Police in Stockport investigating the supply of class A and B drugs in the Edgeley area made three arrests in morning raids earlier today (Thursday 27 May).

 

Officers from GMP Stockport's district executed four warrants in Edgeley where an amount of drugs and cash were recovered and seized in evidence.

 

Three men - aged 18, 35, and 39 - were taken to custody for questioning, where they remain.

 

They are being held on suspicion of drugs offences.

 

The action comes as part of disruption activity to tackle drug supply in Stockport, believed to have links to organised crime.

 

Anyone with information is urged to contact police and assist with their ongoing enquiries.

 

Police Sergeant Gareth Davis, of GMP's Stockport district, said: "This morning's significant activity has seen us make three very important arrests in the disruption of class A and B drug dealing in Stockport, and highlights our endeavour to take illegal supply from our streets.

 

"We know there has been a lot of concern in the community about the prevalence of such criminal activity occurring in certain areas of the borough, and today's activity aims to drive a wedge between the activity and the supply that is fuelling that trade."

 

Anyone with information or concerns can contact police online, if able, via www.gmp.police.uk or 101. Details can be passed anonymously to the independent charity Crimestoppers on 0800 555 111.

 

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

 

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

 

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

 

This portrait of George Clinton (Catalog Number INDE11902) was executed by James Sharples Junior, circa 1795-1797. The British pastelist, painted a portrait of General Clinton during his first visit to the United States. This portrait appears to be George, although originally identified as his older brother, James (also a general in the Revolution). It was given by Ellen Sharples to Felix Sharples in 1811, and then to Levin Yardly Winder in the 1830s and later inherited by Nathaniel James Winder and then Richard Bayly. It was purchased by Murray Harrison around 1863 and then the City of Philadelphia in 1874.

 

George Clinton (1739 – 1812) was an American soldier and politician. He was the first (and longest-serving) Governor of New York, and then Vice President of the United States under Thomas Jefferson and James Madison.

 

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)

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

For more see below:-

www.coventrycathedral.org.uk/

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

To find out more about Greater Manchester Police please visit

www.gmp.police.uk

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

Two important signatories of the National Covenant were James Graham, Marquess of Montrose, and Archibald Campbell, Marquess of Argyll. Both men professed loyalty to King Charles, but when the covenanters began to force people to sign the National Covenant, Montrose broke with what he perceived to be the excesses of Argyll's reforming party, and led a royalist army in Scotland against Argyll.

 

Montrose was executed outside St Giles' at the Mercat Cross in 1650, and his head placed on a spike outside the church. After the Restoration of King Charles II in 1660, Montrose's head and body were exhumed and reinterred in St Giles' with full honours. His memorial stands in the Chepman Aisle

 

www.stgilescathedral.org.uk/

The Origins of St Giles'

There is record of a parish church in Edinburgh by the year 854, served by a vicar from a monastic house, probably in England. It is possible that the first church, a modest affair, was in use for several centuries before it was formally dedicated by the bishop of St Andrews on 6 October 1243. The parish church of Edinburgh was subsequently reconsecrated and named in honour of the patron saint of the town, St Giles, whose feast day is celebrated on 1 September.

 

The Covenanters

In 1638, those opposed to King Charles’ plans to reintroduce episcopacy in Scotland signed the National Covenant. In 1643, following a split amongst those who disagreed with the king, the Solemn League and Covenant was drawn up and then ratified by the General Assembly of the Church of Scotland, then meeting in the Preston Aisle of St Giles’. The National Covenant may still be seen today in the Preston Aisle.

 

That St Giles, a 7th century hermit (and, later, abbot) who lived in France, became the patron of both town and church was probably due to the ancient ties between Scotland and France.

  

According to legend, Giles was accidentally wounded by a huntsman in pursuit of a hind and, after his death in the early 8th century, there were dedicated to him hospitals and safe houses for cripples, beggars and lepers were established throughout England and Scotland within easy reach of the impoverished and the infirm. St Giles is usually depicted protecting a hind from an arrow, which had pierced his own body, a fine relief of which rests in the tympanum over the west (main) doors of the Cathedral.

 

St Giles' in the Middle Ages

St Giles' was founded in the 1120s when the Scottish royal family, the sons of Queen (Saint) Margaret and King Malcolm Canmore, especially David I (1124-1153) made strenuous efforts to spread Catholic Christian worship throughout the Scottish lowlands.

