The lands of Corsock, lying beside the River Urr, belonged to the Neilson family from the 12th through to the 18th century. The best known member of this family was that much respected covenanter John Neilson. He was the first Laird to join the Covenanters and it was at Corsock, under his hospitality, that the first Field-Meetings, or Coventicles, took place. Finally, as an old man, he was executed in Edinburgh on 14 December 1666 for his part in the Pentland Rising.

The earliest visible part of the present house, is Georgian and was built a century after what became known as the Killing Times. This house has, on its east side, a Marriage Plaque carefully incorporated into Victorian additions. It bears the date 1588, with the initials and arms of John Neilson and his wife, Margaret Gordon.

The next family to leave their mark on Corsock were the Murray-Dunlops who acquired Corsock in the mid 19th century. Alexander Murray-Dunlop was the leading lawyer involved in the Dissention in the Kirk and became a founder member of the Free Church of Scotland, which has now re-joined the Kirk (Church of Scotland). In 1853 Alexander Murray-Dunlop commissioned the well-known Scottish architect, David Bryce, to add to the house’s east end in the turreted Scottish Baronial style. It was Alexander who began planting the magnificent mature trees that now surround Corsock.

His son, Henry, added more turrets at the west end of the house at the beginning of this century and made many ‘modern’ improvements, including creating his own hydroelectric scheme to bring electricity to the house. He was the first man to own a motor car in the Stewartry of Kirkcudbright and his number plate was SW1. Henry died in 1919 and the property was bought by General Douglas McEwan who, with his daughter Veronica, laid out the original rhododendron and water gardens. They are best known for a collection of specie rhododendrons, many of them raised from seeds collected by George Forrest on Himalayan expeditions in the 1930’s to which McEwan subscribed. The General died in 1941.

In 1951 Peter Ingall bought Corsock and with his family lovingly set about restoring the garden and extending it up to the loch. To Peter’s son, Micky, the present owner, are owed the architectural features in the garden and, many of the autumn colouring trees and shrubs.

Corsock is still best known for the collection of specie rhododendrons, in particular R. Phaeochrysum, R. Lacteum and R. Sutchuenense, which have all won the Royal Horticultural Society’s McLaren Cup. They provide a magnificent display of flowers from March, if the frosts are kind, until the end of June. The Water Garden is particularly fine in the autumn and the Woodland Walk to Corsock Loch is planted with a great variety of rhododendrons, trees and shrubs giving good spring and autumn colour. The terraced lawns afford a magnificent view down the valley of the River Urr.

Much of the garden’s current appearance can be credited to Peter Ingall who bought Corsock House in 1951. He took on a typical post-war ruin of a garden: many of the great trees had been felled, others were threatened and Rhododendrum ponticum had gone its own thuggish way. In his care, and most notably that of his son Micky Ingall, and his family, the garden has been restored, extended and embellished with architectural features. The garden at Corsock House, Castle Douglas, Kirkudbright, opens for Scotland’s Garden Scheme on one Sunday each summer.

Morningside Heights, Manhattan, New York City, New York, United States

The 3-story, limestone-clad Horn & Hardart Automat-Cafeteria Building at 2710-2714 Broadway , a distinctive small-scale commercial structure executed in the Art Deco style, is one of the best surviving examples of the popular chain restaurants that proliferated in the city during the first three decades of the 20th century. In 1927, the Horn & Hardart Co. became the leaseholder of this site. This building was constructed in 1930 to the design of F[rederick]. P[utnam]. Platt & Brother [Charles Carsten Platt], who executed numerous New York commissions for Horn & Hardart from about 1916 to 1932. By 1927, F.P. Platt & Bro. had developed a modern and functional design prototype for purpose-built Horn & Hardart automat-cafeteria buildings, with large windows, that assisted the restaurant chain in achieving a consistent commercial image. The Horn & Hardart Co., established in 1911, was the New York subsidiary of the Horn & Hardart Baking Co. of Philadelphia, which had been incorporated in 1898 by Joseph V. Horn and Frank A. Hardart, lunchroom proprietors since 1888. In 1902, Horn & Hardart opened its first waiterless Philadelphia restaurant, or "automat," in which customers could retrieve food directly from windows after depositing nickels in European-made equipment. The first New York automat opened in 1912, with American machinery, at 1557 Broadway in Times Square. Known for uniformly good food at low cost, automats became wildly popular and one of the city's cherished democratic institutions, appealing to a wide clientele.

