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An A-10 Thunderbolt II from the 190th Fighter Squadron, Idaho Air National Guard, executes a show of force during a training exercise with the 124th Air Support Operations Squadron, IDANG and the Brazilian Air Force tactical air control party specialist at the National Training Center, Fort Irwin, California, June 12, 2019. The Brazilian Air Force was training with the 124 ASOS TACPs and the 12th Combat Training Squadron TACPS during NTC. (U.S. Air National Guard photo by Senior Airman Mercedee Wilds)
This portrait of Robert Fulton (Catalog Number INDE14051) was executed by Charles Willson Peale in 1807. This painting entered in Peale's Museum accension book in April 1807. It was purchased by the City of Philadelphia at the 1854 Peale Museum sae.
Robert Fulton (November 14, 1765 – February 24, 1815) was a American engineer and inventor who is widely credited with developing the first commercially successful steam-powered steamboat. While not the first to build a steamboat, Fulton was the first to implement the concept with practical success when his boat, Clermont, traversed the Hudson River from New York to Albany in 1807. He also designed a new type of a steam warship. In 1800 he was commissioned by Napoleon Bonaparte to design Nautilus, which was the first practical submarine in history.
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)
The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.
Building
Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688
Canaletto: View of Palais Liechtenstein
1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.
The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.
For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.
A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .
Sala terrene of the Palais
1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.
After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.
Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.
Garden
Liechtenstein Palace from the garden
The new summer palace of Henry of Ferstel from the garden
The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.
Use as a museum
Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.
From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .
On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.
de.wikipedia.org/wiki/Palais_Liechtenstein_(F%C3%BCrstengasse)
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
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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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Thalinatrix.Execute Program 032-A-Zero.
Models: Thalia + meh
Photographer: Meh
Done with:
SL: Phoenix Firestorm Viewer
Google Picasa
Please comment :) Am well able to listen to your critique and opinion.
July 30th, 2012
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
•-----------•----•💀•---•-------------•
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
•-----------•----•💀•---•-------------•
It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
•———————————•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•———————————•
#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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Officers from Titan - the North West Regional Crime Unit - and Greater Manchester Police have taken part in raids targeting people suspected of being involved in a £300 million pound drugs conspiracy.
Police executed warrants at a number of addresses in Altrincham, Prestwich, Salford and Bolton in the early hours of Wednesday 2 July 2014.
A quantity of cash and drugs have been seized and are being examined to identify what they are.
Eight men were arrested on suspicion of drugs trafficking offences and three women were arrested on suspicion of possessing Class B drugs.
This morning’s raids have been part of an extensive investigation into the supply of Class A, B and C drugs across the North West by officers from Titan.
Detective Superintendent Jason Hudson, Titan’s head of operations said: "The coordinated arrests this morning come as a result of an intensive and painstaking 12 month long investigation by my team.
“Our actions have delivered a massive blow against the organised criminals operating in the Manchester and North West region, and we continue to send a strong message to others involved in this type of crime that we will act on information we receive and we will be knocking on your door.
“We remain committed to tackling those involved in drugs offences by dismantling their hierachies and putting those involved before the courts.
"I would urge decent, law-abiding members of the community who have information about criminality where they live to share that information with their local police force or Crimestoppers so that positive action can be taken."
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
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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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The painting was probably executed in England in 1629-30, illustrating Rubens's hopes for the peace he was trying to negotiate between England and Spain in his role as envoy to Philip IV of Spain. Rubens presented the finished work to Charles I of England as a gift.
The central figure represents Pax (Peace) in the person of Ceres, goddess of the earth, sharing her bounty with the group of figures in the foreground. The children have been identified as portraits of the children of Rubens's host, Sir Balthasar Gerbier, a painter-diplomat in the service of Charles I.
To the right of Pax is Minerva, goddess of wisdom. She drives away Mars, the god of war, and Alecto, the fury of war. A winged cupid and the god of marriage, Hymen, lead the children (the fruit of marriage) to a cornucopia, or horn of plenty. The satyr and leopard are part of the entourage of Bacchus, another fertility god, and leopards also draw Bacchus's chariot. Two nymphs or maenads approach from the left, one brings riches, the other dances to a tambourine. A putto holds an olive wreath, symbol of peace, and the caduceus of Mercury, messenger of the gods.
Seven people have been arrested following a series of dawn warrants to target a suspected gang of violent criminals.
This morning, 7 July 2014, police in Stockport executed a number of warrants in the Brinnington area following a string of violent home invasions and assaults, during which homeowners were either threatened or attacked.
Assisted by the Tactical Aid Unit, seven warrants were carried out and seven men have been arrested on suspicion of assault and aggravated burglary.
Detective Sergeant Matt Tarr said: "We believe the gang responsible for these violent attacks and home invasions are involved in an extensive criminal web that involves drugs, weapons and burglaries.
"During one of assault the homeowner suffered a nasty wound to his arm as a result of being attacked with a machete so clearly those responsible are dangerous and have no qualms about resorting to violence.
"We also believe there may be a case of mistaken identity in a number of these burglaries meaning innocent people who are not involved in this criminal web are being unfairly and unnecessarily subjected to a great deal of distress and upset.
"That is why we have taken this action today and arrested seven people on suspicion of robbery.
"Police in Stockport, together with our partner agencies, have made huge inroads into tackling organised criminality in this town and in recent years we have seized millions of pounds in drugs and cash and put behind bars some high-profile criminals which has disrupted the supply of weapons and drugs onto our streets.
"We know that residents want us to take a tough stand against those involved in the supply of drugs and other criminality that destroys the fabric of the communities we serve. I hope today sends a message to the community, including the criminal fraternity, that we will not allow people to be terrorised in their own homes and we will be coming for anyone who is involved."
Anyone who has information is asked to call police on 101 or the independent charity Crimestoppers, anonymously, on 0800 555 111.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
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 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
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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♾😻
•———————————•
#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
The sketches very often executed in such a way further are drawn in the graphic editor as it would be on a canvas a brush. Plug-ins and filters are not used.
Aside from the beautifully executed cast glass corner blocks, note the detail where the wall meets the ground, as well as the garden wall.
The original was raw concrete, but in the northwest with the wet weather the block started accumulating a lot of moss. I might have been okay with that, but it probably would have led to a deterioration in the concrete block.
The owner's solution? He painted the building the same color as the Guggenheim museum. Great choice! Very Wrightian.
Home: William B. Tracy House & Garage, Normandy Park (Seattle), Washington by Frank Lloyd Wright, 1956
Google Maps: 18971 Edgecliff Drive, Normandy Park, WA
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
•-----------•----•💀•---•-------------•
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
•-----------•----•💀•---•-------------•
It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
•———————————•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•———————————•
#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
•-----------•----•💀•---•-------------•
•-----------•----•💀•---•-------------•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•-----------•----•💀•---•-------------•
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
•-----------•----•💀•---•-------------•
It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
•———————————•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•———————————•
#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
•-----------•----•💀•---•-------------•
3rd Regiment, Basic Camp Cadets executed Night Land Navigation June 27, during Cadet Summer Training at Fort Knox, Ky. Photo by: Madison Thompson
The Sun Vow, executed in 1899 by sculptor Herman Artkins MacNeil and cast in 1902, has adorned the lawn in front Montclair Art Museum since it first opened. he Sun Vow depicts a Native American rite of passage that MacNeil learned of during his travels. In the Sioux tribe, for a boy to become a man and accepted as a warrior, he must shoot an arrow directly into the sun. If the chieftain is blinded by the sun’s rays and cannot follow the arrow’s path, the boy passes the test. MacNeil created The Sun Vow to fulfill a requirement for his four-year Rinehart Scholarship at the American Academy in Rome.
Montclair Art Museum (MAM), at 3 South Mountain Avenue, is one of the few museums in the United States devoted to American art and Native American art forms, with a collection consisting of more than 12,000 works. Chartered in 1909, thanks to the donations of artwork and funding of its two founders, Montclair residents William T. Evans, civic leader and art collector, and heiress Florence Osgood Rand Lang, the Montclair Art Museum opened its doors in 1914. The Beaux Arts building was designed by architect Albert R. Ross, at the direction of museum trustee Michel Le Brun. As the collection has grown, so too has the building housing it. The museum underwent renovations in 1924, 1931 and 2000-2001. The recent renovation doubled the museum's square footage, with architectural firm Beyer Blinder Belle at the helm.
Anthony Cramer, one of fourteen people charged in civilian courts with aiding eight Nazi saboteurs who landed by submarine on U.S. shores In June 1942, is shown in a full frontal photograph after his arrest.
Cramer was aa close friend of Werner Thiel, one of eight German Nazi saboteurs who landed by U-boat on U.S. shores in June 1942.
Cramer was born in Allendorf, Germany in 1900 and served in the German army during World War I. He arrived in the United States in 1925 and became a naturalized citizen in 1936.
He was a member of the Friends of New Germany—the predecessor organization to the German-American Bund, a pro-Nazi organization.
While in the United States, Cramer worked as both an engineer and a mechanic in New York.
He had dinner with both Thiel and Edward Kerling, another of the saboteurs, while in New York. Thiel gave Cramer $3,670 for safekeeping which Cramer put in a safe deposit box.
Cramer was charged and convicted of treason in November 1942 and sentenced to forty-five years in prison plus a $10,000 fine.
While Cramer remained imprisoned, the case was appealed all the way to the U.S. Supreme Court, which reversed his conviction on April 23, 1945 in a 5-4 decision.
Writing for the majority, Justice Robert H. Jackson said that the Constitution is clear in its definition of treason, limited to the waging of war, or giving material assistance to an enemy.
The prosecution and its witnesses could demonstrate only an association and not that Cramer had given "Aid and Comfort," as defined in Article Three. Jackson wrote that the jury had been given no evidence that Cramer had "even paid for their drinks." As such, the majority opinion held, the associations were insufficient to convict Cramer for treason, and the judgment of the Court of Appeals was reversed.
But Cramer’s legal troubles were not over. Minutes before the paperwork could reach the prison to release him, Cramer was indicted for violating the “Trading with the Enemy” act and a Presidential “freeze order” over Cramer’s safeguarding Thiel’s money.
Cramer pled guilty September 29, 1945 and was sentenced to six years in prison. The judge remarked that it would have been 10 years except that Cramer had already been in prison for over three years.
The eight Nazi saboteurs who landed in the U.S. in Florida and New York were almost immediately arrested after one of them, George Dasch, contacted the FBI and turned himself in.
The eight saboteurs were quickly convicted--six of whom were executed in August 1942, including Kerling and Thiel; one received a life sentence; and one received 30 years imprisonment following a Washington, D.C. military trial.
Fourteen other people, including Cramer, were charged with aiding the eight saboteurs. Cramer was charged with treason and the government sought the death penalty.
Of the others charged with aiding the saboteurs some received various prison terms, some had charges dropped, some were detained as enemy aliens and deported after the war ended.
For more information and related images, see flic.kr/s/aHsmPiRmT4
The photographer is unknown. The image is believed to be a U.S. government photograph. It is housed in the D.C. Library Washington Star Collection.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
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:-
To the south of the high altar stands the most artistically significant of Framlingham's tombs, that of 3rd Duke of Norfolk Thomas Howard (d.1554), uncle to both of Henry VIII's executed queens (Anne Boleyn & Catherine Howard) and also his first wife Princess Anne Plantagenet (d.1511), the fifth daughter of Edward IV and Elizabeth Woodville.
en.wikipedia.org/wiki/Thomas_Howard,_3rd_Duke_of_Norfolk
The tomb itself is remarkable as perhaps the last example of traditional Catholic iconography appearing on a church monument in this country and an extremely rare example of what the English Renaissance might have been had the Reformation not suffocated it. The figures of Apostles adorn the tomb chest in a rich display and fusion of late medieval and Renaissance styles, the niches that frame them being wholly in the latter spirit.
Framlingham was perhaps my most anticipated target of the day, one of the 'big three' of my itinerary that I knew I'd require more time for, and getting later in the afternoon I was increasingly anxious about not arriving here too late. St Michael's is justly renowned for its fine tombs, really special and quite unique, and is an impressive building in its own right. I was fortunately here a while until closing time, and the ladies on duty I met kindly checked I'd got all I wanted before locking up and even gave me access to the organ gallery for some great final views of the interior.
The church announces its presence with its handsome 15th century west tower, poking proudly above the rooftops in the oldest part of the town. The churchyard is set back from the streets and reveals a grand, fairly sprawling building, all apparently late medieval but some of it later still. What strikes the observer most is the way the chancel with its aisles has spread outwards, being of far greater width than the nave, which though of good proportions itself appears rather slim by comparison. The reason for this discrepancy becomes clear within.
Entry is by the south porch and it is immediately clear what an impressive space this is, very much the large town church. The nave is light and crowned by a fine medieval roof and opposite the entrance the eye is drawn to a 15th century mural of the Trinity. At the west end in the gallery is the handsome Baroque organ case of the precious 17th century Thamar organ, its pipes painted with swirling foliate designs. In the north aisle is the medieval font following the classic East Anglian design but less well preserved than some.