 

This church was probably quite small, Norman (i.e. Romanesque, with rounded arches and elaborate carving) in style, like others built at the same time. Few traces of it survive in the present building.

 

In 1385, a much larger church (early Gothic, pointed arches and simple octagonal pillars) was partially burned. No record has been found of the building of this second church. It was quickly repaired.

 

Over the next 150 years many chapels were added. These included chapels set up by the craftsmen's guilds of Edinburgh, chapels endowed by prominent merchants and nobles, and a chapel for a relic of St Giles. By the middle of the 16th century, there were around fifty altars in the church.

  

The Church becomes a Cathedral

For more than a century after the Reformation, worship in St Giles’ was disrupted by the disagreements about church government. In 1633, King Charles I appointed Scottish Episcopal bishops in Scotland and in 1635 William Forbes became the first bishop of the new diocese of Edinburgh, with St Giles’ as its cathedral, which it remained until 1638 and again from 1661-1689. That St Giles’ is commonly called a cathedral dates from this period.

 

St Giles' in the 20th and 21st Centuries

In 1911 the Thistle Chapel (architect: Sir Robert Lorimer) was completed, to be used by the Knights of the Thistle, Scotland's order of chivalry. Though small, it is in 15th century high Gothic style and full of elaborate carvings in wood and stone and of colourful heraldry.

 

Over the last hundred years or more, St Giles' has hosted important events including state occasions and services of national thanksgiving.

 

A new restoration programme began in 1977. In addition to essential repairs to roof, stone and glass, the interior has been lightened, the focus of worship moved from the east end to a new sanctuary in the middle of the church ("the crossing") and a magnificent new organ installed. Space has been converted from old cellars and crypts for meeting and eating. Much remains to be done

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

Gérôme Executing The Gladiators, Monument to Gérôme

Between 1878 and 1909

Bronze group

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

© RMN (Musée d'Orsay) / Christian Jean

 

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

 

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

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

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

 

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

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

  

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

If something doesn’t feel right – report it.

 

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

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

 

Biography

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

 

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

 

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

 

Works

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

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

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

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

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Tomb of the Unknown Soldier

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

 

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

 

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

 

Details

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

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

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

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

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

 

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

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

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

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

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

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

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

 

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

 

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

 

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

 

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

 

Access

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

 

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

 

Replicas

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

Caryn Scrimgeour "The Silent Scream" 2016

 

From: www.everard-read-capetown.co.za/artist/CARYN_SCRIMGEOUR/b...

 

Caryn Scrimgeour was born in Johannesburg in 1970 and has lived in Cape Town since 1972. In 1991 she graduated from the University of Stellenbosch with a B.A in Fine Art.

 

Scrimgeour’s subject matter is chosen from commonplace objects that surround her. Delicate chinaware, glassware and insects are combined with common trinkets and knick-knacks and portrayed against a backdrop of richly patterned fabric in a way that is reminiscent of 17th century Dutch still life painting.

 

Objects that are fragile and precious are juxtaposed with mundane items, which in turn are elevated to the same level of importance. Her works are filled with symbolism, and the place settings consequently ‘become representative of major events which have impacted my life over the past ten years, but which are also events that most women will experience in the course of their lives, in one form or another.’ The objects in these paintings are easily recognisable, familiar and often nostalgic, making the images highly accessible to the viewer. Even the use of symbols and images drawn from other cultures and societies serve to entice rather than alienate the viewer

 

Caryn explains, ‘The constantly changing positions of the knives and forks are indicative of the inconsistency and fluctuation of what we see as sacred or fundamental to our core beliefs…For instance, an empty place setting, symbolises a loss of self, emptiness and missed opportunities.’

 

The images are elevated from that of traditional still-life by the use of aerial perspective which forces a shift in our viewpoint and the way in which we interpret the objects. At the same time it creates an almost abstract interplay between the objects and the patterns, creating a contemporary context for a very traditional genre.

 

Caryn Scrimgeour’s paintings are obsessively immaculate. Few artists can boast the fanatical attention to detail that she exhibits and the extraordinary command of her palette that enables her to wring out a crystal clear luminosity from tubes of oil paint. It is these qualities, coupled with her flair for fabric design and eye for curious bric-a-brac, that enable her to transform seemingly banal table settings into sweeping, post-modern, epic dramas that play out through the domestic debris of our lives. The absence of humans , aside from the odd reflection in a knife (of the artist peering down), makes these works all the more poignant, as do the unlikely protagonists: the harlequin collection of single pieces of china and cutlery ( the last remnants of grandma’s proud collection); the lavishly painted cigarette butt; the burnt match; the half full glass of wine; the cocktail umbrella; the Disney paper serviette… These are Vanitas paintings , but not in the Catholic, finger-wagging manner of the 16th and 17th centuries, but rather in a way that seems apt for our age: they hint gently at the fragility and transitoriness of the human construct. Similarly the fragments recorded are mini-monuments to the human desire to endure in the face of futility, and, the foolhardiness of trying.