This automat-cafeteria building is made notable by its glazed polychrome Art Deco style terra-cotta ornament on the third story. Executed in hues of green, blue, tan, and gold luster by the Atlantic Terra Cotta Co., the terra cotta is located on sills, panels above the windows, stylized pilaster capitals, and the building's terminating band. The highly sophisticated panels feature stylized floral motifs and zigzag patterns; the modeler of these panels has not been identified, but the work is strikingly similar to that of preeminent architectural sculptor Rene P. Chambellan. Horn & Hardart remained a tenant on the ground story and mezzanine here until 1953, and the mezzanine level was remodeled as a full story in 1955. There have been a wide variety of commercial and organizational tenants over the years. While the current ground-floor storefront covers historic elements, visible above this are the upper portion of the original central segmental arched opening and the top of the bronze entrance portal and decorative bronze spandrel.

Four lots at the southeast corner of Broadway and West 104th Street were assembled in 1885, 1901, and 1904 by George W. Walker. The combined property, built up with four structures, was leased to D[avid]. A. Schulte, Inc. in 1920. In December 1926, this property was sub-leased to the Broadway & 104th Street Realty Co., under Samuel Gershowitz, who, according to the #ew For^ T'wes, "apparently made a business of opening eating places and selling them," and had gangster-related connections.18 The Horn & Hardart Co. became the lessee a year later for $50,000. The #ew For^ T'wes in December 1927 announced that the firm would "upon the expiration of existing leases, erect a new building to house in part a branch automat cafeteria."19 George W. Walker's will, probated in March 1930, left this property jointly to his sons, George L. Walker and Samuel B. Walker, and his daughter, Katherine V. Walker Born.

F.P. Platt & Bro. filed plans in April 1930 for a 2-story plus mezzanine automat-cafeteria and office building, measuring approximately 71 by 69 feet and expected to cost $105,000. Construction began at the end of May and was completed in just five months, in October 1930. T.J. Murphy Co. was the contractor. The Art Deco style design, executed chiefly in limestone, featured on the main Broadway facade: a polished granite veneer base, with decorative metal grilles; a central 1-1/2-story segmental arched opening having an entrance portal flanked by show windows on the ground story, a decorative bronze spandrel, and multi-pane windows with vertical mullions on the mezzanine level; a storefront at the north end of the ground story, and a storefront window and upstairs entrance at the south end, all flanked by fluted moldings; on the mezzanine level, a rectangular steel casement window above each storefront; and five multi-pane windows with terra-cotta sills on the second story, flanked by pilasters with stylized terra-cotta capitals, and capped by terra-cotta panels; and a terra-cotta band terminating the facade. The West 104th Street facade was similar, except that the ground story had central and western storefront windows and an eastern end entrance; and the mezzanine level had three central sets of paired rectangular windows.

The building is made notable by the glazed polychrome Art Deco style terra-cotta ornament on the third story. The terra-cotta panels, with their highly sophisticated stylized floral motifs and zigzag patterns, are identical to those employed on F.P. Platt & Bro.'s earlier Horn & Hardart Automat-Cafeteria Building at No. 1165 Sixth Avenue/ 105 West 45th Street , which have been documented as manufactured by the Atlantic Terra Cotta Co.20 The modeler of these panels has not been identified, but the work is strikingly similar to that of preeminent architectural sculptor Rene P. Chambellan.21 American terra cotta expert Susan Tunick has written that the building is "ornamented with green, blue, and tan glazed terra cotta and is highlighted with gold lustered glaze,"22 and that "gold metallic luster is an overglaze which is applied to the already glaze-fired pieces, which are then refired at a very low tempature."23 She has identified only two other known surviving buildings in New York which employed gold lustered glaze: No. 261 Fifth Avenue 24 and the Foltis-Fischer Building , 411-413 Park Avenue South.

The Atlantic Terra Cotta Co., one of the earliest New York manufacturers of architectural terra cotta, was organized in 1897 in Tottenville, Staten Island, by DeForest Grant, who became president, and several former employees of the Perth Amboy [N.J.] Terra Cotta Co. . The Atlantic Terra Cotta Co. was reorganized in 1907, when it was consolidated with Perth Amboy and the Excelsior Terra Cotta Co. in Rocky Hill, N.J. The Standard Terra Cotta Works in Perth Amboy, and Atlanta [Ga] Terra Cotta Co. were acquired by the new corporation shortly thereafter. The Atlantic Terra Cotta Co., which became the world's largest manufacturer of architectural terra cotta, supplied a wide variety of products, from white glazed terra cotta to polychrome decorative work. Among the notable New York projects for which the Atlantic Terra Cotta Co. supplied the terra cotta were: Broadway-Chambers Building ; Flatiron Building ; West Street Building ; Masonic Temple , Brooklyn; Woolworth Building ; Rodin Studios ; 130 West 30th Street Building ; Chanin Building ; and Fuller Building .25