Stepping beyond the nave the chancel seems like a separate building, with its aisle split into three vessels of equal height like some great pillared hall. It is light and spacious and at first sight appears a little austere until one notices the cluster of tombs at the east end on either side, which are the reason for this part of the building's existence which was finished only in 1554 in order to house them. The Tudor tombs belong to the family of the Dukes of Norfolk who at the time owned nearby Framlingham Castle and made this church a family mausoleum as a direct consequence of losing their previous chosen resting place, Thetford Priory, to the Dissolution and thus the earlier tombs were transferred from there shortly after they were originally erected.
The tombs are a remarkable expression of English Renaissance design on the cusp of the Reformation and thus still informed as much by medieval precedents as the more standard forms of the following decades. The oldest is that of Henry Fitzroy, Duke of Richmond and illegitimate son of Henry VIII who married in to the Norfolk family. His tomb has no effigy but is adorned with some fetching small-scale reliefs. Much grander is the tomb of the wives of the 4th Duke nearby with recumbent effigies, but for me the most significant tomb here artistically is that of 3rd Duke Thomas Howard to the south of the altar. This remarkable monument is the best example we have of how English Renaissance church art might have blossomed without the Reformation, for the tomb chest is adorned with with a series of carved apostles in the medieval format but in detail wholly Renaissance, the figures in a still familiar on the continent but extremely rare over here. Award for the most colourful tomb however goes to that of Henry Howard on the north side (erected several decades after his execution under Henry VIII) and adorned with richly painted effigies, heraldic beasts and kneeling progeny.
Framlingham church would be worth a visit even without its fine tombs but these monuments make it unmissable, especially as they capture such a snapshot of one of the most turbulent periods of English history. I was duly relieved to have got here before they closed, but the church is generally kept open and welcoming in normal times so those getting less distracted than me en route here shouldn't have to worry so much about getting in.
For more on this fine church see its entry on the Suffolk Churches site below:-
Basilique romane de Sant’ Angelo in Formis ; commune de Capoue, province de Caserte, région de Campanie, Italie
C’est un édifice basilical sans transept, subdivisé en trois nefs, suivies de trois absides, par deux rangées de colonnes libres (sept de chaque côté) sur lesquelles retombent huit arcs en plein cintre.
La construction est précédée d’un porche à cinq arcs brisés soutenus par de grosses colonnes de remploi; l’arc central est sensiblement plus haut et plus large que les arcs latéraux. Les fenêtres des absides, trois dans l’abside centrale et une dans les latérales, ont été obturées afin de disposer de toute la surface pour la décoration picturale à l’intérieur. Il s’agit évidemment d’une modification du projet originel exécutée à une époque immédiatement postérieure à l’achèvement de construction, comme le montre (au moins pour l’abside centrale et celle de gauche) la parfaite identité du matériau employé. …
… Avant d’en venir à l’analyse de la décoration du porche et de l’intérieur, jetons un bref regard sur le clocher. Construit sur plan carré en retrait par rapport à la façade du porche, ce campanile semble contemporain de la basilique. C’est en effet à un moment assez voisin de la renaissance classiciste de l’art figuratif, survenue en Campanie vers la fin du XIe siècle, que renvoient les motifs décoratifs sculptés le long de la corniche qui sépare le premier registre du second. La présence de certains éléments de nature nettement dassicisante (denticules, cordelière et oves), parfaitement combinés avec des motifs végétaux de divers genres, offre des points de comparaison précis avec des solutions analogues (par exemple sur les portails de la cathédrale d’Aversa) datables avec certitude des vingt dernières années du XIe siècle. Une telle combinaison, légèrement simplifiée toutefois, se retrouvera dans les corniches extérieures de la nef et du transept de la cathédrale de Calvi, de trente ou quarante ans plus tardive. …
Ne subsistant qu’aux deux tiers de sa hauteur, le campanile avait un troisième étage légèrement en retrait (d’après certaines aquarelles de G. Carelli) et se terminait par une « petite coupole ou chapeau d’une très grande beauté à son sommet et par une croix ».
Les fresques qui ornent l’église à l’intérieur constituent la manifestation la plus importante, en quantité et en qualité, des tendances formelles apportées au Mont-Cassin par les mosaïstes byzantins. Homogènes entre elles, c’est-à-dire certainement de la même époque, on en peut fixer la date avec certitude entre 1072 et 1087. En effet, sur l’abside, l’abbé Desiderius est figuré avec un nimbe rectangulaire qui, dans la coutume médiévale, voulait dire explicitement que le personnage en question était vivant …. Le riche programme de la campagne décorative, qui recouvre encore aujourd’hui la presque totalité des parois disponibles, s’articule de la façon suivante : dans l’abside centrale, entouré des symboles des évangélistes, trône le Christ en majesté donnant la bénédiction (sur son livre le verset à nette référence eschatologique montre une des « incompréhensions » … dues à des peintres locaux, de celle sorte que l’oméga qui, en même temps que l’alpha, est le symbole du commencement et de la fin des temps, est figuré à tort comme un omicron. Au registre inférieur sont figurés en vraie grandeur les trois archanges, l’abbé Desiderius offrant le modèle architectural réduit de l’église, et (entièrement repeint) saint Benoît. Sur les écoinçons de l’arc d’entrée de l’abside, deux séraphins. Les trois registres de chacune des parois de la nef centrale se subdivisent en cadres où sont (ou étaient) représentées des scènes au contenu christologique, disposées dans leur ensemble comme dans les basiliques paléochrétiennes (par exemple à Saint-Paul-hors-les-Murs), Ces scènes commençaient au registre supérieur du mur de droite près de l’abside. De là, se développant dans le sens de l’écriture, elles arrivaient au mur d’entrée et de là, passant sur le mur opposé, elles retournaient vers l’abside. De nouveau sur le mur de droite elles se
poursuivaient au registre médian pour se terminer enfin, en suivant la même progression, auprès de l’abside au terme du troisième registre. Bien que les scènes initiales soient totalement perdues, on peut faire crédit à l’hypothèse que formule avec justesse M. de Jerphanion, et qui voit dans l’Annonciation la première scène et dans les autres récits de l’enfance du Christ les scènes qui suivent immédiatement; ce qui termine la longue séquence, c’est l’Ascension, développée sur les deux registres inférieur et médian. Au revers de la façade, sur la paroi tout entière est peinte une majestueuse représentation du jugement dernier (la figure du Christ-Juge y est malheureusement repeinte de façon irrémédiable), Sur les écoinçons entre les arcs sont figurés des prophètes, parmi lesquels trouve place même la sibylle Éri- thrée. Chaque prophète tient un cartouche dont les versets permettent des références précises aux scènes qui les surmontent, présentant ainsi cette concordantia Veteris et Novi Testament qui, dans l’art chrétien, nous est connue dès ses réalisations monumentales originelles (à Rome comme à Ravenne) mais qui, dans le milieu oriental et particulièrement dans le célèbre manuscrit syriaque (VIe siècle) aujourd’hui à Rossano Calabro, se présente dans les formes les plus proches de cette concordance campanienne (de Francovich). Sur l’absidiole de droite (celle qui lui correspondait à gauche a disparu) figure le buste de la Vierge à l’Enfant entre deux anges, au-dessus d’un registre inférieur avec des saints martyrs. Sur les murs des collatéraux (en y incluant les parties latérales du revers de la façade) se déploie, fort incomplet, sur deux registres le cycle vétéro-testamentaire. Une scène y est étrangère par son thème : le martyre de saint Pantaléon, sur le registre inférieur au mur occidental du côté gauche (en entrant dans l’église). Sur les écoinçons des deux collatéraux sont peints enfin les figures de saints de l’ordre bénédictin et de saintes. L’état de conservation des fresques, bien que bon en général (les zones altérées ayant été repeintes), a été cependant gâché par les restaurations des années 30, En effet, comme on l’a révélé seulement récemment (Thiery) et comme le prouve la comparaison entre les photos antérieures aux années 30 et l’état actuel, à cette occasion, on a enlevé par un lavage malheureux les glacis à la détrempe qui faisaient partie intégrante de la contexture dernière de l’œuvre. Il s’ensuit que les scènes maltraitées en question (de la partie droite de la Crucifixion jusqu’à l’Ascension, y compris les figures des prophètes) présentent un caractère estompé et une légèreté de couleur nullement voulus par le peintre. Malgré cela subsiste la possibilité de distinguer les « mains » des nombreux peintres qui, tous membres d’une équipe unique d’où émergent quelques « maîtres » plus vigoureux (parmi lesquels ceux qui ont travaillé, par exemple, sur le cul-de-four de l’abside ou dans la scène de la Samaritaine au puits) durent exécuter le travail en un temps relativement court. Leur formation artistique, pour la compréhension de laquelle la perte de la décoration cassinaise est sans remède, est substantiellement d’origine byzantine, teintée cependant de reflets provenant des manières de faire occidentales (tant dans l’iconographie, par exemple dans le thème même de l’abside, que pour les composantes du style, par exemple dans les bandes polychromes servant de fond aux scènes). … A l’extérieur, le décor pictural couvre les deux tympans au fond de l’arcade centrale et les quatre qui correspondent aux arcades latérales du porche. Le tympan supérieur, … porte l’image de la Vierge en majesté à l’intérieur d’une gloire soutenue par deux anges en plein vol (celui de droite est entièrement repeint); le tympan inférieur, encore en place, représente l’archange Michel en buste. Les étroites coïncidences de style entre l’un et l’autre ont toujours porté les historiens de l’art à leur donner une même date. Celle-ci doit se situer en un second temps par rapport à la campagne désidérienne de travaux, du fait que la fresque de la Vierge se superpose à une autre dont des traces fragiles ont été révélées à la suite de la dépose (dans la partie basse du tympan sur la droite). …
(extrait de : Campanie romane ; Mario d’Onofrio, Ed. Zodiaque, Coll. La nuit des Temps, 1981, pp. 169-178)
Coordonnées GPS : N41.118396 ; E14.260211
The portrait of William Penn (Catalog Number INDE14117) was executed by Henry Inman in 1832. Inman won an 1826 commission for the portrait by the Commemoration of the Landin of William Penn. He was heavily influenced by Benjamin West's portrayal of Penn in Treaty With The Indians When He Founded the Province of Pennsylvania in North America, which depicts Penn and a group of Quakers and merchants standing with a group of Native Americans.
William Penn (1644 – 1718) was founder and "Absolute Proprietor" of the Province of Pennsylvania, the English colony and future State of Pennsylvania. He was known as an early champion of democracy and religious freedom and famous for his treaty with the Lenape Indians. Well ahead of his time, Penn wrote and urged for a Union of all the English colonies. The democratic principles that he set forth in the Pennsylvania Frame(s) of Government served as an inspiration for the United States Constitution. As a pacifist Quaker, Penn considered the problems of war and peace deeply, and included a plan for a United States of Europe, "European Dyet, Parliament or Estates," in his voluminous writings.
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)
English Civil War Society: London 2015
King executed in London's Whitehall on January 30 1649 after bloody war between royalists and parliamentarians, fathers, sons, brothers
in our organization we take Membership Intake very seriously. It is a well organized and well executed time intensive process. Months before the actual process begins their is mandatory training and extensive planning that must be done by those that are involved in the intake. After months and months of our chapters hard work and dedication we are so happy to welcome these young ladies into our organization which prides itself on SISTERHOOD, SCHOLARSHIP and SERVICE. These young ladies is the reason why I have been slacking on my Flickr daily posts and fell way behind not only Flickr but my 365 Project on Google+. Now hopefully I can catch up on the things I have neglected as I work on a Photobook I am doing on them for our Chapter archives. # ILoveMyDST. #RedAlert!!!
Ugolino and His Sons, modeled ca. 1860–61, executed in marble 1865–67
Jean-Baptiste Carpeaux (French, 1827–1875)
Saint-Béat marble
H. 77 in. (195.6 cm)
Signed (incised in script at right front facet of base): Jbte Carpeaux./Rome 1860; (incised at right end facet of base) JBTE CARPEAUX ROMA 1860
Purchase, Josephine Bay Paul and C. Michael Paul Foundation Inc. Gift and Charles Ulrick and Josephine Bay Foundation Inc. Gift, and Fletcher Fund, 1967 (67.250)
Dante's Divine Comedy has always enjoyed favor in the plastic arts. Ugolino, the character that galvanized peoples' fantasies and fears during the second half of the nineteenth century, appears in Canto 33 of the Inferno. This intensely Romantic sculpture derives from the passage in which Dante describes the imprisonment in 1288 and subsequent death by starvation of the Pisan count Ugolino della Gherardesca and his offspring. Carpeaux depicts the moment when Ugolino, condemned to die of starvation, yields to the temptation to devour his children and grandchildren, who cry out to him:
But when to our somber cell was thrown
A slender ray, and each face was lit
I saw in each the aspect of my own,
For very grief both of my hands I bit,
And suddenly from the floor arising they,
Thinking my hunger was the cause of it,
Exclaimed: Father eat thou of us, and stay
Our suffering: thou didst our being dress
In this sad flesh; now strip it all away.
Carpeaux's visionary composition reflects his reverence for Michelangelo, as well as his own painstaking concern with anatomical realism. Ugolino and His Sons was completed in plaster in 1861, the last year of his residence at the French Academy in Rome. A sensation in Rome, it brought Carpeaux many commissions. Upon his return to France, Ugolino was cast in bronze at the order of the French Ministry of Fine Arts and exhibited in the Paris Salon of 1863. Later it was moved to the gardens of the Tuilieries, where it was displayed as a pendant to a bronze of the Laocoön. This marble version was executed by the practitioner Bernard under Carpeaux's supervision and completed in time for the Universal Exposition at Paris in 1867. The date inscribed on the marble refers to the original plaster model's completion.