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

Building

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

Canaletto: View of Palais Liechtenstein

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

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

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

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

Sala terrene of the Palais

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

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

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

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

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

Use as a museum

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

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

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

 

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

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

By Cotton Mather, D.D.

 

To Which Is Added

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

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

London: John Russell Smith, Soho Square, 1862.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Reds Legends, a sculptural group executed in 2004 by Thomas Tsuchiya, also known as Norikazu, depicts four Cincinnati Reds baseball players playing an imaginary ballgame on Crosley Terrace, a 50,000-square-foot space in front of the Great American Ball Park. The four players--Frank Robinson, Ted Kluszewski, Ernie Lombardi and Joe Nuxhall--all played at Crosley Field, which was home to the Cincinnati Reds from 1934 to 1969. The terrace contains about an acre of concrete, which is landscaped with grass and trees that resemble a playing field. The "infield" contains a pitcher's mound built to Major League Baseball dimensions of the day, and grass in the terrace is sloped at the same incline as the infamous Crosley outfield. The four players were chosen in 17,000 ballot vote by fans, who were asked to select one catcher, one pitcher and two hitters, and the statues were phased into the terrace one at a time throughout the season.

I love a shearing shed. The hubbub to and fro as the shearers, rouseabouts and classers execute a complex choreography across the boards. The catching pens, down the chute, another on the tally, the counting out, the hum of the overhead gear and the metallic chatter of the handpieces. Then the silence of smoko, tea and cake. Behind all else there's the smell. You never forget the smell. It's not a bad smell. It's the lanolin, the droppings and urine, the sweat. If there's one with fly strike in the mob you'll smell it before you see it. That's how it is. Horses smell of horse, cows of cow and sheep smell of sheep. It's a good thing. It's also why I'm not keen on eating underdone lamb and why the dried raw mutton of the Faroes didn't appeal. They smell of shearing shed.

 

Building of this shed probably began in the 1860s, when the sheep were shorn with blade shears. As it grew an engine shed would have been added. A lot of our sheds are like this: a little single cylider engine driving a lineshaft with a long leather belt in a well outside the main shed. I remember my first job one day arriving early at the shed, before 7am, only to be met by the boss and handed a new joiner to repair a worn and torn belt. No pressure!

 

Outside many shearing sheds the yards will have a few shade trees. They were called acacias when I was young. Now I know they are American imports: black locust — Robinia pseudoacacia. So it is here. They are tough, like the shearing crews who worked here.

 

Over the way are the shearers quarters. They are newer. The old ones were so bad they had to be replaced. The windows are all gone now and the plumbing robbed out, so they say. This one had a Metters Bega stove for the shearers' cook. Shearing is hungry work. Feeding shearers is tough too. There's a meat room out the back to hang a carcass away from flies. Was the cook a butcher too?

 

This run was victim of the land resumption for the Australian Capital Territory. It never was good country like that wasted in building of the nearby city. Now, and since 1927, it grows pine trees and controls runoff into the Molonglo River to keep Lake Burley Griffin cleaner than it otherwise might be. Some decry the monoculture, yet without it the wastrel suburbs might produce nothing.

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

Building

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

Canaletto: View of Palais Liechtenstein

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

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

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

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

Sala terrene of the Palais

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

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

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

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

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

Use as a museum

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

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

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

 

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

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#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.

 

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

 

#Owlephant

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#EvanRachelWood-._•✏️📝✍️🔏🐧

 

--WRW

 

_.• ✍️🔏

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

 

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

 

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

 

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

 

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

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

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#ELDER_SCROLL_OF_MNEM_0.0♾😻

•-----------•----•💀•---•-------------•

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

"These issues cannot be tolerated.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

www.gmp.police.uk

 

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

 

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

 

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

    

newcastlegaol.co.uk/burial

 

newcastlegaol.co.uk/memories

 

The Newcastle Gaol:“It is strange, but in one custom we are more barbarous than our ancestors in bygone days. It is the toll of the Felon’s Plot.”