The Horn & Hardart Automat-Cafeteria Building at Broadway and West 104th Street, conveniently located near a Broadway line subway station, served the dense residential population of the northern portion of the Upper West Side, with its wide range of income levels. . No. 2710-2714 Broadway was, according to the company's 1932 Annual Report, the third northernmost Horn & Hardart restaurant in Manhattan, the other locations being No. 611 West 181st Street and No. 121 East 170th Street. Located within a short distance of the 104th Street automat were large apartment buildings, such as the Master Building, 310 Riverside Drive, and Manhasset Apartments, 2806-2828 Broadway; residential hotels having apartments without kitchens, such as the Regent Hotel, Broadway and 104th Street, and the Hotel Marsailles, 2689-2693 Broadway; and numerous rowhouses. Also nearby were the U.S. Post Office, 217 West 104th Street; the New York Free Circulating Library, 206 West 100th Street; and several movie theaters, including the Midtown, 2624 Broadway, the Essex, 2706 Broadway, and the Olympia, 2772 Broadway. The Horn & Hardart Co. remained a tenant on the ground story and mezzanine of No. 2710-2714 Broadway until

1953. The northern corner storefront of the structure was occupied by a cigar store operated by the recently-merged huge chain, [David A] Schulte Retail Stores Corp./ United Cigar Stores Co., until at least 1951. The second story was first rented for use as a "midget golf" course ; then to the B. & C. Billiard Academy , and Dixie Recreation, billiards and ping-pong . In 1942, an interior stairway to the mezzanine was removed and the southern window on Broadway was altered The Prudential Life Insurance Co. leased the entire second story as a branch office from 1945 to 1957.

Later History

In October 1946, the New York Times mentioned that "the Malester Restaurant chain has obtained a twenty-one-year lease at an aggregate rental of more than $500,000 on the entire building now occupied by Horn & Hardart at the southeast corner of Broadway and 104th Street." Albert Graham, a real estate operator, purchased the leasehold, then listed at an aggregate rental of $350,000, from Isaac Malester in June 1951.In November

1954, the Times carried an advertisement for No. 2710-2714 Broadway, for the lease of "70 Ft. Front on Bway./Entire Ground Floor/Store Mezzanine & Basement. Approx. 13,000 Sq. Ft.

The Horn & Hardart Co.'s lease was officially cancelled in December 1954. The property remained under the ownership of the Walker family until 1955, when it was transferred to the Broadway-104th Corp., an entity of real estate operator Stanley Stohl. Architects Wechsler & Schimenti performed an estimated $10,000 alteration on the building in 1955, which included removing the Horn & Hardart counters and the stairs to the mezzanine, closing the mezzanine opening, and installing a full floor on that level, now the second story. The second and third stories were converted for office use.

In 1956, the New York Public Library temporarily had its Bloomingdale Branch children's room in this building. Over the last five decades, the structure has housed a wide variety of commercial and community uses. The ground story has contained Elmar Food Corp./ Food-O-Rama/ Sloan's/ Gristede's supermarket , Aranf Coffee Shop , Mamma Mia pizzeria , and Rite Aid drugstore . In 1966, the property was purchased by Barbellen Properties Corp., controlled by Al and Norma Teitler, who operated the Food-O-Rama supermarket here.

The upstairs stories have accommodated the Mr. Universe Health Studio ; Central Furniture ; Ames Business School , the successor to the Therese Aub Secretarial School, for stenography, accounting, secretarial and executive training, switchboard, and typewriting; Mid-West Side Community Corp.- Springboard ; Latin Exchange ; Outer Space Gallery ; American Folk Theater offices ; accounting and law offices ; and El Taller Latino Americano , a nonprofit arts and education center founded in 1979 to bridge cultural connections between Latin and North Americans, through its Spanish classes, translation and cultural consulting programs, visual arts, music, and dance presentations and workshops, recording studio, and Casa Puebla gallery. Neighborhood resident/community activist Michael Gotkin persuaded Rite Aid c. 1995 to cover, rather than destroy, original ground-story ornamental elements with the installation of its new storefront.

Description

The 3-story Art Deco style building is clad chiefly in limestone. Broadway Facade: The Ground Story originally featured a polished granite veneer base, with decorative metal grilles; a central 1-1/2-story segmental arched opening having an entrance portal flanked by show windows, and a decorative bronze spandrel; and a storefront at the north end, and a storefront window and upstairs entrance at the south end, all flanked by fluted moldings. The current non-historic ground-floor storefront covers historic elements, except for the south end entrance .