Helmut Leiner, one of fourteen people charged in civilian courts with aiding eight Nazi saboteurs who landed by submarine on U.S. shores In July 1942, is shown in a full frontal photograph after his arrest.
Helmut Leiner was a close friend of Edward John Kerling, the leader of a group of German Nazi saboteurs who landed by U-boat near Jacksonville, Florida on June 17, 1942.
Leiner had been approved by the German High Command as a secret contact for the saboteurs in the United States.
Kerling contacted Leiner in New York City immediately after arriving in the United States and Leiner assisted him in making other contacts in the area. Leiner changed large American bills into smaller denominations and brought Kerling up to speed on travel regulations.
Leiner was born in Germany in August 1909 and first arrived in the U.S. in 1929. He was a member of the Nazi Party in Germany and associated with the German American Bund-a pro-Nazi organization in the U.S.
While in Germany he received the golden insignia, emblematic of pioneer service with the Nazi party.
Leiner worked as a gardener in the United States and was not a citizen. At the time of his arrest he was living in Astoria, Queens, New York.
The eight Nazi saboteurs who landed in the U.S. in Florida and New York were almost immediately arrested after one of them, George Dasch, contacted the FBI and turned himself in.
The eight saboteurs were quickly convicted--six of whom were executed in August 1942, including Kerling; one received a life sentence; and one received 30 years imprisonment following a Washington, D.C. military trial.
Fourteen other people, including Leiner, were charged with aiding the eight saboteurs. Leiner was charged with treason and the government was seeking the death penalty.
However Leiner was acquitted by the Judge John W. Clancy of treason on technical grounds November 30, 1942.
The government quickly moved to detain Leiner as an enemy alien for the duration of the war. They brought new charges against Leiner in 1943. Leiner in turn pled guilty to the lesser charge of trading with the enemy June 18, 1943 and was sentenced to 18 years in prison.
Of the others charged with aiding the saboteurs some received various prison terms, some had charges dropped, some were detained as enemy aliens and deported after the war ended.
For more information and related images, see flic.kr/s/aHsmPiRmT4
The photographer is unknown. The image is believed to be a U.S. government photograph. It is housed in the D.C. Library Washington Star Collection.
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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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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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Harry Jaques (real name Andreus Heinrich Jans), one of fourteen people charged in civilian courts with aiding eight Nazi saboteurs who landed by submarine on U.S. shores In June 1942, is shown in a mugshot after his arrest.
A Washington Star photo editor has placed an X over the left image.
Jaques was born in Germany and entered the United States in 1924 by jumping the ship on which he was a seaman. His wife, Emma, entered the United States a year later. The Jaques lived in Chicago.
The Jaques were the first persons contacted by Herman Neubauer after his landing on U.S. shores by U-boat. The Jaques admitted that Neubauer explained to them that he had returned to the U.S. on a secret mission for the German Nazi government and prevailed on them to conceal the sum of $3,600 in $50 bills which Neubauer brought with him from Germany.
The FBI recovered the money in a coffee jar taken from the Jaques home.
Neubauer and five others that landed on U.S. shores were executed in August 1942. One of the group was given 30 years imprisonment while the other received a life sentence. Both of those who were not executed had their sentences commuted in 1948 and were deported to the U.S. zone in Germany.
The saboteurs were unable to carry out any of their plans because one of them informed on the mission to the FBI.
The Jacques were never tried for their alleged crimes, but were held as enemy aliens until the end of the war and deported to the U.S. zone in Germany.
The Jacques were among 14 people arrested for aiding the eight saboteurs. Some of these 14 initially received the death penalty, but it was overturned on appeal. Some received lengthy prison sentences, some received lesser prison sentences while some were held as enemy aliens and deported after World War II ended.
For more information and related images, see flic.kr/s/aHsmPiRmT4
The photographer is unknown. The image is believed to be a U.S. government photograph. It is housed in the D.C. Library Washington Star Collection.
Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
If you ever drive through the airport tunnel it is always impressive to see a huge plane drive over the top of you. The effect is even more impressive in the dark. But it is rare for aircraft to taxi over this way, and it only happens when the wind is from the North East instead of the prevailing westerly winds. It's even rarer for an aircraft to stop in this position as they trundle down the taxiway.
I wanted to catch the plane stopped over the tunnel with rush-hour car lights trailing through the tunnel.
Standing in the freezing air lastnight, it just didn't 'happen' for me. Only two planes came over, without stopping, before the wind direction changed and the aircraft taxied across the airport out of sight. And I didn't have things set up right. I decided to give it another go whenever the wind next swings round, perhaps later next week, when we are due to get another icy blast from Scandinavia. Freezing cold, I got my chance to warm up and get my hands filthy rescuing a woman from a 3 hour wait for the RAC man to change a flat tyre. Wednesday night wasn't good for either of us!
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
This beautifully decorated orthodox church is situated up a hill in Lagoydi, Kos
We are given special permission to access the off-limits upper floor (nobody has access for the last 2000 years until now) of the church from where I'm able to get some beautiful views of the stunning frescoes and unravel an ancient secret.
This is the Gospel of Mark. Not any "Gospel according to Mark" but the first original manuscript that Mark actually wrote back in the year 70AD when the Jewish War was raging, and the Roman under the command of Titus had just devastated the Second Temple in Jerusalem and in the process kick started the Jewish Diaspora. St Paul had been executed in Rome 2 years back. This is literally an eye-witness account of Jesus's life and all the narratives described in the bible. Mark's Gospel is by and large the earliest of the 4 Gospels of the new testament that was written in view of his stylistic and theological writings. This is the time when Christianity is still in its infancy embryonic stage.
According to a reliable ancient Q source (2-source hypothesis, synoptic problem), Mark initially intended to have it written in Aramaic which Jesus spoke in his sermons during his ministry. However, he changes his mind at the last minute and writes in Greek instead, in order to reach out to the majority Greek speaking gentiles in Asia Minor and around the Mediterranean region. Unlike the earliest known fragmentary Gospel of Mark in existence which dates to the third century AD, this one is a near complete first century AD document. The exact date of completion of the book was clearly inscribed along with Mark's autograph in chapter 23:04. This manuscript contained the original resurrection narrative beyond Mark 16:8 of the canonical bible. (16:9-20 extract material from later Gospel tradition in Matthew/Luke/John as well as embellishments from medieval scribes)
It is a highly sought-after ancient Christian scripture that was presumably lost for 2000 years. Scholars all over the world have been desperately looking for it since antiquity but failed.
This is the first Gospel from which all other Gospels are based on, including the canonical Gospels of Matthew, Luke/Act and John which form the essential part of the New Testament of 27books.
The only biblical authoritative scriptures that predate it are the epistles of Paul which he wrote some 2 decades earlier. However, Paul (formerly Saul) does not describe the life of Jesus, he only accounts for his death, resurrection and his divine teachings. The reason why Paul is not interested in the historical flesh and blood Jesus is because that was associated with Judaism in which Jesus was believed to be the Messiah. He came to earth to liberate the Jewish people. However, his messianic activities caught the attention of the Roman authorities which viewed him as a political agitator. He was arrested charged with political subversion and subsequently crucified. (the gospels however were written in such a way as to discount any Romans involvement, the Jews were the ones that were responsible for Jesus death instead) For Judaism, once the Messiah is killed, that signal the end of his potentials. The leader is gone forever as Jews don't believe Jesus would return as a divine figure continuing in his fight for liberation as nobody is divine in Judaism. Paul wanted to drive on his notion with the historical failure in leadership is utterly wipe out and create a brand new theology which put Jesus as a divine figure. Paul is not a disciple of Jesus during his lifetime. In fact Paul is a prosecutor of the early followers of Jesus's movement. (known as The Way and subsequently evolved into a religious movement known as Ebionites)
Paul became a believer after his visionary encounter with Jesus during his journey to Damascus to arrest Jesus followers shortly after Jesus' crucifixion. To him, the divine Jesus provides him with the best and the most accurate information from heaven than the historical earthy Jesus which is sometimes hard to understand. Therefore, he should be the one to convey Jesus's teaching and not his close disciples. Inarguably, besides Jesus himself Paul (despite not knowing Jesus in person) is the most important figure in the foundation of proto-orthodoxy which eventually evolved into the present day Christianity. His contributions, religious conviction and bearing is phenomenal. The images we see today about Jesus, from Hollywood movies to Renaissance paintings are drawn from the 4 gospels which above all, Paul's idea. We do not know how Jesus looks like, let alone his biography. That's simply we do not have any written records from the people who knew him well and the early church, such as the Jerusalem Church which James, the brother of Jesus took over after Jesus' passing.
Mark's manuscript is of paramount significance to biblical scholars which specialize in the field of textual criticism. The writings of this gospel would provide the foundation to gauge the accuracy of the rest of the scriptures. We could then make very accurate comparisons and correct much of the known textual discrepancies and variants found in our existing collection of ancient manuscripts numbering in the thousands. (Greek - 5800, Latin - >10,000 and >9000 various other ancient languages such as Syriac, Slavic, Gothic, Ethiopic, Coptic and Armenian.) The numbers would grow as new discoveries are made. (ie the Nag Hammadi library which a series of gnostic gospels dated to the first half of the second century have been discovered in 1945 in Egypt. Among which is the Gospel of Thomas, written in Coptic. It contains 114 sayings of Jesus. Some which are not found in the canonical gospels. According to Thomas (twin brother of Jesus Didymus Judas Thomas ), there is no virgin birth and salvation does not come in the form of resurrection but rather through the deep understanding of the secret teachings of Jesus himself (it says "Whoever finds the interpretation of these sayings will not experience death." However, for obvious reasons, nobody understood a single word he said as nobody remains alive since then). Nevertheless, it has provided a refreshing insight to the still-evolving teaching of Christ practice by the numerous sects of early Christianity. One of these Judeo-Christian sect which do not believe in the resurrected Christ fabricated the twin story. The paradox provided a framework for their crucified messiah to continue fighting for liberation for their followers.
We knew a fair bit about the gnostic gospels from the works of Christian historian Eusebius in the fourth century.. He was a compelling opponent to the non-orthodox teachings. In his works he mentioned the gospel of Thomas, gospel of Philip etc. It is not until the modern times that we get to see the actual copy of these non-canonical works thru' archeological discoveries. Incidentally, the gnostic works are certainly not composed by the apostles of Jesus as it was claimed. They are dated to the late second and third century. All of the apostles are long gone already.
There are numerous debates on the accuracy of the Bible relating to the transmission process which resulted in the contradiction of texts being found. However, the concept is crystal clear, if one takes it as a book of faith there is absolutely no reason to doubt its authenticity. Since it is an authoritative scripture, it is God's true words regardless.
However, in the quest for historical knowledge it's desirable to seek hard evidence to account for the narratives which invariably put us in a collision course with theological ideologies.
The answer is simple, there is not a single shred of archaeological remains ever found relating to any of the bible narratives. Except for the discovery of Pilate Stone in 1961 which confirms the existence of one of the major actors in the trial narrative (Jesus judge, Pontivs Pilativs) That though, does not historically proved that the trial actually took place as described in all of the 4 gospels or Jesus actually existed. Ironically, that also does not mean any of the biblical events did not take place.
In fact, very few would leave behind an archeological trail for people to uncover thousands of years later.
All cross reference to the major characters and events in the bible came from implicit and sometimes controversial writings by ancient historians such as Josephus, Tacitus etc.. All being said, we don't need any sort of contemporary evidence for the bible, which is regarded as a "certified true copy" from God.
But the bottom line is that the bible is written by a long line of fallible human scribes and not solely by God himself. Invariably, there are mistakes made, lots of them. Humans have evolved to be imperfect and particularly have an inherent natural talent of lying through the teeth to fulfil polysized theological ideas and political agendas.
The arguments go on and on and probably would, for another 2 thousand years.
Perhaps God wants to keep it that way to make things interesting for us. He has no desire to reveal his plan just yet.
Fact : The bible shown above is dated 1938AD. (Jenny's hand, though, is not:) ) so it's just a couple of decades old instead of 2000 years old. The 4 Gospels (Mark, Matthew, Luke and John In order of the sequence in which they are written) of the New Testaments are in fact anonymous. The true authors remain unknown to this day (wish I know who wrote them). They are assigned with the names as we know today sometimes in the second century AD by Apostolic church fathers. One hypothesis suggests that each of the Gospel is not written by one single person and instead is composed by a collection of documents written by a community of people. That is to say eg the Gospel of Mark is written by a community of people that knew Mark who is their leader and decisively write down his teachings and thoughts over a period of time. The same formula is applied to the rest of the Gospels.
Why 4 Gospels instead of other numbers? By theological reasoning, Christians believe in the 4 corners of the Earth and that would be the most plausible outcome. The book of Acts is neatly separated from the Gospel of Luke (same author) to form a separate book by itself.
Why Mark, Matthew, Luke and John and not somebody else?
Well, by reasonable means, we know that Peter and Paul are the original founders of Christianity in Rome. Peter is said to be the Apostle to the Jews and Paul, the Apostle to the Gentiles.