 

Prison Burial: You might think that being executed would be punishment enough for an awful crime, but as late as the twentieth century in Britain there were what was known as post-mortem punishments. The most common two punishments were public dissection (anatomisation by surgeons) and gibbetting (the criminal’s body was encaged in iron and hung from a wooden mast, most commonly placed near the site of the crime or in a very prominent location as near to it as possible). Post-Mortem punishments have a long history, but arguably the longest lasting was the denial of a Christian burial and the refusal of the authorities to hand the convicted felons’ body over to their loved ones for burial. This punishment continued long after dissection and gibbeting were removed by the Anatomy Act (1832) and Hanging in Chains Act (1834) respectively.

 

We know from reports of executions in Newcastle that sometimes the fear of indecent burial was more potent than that of hanging itself in the minds of prisoners. In 1829 one broadside recorded Jane Jameson’s last moments before leaving the gaol on route to the gallows at the Town Moor. It noted that she asked the attendant Minister ‘a question about her body’, but was told that ‘she was not to care about her body but about her soul.’ Jane Jameson became the last executed felon in Newcastle to suffer the additional punishment of public dissection, but her body was not buried in the gaol grounds.

 

Burial within the prison walls

The first person to be buried within the walls of the Prison was Mark Sherwood in 1844. Although executed on Newcastle’s Town Moor his body was taken back to the prison via a carriage and interred within the boundaries of the prison. Like Jane Jameson before him Sherwood had raised concerns about what would happen to his body after death. Reports of his execution noted that one of his last requests was that “He expressed a wish that for interment of his bodily remains within the gaol-yard, the grave might be deep, and hoped his remains would not be allowed to be disturbed. He also desired, if not contrary to any legal regulation, that the burial service might be read when he was committed to the earth. In compliance with his wish the grave was made seven feet deep, as subsequently stated but the burial service was not read.”

 

Sherwood’s fears of being disturbed were not without justification as up until the Anatomy Act, 1832, the only bodies officially available for dissection, without consent, were those of executed criminals. This limited supply meant that across the country there were numerous instances of body-snatchers, sometimes known as resurrectionists, operating in churchyards and cemeteries. Newcastle was no exception. This illegal practice, arguably made most famous by William Burke and William Hare in Scotland, came about to meet the demands of a medical profession starved of body supply. Just 3 years prior to Sherwood’s execution Newcastle had been gripped by a body-snatching scandal very close to the prison. In 1840 Sophia Quin had died in the house of her daughter, Rosanna Rox, in Clogger’s Entry in Sandhill, Newcastle and was due to be buried at the dissenter’s burial ground at Ballast Hills, to the East of the city. Instead of going to the burial ground the coffin bearers took the body straight to the Surgeons’ Hall and refused Rox entry. She later gained entry by contacting the Mayor and found her mother’s coffin with the lid up and clothes were torn. On further investigation, they lifted the lid of what appeared to be a large chest and found her mother’s body standing upright in warm water up to her shoulders. At which point Rox fainted. The body was eventually recovered and successfully reburied but, it caused a great scandal in the region and was even reported on in the Medical Journal, The Lancet.

 

Until its closure in 1925, 15 executed criminals were buried within the walls of the prison and in most cases denied a Christian burial. After an execution it was customary for the body to hang for one hour, a centuries-old tradition, and then for an inquest to take place on the body to confirm both the cause of death and identity of the condemned. The burial would take place the same day, following the inquest over the body, and in the presence of the Prison Chaplain and a few officials.

 

Numerous reports from executions in the period note that there were markings made with the initials of the prisoners on stones in the boundary walls, relating to the position of their grave, but little else marked their presence. Indeed, such was the disdain for the recording or memorialising of criminal bodies in any way that a Home Office Circular in 1922 demanded that even these markings were to be removed as “such records are undesirable as they perpetuate the memory of the crime, cause unnecessary pain to relatives and rouse a morbid interest in the prisoners.” One proviso of this decision was that each prison was required to make a detailed map of the location of the bodies before destroying these remaining memorials.

 

Despite the Home Office’s request the location of the bodies became a serious problem for the authorities on closure of the prison. In agreeing to allow Newcastle to demolish and repurpose the prison land, the Home Office stipulated that the bodies must be removed and reinterred. Numerous reports abounded that the authorities were struggling to locate the exact placing of each grave and indeed when it came to the operation to remove them a number of bodies weren’t found. Up until now the identity of these bodies has been unknown, but research seen by this project has uncovered the identity and number of the missing bodies at Newcastle Prison.