Second Story: The upper portion of the central segmental arched opening is intact, with the top of the bronze entrance portal and decorative bronze spandrel, surmounted by metal multi-pane windows with vertical mullions. A rectangular steel casement window is placed at each end. A sign has been placed above the central opening, and banner poles are placed to the south of that opening.

Third Story: Five multi-pane windows with terra-cotta sills are flanked by pilasters with stylized terracotta capitals and capped by terra-cotta panels with stylized floral motifs and zigzag patterns. A terra-cotta band terminates the facade. The glazed terra cotta, by the Atlantic Terra Cotta Co., is executed in hues of green, blue, tan, and gold luster. Banner poles are placed at the south end.

The West 104th Street Facade is similar, except that the ground story originally had central and western storefront windows flanked by fluted moldings , an entrance between the windows, and an eastern end entrance ; and the mezzanine level has three central sets of paired rectangular windows . A sign has been placed above the ground story. Roof: Located on the roof is the metal armature for a rooftop sign.

- From the 2007 NYCLPC Landmark Designation Report

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#ELDER_SCROLL_OF_MNEM_0.0♾😻

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ℹ️8️⃣📞📲📳☎️♾💁‍♂️

ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM

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

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

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

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

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

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

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

#OliviaCampbellPatton #OliviaWildeNeeCockburne

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

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

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

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

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

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

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

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

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

#Owlephant

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#EvanRachelWood-._•✏️📝✍️🔏🐧

--WRW

_.• ✍️🔏

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BREAKING: This afternoon, Israeli forces executed a Palestinian young man in occupied al-Khalil (Hebron). According to eye-witnesses at the scene, the man was walking towards a checkpoint in the vicinity of the Ibrahimi mosque. Israeli forces did not ask him to show his ID or even ask him to stop. Instead they just started shooting him when he was a few meters away from him. 'There was no knife', explains an eyewitness that does not want to be identified, 'I heard four to five shots'. Even though an Israeli ambulance arrived at the scene shortly after, no medical attention was given to the youth. More ambulances kept coming to the scene, but still no first aid was administered. He was identified as 19-year old Saad Muhammad Youssef al-Atrash. This is the second cold-blooded murder in the neighbourhood of the Ibrahimi mosque, after 17-year old Dania Arshid was gunned down by Israeli forces yesterday. - ift.tt/1RxiWyX

Watercolour painting executed on 12th August, 2002: eight years before the house was outrageously lost to the bulldozers.

This bronze sculptural bust of George Moscone, located in San Francisco City Hall, was executed by sculptor Spero Anargyros. George Richard Moscone (1929-1978) served as the 37th mayor of San Francisco, from January 1976 until his assassination along with Harvey Milk at the hands of Dan White in City Hall in 1978. As mayor, he prevented the San Francisco Giants from leaving for Toronto and was appointed large numbers of women, gays and racial minorities to city commissions. Prior to his running for mayor, he served in the California State Senate as Majority Leader.

The following is inscribed on the plaque below:

San Francisco is an extraordinary city because its people have learned to live together with one another, to respect each other, and to work with each other for the future of their community. That's the strength and the beauty of this city - and it's the reason why the citizens who live here are the luckiest people in the world. -Mayor George Moscone

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.

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

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

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

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

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

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

South Vietnamese National Police Chief Brig General Nguyen Ngoc Loan executes a Viet Cong officer

More Historical Media and Info

HUD Secretaries Visit Puerto Rico to Execute Disaster Grant Agreement

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

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

via Basketball Court Contractors basketballcourtcontractors.tumblr.com/post/144684545774

"Timberwolves execute sweeping front office shakeup"

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

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

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

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

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

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

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

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

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

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

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

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

Фото: Олександр Гайн

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

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

History of the Site1

DESCRIPTION AND ANALYSIS

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

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

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

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

Fiorello LaGuardia, Robert Moses and the New Deal5

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

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

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

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

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

The Design and Construction of Orchard Beach11

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

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

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

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

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

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

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

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

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

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

Subsequent History20

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

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

The Architecture and Site of the Orchard Beach Bathhouse and Promenade

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

Executed by a group of artists, see more at www.aasatori.com

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.

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/

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

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

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

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

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

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

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

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

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

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

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

Up in that London for a few hours before my flight to Germany. It was either this way or having to get a taxi to Folkestone, and getting Jools to drop me off was easier.

