through the whole colony, and had some influence on the events which followed. It may be supposed that the panic which had now arisen in Salem was not likely to be appeased by the interference of Cotton Mather and his father.

The execution of the washerwoman, Bridget Bishop, had greatly increased the excitement; and people in a more respectable position began to be accused. On the 19th of July five more persons were executed, and five more experienced the same fate on the 19th of August. Among the latter was Mr. George Borroughs, a minister of the gospel, whose principal crime appears to have been a disbelief in witchcraft itself. His fate excited considerable sympathy, which, however, was checked by Cotton Mather, who was present at the place of execution on horseback, and addressed the crowd, assuring them that Borroughs was an impostor. Many people, however, had now become alarmed at the proceedings of the prosecutors, and among those executed with Borroughs was a man named John Willard, who had been employed to arrest[Pg viii] the persons charged by the accusers, and who had been accused himself, because, from conscientious motives, he refused to arrest any more. He attempted to save himself by flight; but he was pursued and overtaken. Eight more of the unfortunate victims of this delusion were hanged on the 22nd of September, making in all nineteen who had thus suffered, besides one who, in accordance with the old criminal law practice, had been pressed to death for refusing to plead. The excitement had indeed risen to such a pitch that two dogs accused of witchcraft were put to death.

A certain degree of reaction, however, appeared to be taking place, and the magistrates who had conducted the proceedings began to be alarmed, and to have some doubts of the wisdom of their proceedings. Cotton Mather was called upon by the governor to employ his pen in justifying what had been done; and the result was, the book which stands first in the present volume, "The Wonders of the Invisible World;" in which the author gives an account of seven of the trials at Salem, compares the doings of the witches in New England with those in other parts of the world, and adds an elaborate dissertation on witchcraft in general. This book was published at Boston, Massachusetts, in the month of October, 1692. Other circumstances, however, contributed to throw discredit on the proceedings of the court, though the witch mania was at the same time spreading throughout the whole colony. In this same month of October, the wife of Mr. Hale, minister of Beverley, was accused, although no person of sense and respectability had the slightest doubt of her in[Pg ix]nocence; and her husband had been a zealous promoter of the prosecutions. This accusation brought a new light on the mind of Mr. Hale, who became convinced of the injustice in which he had been made an accomplice; but the other ministers who took the lead in the proceedings were less willing to believe in their own error; and equally convinced of the innocence of Mrs. Hale, they raised a question of conscience, whether the devil could not assume the shape of an innocent and pious person, as well as of a wicked person, for the purpose of afflicting his victims. The assistance of Increase Mather, the president or principal of Harvard College, was now called in, and he published the book which is also reprinted in the present volume: "A Further Account of the Tryals of the New England Witches.... To which is added Cases of Conscience concerning Witchcrafts and Evil Spirits personating Men." It will be seen that the greater part of the "Cases of Conscience" is given to the discussion of the question just alluded to, which Increase Mather unhesitatingly decides in the affirmative. The scene of agitation was now removed from Salem to Andover, where a great number of persons were accused of witchcraft and thrown into prison, until a justice of the peace named Bradstreet, to whom the accusers applied for warrants, refused to grant any more. Hereupon they cried out upon Bradstreet, and declared that he had killed nine persons by means of witchcraft; and he was so much alarmed that he fled from the place. The accusers aimed at people in higher positions in society, until at last they had the audacity to cry out upon the lady of governor Phipps himself, and thus lost whatever countenance he had[Pg x] given to their proceedings out of respect to the two Mathers. Other people of character, when they were attacked by the accusers, took energetic measures in self-defence. A gentleman of Boston, when "cried out upon," obtained a writ of arrest against his accusers on a charge of defamation, and laid the damages at a thousand pounds. The accusers themselves now took fright, and many who had made confessions retracted them, while the accusations themselves fell into discredit. When governor Phipps was recalled in April, 1693, and left for England, the witchcraft agitation had nearly subsided, and people in general had become convinced of their error and lamented it.