 

“In the darkness of the night and at an hour kept strictly secret the bodies of the murderers which lie in the precinct of Newcastle Gaol are to be taken up and reinterred in All Saints’ Cemetery.”

 

Removing the bodies: On the closure of the prison

On Monday 12th October, 1925 the Governor of Durham Prison along with Robert Stuart, the medical officer and prison surgeon was in attendance at the exhumation of the graves. Stuart made a detailed report of his findings that was sent on to the Home Office. In it he gave key details into how the bodies had been buried, including whether they were clothed or not and the state of decomposition. Amongst his recordings was the following extraordinary details.

 

· 1. Mark Sherwood – 1844 “At a depth of about 11 feet there was no trace of coffin or body”

 

· 2. Patrick Forbes – 1850 “At a depth of about 11 feet there was no trace of coffin or body”

 

· 6. William Rowe (sic) – 1890 “We found no trace of body or coffin in this grave”

 

· 7 Samuel G Emery – 1894 “At a depth of about 11 feet we found no trace of a body in his grave.”

 

So, not only were the bodies not found but also, in some cases the coffins weren’t even located. It would appear that Mark Sherwood’s fears weren’t so ill-founded. Despite only locating 11 of the 15 bodies, the remains were eventually buried in unmarked graves at All Saints Cemetery in Jesmond – such was the secrecy around their location, that it is still unknown to this day.

 

Reporting on the reinterment one newspaper carried a telling quote from an unnamed prison official at Newcastle Prison,

 

“It is strange, but in one custom we are more barbarous than our ancestors in bygone days. It is the toll of the Felon’s Plot….Prison Officials who have assisted in the last act of a murder drama will agree that it is a mournful business. The body lies in its plain shell- not naked and covered with quicklime as was the custom until quite recent years – it lies clad in the clothes worn at the trial, so that no sensation-monger may exhibit them….when the grave is filled in the ground is levelled with its extremities marked by small white stones. On the wall of the prison that is nearest to the plot will be cut the initials of the dead and the date of the execution.”

 

However, there is one final twist to the tale that has been uncovered in the research for this project. On September 1st, 1928 The Boston Guardian carried the following remarkable story,

 

“Remains of a man who had been executed were found during excavation work for an automatic telephone exchange on the site of the old Newcastle Gaol.”

 

This may well tally with one of the memories that was sent in to us from a member of the public, Marie McNichol. Marie McNichol’s grandfather John (Jack) Level was part of the demolition and excavation team working on the prison site. He was employed by Purdie, Lumsden & Co as a Derrick Crane operator. Marie remembers that the building work was severely delayed when a body was uncovered “wrapped in oilskins, like that of a sailor.” An investigation followed that delayed the excavation work considerably and on the 27th August the Yorkshire Post reported that the body had remained unidentified but “It is believed the remains are those of another executed man. The bones were reinterred at Jesmond on Saturday.”

 

Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.

 

Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.

 

The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.

 

Roman settlement

The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.

 

The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

 

Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.

 

Anglo-Saxon development

The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.

 

Norman period

After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.

 

In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.

 

Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.

 

Middle Ages

Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.

 

The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.

 

Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.

 

In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.

 

In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.

 

Religious houses

During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.

 

The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.

 

The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.

 

The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.

 

The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.

 

The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.

 

All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.

 

An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.

 

Tudor period

The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.

 

During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).

 

With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.

 

Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.

 

The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.

 

In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.

 

Stuart period

In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.

 

In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.

 

In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.

 

In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.

 

In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.

 

A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.

 

Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.

 

In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.

 

In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.

 

Eighteenth century

In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.

 

In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.

 

In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.

 

Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.

 

The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.

 

In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.

 

A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.

 

Victorian period

Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.

 

In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.

 

In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.

 

In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.

 

In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.

 

Industrialisation

In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.

 

Innovation in Newcastle and surrounding areas included the following:

 

George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.

George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.

 

Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.

 

Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.

 

William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.

 

The following major industries developed in Newcastle or its surrounding area:

 

Glassmaking

A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.

 

Locomotive manufacture

In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.

 

Shipbuilding

In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.

 

Armaments

In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.

 

Steam turbines

Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.

 

Pottery

In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.

 

Expansion of the city

Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.

 

Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.

 

Twentieth century

In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.

 

During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.

 

In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.