I traveled up on the old "classic" cline to Charing Cross, leaving me with a 2 minute walk up The Strand, past The Savoy and to the chapel.

Even better was that I had the chapel to myself, so I snapped it well, and was taken aback by how grand it is. The ceiling, in particular and the Jubilee Window of 2012 were especially fine.

--------------------------------------------

A palace was built on the Savoy estate in the fourteenth century by John of Gaunt (1340-1399), a younger son of King Edward III. Its lifetime was short. It was plundered and burned in 1381 during the Peasants’ Revolt. Contrary to a persistent belief, nothing of the palace survives above ground. It remained semi-derelict until what was left of it was cleared away in the early sixteenth century by command of King Henry VII to construct a foundation known as ‘Hospital of Henry late King of England of the Savoy’. The hospital was begun towards the end of the king’s reign and completed by 1515. It was a charitable foundation to provide a night’s lodging for 100 ‘pour and nedie’ men. Engravings of the hospital show an extensive complex of buildings, including a great dormitory, longer than Westminster Hall, and three chapels, dedicated to St John the Baptist, St Catherine and Our Lady. The hospital foundation was dissolved in 1702 and most of the complex was demolished in the early nineteenth century for redevelopment and to allow the construction of the approach road to the new Waterloo Bridge. All that survives today is the Chapel of St John the Baptist, now known as The Queen’s Chapel of the Savoy.

royalchapelsavoy.org/history/

The Savoy Chapel, or the Queen's Chapel of the Savoy, is a church dedicated to St John the Baptist, located just south of the Strand, London, next to the Savoy Hotel.

Originally founded in the Middle Ages as part of the main church of the Savoy Palace (later the Savoy Hospital), the ancient hospital had fallen into ruin by the 19th century and only the chapel survived the demolition enabling construction of an approach road at the north of Waterloo Bridge.

The chapel remains governed by the Duchy of Lancaster and as such is a royal peculiar, not being under the jurisdiction of a bishop, but under that of the reigning monarch. It is designated as a Grade II* listed building.

The original chapel was founded as part of Peter of Savoy's palace which was destroyed during the Peasants' Revolt of 1381. The present chapel building commenced in the 1490s (being completed in 1512) by Henry VII as a side chapel off the Savoy Hospital's 200-foot (61 m) long nave (the nave was secular rather than sacred, held 100 beds and was demolished in the 19th century).

The Savoy Chapel has hosted various other congregations, most notably that of St Mary-le-Strand whilst it had no church building of its own (1549–1714). Also the German Lutheran congregation of Westminster (now at Sandwich Street and Thanet Street, near St Pancras[3]) was granted royal permission to worship in the chapel when it separated from Holy Trinity (the City of London Lutheran congregation now at St Mary-at-Hill).[4] The new congregation's first pastor, Irenaeus Crusius (previously an associate at Holy Trinity), dedicated the chapel on the 19th Sunday after Trinity 1694 as the Marienkirche or the German Church of St Mary-le-Savoy.

An Anglican place of worship, the chapel was noted in the 18th and 19th centuries as a place where marriages without banns might occur outside of the usual parameters of ecclesiastical law of that time.[5] It was referred to in Evelyn Waugh's Brideshead Revisited as "the place where divorced couples got married in those days—a poky little place".[6] In 1753, Archibald Cameron of Lochiel, the last Jacobite leader to be executed for treason, was buried there. In 1939, it was announced by the office of the Duchy of Lancaster that the Savoy Chapel would be known as The King's Chapel of the Savoy.

Many of the chapel's stained glass windows were destroyed in the London Blitz during World War II. However, a triptych stained glass memorial window survives which depicts a procession of angelic musicians. It is dedicated to the memory of Richard D'Oyly Carte (who was married at the chapel in 1888) and was unveiled by Sir Henry Irving in 1902; after their deaths, the names of Rupert D'Oyly Carte[7] and Dame Bridget D'Oyly Carte were added.

The chapel has been Crown property for centuries as part of the Savoy Hospital estate and remains under the aegis of the monarch as part of the Duchy of Lancaster and thereby is a royal peculiar. The chaplain is appointed by the Duchy (and since 1937 as ex-officio chaplain of the Royal Victorian Order) and effectively it is "parish church" of the Savoy Estate, the Duchy of Lancaster's principal London landholding. Armorial plates commemorating GCVOs past and present are displayed throughout the chapel; the Royal Victorian Order's present Honorary Genealogist is David White, Somerset Herald.