Both wanted a fair share of the pie. Matthew (tax collector) and John(son of Zebedee) are believed to be the close followers of Jesus. Mark was said to be the disciple of Peter and Luke was a disciple and also a personal physician of Paul. So now we have 2 close followers of Jesus and 2 close followers of Jesus followers. Voila ! now we have the 4 names, Mark, Matthew, Luke and John. That is the most probable reason to how the names came to be associated with the Gospels that we know today.
The gospel narrative, though, is either fictitious or partially hypothesized with available information gathered from various sources. For most part of the writings however, is based on my personal understanding of various published articles currently in circulation and partly from my own imaginations.
Side dish :
Have you ever wondered what BC and AD stand for? These 2 terms are indispensable when it comes to establishing historical timeline or merely describing an historical event. I use them all the time. BC is Before Christ and AD is Anno Domini (year of our Lord). The idea was devised by a Christian monk named Dionysius Exiguus in the 6th century AD to standardise how we record time so that Easter celebration can be synchronised all over the Roman empire. Before that, people were using different time measurements based on certain important dates. The Greeks used the year 776 BC (first Olympic game) while the Roman used 753 BC (the founding of their city) as their baseline. That led to confusion in historical dates recording and misjudgement of the calendar. In addition, and most importantly, the minute inconsistency in the natural celestial movement of the earth resulted in a compounded error in the calendar which shows up over a long period of time. The idea is to use the birth of Jesus as the standard baseline. Therefore 1 AD means 1 year after Jesus was born and 1BC indicates 1 year before Jesus was born. Jesus was conceptually born in 0BC even though the concept of 0 did not exist in Roman numerals. Despite that, our calendar had been adjusted a couple of times over the last 2000 years due to the described astronomical phenomenon. Nonetheless, the solution had provided us with a nice fix to a range of major date-related problems.
This system was accepted and used for more than 1500 years until scholars discovered a major flaw. According to the New Testament Documents, Jesus was born just before Herod the Great died. Herod died in 4BC based on rock solid historical records so Jesus (unfortunately we have no historical records of any kind or any collaborative evidence of his birth, everything we know about him came from the Christian Bible) have to be born in around 6BC because the Bible mentioned that Herod ordered all baby boys up to 2 years of age to be killed out of fear that his kingly position would be threaten. (the evaluation is based on the account given in Matthew’s Gospel. However, Luke’s account would lead us to another set of dates which falls on 6AD. Nonetheless, such discrepancies would be logically accepted (at least by myself) due to the fact that the Gospels were written decades after Jesus. The accounts were not straight history, they were written from a theological standpoint. Therefore the exact dates do not really matter)
As such, it would be confusing to explain Jesus was born 6 years Before Christ (ie born 6 years before he was born). In order to get around the confusion, BC was changed to BCE- Before Common Era and AD became CE-Common Era. In that case, the terms Before Christ/Anno Domini could then be removed from the equation along with the confusion. Another important point to take note is that all Christian elements (Before Christ, year of our Lord) can be safely jettisoned from the context to evade potential religious bias.
In a nutshell, the year remains the same only BC is now BCE and AD is now CE.
eg The Roman dictator, Julia Cesar was stabbed to death in 44BC, which is 44BCE. Tiberius Caesar Augustus, the second Roman emperor died in 37AD, is now 37CE.
Which year Jesus was born
Over the decades, scholars have been debating exactly when Jesus was born. However, there is no definitive answer for it. The date would depend on which camp you’re in. From a religious standpoint, he has to be born in the year '0' in the current context. After all, our calendar is based on the idea of Jesus’ Birth. However, there is no such thing as ‘0’ year as it was not invented just yet. In Roman context, the year 1BC would follow by 1AD, which denote Before Christ and Anno Domini respectively. The calendar system was conceptualized in the 6th century CE and it’s known to have a discrepancy of a couple of years. As we now realize, Jesus was most likely born in the BC period. Which also means Jesus was born before he was born. That becomes a thorny issue. To reconcile that, the term BC is changed to BCE (before common era) and AD changed to CE(common era). Another advantage of this naming convention is that by doing so, it removes the Christian element (Christ) from the equation thus making it more neutral, avoiding any religious misinterpretation. In fact, the Jews have been using the dating system for a while already.
Well, now if we look at it through the lens of History, things get far more complex but nevertheless interesting.
Everything we know about Jesus came from the Gospels. However, the Birth narrative is only found in Matthew and Luke Gospels. Ironically, there are contradictions on the dates as we soon see.
In order to draw any reasonable conclusion, we first must have some insights as to what actually happened during this particular time frame in the region. Let’s see what history has to offer and use the data to establish a timeline upon which we'll superimpose the Gospel dates and try to make sense out of it.
In 63BCE, Roman Legions led by General Pompey captured Palestine and renamed it Judea. At that point in time, Rome was not yet an empire, it was still a republic dominated by 3 Roman leaders battling for power. Namely, Pompey, Crassus and Julius Caesar. Crassus was killed in action in 53BCE (good for the other 2 guys) which leaves Pompey to battle it out with Julius Caesar. Pompey was assassinated in 48BCE (good news for Caesar)
Caesar then became the sole ruler (dictator) of Rome. However, the celebration didn’t last long. In 44BCE he was in turn assassinated. Caesar’s adopted Son Octavian took over power but he was not alone. Another 2 guys also wanted to have a share of the pie. Namely Lepidus and Mark Anthony (Queen Cleopatra’s lover). In 36BCE, Lepidus fell out of power leaving Mark Anthony and Octavian to battle it out. Octavian defeated Mark Anthony in the famous sea battle at Actium in 31BCE sending Mark and Cleopatra to Heaven.
In 27BCE, Octavian declared himself the First Emperor of Rome (Augustus) and Rome became an Empire. His reign lasted for 40 years dying in 14CE. He was then succeeded by his adopted son Tiberius who reigned for 22 years dying in 37CE. These are well attested, undisputed historical dates. We can then use them as reference points for our chronology.
After Pompey captured Jerusalem, he put Hyrcanus (local Jewish ruler) in charge. Later, Mark Anthony installed Herod the Great as King of the Jews and ruled Jerusalem from 37BCE. This is verified by references found in Josephus' works as well as Roman records. Josephus also mentioned that Herold’s conquest of Jerusalem was 27 years after Pompey’s conquest of Jerusalem. That helps to pinpoint the date to be 37BCE as well. This particular year is crucial for calculating Jesus’ birth.
Josephus states that Herold dies 34 years after conquering Jerusalem which brings us to 4BCE. He also mentioned Herod died during the Passover season and shortly after a lunar eclipse. That date is confirmed with astronomical reference as the only lunar eclipse that had occurred around that time period. Josephus was spot-on.
After the passing of Herod, one of his sons named Archelaus continued to rule the area. However, he fell out of favor with Augustus and eventually was deposed in 6CE. From then on, Judea was no longer ruled by local Jewish kings and instead by Roman governors/prefect. The first 4 are relatively unknown in history but the fifth one had made his way into the greatest story ever told. His name is Pontius Pilate, the man mentioned in the Bible that sent Jesus to the cross. He governed from 26CE to 36CE, one year before Emperor Tiberius Died.
Now we turn our attention back to the Bible. The Birth narrative is only mentioned in the Gospel of Matthew and the Gospel of Luke. First let’s look at what Matthew has to say. According to Matthew, Jesus was born in Bethlehem during when Herod the Great was king. So, Jesus must have been born before the year 4BCE because this was when Herod died. After Jesus is born, some wise men(Magi) from the east visit Herod and tell him that they have come to worship a newly born king of the Jews. Herod told them to look for them in Bethlehem and report back to him of the exact location after they've found the child on the pretext that he too wishes to worship the new king. However, the Magi head straight home after they found the little Jesus. Herod was mad after learning that he was tricked and became paranoid thinking that his throne is threatened and ordered all male children 2 years old or younger to be killed. Jesus and his parents then escaped to Egypt. Herod dies shortly. After which, his son Archelaus takes over. Jesus and his parents then return to Nazareth.
Ironically, Matthew doesn’t tell us how much time passed between the birth of Jesus and the visit from the wise men. Herod ordered all male children 2 years old or younger to be killed, so the assumption that it could have been as much as 2 years. Which means the typical nativity scene (showing 3 Magi) is just an embellishment to the birth story. According to Matthew's narrative, there's no mention of the number of wise men and almost certainly no wise men were present at the time of Jesus’ birth.
Retrospectively, Jesus must be born between 4BCE and 6BCE.
According to Luke, Jesus was born during a time when Quirinus was the governor of Syria and during a census. According to Roman historical data, both info from Luke’s Gospel were credible enough. There was indeed a man called Quirinus. He was the governor of Syria at that time. So, when Augustus deposed Archelaus in 6CE, he sent Quirinus over from nearby Syria (Syria was already a Roman province) to conduct a census for taxation purposes. However, it was not a census for the entire empire and neither did it require people to return to their hometown as mentioned in Luke’s narrative. In Luke's account, no wise men are mentioned.
So, according to Matthew, Jesus was born before the year 4BCE (according to most scholars, Jesus was born in 6BCE.) but according to Luke, Jesus was born sometime around 6CE. How do we reconcile such contradictions? In my opinion, we can't and we don’t need to.
To me, the main point is that the Bible is written to make theological points and not to record literal history. Secondly, the Gospels were written by different individuals in different parts of the Roman empire decades after Jesus’ death. Their writings were based largely on a chain of oral traditions transmitted over a period of time and to some extent influenced by the local culture, belief and literature. Even though the Bible is an authoritative text inspired by God supposedly true in every word, it has come to be written by human scribes. Inevitably, there are discrepancies simply because humans do make mistakes and on top of that, their writings are governed by a string of political and religious influences and motivations.
End
Extracts from the Gospels :
Matthew 2:1–23
The Visit of the Wise Men
2 Now hafter Jesus was born in iBethlehem of Judea jin the days of Herod the king, behold, wise men1 from kthe east came to Jerusalem, 2 saying, “Where is he who has been born lking of the Jews? For we saw mhis star when it rose2 and have come to nworship him.” 3 When Herod the king heard this, he was troubled, and all Jerusalem with him; 4 and assembling all the chief priests and scribes of the people, he inquired of them where othe Christ was to be born. 5 They told him, “In Bethlehem of Judea, for so it is written by the prophet:
6 p“ ‘And you, O Bethlehem, in the land of Judah,
are by no means least among the rulers of Judah;
for from you shall come a ruler
who will qshepherd my people Israel.’ ”
7 Then Herod summoned the wise men secretly and ascertained from them what time the star had appeared. 8 And he sent them to Bethlehem, saying, “Go and search diligently for the child, and when you have found him, bring me word, that I too may come and worship him.” 9 After listening to the king, they went on their way. And behold, the star that they had seen when it rose went before them until it came to rest over the place where the child was. 10 When they saw the star, they rejoiced exceedingly with great joy. 11 And going into the house, they saw the child with Mary his mother, and they fell down and worshiped him. Then, opening their treasures, rthey offered him gifts, sgold and tfrankincense and umyrrh. 12 And vbeing warned win a dream not to return to Herod, they departed to their own country by another way.
The Flight to Egypt
13 Now when they had departed, behold, xan angel of the Lord appeared to Joseph in a dream and said, “Rise, take the child and his mother, and flee to Egypt, and remain there until I tell you, for Herod is about to search for the child, to destroy him.” 14 And he rose and took the child and his mother by night and departed to Egypt 15 and remained there until the death of Herod. yThis was to fulfill what the Lord had spoken by the prophet, z“Out of Egypt I called my son.”
Herod Kills the Children
16 Then Herod, when he saw that he had been tricked by the wise men, became furious, and he sent and killed all the male children in Bethlehem and in all that region who were two years old or under, according to the time that he had ascertained from the wise men. 17 aThen was fulfilled what was spoken by the prophet Jeremiah:
18 b“A voice was heard in Ramah,
weeping and loud lamentation,
Rachel weeping for her children;
she refused to be comforted, because they care no more.”
The Return to Nazareth
19 But when Herod died, behold, an angel of the Lord appeared in a dream to Joseph in Egypt, 20 saying, “Rise, take the child and his mother and go to the land of Israel, for dthose who sought the child’s life are dead.” 21 And he rose and took the child and his mother and went to the land of Israel. 22 But when he heard that Archelaus was reigning over Judea in place of his father Herod, he was afraid to go there, and ebeing warned in a dream he withdrew to the district of Galilee. 23 And he went and lived in a city called fNazareth, gso that what was spoken by the prophets might be fulfilled, that he would be called a Nazarene.
LUKE 2:1-20
The Birth of Jesus
1 In those days Caesar Augustus issued a decree that a census should be taken of the entire Roman world.
2 (This was the first census that took place while Quirinius was governor of Syria.)
3 And everyone went to their own town to register.
4 So Joseph also went up from the town of Nazareth in Galilee to Judea, to Bethlehem the town of David, because he belonged to the house and line of David.
5 He went there to register with Mary, who was pledged to be married to him and was expecting a child.
6 While they were there, the time came for the baby to be born,
7 and she gave birth to her firstborn, a son. She wrapped him in cloths and placed him in a manger, because there was no guest room available for them.