 

Newcastle City Council moved to the new Newcastle Civic Centre in 1968.

 

As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.

 

In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.

 

As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.

 

The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.

 

Recent developments

Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.

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

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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.

 

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

 

#Owlephant

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#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.

www.gmp.police.uk

 

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

 

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

 

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

 

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

 

This portrait of Thaddeus Kosciuszko (Catalog Number INDE14082) was executed by Julian Rys, modeled after an unidentified source, in 1897.

 

Andrzej Tadeusz Bonawentura Kościuszko (1746 – 1817) was a Polish, American, Belarusian and Lithuanian national hero and general. He led the Kościuszko Uprising (1794) against Imperial Russia. Prior to leading the 1794 Uprising, he had fought in the American Revolutionary War as a Colonel in the Continental Army. In 1783, in recognition of his dedicated service, he had been brevetted by the Continental Congress to the rank of Brigadier General, and that same year he had become a naturalized citizen of the United States. Kosciuszko visited Philadelphia in 1797, living in a boarding house at Third and Pine Streets. His presence reinforced the city's image as a haven for dissenters.

 

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)

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.

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

This bronze sculptural bust of James D. Phelan was executed in 1936 by sculptor Haig Patigian and installed inside the Polk Street entrance of San Francisco City Hall in 1937. James Duval Phelan (1861-1930) served as the 25th Mayor of San Francisco from 1897-1902, and as a United States Senator from California from 1915-1921. In the 1900s, Phelan purchased and land and water around San Francisco Bay to bring publicly-funded water and electricity to greater San Francisco.

  

San Francisco City Hall, at 1 Dr. Carlton B. Goodlett Place, was built from 1913-1915 by architect Arthur Brown, Jr., replacing an building destroyed during the 1906 Earthquake. The vast Beaux-Arts French Renaissance building covers over 500,000 square feet over two full blocks and features the fifth largest dome in the world, rising 301-feet, 5.5-inches from the curb--13-feet, 7¾-inches higher than the U.S. Capitol.

 

The exterior is made of gray granite from the foothills of the Sierra. The interior is lavishly finished in California marble, Indiana sandstone and Manchurian oak. The dome, owing to Mansart's Les Invalides, has a diameter of 86-feet at its springing line and was originally covered with gold leaf gilded copper, but has since been restored with gold leaf on a special paint. Below the dome is the defining architectural element--the Rotunda and Great staircase, an open stairwell bookended by two-storied loggia on the north and south, extending from the second to the top of the third story and articulated with Giant Corinthian half columns. The stairs lead to the Board of Supervisors chamber, and opposite it is the office of the Mayor.

 

President Warren G. Harding lay in state at City Hall after dying of a heart attack at the Palace Hotel in 1923. Joe DiMaggio and Marilyn Monroe were married at City Hall in 1954. Mayor George Moscone and Supervisor Harvey Milk were assassinated there in 1978, by former Supervisor Dan White. The Loma Prieta earthquake of 1989 damaged the structure, and twisted the dome four inches (102 mm) on its base. Afterwards work was undertaken to render City Hall earthquake resistant through a base isolation system.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

www.coventrycathedral.org.uk/

Oil on aluminium and painted steel, executed in 1984.

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

Find me on Facebook, search "Shivangi Reviews"

Published on: Live in Style by Shivangi Sinha

Major General Comte Jean de Rochambeau, designed by sculptor Fernand Hamar, was executed in 1899 and 1901, and dedicated in Lafayette Park on May 24, 1902. The memorial features an 8-foot bronze replica of a statue of Rochambeau erected in Vendome, France in 1899. The statue sits atop a 20-foot granite base adorned with a female figure representing Liberty.

 

Lafayette Park, a seven-acre public park located directly north of the White House, was originally called President's Park and was part of the pleasure grounds surrounding the Executive Mansion. The park was separated from the White House grounds in 1804, when President Thomas Jefferson had Pennsylvania Avenue cut through, and officially renamed in 1824 in honor of the Marquis de Lafayette. Over the years, Lafayette Park has been used as a racetrack, a graveyard, a zoo, a slave market, an encampment for soldiers during the War of 1812, and many political protests and celebrations. Andrew Jackson Downing landscaped Lafayette Park in 1851 in the picturesque style. Today's plan, with its five large statues, dates from the 1930s.

 

Lafayette Square Historic District, roughly bordered by 15th and 17th Sts. and H St. and State and Treasury Places, exclusive of the White House and its grounds, covers the seven-acre public park, Lafayette Square, and its surrounding structures including the Executive Office Building, Blair House, the Treasury Building, the Decatur House, and St. John's Episcopal Church.