In accordance with its musical tradition, a three manual J. W. Walker & Sons Ltd organ designed by William Cole was dedicated by Queen Elizabeth II in 1965. The trebles of the Savoy Choir either join in Year 6 (while still at primary school) or join after a voice test in Year 7 at Saint Olave's Grammar School. Choristers who join the choir in Year 6 gain a place at Saint Olave's GS provided they pass an academic test.

Most of the chapel's costs and maintenance are met by the Duchy, with recent works including landscaping of its garden in honour of the Golden Jubilee of Queen Elizabeth II in 2002 and restoration of the chapel ceiling in 1999. The chapel was further refurbished and a new stained-glass window commemorating the Diamond Jubilee of Queen Elizabeth II was unveiled by the Queen in November 2012.

The Savoy Chapel uses the 1662 Book of Common Prayer and the King James Bible for worship. Services are held each Sunday, to which members of the public are welcomed, excepting occasional special events.[9] The chapel is open for visitors from Monday to Thursday.

en.wikipedia.org/wiki/Savoy_Chapel

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.

Thirteen suspected members of a prolific south Manchester organised crime group have been arrested by Greater Manchester Police.

Following a four-month investigation into the activities of a suspected OCG operating in the south Manchester area, police have today executed a series of warrants across Manchester.

As a result, 12 men and one woman have been arrested in connection with a string of offences, including ram raids, burglaries, and vehicle crime. The thirteen people have been arrested on suspicion of conspiracy to steal and conspiracy to handle stolen property and remain in custody for questioning.

The raids were executed under the banner of Operation Ingot which was set up to tackle the activities of the suspected OCG. Some of the victims of those crimes accompanied officers on the raids so they could see the suspected offenders being arrested and put into the back of police vans.

Cash, mobile phones and stolen property have been seized after the raids.

As part of the operation but not directly connected to the overall investigation, a further three arrests were also made today – a man for possession of a stun gun, another man for possession of drugs and a woman for assisting an offender.

To date, officers believe this OCG may be responsible for up to 50 crimes between July and December of last year, during which more than £400,000 worth of goods have been stolen from innocent members of numerous communities.

Detective Sergeant Alan Hamlin said: "This operation has been four months in the making and is a result of a lengthy investigation into the activities of a suspected organised criminal network - based in south Manchester - that has been causing real heartache and misery in Greater Manchester and beyond its borders.

"Clearly I cannot go into too much detail at this stage given we have made so many arrests, but we believe members of the gang may be responsible for up to 40 crimes including burglaries, ram raids and the supply of drugs.

"As a result, many innocent and law-abiding people have fallen victim to this gang, losing not only money and goods worth up to £400,000 but also being put through huge emotional strain.

"I hope today's action shows those who have been victims of this gang that we will use every available weapon we and other agencies have to disrupt and dismantle these organised criminal networks.

"We know all too well from speaking to residents how destructive and pernicious these gangs can be, and the corrosive effect they can have in our communities. We also know that the answers to tackling organised crime lie in the communities where these people operate, so I would continue to ask residents to take a stand with us and together we can bring about real change.

"These are your communities. They belong to you, not the criminal gangs who try and rule with an iron fist. I want today's action to give residents the confidence that things are different and you can come forward. If you tell us what action needs taking, then through your local police officers and the local authority, we will take it and together we will dismantle these criminal networks."

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

www.gmp.police.uk

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

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

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

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

The 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/

One of many absurdities executed in our country with the historical heritage: the long promised but never opened railway museum in the place of El Clot del Moro. The lack of political commitment, and personnel mismanagement on the part of its director, was for many years preserved vehicles were abandoned in the open and subject to the effects of the harsh climate of the pre-Pyrenees.

In this picture you can see the bus number 819 of Tranvias de Barcelona, an old Chausson transformed. (Photo scanned from an original paper).

___________________________________________________________________________

Uno de tantos despropósitos ejecutados en nuestro país con el patrimonio histórico: el siempre prometido, pero nunca abierto, museo del ferrocarril en el paraje del Clot del Moro. La falta de compromiso político, y una pésima gestión personal por parte de su director, llevó a que durante muchos años los vehículos preservados fueran abandonados a la intemperie y sometidos a los efectos del duro clima del pre-Pirineo.

En esta foto se puede ver el autobús número 819 de Tranvías de Barcelona, un antiguo Chausson transformado. (Foto escaneada de un original de papel).

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

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.

The grave of the famous Dick Turpin, notorious Highway man and horse stealer executed at Tyburn April 7th 1739 and buried in St George's Church Yard. Apparantley when he was first laid to rest here grave robbers dug him up again and tried to sell his body around pubs in York City Centre, But the body was later returned to its original resting place and buried in quick lime and the grave sealed with a concrete coating.