8 And there were shepherds living out in the fields nearby, keeping watch over their flocks at night.
9 An angel of the Lord appeared to them, and the glory of the Lord shone around them, and they were terrified.
10 But the angel said to them, “Do not be afraid. I bring you good news that will cause great joy for all the people.
11 Today in the town of David a Savior has been born to you; he is the Messiah, the Lord.
12 This will be a sign to you: You will find a baby wrapped in cloths and lying in a manger.”
13 Suddenly a great company of the heavenly host appeared with the angel, praising God and saying,
14 “Glory to God in the highest heaven, and on earth peace to those on whom his favor rests.”
15 When the angels had left them and gone into heaven, the shepherds said to one another, “Let’s go to Bethlehem and see this thing that has happened, which the Lord has told us about.”
16 So they hurried off and found Mary and Joseph, and the baby, who was lying in the manger.
17 When they had seen him, they spread the word concerning what had been told them about this child,
18 and all who heard it were amazed at what the shepherds said to them.
19 But Mary treasured up all these things and pondered them in her heart.
20 The shepherds returned, glorifying and praising God for all the things they had heard and seen, which were just as they had been told.
21 On the eighth day, when it was time to circumcise the child, he was named Jesus, the name the angel had given him before he was conceived.
My interpretation on John 8 : 1-11 adulterous woman
Jesus wrote on the ground
Probably read as :
I knew you guys committed the adultery with the woman(you guys should be stoned to death too)
Jesus then said to the priests
Whoever did not commit any sin cast the first stone and they all ran away as fast as their legs could carry them.
Jesus then turned to the woman and tell her not to sin again.
If Jesus said go ahead and stone her he violate his own teachings (forgiveness)
If he let her go he violate the Torah
@Kos Island, Greece (9.9.2019AD)
Oskar J. W. Hansen (March 12, 1892 – August 31, 1971) was a Norwegian-born, naturalized American sculptor. He is most associated with the design of many of the sculptures on and around the Hoover Dam.
Biography
Oskar Johan Waldemar Hansen was born at Langenes in Øksnes, Nordland, Norway. Before coming to America, he served as a merchant seaman. He later served in the United States Army. In the late 1930s or early 1940s, Hansen built a home and artist's studio on property near Ashcroft outside Charlottesville, Virginia.
Selected works
Wings of the Republic - among numerous examples of his sculpture in Art Deco mode commissioned by the US Bureau of Reclamation, executed under the Los Angeles-based architect Gordon B. Kaufmann, supervising architect to the Bureau at Hoover Dam.
Wings - installed in the lobby of the Rand Tower, Minneapolis, completed in 1929.
Liberty - installed in 1957 atop a column replaced one that had been struck by lightning in 1942 at the Yorktown, Virginia, Victory Monument, commemorating the 1781 victory at Yorktown and the alliance with France that brought about the end of the American Revolution and the resulting peace with England.[
Hoover Dam is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border between the U.S. states of Nevada and Arizona. It was constructed between 1931 and 1936 during the Great Depression and was dedicated on September 30, 1935, by President Franklin D. Roosevelt. Its construction was the result of a massive effort involving thousands of workers, and cost over one hundred lives. It was referred to as Hoover Dam after President Herbert Hoover in bills passed by Congress during its construction, but was named Boulder Dam by the Roosevelt administration. The Hoover Dam name was restored by Congress in 1947.
Since about 1900, the Black Canyon and nearby Boulder Canyon had been investigated for their potential to support a dam that would control floods, provide irrigation water and produce hydroelectric power. In 1928, Congress authorized the project. The winning bid to build the dam was submitted by a consortium named Six Companies, Inc., which began construction of the dam in early 1931. Such a large concrete structure had never been built before, and some of the techniques were unproven. The torrid summer weather and lack of facilities near the site also presented difficulties. Nevertheless, Six Companies turned the dam over to the federal government on March 1, 1936, more than two years ahead of schedule.
Hoover Dam impounds Lake Mead, the largest reservoir in the United States by volume when full. The dam is located near Boulder City, Nevada, a municipality originally constructed for workers on the construction project, about 30 mi (48 km) southeast of Las Vegas, Nevada. The dam's generators provide power for public and private utilities in Nevada, Arizona, and California. Hoover Dam is a major tourist attraction; nearly a million people tour the dam each year. The heavily traveled U.S. Route 93 (US 93) ran along the dam's crest until October 2010, when the Hoover Dam Bypass opened.
As the United States developed the Southwest, the Colorado River was seen as a potential source of irrigation water. An initial attempt at diverting the river for irrigation purposes occurred in the late 1890s, when land speculator William Beatty built the Alamo Canal just north of the Mexican border; the canal dipped into Mexico before running to a desolate area Beatty named the Imperial Valley. Though water from the Imperial Canal allowed for the widespread settlement of the valley, the canal proved expensive to operate. After a catastrophic breach that caused the Colorado River to fill the Salton Sea, the Southern Pacific Railroad spent $3 million in 1906–07 to stabilize the waterway, an amount it hoped in vain would be reimbursed by the federal government. Even after the waterway was stabilized, it proved unsatisfactory because of constant disputes with landowners on the Mexican side of the border.
As the technology of electric power transmission improved, the Lower Colorado was considered for its hydroelectric-power potential. In 1902, the Edison Electric Company of Los Angeles surveyed the river in the hope of building a 40-foot (12 m) rock dam which could generate 10,000 horsepower (7,500 kW). However, at the time, the limit of transmission of electric power was 80 miles (130 km), and there were few customers (mostly mines) within that limit. Edison allowed land options it held on the river to lapse—including an option for what became the site of Hoover Dam.
In the following years, the Bureau of Reclamation (BOR), known as the Reclamation Service at the time, also considered the Lower Colorado as the site for a dam. Service chief Arthur Powell Davis proposed using dynamite to collapse the walls of Boulder Canyon, 20 miles (32 km) north of the eventual dam site, into the river. The river would carry off the smaller pieces of debris, and a dam would be built incorporating the remaining rubble. In 1922, after considering it for several years, the Reclamation Service finally rejected the proposal, citing doubts about the unproven technique and questions as to whether it would, in fact, save money.
Soon after the dam was authorized, increasing numbers of unemployed people converged on southern Nevada. Las Vegas, then a small city of some 5,000, saw between 10,000 and 20,000 unemployed descend on it. A government camp was established for surveyors and other personnel near the dam site; this soon became surrounded by a squatters' camp. Known as McKeeversville, the camp was home to men hoping for work on the project, together with their families. Another camp, on the flats along the Colorado River, was officially called Williamsville, but was known to its inhabitants as "Ragtown". When construction began, Six Companies hired large numbers of workers, with more than 3,000 on the payroll by 1932 and with employment peaking at 5,251 in July 1934. "Mongolian" (Chinese) labor was prevented by the construction contract, while the number of black people employed by Six Companies never exceeded thirty, mostly lowest-pay-scale laborers in a segregated crew, who were issued separate water buckets.
As part of the contract, Six Companies, Inc. was to build Boulder City to house the workers. The original timetable called for Boulder City to be built before the dam project began, but President Hoover ordered work on the dam to begin in March 1931 rather than in October. The company built bunkhouses, attached to the canyon wall, to house 480 single men at what became known as River Camp. Workers with families were left to provide their own accommodations until Boulder City could be completed, and many lived in Ragtown. The site of Hoover Dam endures extremely hot weather, and the summer of 1931 was especially torrid, with the daytime high averaging 119.9 °F (48.8 °C). Sixteen workers and other riverbank residents died of heat prostration between June 25 and July 26, 1931.
The Industrial Workers of the World (IWW or "Wobblies"), though much-reduced from their heyday as militant labor organizers in the early years of the century, hoped to unionize the Six Companies workers by capitalizing on their discontent. They sent eleven organizers, several of whom were arrested by Las Vegas police. On August 7, 1931, the company cut wages for all tunnel workers. Although the workers sent the organizers away, not wanting to be associated with the "Wobblies", they formed a committee to represent them with the company. The committee drew up a list of demands that evening and presented them to Crowe the following morning. He was noncommittal. The workers hoped that Crowe, the general superintendent of the job, would be sympathetic; instead, he gave a scathing interview to a newspaper, describing the workers as "malcontents".
On the morning of the 9th, Crowe met with the committee and told them that management refused their demands, was stopping all work, and was laying off the entire work force, except for a few office workers and carpenters. The workers were given until 5 p.m. to vacate the premises. Concerned that a violent confrontation was imminent, most workers took their paychecks and left for Las Vegas to await developments. Two days later, the remainder were talked into leaving by law enforcement. On August 13, the company began hiring workers again, and two days later, the strike was called off. While the workers received none of their demands, the company guaranteed there would be no further reductions in wages. Living conditions began to improve as the first residents moved into Boulder City in late 1931.
A second labor action took place in July 1935, as construction on the dam wound down. When a Six Companies manager altered working times to force workers to take lunch on their own time, workers responded with a strike. Emboldened by Crowe's reversal of the lunch decree, workers raised their demands to include a $1-per-day raise. The company agreed to ask the Federal government to supplement the pay, but no money was forthcoming from Washington. The strike ended.
Before the dam could be built, the Colorado River needed to be diverted away from the construction site. To accomplish this, four diversion tunnels were driven through the canyon walls, two on the Nevada side and two on the Arizona side. These tunnels were 56 ft (17 m) in diameter. Their combined length was nearly 16,000 ft, or more than 3 miles (5 km). The contract required these tunnels to be completed by October 1, 1933, with a $3,000-per-day fine to be assessed for any delay. To meet the deadline, Six Companies had to complete work by early 1933, since only in late fall and winter was the water level in the river low enough to safely divert.
Tunneling began at the lower portals of the Nevada tunnels in May 1931. Shortly afterward, work began on two similar tunnels in the Arizona canyon wall. In March 1932, work began on lining the tunnels with concrete. First the base, or invert, was poured. Gantry cranes, running on rails through the entire length of each tunnel were used to place the concrete. The sidewalls were poured next. Movable sections of steel forms were used for the sidewalls. Finally, using pneumatic guns, the overheads were filled in. The concrete lining is 3 feet (1 m) thick, reducing the finished tunnel diameter to 50 ft (15 m). The river was diverted into the two Arizona tunnels on November 13, 1932; the Nevada tunnels were kept in reserve for high water. This was done by exploding a temporary cofferdam protecting the Arizona tunnels while at the same time dumping rubble into the river until its natural course was blocked.
Following the completion of the dam, the entrances to the two outer diversion tunnels were sealed at the opening and halfway through the tunnels with large concrete plugs. The downstream halves of the tunnels following the inner plugs are now the main bodies of the spillway tunnels. The inner diversion tunnels were plugged at approximately one-third of their length, beyond which they now carry steel pipes connecting the intake towers to the power plant and outlet works. The inner tunnels' outlets are equipped with gates that can be closed to drain the tunnels for maintenance.
To protect the construction site from the Colorado River and to facilitate the river's diversion, two cofferdams were constructed. Work on the upper cofferdam began in September 1932, even though the river had not yet been diverted. The cofferdams were designed to protect against the possibility of the river's flooding a site at which two thousand men might be at work, and their specifications were covered in the bid documents in nearly as much detail as the dam itself. The upper cofferdam was 96 ft (29 m) high, and 750 feet (230 m) thick at its base, thicker than the dam itself. It contained 650,000 cubic yards (500,000 m3) of material.
When the cofferdams were in place and the construction site was drained of water, excavation for the dam foundation began. For the dam to rest on solid rock, it was necessary to remove accumulated erosion soils and other loose materials in the riverbed until sound bedrock was reached. Work on the foundation excavations was completed in June 1933. During this excavation, approximately 1,500,000 cu yd (1,100,000 m3) of material was removed. Since the dam was an arch-gravity type, the side-walls of the canyon would bear the force of the impounded lake. Therefore, the side-walls were also excavated to reach virgin rock, as weathered rock might provide pathways for water seepage. Shovels for the excavation came from the Marion Power Shovel Company.
The men who removed this rock were called "high scalers". While suspended from the top of the canyon with ropes, the high-scalers climbed down the canyon walls and removed the loose rock with jackhammers and dynamite. Falling objects were the most common cause of death on the dam site; the high scalers' work thus helped ensure worker safety. One high scaler was able to save a life in a more direct manner: when a government inspector lost his grip on a safety line and began tumbling down a slope towards almost certain death, a high scaler was able to intercept him and pull him into the air. The construction site had become a magnet for tourists. The high scalers were prime attractions and showed off for the watchers. The high scalers received considerable media attention, with one worker dubbed the "Human Pendulum" for swinging co-workers (and, at other times, cases of dynamite) across the canyon. To protect themselves against falling objects, some high scalers dipped cloth hats in tar and allowed them to harden. When workers wearing such headgear were struck hard enough to inflict broken jaws, they sustained no skull damage. Six Companies ordered thousands of what initially were called "hard boiled hats" (later "hard hats") and strongly encouraged their use.
The cleared, underlying rock foundation of the dam site was reinforced with grout, forming a grout curtain. Holes were driven into the walls and base of the canyon, as deep as 150 feet (46 m) into the rock, and any cavities encountered were to be filled with grout. This was done to stabilize the rock, to prevent water from seeping past the dam through the canyon rock, and to limit "uplift"—upward pressure from water seeping under the dam. The workers were under severe time constraints due to the beginning of the concrete pour. When they encountered hot springs or cavities too large to readily fill, they moved on without resolving the problem. A total of 58 of the 393 holes were incompletely filled. After the dam was completed and the lake began to fill, large numbers of significant leaks caused the Bureau of Reclamation to examine the situation. It found that the work had been incompletely done, and was based on less than a full understanding of the canyon's geology. New holes were drilled from inspection galleries inside the dam into the surrounding bedrock. It took nine years (1938–47) under relative secrecy to complete the supplemental grout curtain.