 

Lafayette Square Historic District National Register #70000833 (1970)

Flowers for Theresa, executed by Aria da Capo in 2008, sits at the southern end of Lafayette Square. The concrete and steel sculpture is part of Sculpture for New Orleans, curated by Michael Manjarris and Peter Lundberg.

 

Lafayette Square, bound by St. Charles Avenue, Camp Street and Maestri Street, was founded in 1788 for the City's first suburb, Faubourg Ste. Marie, making it the second oldest park in New Orleans. Originally called "place publique", the square was renamed after Marie Joseph Paul Yves Roch Gilbert Du Motier, marquis de Lafayette, the French aristocrat and general who fought on the American side in the American Revolutionary War. Lafayette declined the invitation to become the first Governor when the United purchased Lousiana, but his popularity was evident when he visited New Orleans from April 9-15, 1825 to cheers of "Vive Lafayette!"

 

In the early 20th Century, three bronze statues were placed along the East/West axis of the square. A statue of Henry Clay was moved from the intersection of Canal and Royal and placed in the center of the park, and statues of John McDonogh and Benjamin Franklin were placed on St. Charles Avenue and Camp Street, respectively. In 2005, Hurricane Katrina caused extensive damage to many of the trees, and broken glass and debris scattered from nearby buildings made Lafayette Square unsafe. A group of neighborhood residents and downtown workers formed the non-profit Lafayette Square Conservancy (LSC), to renovate, improve and preserve the space.

MEDITERANEAN SEA, October. 10. 2017.HDMS Esbern Snare crew member monitors on a video screen the boarding operations executed by HDMS Niels Juel on a suspected (played by VN Rebel) ship as part of live scenario of Brilliant Mariner 17 exercise. BRMR 17 is a NATO-Led interoperability exercise to certify France Maritime Component Command (MCC) capability as the preparation of NATO Response Force 2018. BRMR 17 is focusing on training NATO Nations operations on the littoral within the frame of a crisis response scenario. This year, Brilliant Mariner 17, involve 3500 service members from 13 nations, 27 warships, 2 Maritime Patrol Aircraft, 1 submarine as well as amphibious assets. NATO Photo by FRAN CPO Christian Valverde.. 2017. FS Mistral crew conduct a combat Damage and Control exercise while participating in naval operations during Brilliant Mariner 17 exercise. BRMR 17 is a NATO-Led interoperability exercise to certify France Maritime Component Command (MCC) capability as the preparation of NATO Response Force 2018. BRMR 17 is focusing on training NATO Nations operations on the littoral within the frame of a crisis response scenario. This year, Brilliant Mariner 17, involve 3500 service members from 13 nations, 27 warships, 2 Maritime Patrol Aircraft, 1 submarine as well as amphibious assets. NATO Photo by FRAN CPO Christian Valverde. of the watch monitors suface situation while providing support to HDMS Niels Juel during a boarding on a suspected (played by VN Rebel) ship as part of live scenario of Brilliant Mariner 17 exercise. BRMR 17 is a NATO-Led interoperability exercise to certify France Maritime Component Command (MCC) capability as the preparation of NATO Response Force 2018. BRMR 17 is focusing on training NATO Nations operations on the littoral within the frame of a crisis response scenario. This year, Brilliant Mariner 17, involve 3500 service members from 13 nations, 27 warships, 2 Maritime Patrol Aircraft, 1 submarine as well as amphibious assets. NATO Photo by FRAN CPO Christian Valverde.. 2017. FS Mistral crew conduct a combat Damage and Control exercise while participating in naval operations during Brilliant Mariner 17 exercise. BRMR 17 is a NATO-Led interoperability exercise to certify France Maritime Component Command (MCC) capability as the preparation of NATO Response Force 2018. BRMR 17 is focusing on training NATO Nations operations on the littoral within the frame of a crisis response scenario. This year, Brilliant Mariner 17, involve 3500 service members from 13 nations, 27 warships, 2 Maritime Patrol Aircraft, 1 submarine as well as amphibious assets. NATO Photo by FRAN CPO Christian Valverde.