But Cotton Mather and his father persisted obstinately in the opinions they had published, and looked upon the reactionary feeling as a triumph of Satan and his kingdom. In the course of the year they had an opportunity of reasserting their belief in the doings of the witches of Salem. A girl of Boston, named Margaret Rule, was seized with convulsions, in the course of which she pretended to see the "shapes" or spectres of people exactly as they were alleged to have been seen by the witch-accusers at Salem and Andover. This occurred on the 10th of September, 1693; and she was immediately visited by Cotton Mather, who examined her, and declared his conviction of the truth of her statements. Had it depended only upon him, a new and no doubt equally bitter persecution of witches would have been raised in Boston; but an influential merchant of that town, named Robert Calef, took the matter up in a different spirit, and also examined Margaret Rule, and satisfied himself that the whole was a delusion or[Pg xi] imposture. Calef wrote a rational account of the events of these two years, 1692 and 1693, exposing the delusion, and controverting the opinions of the two Mathers on the subject of witchcraft, which was published under the title of "More Wonders of the Invisible World; or the Wonders of the Invisible world displayed in five parts. An Account of the Sufferings of Margaret Rule collected by Robert Calef, merchant of Boston in New England." The partisans of the Mathers displayed their hostility to this book by publicly burning it; and the Mathers themselves kept up the feeling so strongly that years afterwards, when Samuel Mather, the son of Cotton, wrote his father's life, he says sneeringly of Calef: "There was a certain disbeliever in Witchcraft who wrote against this book" (his father's 'Wonders of the Invisible World'), "but as the man is dead, his book died long before him." Calef died in 1720.

The witchcraft delusion had, however, been sufficiently dispelled to prevent the recurrence of any other such persecutions; and those who still insisted on their truth were restrained to the comparatively harmless publication and defence of their opinions. The people of Salem were humbled and repentant. They deserted their minister, Mr. Paris, with whom the persecution had begun, and were not satisfied until they had driven him away from the place. Their remorse continued through several years, and most of the people concerned in the judicial proceedings proclaimed their regret. The jurors signed a paper expressing their repentance, and pleading that they had laboured under a delusion. What ought to have been con[Pg xii]sidered still more conclusive, many of those who had confessed themselves witches, and had been instrumental in accusing others, retracted all they had said, and confessed that they had acted under the influence of terror. Yet the vanity of superior intelligence and knowledge was so great in the two Mathers that they resisted all conviction. In his Magnalia, an ecclesiastical history of New England, published in 1700, Cotton Mather repeats his original view of the doings of Satan in Salem, showing no regret for the part he had taken in this affair, and making no retraction of any of his opinions. Still later, in 1723, he repeats them again in the same strain in the chapter of the "Remarkables" of his father entitled "Troubles from the Invisible World." His father, Increase Mather, had died in that same year at an advanced age, being in his eighty-fifth year. Cotton Mather died on the 13th of February, 1728.

Whatever we may think of the credulity of these two ecclesiastics, there can be no ground for charging them with acting otherwise than conscientiously, and they had claims on the gratitude of their countrymen sufficient to overbalance their error of judgment on this occasion. Their books relating to the terrible witchcraft delusion at Salem have now become very rare in the original editions, and their interest, as remarkable monuments of the history of superstition, make them well worthy of a reprint.

FORT IRWIN, Calif. - U.S. Army Soldiers from 1st Battalion, 8th Infantry Regiment, 3rd Armored Brigade Combat Team, 4th Infantry Division, execute a rehearsal of a mission for live fire operations during Decisive Action Rotation 15-02 at the National Training Center here, Nov. 11, 2014. The decisive action training environment was developed in order to create a common training scenario for use throughout the Army. (U.S. Army photo by Sgt. Charles Probst, Operations Group, National Training Center)

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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ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM

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

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

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

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

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

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

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

#OliviaCampbellPatton #OliviaWildeNeeCockburne

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

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

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

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

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

#Owlephant

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#ELDER_SCROLL_OF_MNEM_0.0♾😻

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#EvanRachelWood-._•✏️📝✍️🔏🐧

--WRW

_.• ✍️🔏

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Greater Manchester Police this morning, Thursday 16 March 2023, executed a raid in Hulme to locate a man from Fallowfield, and made an arrest on suspicion of possessing indecent images of a child.