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

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/

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)

This 80 x 70 cm bronze plaque was created by Andrzej Pitynski in 1990. Pitynski created the Katyn Memorials in Baltimore , Doylestown and Jersey City .

The Katyn massacre, also known as the Katyn Forest massacre was a mass execution of Polish nationals carried out by the Soviet secret police NKVD in April–May 1940. It was based on Lavrentiy Beria's proposal to execute all members of the Polish Officer Corps, dated 5 March 1940. This official document was approved and signed by the Soviet Politburo, including its leader, Joseph Stalin. The number of victims is estimated at about 22,000, the most commonly cited number being 21,768. The victims were murdered in the Katyn Forest in Russia, the Kalinin and Kharkov prisons and elsewhere. About 8,000 were officers taken prisoner during the 1939 Soviet invasion of Poland, 6,000 police officers, with the rest being Polish intelligentsia arrested for allegedly being "intelligence agents, gendarmes, landowners, saboteurs, factory owners, lawyers, officials and priests".

National Shrine of Our Lady of Czestochowa - 654 Ferry Road in Doylestown, Pennsylvania 18901 - Google Map

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

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

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

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

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

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

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

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

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

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

To find out more about Greater Manchester Police please visit

www.gmp.police.uk

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

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

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

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

Thirteen suspected members of a prolific south Manchester organised crime group have been arrested by Greater Manchester Police.

Following a four-month investigation into the activities of a suspected OCG operating in the south Manchester area, police have today executed a series of warrants across Manchester.

As a result, 12 men and one woman have been arrested in connection with a string of offences, including ram raids, burglaries, and vehicle crime. The thirteen people have been arrested on suspicion of conspiracy to steal and conspiracy to handle stolen property and remain in custody for questioning.

The raids were executed under the banner of Operation Ingot which was set up to tackle the activities of the suspected OCG. Some of the victims of those crimes accompanied officers on the raids so they could see the suspected offenders being arrested and put into the back of police vans.

Cash, mobile phones and stolen property have been seized after the raids.

As part of the operation but not directly connected to the overall investigation, a further three arrests were also made today – a man for possession of a stun gun, another man for possession of drugs and a woman for assisting an offender.

To date, officers believe this OCG may be responsible for up to 50 crimes between July and December of last year, during which more than £400,000 worth of goods have been stolen from innocent members of numerous communities.

Detective Sergeant Alan Hamlin said: "This operation has been four months in the making and is a result of a lengthy investigation into the activities of a suspected organised criminal network - based in south Manchester - that has been causing real heartache and misery in Greater Manchester and beyond its borders.

"Clearly I cannot go into too much detail at this stage given we have made so many arrests, but we believe members of the gang may be responsible for up to 40 crimes including burglaries, ram raids and the supply of drugs.

"As a result, many innocent and law-abiding people have fallen victim to this gang, losing not only money and goods worth up to £400,000 but also being put through huge emotional strain.

"I hope today's action shows those who have been victims of this gang that we will use every available weapon we and other agencies have to disrupt and dismantle these organised criminal networks.

"We know all too well from speaking to residents how destructive and pernicious these gangs can be, and the corrosive effect they can have in our communities. We also know that the answers to tackling organised crime lie in the communities where these people operate, so I would continue to ask residents to take a stand with us and together we can bring about real change.

"These are your communities. They belong to you, not the criminal gangs who try and rule with an iron fist. I want today's action to give residents the confidence that things are different and you can come forward. If you tell us what action needs taking, then through your local police officers and the local authority, we will take it and together we will dismantle these criminal networks."

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

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.

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.

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

In my home library collection - A Book of English Martyrs written by E. M. Wilmot-Buxton, published by Burns and Oates, 1915. Illustration by M. Meredith Williams.

King Henry VIII once described Margaret as “the saintliest woman in Christendom.”

"May 28th is the feast of Blessed Margaret Pole, the Countess of Salisbury, who was beatified by Pope Leo XIII as a martyr for the Catholic Church on 29th December 1886. Pope Leo XIII had a very special love for England, as did Lady Margaret Pole. She was one of the the few remaining members of the Plantagenet dynasty following the Wars of the Roses.

Margaret was born on 14th August 1473, the daughter of George, Duke of Clarence, who was the brother of kings Edward IV and Richard III and she was one of only two women in 16th-century England to be a peeress in her own right with no titled husband.