This painting is executed in the style we call Mannerism, which flourished c.1515-1600. Mannerist taste delighted in the bizarre, the complex, the hyper-stylish, the distorted, and the melodramatic. Although these qualities have sometimes been condemned as decadent, Vasari viewed this stylishness as the expressive culmination of the Third or Perfection Stage in the Progress of the Arts. Having mastered all the techniques of naturalistic represention, artists were now free to creatively stretch the rules. For Vasari, who was a Mannerist, such artificiality was the true test of an artist's judgment.

According to the Mannerist concept of "Disegno Intorno (Internal Design)" each talented artist's soul was endowed from birth with his or her own unique sensitivity to beauty. Accordingly, the artist's loftiest task was to produce perfected images of things rather than merely realistic ones. Images more perfect than nature would express the inner character of their subject(s) more effectively than merely superficial "realism" would. Thus, the distortion and bizarreness of Mannerist art was understood to communicate its artist's unique intuition of Divine beauty, goodness, and truth. The bizarreness was meant to shock us out of our ordinary modes of perception and spur us to hypersensitive levels of consciousness, to divine intoxication. If Realism is like clear water, Mannerism is like sparkling wine.

 

For a video that, in my opinion, captures the strange "divine effervescence" of Mannerism, see The Eurythmics' "There Must be an Angel Plyaing with My Heart: www.youtube.com/watch?v=TlGXDy5xFlw&ob=av3e

Meat Industry, located on the inner east wall of Coit Tower's rotunda, was executed by Ray Bertrand, in 1934. The interior walls of the tower are decorated with murals, mostly done in fresco, carried out by 26 artists under the auspices of the Public Works Project. The muralists, who were mainly faculty and students were supervised by Ralph Stackpole and Bernard Zakheim. Artists included Maxine Albro, Victor Arnautoff, Ray Bertrand, Rinaldo Cuneo, Mallette Harold Dean, Clifford Wight, Edith Hamlin, George Harris, Robert B. Howard, Otis Oldfield, Suzanne Scheuer, Hebe Daum and Frede Vidar.

 

Coit Tower, sitting in Pioneer Park atop Telegraph Hill, was built in 1933 by architects Arthur Brown, Jr. and Henry Howard, at the bequest of Lillian Hitchcock Coit for the purposes of beautification of the City of San Francisco. The 210-foot tall, unpainted, reinforced concrete, Art Deco tower resembles a fire hose nozzle. However, even though Lillie Coit was a big supporter of the city's fireman, contrary to urban legend the tower does not serve as a memorial in wake of the 1906 earthquake. Over 250,000 visitors come to Coit Tower annually to take the elevator ride up to the 360-degree observation deck, which sits 179-feet high and 542-feet above sea level. There is a small studio apartment on the first level of the tower, which was originally used as lodging for the structure's caretaker.

 

Pioneer Park, one of the first dedicated parks in San Francisco, was established atop Telegraph Hill in 1876. Telegraph Hill earned its name from the marine semaphore telegraph which was posted there in the 1850's, providing notification of arriving ships.

 

National Register #07001468 (2007)

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

www.coventrycathedral.org.uk/

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.

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

To find out more about Greater Manchester Police please visit

www.gmp.police.uk

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

namas te

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

Bunny, executed by Tara Conley in 2008, sits at the northern end of Lafayette Square. The bronze sculpture is part of Sculpture for New Orleans, curated by Michael Manjarris and Peter Lundberg.

 

Lafayette Square, bound by St. Charles Avenue, Camp Street and Maestri Street, was founded in 1788 for the City's first suburb, Faubourg Ste. Marie, making it the second oldest park in New Orleans. Originally called "place publique", the square was renamed after Marie Joseph Paul Yves Roch Gilbert Du Motier, marquis de Lafayette, the French aristocrat and general who fought on the American side in the American Revolutionary War. Lafayette declined the invitation to become the first Governor when the United purchased Lousiana, but his popularity was evident when he visited New Orleans from April 9-15, 1825 to cheers of "Vive Lafayette!"

 

In the early 20th Century, three bronze statues were placed along the East/West axis of the square. A statue of Henry Clay was moved from the intersection of Canal and Royal and placed in the center of the park, and statues of John McDonogh and Benjamin Franklin were placed on St. Charles Avenue and Camp Street, respectively. In 2005, Hurricane Katrina caused extensive damage to many of the trees, and broken glass and debris scattered from nearby buildings made Lafayette Square unsafe. A group of neighborhood residents and downtown workers formed the non-profit Lafayette Square Conservancy (LSC), to renovate, improve and preserve the space.

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)

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Published on: Live in Style by Shivangi Sinha