The man was also arrested on suspicion of carrying out activities relating to organised crime.

Located at Duffield Court on Brennan Close in Hulme, the 23-year-old of Selside Walk in Fallowfield, was arrested on suspicion of possession of indecent images of a child, contrary to section 160A of the Criminal Justice Act 1998.

Multiple electronic devices were seized from the address and he remains in custody for questioning. Enquiries are ongoing.

This arrest is the latest during the National Exploitation Fortnight of Action, to protect those who are being exploited - both adults and children, criminally and sexually.

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

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

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

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

This statue of George Washington (Catalog INDE14419) was executed by William Rush in 1814.

George Washington (1732-1799) was the first President of the United States from 1789–1797 after serving as Commander-in-Chief and leading the Continental Army to victory over the Great Britain in the American Revolutionary War. As president, he established many of the customs and usages of the new government's executive department. His unilateral Proclamation of Neutrality of 1793 provided a basis for avoiding any involvement in foreign conflicts. He supported plans to build a strong central government by funding the national debt, implementing an effective tax system, and creating a national bank.

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)

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#ELDER_SCROLL_OF_MNEM_0.0♾😻

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ℹ️8️⃣📞📲📳☎️♾💁‍♂️

ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM

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

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

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

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

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

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

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

#OliviaCampbellPatton #OliviaWildeNeeCockburne

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

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

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

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

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

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

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

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

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

#Owlephant

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#ELDER_SCROLL_OF_MNEM_0.0♾😻

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#EvanRachelWood-._•✏️📝✍️🔏🐧

--WRW

_.• ✍️🔏

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Harry Jackson's Two Champs, a bronze sculpture, was executed in 1978. This sculpture is a portrait of horse Old Steamboat and rider Clayton Danks, who won the world championship at the Cheyenne Frontier Days rodeo a century ago. Of the six splaying legs, only one connects with the ground, which along with the unsuually small base, molded from a coffee can, emphasizes the precariousness of the moment.

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

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

Six people have been arrested following warrants executed in Manchester as part of a crackdown on criminal groups involved in serious crime in Rochdale.

Seven addresses in #Moston, #Ardwick, #NewtonHeath, #Blackley, and #Openshaw were targeted this morning (Friday 5 February 2021) by officers from GMP Rochdale with support from neighbouring districts and the Tactical Aid Unit (TAU).

A cross bow with ammunition, three machetes and a stab proof vest was recovered from one address. An amount of cannabis was recovered at another address following a successful search by GMP's Tactical Dog Unit.

The action follows two serious assaults in Rochdale in December 2020 which detectives believe to be the result of a feud between two rival groups.

At around 7.15pm on 17 December, a teenager was stabbed on Tweedale Street, Rochdale, before he was taken to hospital with serious injuries. He was discharged three days later.

Over a week later on 28 December, just after 11.30pm, officers were also called to a report of stabbing followed by a road traffic collision on the same street.

A 21 year old man was hospitalised after sustaining lacerations to his arm & torso and also a broken arm. He was released two days later.

Enquiries are ongoing, and anyone with information is encouraged to contact police or Crimestoppers.

Detective Inspector Karl Ward, of GMP's Rochdale #Challenger team, said: "This morning's raids are the result of an extensive amount of investigative work following a concerning trend of serious assaults recently, particularly around the Freehold area of the town.

"It concerns me greatly to see young people involved in assaults where bladed weapons have been used to commit violent attacks. It is absolutely vital that we do all we can to remove this threat and to take such dangerous items off our streets.

"It is important that people feel safe in their communities, and we have done an enormous amount of work with our local authority partners to reduce the risk to young people living in the Freehold area.

"These arrests represent a positive step in sending that reassurance message. Knife crime will not be tolerated, and we will continue to work tirelessly to bring those who choose to engage in such activities to justice.

"While we have arrested six people today, I would encourage the public to continue to report incidents of concern so that we can take appropriate action with the assistance of our partner agencies."

Anyone with information should call 0161 856 8487. Details can be passed anonymously to the independent charity Crimestoppers on 0800 555 111.