The first concrete was poured into the dam on June 6, 1933, 18 months ahead of schedule. Since concrete heats and contracts as it cures, the potential for uneven cooling and contraction of the concrete posed a serious problem. Bureau of Reclamation engineers calculated that if the dam were to be built in a single continuous pour, the concrete would take 125 years to cool, and the resulting stresses would cause the dam to crack and crumble. Instead, the ground where the dam would rise was marked with rectangles, and concrete blocks in columns were poured, some as large as 50 ft square (15 m) and 5 feet (1.5 m) high. Each five-foot form contained a set of 1-inch (25 mm) steel pipes; cool river water would be poured through the pipes, followed by ice-cold water from a refrigeration plant. When an individual block had cured and had stopped contracting, the pipes were filled with grout. Grout was also used to fill the hairline spaces between columns, which were grooved to increase the strength of the joints.
The concrete was delivered in huge steel buckets 7 feet high (2.1 m) and almost 7 feet in diameter; Crowe was awarded two patents for their design. These buckets, which weighed 20 short tons (18.1 t; 17.9 long tons) when full, were filled at two massive concrete plants on the Nevada side, and were delivered to the site in special railcars. The buckets were then suspended from aerial cableways which were used to deliver the bucket to a specific column. As the required grade of aggregate in the concrete differed depending on placement in the dam (from pea-sized gravel to 9 inches [230 mm] stones), it was vital that the bucket be maneuvered to the proper column. When the bottom of the bucket opened up, disgorging 8 cu yd (6.1 m3) of concrete, a team of men worked it throughout the form. Although there are myths that men were caught in the pour and are entombed in the dam to this day, each bucket deepened the concrete in a form by only 1 inch (25 mm), and Six Companies engineers would not have permitted a flaw caused by the presence of a human body.
A total of 3,250,000 cubic yards (2,480,000 cubic meters) of concrete was used in the dam before concrete pouring ceased on May 29, 1935. In addition, 1,110,000 cu yd (850,000 m3) were used in the power plant and other works. More than 582 miles (937 km) of cooling pipes were placed within the concrete. Overall, there is enough concrete in the dam to pave a two-lane highway from San Francisco to New York. Concrete cores were removed from the dam for testing in 1995; they showed that "Hoover Dam's concrete has continued to slowly gain strength" and the dam is composed of a "durable concrete having a compressive strength exceeding the range typically found in normal mass concrete". Hoover Dam concrete is not subject to alkali–silica reaction (ASR), as the Hoover Dam builders happened to use nonreactive aggregate, unlike that at downstream Parker Dam, where ASR has caused measurable deterioration.
With most work finished on the dam itself (the powerhouse remained uncompleted), a formal dedication ceremony was arranged for September 30, 1935, to coincide with a western tour being made by President Franklin D. Roosevelt. The morning of the dedication, it was moved forward three hours from 2 p.m. Pacific time to 11 a.m.; this was done because Secretary of the Interior Harold L. Ickes had reserved a radio slot for the President for 2 p.m. but officials did not realize until the day of the ceremony that the slot was for 2 p.m. Eastern Time. Despite the change in the ceremony time, and temperatures of 102 °F (39 °C), 10,000 people were present for the President's speech, in which he avoided mentioning the name of former President Hoover, who was not invited to the ceremony. To mark the occasion, a three-cent stamp was issued by the United States Post Office Department—bearing the name "Boulder Dam", the official name of the dam between 1933 and 1947. After the ceremony, Roosevelt made the first visit by any American president to Las Vegas.
Most work had been completed by the dedication, and Six Companies negotiated with the government through late 1935 and early 1936 to settle all claims and arrange for the formal transfer of the dam to the Federal Government. The parties came to an agreement and on March 1, 1936, Secretary Ickes formally accepted the dam on behalf of the government. Six Companies was not required to complete work on one item, a concrete plug for one of the bypass tunnels, as the tunnel had to be used to take in irrigation water until the powerhouse went into operation.
There were 112 deaths reported as associated with the construction of the dam. The first was Bureau of Reclamation employee Harold Connelly who died on May 15, 1921, after falling from a barge while surveying the Colorado River for an ideal spot for the dam. Surveyor John Gregory ("J.G.") Tierney, who drowned on December 20, 1922, in a flash flood while looking for an ideal spot for the dam was the second person. The official list's final death occurred on December 20, 1935, when Patrick Tierney, electrician's helper and the son of J.G. Tierney, fell from one of the two Arizona-side intake towers. Included in the fatality list are three workers who took their own lives on site, one in 1932 and two in 1933. Of the 112 fatalities, 91 were Six Companies employees, three were Bureau of Reclamation employees, and one was a visitor to the site; the remainder were employees of various contractors not part of Six Companies.
Ninety-six of the deaths occurred during construction at the site. Not included in the official number of fatalities were deaths that were recorded as pneumonia. Workers alleged that this diagnosis was a cover for death from carbon monoxide poisoning (brought on by the use of gasoline-fueled vehicles in the diversion tunnels), and a classification used by Six Companies to avoid paying compensation claims. The site's diversion tunnels frequently reached 140 °F (60 °C), enveloped in thick plumes of vehicle exhaust gases. A total of 42 workers were recorded as having died from pneumonia and were not included in the above total; none were listed as having died from carbon monoxide poisoning. No deaths of non-workers from pneumonia were recorded in Boulder City during the construction period.
The initial plans for the facade of the dam, the power plant, the outlet tunnels and ornaments clashed with the modern look of an arch dam. The Bureau of Reclamation, more concerned with the dam's functionality, adorned it with a Gothic-inspired balustrade and eagle statues. This initial design was criticized by many as being too plain and unremarkable for a project of such immense scale, so Los Angeles-based architect Gordon B. Kaufmann, then the supervising architect to the Bureau of Reclamation, was brought in to redesign the exteriors. Kaufmann greatly streamlined the design and applied an elegant Art Deco style to the entire project. He designed sculpted turrets rising seamlessly from the dam face and clock faces on the intake towers set for the time in Nevada and Arizona—both states are in different time zones, but since Arizona does not observe daylight saving time, the clocks display the same time for more than half the year.
At Kaufmann's request, Denver artist Allen Tupper True was hired to handle the design and decoration of the walls and floors of the new dam. True's design scheme incorporated motifs of the Navajo and Pueblo tribes of the region. Although some were initially opposed to these designs, True was given the go-ahead and was officially appointed consulting artist. With the assistance of the National Laboratory of Anthropology, True researched authentic decorative motifs from Indian sand paintings, textiles, baskets and ceramics. The images and colors are based on Native American visions of rain, lightning, water, clouds, and local animals—lizards, serpents, birds—and on the Southwestern landscape of stepped mesas. In these works, which are integrated into the walkways and interior halls of the dam, True also reflected on the machinery of the operation, making the symbolic patterns appear both ancient and modern.
With the agreement of Kaufmann and the engineers, True also devised for the pipes and machinery an innovative color-coding which was implemented throughout all BOR projects. True's consulting artist job lasted through 1942; it was extended so he could complete design work for the Parker, Shasta and Grand Coulee dams and power plants. True's work on the Hoover Dam was humorously referred to in a poem published in The New Yorker, part of which read, "lose the spark, and justify the dream; but also worthy of remark will be the color scheme".
Complementing Kaufmann and True's work, sculptor Oskar J. W. Hansen designed many of the sculptures on and around the dam. His works include the monument of dedication plaza, a plaque to memorialize the workers killed and the bas-reliefs on the elevator towers. In his words, Hansen wanted his work to express "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment", because "the building of Hoover Dam belongs to the sagas of the daring." Hansen's dedication plaza, on the Nevada abutment, contains a sculpture of two winged figures flanking a flagpole.
Surrounding the base of the monument is a terrazzo floor embedded with a "star map". The map depicts the Northern Hemisphere sky at the moment of President Roosevelt's dedication of the dam. This is intended to help future astronomers, if necessary, calculate the exact date of dedication. The 30-foot-high (9.1 m) bronze figures, dubbed "Winged Figures of the Republic", were both formed in a continuous pour. To put such large bronzes into place without marring the highly polished bronze surface, they were placed on ice and guided into position as the ice melted. Hansen's bas-relief on the Nevada elevator tower depicts the benefits of the dam: flood control, navigation, irrigation, water storage, and power. The bas-relief on the Arizona elevator depicts, in his words, "the visages of those Indian tribes who have inhabited mountains and plains from ages distant."
Excavation for the powerhouse was carried out simultaneously with the excavation for the dam foundation and abutments. The excavation of this U-shaped structure located at the downstream toe of the dam was completed in late 1933 with the first concrete placed in November 1933. Filling of Lake Mead began February 1, 1935, even before the last of the concrete was poured that May. The powerhouse was one of the projects uncompleted at the time of the formal dedication on September 30, 1935; a crew of 500 men remained to finish it and other structures. To make the powerhouse roof bombproof, it was constructed of layers of concrete, rock, and steel with a total thickness of about 3.5 feet (1.1 m), topped with layers of sand and tar.
In the latter half of 1936, water levels in Lake Mead were high enough to permit power generation, and the first three Allis Chalmers built Francis turbine-generators, all on the Nevada side, began operating. In March 1937, one more Nevada generator went online and the first Arizona generator by August. By September 1939, four more generators were operating, and the dam's power plant became the largest hydroelectricity facility in the world. The final generator was not placed in service until 1961, bringing the maximum generating capacity to 1,345 megawatts at the time. Original plans called for 16 large generators, eight on each side of the river, but two smaller generators were installed instead of one large one on the Arizona side for a total of 17. The smaller generators were used to serve smaller communities at a time when the output of each generator was dedicated to a single municipality, before the dam's total power output was placed on the grid and made arbitrarily distributable.
Before water from Lake Mead reaches the turbines, it enters the intake towers and then four gradually narrowing penstocks which funnel the water down towards the powerhouse. The intakes provide a maximum hydraulic head (water pressure) of 590 ft (180 m) as the water reaches a speed of about 85 mph (140 km/h). The entire flow of the Colorado River usually passes through the turbines. The spillways and outlet works (jet-flow gates) are rarely used. The jet-flow gates, located in concrete structures 180 feet (55 m) above the river and also at the outlets of the inner diversion tunnels at river level, may be used to divert water around the dam in emergency or flood conditions, but have never done so, and in practice are used only to drain water from the penstocks for maintenance. Following an uprating project from 1986 to 1993, the total gross power rating for the plant, including two 2.4 megawatt Pelton turbine-generators that power Hoover Dam's own operations is a maximum capacity of 2080 megawatts. The annual generation of Hoover Dam varies. The maximum net generation was 10.348 TWh in 1984, and the minimum since 1940 was 2.648 TWh in 1956. The average power generated was 4.2 TWh/year for 1947–2008. In 2015, the dam generated 3.6 TWh.
The amount of electricity generated by Hoover Dam has been decreasing along with the falling water level in Lake Mead due to the prolonged drought since year 2000 and high demand for the Colorado River's water. By 2014 its generating capacity was downrated by 23% to 1592 MW and was providing power only during periods of peak demand. Lake Mead fell to a new record low elevation of 1,071.61 feet (326.63 m) on July 1, 2016, before beginning to rebound slowly. Under its original design, the dam would no longer be able to generate power once the water level fell below 1,050 feet (320 m), which might have occurred in 2017 had water restrictions not been enforced. To lower the minimum power pool elevation from 1,050 to 950 feet (320 to 290 m), five wide-head turbines, designed to work efficiently with less flow, were installed.[102] Water levels were maintained at over 1,075 feet (328 m) in 2018 and 2019, but fell to a new record low of 1,071.55 feet (326.61 m) on June 10, 2021[104] and were projected to fall below 1,066 feet (325 m) by the end of 2021.
Control of water was the primary concern in the building of the dam. Power generation has allowed the dam project to be self-sustaining: proceeds from the sale of power repaid the 50-year construction loan, and those revenues also finance the multimillion-dollar yearly maintenance budget. Power is generated in step with and only with the release of water in response to downstream water demands.
Lake Mead and downstream releases from the dam also provide water for both municipal and irrigation uses. Water released from the Hoover Dam eventually reaches several canals. The Colorado River Aqueduct and Central Arizona Project branch off Lake Havasu while the All-American Canal is supplied by the Imperial Dam. In total, water from Lake Mead serves 18 million people in Arizona, Nevada, and California and supplies the irrigation of over 1,000,000 acres (400,000 ha) of land.
In 2018, the Los Angeles Department of Water and Power (LADWP) proposed a $3 billion pumped-storage hydroelectricity project—a "battery" of sorts—that would use wind and solar power to recirculate water back up to Lake Mead from a pumping station 20 miles (32 km) downriver.
Electricity from the dam's powerhouse was originally sold pursuant to a fifty-year contract, authorized by Congress in 1934, which ran from 1937 to 1987. In 1984, Congress passed a new statute which set power allocations to southern California, Arizona, and Nevada from the dam from 1987 to 2017. The powerhouse was run under the original authorization by the Los Angeles Department of Water and Power and Southern California Edison; in 1987, the Bureau of Reclamation assumed control. In 2011, Congress enacted legislation extending the current contracts until 2067, after setting aside 5% of Hoover Dam's power for sale to Native American tribes, electric cooperatives, and other entities. The new arrangement began on October 1, 2017.
The dam is protected against over-topping by two spillways. The spillway entrances are located behind each dam abutment, running roughly parallel to the canyon walls. The spillway entrance arrangement forms a classic side-flow weir with each spillway containing four 100-foot-long (30 m) and 16-foot-wide (4.9 m) steel-drum gates. Each gate weighs 5,000,000 pounds (2,300 metric tons) and can be operated manually or automatically. Gates are raised and lowered depending on water levels in the reservoir and flood conditions. The gates cannot entirely prevent water from entering the spillways but can maintain an extra 16 ft (4.9 m) of lake level.
Water flowing over the spillways falls dramatically into 600-foot-long (180 m), 50-foot-wide (15 m) spillway tunnels before connecting to the outer diversion tunnels and reentering the main river channel below the dam. This complex spillway entrance arrangement combined with the approximate 700-foot (210 m) elevation drop from the top of the reservoir to the river below was a difficult engineering problem and posed numerous design challenges. Each spillway's capacity of 200,000 cu ft/s (5,700 m3/s) was empirically verified in post-construction tests in 1941.
The large spillway tunnels have only been used twice, for testing in 1941 and because of flooding in 1983. Both times, when inspecting the tunnels after the spillways were used, engineers found major damage to the concrete linings and underlying rock. The 1941 damage was attributed to a slight misalignment of the tunnel invert (or base), which caused cavitation, a phenomenon in fast-flowing liquids in which vapor bubbles collapse with explosive force. In response to this finding, the tunnels were patched with special heavy-duty concrete and the surface of the concrete was polished mirror-smooth. The spillways were modified in 1947 by adding flip buckets, which both slow the water and decrease the spillway's effective capacity, in an attempt to eliminate conditions thought to have contributed to the 1941 damage. The 1983 damage, also due to cavitation, led to the installation of aerators in the spillways. Tests at Grand Coulee Dam showed that the technique worked, in principle.
There are two lanes for automobile traffic across the top of the dam, which formerly served as the Colorado River crossing for U.S. Route 93. In the wake of the September 11 terrorist attacks, authorities expressed security concerns and the Hoover Dam Bypass project was expedited. Pending the completion of the bypass, restricted traffic was permitted over Hoover Dam. Some types of vehicles were inspected prior to crossing the dam while semi-trailer trucks, buses carrying luggage, and enclosed-box trucks over 40 ft (12 m) long were not allowed on the dam at all, and were diverted to U.S. Route 95 or Nevada State Routes 163/68. The four-lane Hoover Dam Bypass opened on October 19, 2010. It includes a composite steel and concrete arch bridge, the Mike O'Callaghan–Pat Tillman Memorial Bridge, 1,500 ft (460 m) downstream from the dam. With the opening of the bypass, through traffic is no longer allowed across Hoover Dam; dam visitors are allowed to use the existing roadway to approach from the Nevada side and cross to parking lots and other facilities on the Arizona side.
Hoover Dam opened for tours in 1937 after its completion but following Japan's attack on Pearl Harbor on December 7, 1941, it was closed to the public when the United States entered World War II, during which only authorized traffic, in convoys, was permitted. After the war, it reopened September 2, 1945, and by 1953, annual attendance had risen to 448,081. The dam closed on November 25, 1963, and March 31, 1969, days of mourning in remembrance of Presidents Kennedy and Eisenhower. In 1995, a new visitors' center was built, and the following year, visits exceeded one million for the first time. The dam closed again to the public on September 11, 2001; modified tours were resumed in December and a new "Discovery Tour" was added the following year. Today, nearly a million people per year take the tours of the dam offered by the Bureau of Reclamation. Increased security concerns by the government have led to most of the interior structure's being inaccessible to tourists. As a result, few of True's decorations can now be seen by visitors. Visitors can only purchase tickets on-site and have the options of a guided tour of the whole facility or only the power plant area. The only self-guided tour option is for the visitor center itself, where visitors can view various exhibits and enjoy a 360-degree view of the dam.
The changes in water flow and use caused by Hoover Dam's construction and operation have had a large impact on the Colorado River Delta. The construction of the dam has been implicated in causing the decline of this estuarine ecosystem. For six years after the construction of the dam, while Lake Mead filled, virtually no water reached the mouth of the river. The delta's estuary, which once had a freshwater-saltwater mixing zone stretching 40 miles (64 km) south of the river's mouth, was turned into an inverse estuary where the level of salinity was higher close to the river's mouth.
The Colorado River had experienced natural flooding before the construction of the Hoover Dam. The dam eliminated the natural flooding, threatening many species adapted to the flooding, including both plants and animals. The construction of the dam devastated the populations of native fish in the river downstream from the dam. Four species of fish native to the Colorado River, the Bonytail chub, Colorado pikeminnow, Humpback chub, and Razorback sucker, are listed as endangered.
During the years of lobbying leading up to the passage of legislation authorizing the dam in 1928, the press generally referred to the dam as "Boulder Dam" or as "Boulder Canyon Dam", even though the proposed site had shifted to Black Canyon. The Boulder Canyon Project Act of 1928 (BCPA) never mentioned a proposed name or title for the dam. The BCPA merely allows the government to "construct, operate, and maintain a dam and incidental works in the main stream of the Colorado River at Black Canyon or Boulder Canyon".
When Secretary of the Interior Ray Wilbur spoke at the ceremony starting the building of the railway between Las Vegas and the dam site on September 17, 1930, he named the dam "Hoover Dam", citing a tradition of naming dams after Presidents, though none had been so honored during their terms of office. Wilbur justified his choice on the ground that Hoover was "the great engineer whose vision and persistence ... has done so much to make [the dam] possible". One writer complained in response that "the Great Engineer had quickly drained, ditched, and dammed the country."
After Hoover's election defeat in 1932 and the accession of the Roosevelt administration, Secretary Ickes ordered on May 13, 1933, that the dam be referred to as Boulder Dam. Ickes stated that Wilbur had been imprudent in naming the dam after a sitting president, that Congress had never ratified his choice, and that it had long been referred to as Boulder Dam. Unknown to the general public, Attorney General Homer Cummings informed Ickes that Congress had indeed used the name "Hoover Dam" in five different bills appropriating money for construction of the dam. The official status this conferred to the name "Hoover Dam" had been noted on the floor of the House of Representatives by Congressman Edward T. Taylor of Colorado on December 12, 1930, but was likewise ignored by Ickes.
When Ickes spoke at the dedication ceremony on September 30, 1935, he was determined, as he recorded in his diary, "to try to nail down for good and all the name Boulder Dam." At one point in the speech, he spoke the words "Boulder Dam" five times within thirty seconds. Further, he suggested that if the dam were to be named after any one person, it should be for California Senator Hiram Johnson, a lead sponsor of the authorizing legislation. Roosevelt also referred to the dam as Boulder Dam, and the Republican-leaning Los Angeles Times, which at the time of Ickes' name change had run an editorial cartoon showing Ickes ineffectively chipping away at an enormous sign "HOOVER DAM", reran it showing Roosevelt reinforcing Ickes, but having no greater success.
In the following years, the name "Boulder Dam" failed to fully take hold, with many Americans using both names interchangeably and mapmakers divided as to which name should be printed. Memories of the Great Depression faded, and Hoover to some extent rehabilitated himself through good works during and after World War II. In 1947, a bill passed both Houses of Congress unanimously restoring the name "Hoover Dam." Ickes, who was by then a private citizen, opposed the change, stating, "I didn't know Hoover was that small a man to take credit for something he had nothing to do with."
Hoover Dam was recognized as a National Historic Civil Engineering Landmark in 1984. It was listed on the National Register of Historic Places in 1981 and was designated a National Historic Landmark in 1985, cited for its engineering innovations.
The Angel Troubling the Pool, depicting John 5: 2-24, was executed by Cottier & Co. of London in 1878. Trinity's stained glass collection is one of the finest in the nation with examples from most of the major American and European stained glass stuios of the nineteenth century. With the exception of one window, the church contained only clear glass windows at tits consecration. Twenty four figurative windows followed within five years. Today thirty-six windows line the walls of Trinity church, including four designed by Edward Burne-Jones and executed by William Morris and another four designed by John La Farge, who used a revolutionary style of layering opalescent glass.
Trinity Church, at 206 Clarendon Street, was built from 1873 to 1876 by Henry Hobson Richardson. The Episcopal parish, founded in 1733, originally worshipped on Summer Street until it was destroyed in the Great Fire of 1872. Under the direction of Rector Phillips Brooks, Hobson was commissioned to design a replacement in Copley Square. Trinity Church helped establish Richardson's reputation, becoming the birthplace and archetype of the Richardsonian Romanesque style, characterized by a clay roof, polychromy, rough stone, heavy arches, and a massive tower.
The building's plan is a modified Greek Cross with four arms extending outwards from the central towner, which stands 211 ft tall. Situated in Copley Square, which was originally a mud flat, Trinity rests on some 4500 wooden piles, each driven through 30 feet of gravel fill, silt, and clay, and constantly wetted by a pump so they do not rot if exposed to air. Its interior murals, which cover over 21,500 square feet were completed entirely by American artists. Richardson and Brooks decided that a richly colored interior was essential and turned to an at the time unknown John La Farge.
In 2007, Trinity Church was ranked #25 on the AIA 150 America's Favorite Architecture list.
Trinity Church National Register #70000733 (1970)
Studiolo from the Ducal Palace in Gubbio
•Designer: Designed by Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)
•Maker: Executed under the supervision of Francesco di Giorgio Martini (Italian, Siena 1439-1501 Siena)
•Maker: Executed in the workshop of Giuliano da Maiano (Italian, Maiano 1432-1490 Naples)
•Maker: and Benedetto da Maiano (Italian, Maiano 1442-1497 Florence)
•Date: ca. 1478-1782
•Culture: Italian, Gubbio
•Medium: Walnut, beech, rosewood, oak and fruitwoods in walnut base
•Dimensions:
oHeight: 15 ft. 10 15/16 in. (485 cm)
oWidth: 16 ft. 11 15/16 in. (518 cm)
oDepth: 12 ft. 7 3/16 in. (384 cm)
•Classification: Woodwork
•Credit Line: Rogers Fund, 1939
•Accession Number: 39.153
On view at The Met Fifth Avenue in Gallery 501.
This detail is from a study, (or studiolo), intended for meditation and study. Its walls are carried out in a wood-inlay technique known as intarsia. The latticework doors of the cabinets, shown open or partly closed, indicate the contemporary interest in linear perspective. The cabinets display objects reflecting Duke Federico’s wide-ranging artistic and scientific interests, and the depictions of books recall his extensive library. Emblems of the Montefeltro are also represented. This room may have been designed by Francesco di Giorgio (1439-1502) and was executed by Giuliano da Majano (1432-1490). A similar room, in situ, was made for the duke’s palace at Urbino.
Signatures, Inscriptions, and Markings
•Inscription:
oLatin inscription in elegiac couplets in frieze: ASPICIS AETERNOS VENERANDAE MATRIS ALUMNOS // DOCTRINA EXCELSOS INGENIOQUE VIROS // UT NUDA CERVICE CADANT ANTE //.. // .. GENU // IUSTITIAM PIETAS VINCIT REVERENDA NEC ULLUM // POENITET ALTRICI SUCCUBUISSE SUAE.
oTranslation: (“You see the eternal nurselings of the venerable mother // Men pre-eminent in learning and genius, // How they fall with bared neck before // …… // ………………………………………………knee. // Honored loyalty prevails over justice, and no one // Repents having yielded to his foster mother.”)
Provenance
Duke Federico da Montefeltr, Palazzo Ducale, Gubbio, Italy (ca. 1479-1482); Prince Filippo Massimo Lancellotti, Frascati (from 1874); Lancelotti family, Frascati (until 1937; sold to Adolph Loewi, Venice); [Adolph Loewi, Venice (1937-1939; sold to MMA)]
Timeline of Art History
•Essays
oCollecting for the Kunstkammer
oDomestic Art in Renaissance Italy
oRenaissance Organs
•Timelines
oFlorence and Central Italy, 1400-1600 A.D.
MetPublications
oVermeer and the Delft School
oPeriod Rooms in The Metropolitan Museum of Art
oPainting Words, Sculpting Language: Creative Writing Activities at The Metropolitan Museum of Art
oOne Met. Many Worlds.
oMusical Instruments: Highlights of The Metropolitan Museum of Art
oThe Metropolitan Museum of Art. Vol. 4, The Renaissance in Italy and Spain
oThe Metropolitan Museum of Art Guide (Spanish)
oThe Metropolitan Museum of Art Guide (Russian)
oThe Metropolitan Museum of Art Guide (Portuguese)
oThe Metropolitan Museum of Art Guide (Korean)
oThe Metropolitan Museum of Art Guide (Japanese)
oThe Metropolitan Museum of Art Guide (Italian)
oThe Metropolitan Museum of Art Guide (German)
oThe Metropolitan Museum of Art Guide (French)
oThe Metropolitan Museum of Art Guide (Chinese)
oThe Metropolitan Museum of Art Guide (Arabic)
oThe Metropolitan Museum of Art Guide
oThe Metropolitan Museum of Art Guide
oMasterpieces of The Metropolitan Museum of Art
oMasterpieces of The Metropolitan Museum of Art
o“The Liberal Arts Studiolo from the Ducal Palace at Gubbio”: The Metropolitan Museum of Art Bulletin, v. 53, no. 4 (Spring, 1996)
oGuide to The Metropolitan Museum of Art
oThe Gubbio Studiolo and Its Conservation. Vol. 2, Italian Renaissance Intarsia and the Conservation of the Gubbio Studiolo
oThe Gubbio Studiolo and Its Conservation. Vol. 1, Federico da Montefeltro’s Palace at Gubbio and Its Studiolo
o“Carpaccio’s Young Knight in a Landscape: Christian Champion and Guardian of Liberty”: Metropolitan Museum Journal, v. 18 (1983)
oThe Artist Project: What Artists See When They Look At Art
oThe Artist Project
oThe Art of Renaissance Europe: A Resource for Educators
oThe Art of Chivalry: European Arms and Armor from The Metropolitan Museum of Art
oArt and Love in Renaissance Italy
Floor Tiles (Set of 350)
•Factory: San Marco Laterizi di Noale Pottery
•Date: 1995
•Culture: Italian, Venice
•Medium: Earthenware
•Dimensions:
oHeight: 10¾ in. sq. (27.3 cm. sq.)
oWidth: 1¼ in. thick (3.2 cm. thick)
•Classification: Ceramics-Pottery
•Credit Line: Purchase, Anonymous Gift, 1996
•Accession Number: Inst.1996.1.1–.350
On view at The Met Fifth Avenue in Gallery 501.
Provenance
Made by San Marco Laterizi di Noale as reproductions of original tiles in the Ducal Palace in Gubbio
Timeline of Art History
•Timelines
oItalian Peninsula, 1900 A.D.-Present
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.
Thirteen suspected members of a prolific south Manchester organised crime group have been arrested by Greater Manchester Police.
Following a four-month investigation into the activities of a suspected OCG operating in the south Manchester area, police have today executed a series of warrants across Manchester.
As a result, 12 men and one woman have been arrested in connection with a string of offences, including ram raids, burglaries, and vehicle crime. The thirteen people have been arrested on suspicion of conspiracy to steal and conspiracy to handle stolen property and remain in custody for questioning.
The raids were executed under the banner of Operation Ingot which was set up to tackle the activities of the suspected OCG. Some of the victims of those crimes accompanied officers on the raids so they could see the suspected offenders being arrested and put into the back of police vans.
Cash, mobile phones and stolen property have been seized after the raids.
As part of the operation but not directly connected to the overall investigation, a further three arrests were also made today – a man for possession of a stun gun, another man for possession of drugs and a woman for assisting an offender.
To date, officers believe this OCG may be responsible for up to 50 crimes between July and December of last year, during which more than £400,000 worth of goods have been stolen from innocent members of numerous communities.
Detective Sergeant Alan Hamlin said: "This operation has been four months in the making and is a result of a lengthy investigation into the activities of a suspected organised criminal network - based in south Manchester - that has been causing real heartache and misery in Greater Manchester and beyond its borders.
"Clearly I cannot go into too much detail at this stage given we have made so many arrests, but we believe members of the gang may be responsible for up to 40 crimes including burglaries, ram raids and the supply of drugs.
"As a result, many innocent and law-abiding people have fallen victim to this gang, losing not only money and goods worth up to £400,000 but also being put through huge emotional strain.
"I hope today's action shows those who have been victims of this gang that we will use every available weapon we and other agencies have to disrupt and dismantle these organised criminal networks.
"We know all too well from speaking to residents how destructive and pernicious these gangs can be, and the corrosive effect they can have in our communities. We also know that the answers to tackling organised crime lie in the communities where these people operate, so I would continue to ask residents to take a stand with us and together we can bring about real change.
"These are your communities. They belong to you, not the criminal gangs who try and rule with an iron fist. I want today's action to give residents the confidence that things are different and you can come forward. If you tell us what action needs taking, then through your local police officers and the local authority, we will take it and together we will dismantle these criminal networks."
To find out more about Greater Manchester Police please visit our website.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
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]
Sutra The Gastropub : A Bon Vivant’s delight
Sutra Gastropub which hosted a wonderful event with Signature Expressions and the cult band Indian Ocean this week has already become a very significant part of the party scene in Gurgaon’s Cyber Hub. The restaurant offers soups, salads, a wide variety of starters and serves cuisines like Indian, Italian, Moroccan, American and European.
I like the menu; it has hearty, trustworthy dishes that the chefs have managed to execute well. The well being of the flourishing, diverse and experimental food tradition in India rests in the hands of such restaurants.
Jhul e kabab @ SutraSpeaking of the well-written, hunger-inducing, gutsy menu, we read it and immediately knew what we wanted. Such a musical night with iconic singers and musicians called for a lot of finger food and signature cocktails. We ordered a “Manhattan” with Signature’s best whiskey, “Mustard Fish Tikka”, “Seekh-e-khas” and “Jujeh Kebabs”.
Alfresco dining, iconic music, and an extremely cosy restaurant, is all that we needed after a long hard day at work. The restaurant is well planned and spacious. There is dark-wood furniture. There are two bars with bar stools for people who wish to sit there and drink the bartenders interesting cocktail concoctions; they also have a wine rack. Indian ocean sutra
On a weekday (Wednesday), the place is bustling with people; I wasn’t at all surprised, most restaurants at Cyber Hub are thriving, every day is good business, weekends are especially brilliant.
IMG_2425And then the food starts to arrive and it’s clear everything is going to be great. The food is fresh, the drinks are well balanced and the staff is courteous. Check. Check. Check. The restaurant checks all the right boxes for me. For main course I got a thin crust “Chicken Pizza”. I expected it to be heavy but it turned out to be surprisingly light. It was an utterly guilt-free pizza with extremely coordinated ingredients.
Most evenings and weekends are special for the restaurant because they organise fun-filled events for their patrons. Anoop, who manages the place, and it feels very much like a one-man operation, clearly knows how to make customers feel at home.
There are chunky burgers with chicken and lamb; the meat is tender, well cooked and extremely delicious. This multi-cuisine restaurant does a mouth-watering molten brownie cake, chocolate tiramisu and some really interesting cheesecake to finish.
Sutra seems to be doing a great job because the evening was a raving success and went absolutely glitch free.
XOXO
Shivangi
(Shivangi Reviews)
Contact: shivangireviews@gmail.com
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Published on: Live in Style by Shivangi Sinha
Greater Manchester Police has launched a pre-Christmas crackdown on crime.
Over the next month police will execute 12 high-profile days of action as part of a pre-emptive strike on criminals who spread misery in the run up to Christmas.
The operation – codenamed Bauble – will see more than 800 officers over the 12 days tackling a range of offences including burglary, domestic abuse and criminality on the roads.
A day of action will be held on each of GMP’s 12 divisions, including the Airport.
Local officers will be supported by special constables and specialist units including traffic, mounted officers, tactical aid units, dog handlers and intercept ANPR teams.
Superintendent Craig Thompson from Specialist Operations said: “Operation Bauble sends a very clear warning to offenders that we will not be winding down for Christmas and letting them go on their merry way.
“Over the next month we will be holding a series of high-profile days of action aimed at disrupting criminal activities and keeping the good people of Greater Manchester safe during the festive period.
“Using officers and specialist units from across the force, we intend on blitzing crime and stopping offenders in their tracks so that the only Christmas they’ll be looking forward to is with us.”
Follow #OpBauble on twitter for live updates from the operation.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
J'ai l'âge du tueur qui, son forfait accompli vers vingt ans, peine incompressible de sûreté pour trente ans exécutée, serait sur le point de rejoindre Romand dans son cloître de Fontgombault à planter des carottes digitales dans le jardin de curé des moines illettrés en algorithmes, vierges de toute notion de codage.
La route de la vie s'est réduite à un sentier en pointillé sur la carte IGN aux racines abîmées, acides animés, comme le tampon de rappel d'un même schéma temporel sur nos passeports, goulet d'étranglement inscrit sur un parchemin qui récapitule nos itinéraires balisés.
Telle une pesée de l'âme anticipée, son banal prototype sec, les plumes de faucons volent dans l'air, dans un flash, on saisit d'un coup Thot et Ammout saliver devant l'introduction de quelques uns de nos empêchements mauvais.
L'accusé est comme à la parade, il connaît par cœur son dossier.
Pas une radiographie ne fut laissée derrière, les rayons X sourient pour lui à califourchon sur le fléau.
Se faire une gueule d'atmosphère, pour la détendre, l'homme joue ses derniers instants à la surface de la société, il lui faut à tout prix entraîner sous l'eau, une fois encore, ceux de sa victime, cette bouée négative, apprendre aux jurés à nager dans le grand bassin des remous chlorés de sa gestuelle de désespéré, à le saisir par les moignons de ses épaules de mannequin de piscine, au sourire de benêt, comme lui conseilla son avocat, MNS musclé des prétoires.
La Justice n'intube jamais les prévenus à bout de souffle, s'en remet toujours à un reste de liquidité orale qui leur coule de la bouche, c'est à mettre à son honneur.
Devant ce libérable qui commence un reste de nouvelle non-vie, non sans me le demander, que vais-je faire du reste de la mienne ?
Ma vie de commentateur ne m'attendra pas, il me faudra poster, poster, poster encore, jusqu'à la fin des temps d'écran à moi et vous impartis.
Cela ne m'avait pas fait la même chose lorsque de plus jeunes sélectionnés de l'équipe de France de foot attirèrent sur le banc, ou dans les tribunes, les joueurs de ma génération reléguée.
Ton pouce fugue sur la branche de gui de ta naissance, écrase les baies de houx, s'en macule.
Fossoyeur par destination, puisqu'il préféra, en lâche homme rempli de dédain, laisser les intempéries et les animaux fouisseurs faire leur oeuvre dans un ravin de la montagne.
Ces tueurs de petite série bénéficient d'un genre de prime au sortant.
Ils sortent des personnes, ici un jeune militaire, là une enfant (petite Lucy d'Ethiopie - copie de ses acides énucléés, dispersés dans la nuit à tiroirs, aube fracturée -, pour le monstre ami des canidés), du monde de la vie, munis d'un permis de tuer, avec tous les visas psychotiques sur la page, timbres dûment oblitérés par le vide spirituel qui se fit un douillet nid d'araignées dans le plafond appelé à délimiter le champ de son activité mentale.
Le sort en est jeté, va-t-on savoir le fin fond des choses, le procès qui nous est promis peut-il être considéré comme une course de côte ?
Les journalistes ressortent leur vélo, les avocats leurs patins ou trottinettes, les commentateurs de blog leur lubrifiant, pour des posts qui défilent à la chaîne devant l'écran d'un jour qui fut moins noir.
On ne sait plus qui est Jésus, Pilate ou Barabbas dans cette procession de têtes qui baignent dans le bac à fonderie des médias.
Alfred Jarry, et son jury, délibèrent.
Obscénité - certains observateurs de la chose judiciaire parlèrent de pornoviolence -, oui, et je pense que l'écrivain qui décrivit l'assassinat de sang froid d'un pauvre type du Kansas, ainsi que de toute sa famille, un ancien dévoué à la cause rooseveltienne du New Deal, aujourd'hui récent blaireau redneck - de ces nouveaux riches céréaliers à leur compte, ô, l'horreur -, n'était pas sans éprouver sur lui-même la fascination que lui tendaient, en clignant des yeux, les deux tueurs.
Les parents se sentent dans l'obligation de réagir devant le vivant tableau d'un criminel qui habilement présente de lui-même sur un plateau les micro-poids d'une biographie fantôme censés rééquilibrer la balance.
Stupide guerre d'icône, qui se comprend du côté de la partie civile.
Ce Guermantes à jamais de petite fille, brusquement coupé du récit du monde humain, de toutes les promesses déjà portées à l'état de floraison, fut rejeté dans le vide cinétique de l'homme Lelandais, ce metteur en scène d'un crime dont il refuse l'exact minutage des images dans la salle de montage du tribunal.
Pour reprendre les mots sévères du juge-acteur André Wilms qui vient de mourir : n'importe quel clampin est capable de se faire un film.
Photographies et peinture de Maëlys brandies par les parents (Éric Zemmour choisit de n’avoir aucun recul sur la créativité des mères et des pères en ce qui concerne cette presque poésie authentiquement populaire au moment du vote pour le prénom des enfants, la jurisprudence du Kevin et de l’influence des soap-operas américains n’étant plus la clé pour la comprendre, je me rappelle aussi que Klemperer, dans son LTI, avait noté une recrudescence des petits noms nordiques dans l’Allemagne, dès 1933), enfant effigiée, font aussi bouclier contre le plastronnage de l’accusé – coq en box, mêmê si sa pâte est ultra-compacte -, pourtant réduit à un croquis de peintre de cour d’assise.
Des images pieusement muettes, chaînons manquants, dont la famille resoude les fontanelles écrasées, éternels retours de l’écho des petites victimes de Dutroux, sur l’écorce de l'écran d’un faible sonar qui rendit sourds, aveugles, et fous, les intouchables gendarmes de Liège.
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