Her husband Richard, who was the cousin of King Henry VII, held a variety of offices in Henry's government, the highest being Chamberlain for Arthur, Prince of Wales, Henry's elder son. When Prince Arthur married Catherine of Aragon, Margaret became one of her ladies-in-waiting, but her entourage was dissolved when the teen-aged Arthur died in 1502. When her own husband Richard (born 1462) died in 1505, Margaret was a widow with five children, a limited amount of land inherited from her husband, no other income and no prospects. King Henry VII paid for Richard's funeral. To ease the situation, Margaret devoted her third son Reginald Pole (1500-1588) to the Church, where he was to have an eventful career as a Papal Legate and later the last Cardinal Archbishop of Canterbury.

Her youngest son Geoffrey Pole (1501or2-1558) married well, to Constance, daughter of Edmund Pakenham, and inherited the estate of Lordington in Sussex.

When King Henry VIII was refused an annulment of his lawful marriage to Queen Catherine of Aragon and eventually broke from Rome, Margaret Pole refused to recognize the King as the head of the Catholic Church in England rather than the Pope.

The king decided to remove Margaret Pole and convict her of treason. As part of the evidence for the bill of attainder, Cromwell produced a tunic bearing the Five Wounds of Christ, symbolizing Margaret's support for Catholicism and the rule of her son Reginald and the king's Catholic daughter Mary. The supposed discovery, six months after her house and effects were searched at her arrest, is likely to have been a fabrication. She was sentenced to death, and could be executed at the King's will.

Margaret Pole was held in the Tower of London for two and a half years. She, her grandson Henry (son of her own son Henry), and Exeter's son were held together.

On the morning of 27th May 1541, Margaret was told she was to die within the hour. She answered that no crime had been imputed to her. Nevertheless, she was taken from her cell to the place within the precincts of the Tower of London where a low wooden block had been prepared instead of the customary scaffold.

Margaret was 67 years of age. She bravely offered her life remaining loyal to the Catholic Faith. Her execution was performed by "a wretched and blundering youth who literally hacked her head and shoulders to pieces in the most pitiful manner".

Watch a trailer for a film about Blessed Margaret Pole here: www.youtube.com/watch?v=p5PyWTO7b_A&t=27s" Edited from wikipeadia and the Mary's Dowry on facebook

"Blessed Margaret Pole is an incredible English Martyr, the story of her execution is particularly striking. The following poem was found carved on the wall of her cell:

For traitors on the block should die;

I am no traitor, no, not I!

My faithfulness stands fast and so,

Towards the block I shall not go!

Nor make one step, as you shall see;

Christ in Thy Mercy, save Thou me!

On the morning of 28 May 1541, Margaret was told she was to die within the hour. She answered that no crime had been imputed to her. Nevertheless, she was taken from her cell to the place within the precincts of the Tower of London where a low wooden block had been prepared instead of the customary scaffold.

Two written eyewitness reports survived her execution: one by Marillac, the French ambassador, and the other by Chapuys, ambassador to the Holy Roman Emperor.

Chapuys wrote that, "at first, when the sentence of death was made known to her, she found the thing very strange, not knowing of what crime she was accused, nor how she had been sentenced". Because the main executioner had been sent north to deal with rebels, the execution was performed by "a wretched and blundering youth who literally hacked her head and shoulders to pieces in the most pitiful manner".Mary's Dowry Productions.

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.

St Etheldreda RC Church. Saint Margaret Ward, Lady-in-Waiting. Executed for helping (with John Roche) the escape of a priest. Tyburn 10th August 1588

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)

Detail of one of the three apse windows that constitute the first major stained glass commission of John Piper & Patrick Reyntiens, executed 1954-6 and portraying nine aspects of Christ's divinity.

The also constitute the first major flowering of a new, contemporary approach to stained glass design, radically different from anything produced in this country before, and therefore a milestone in the evolution of modern stained glass in Britain.

This was my second visit to Oundle School Chapel, an impressive building designed by Sir Arthur Blomfield in 1922-3 and standing completely detached in splendid isolation in the grounds of Oundle School. The chapel was built in a late Perpendicular Gothic style with a nave flanked by low aisles and a tall clerestorey that floods the interior with light..The east end is formed by a polygonal apse surrounded with a low ambulatory (forming a hidden corridor within).

The interior is vast and spacious as a grand school chapel should be, but fine though the architecture is it is the explosions of coloured light that punctuate the aisles and the deep, brooding tones of the glass in the apse that draw the eye here. Oundle's chapel is a treasure house of modern stained glass, from the three altar windows by John Piper & Patrick Reyntiens (their first ever commission dating from 1954-6, often considered the first windows in a modern style in Britain) to the extensive scheme of aisle windows recently commissioned from Mark Angus and installed in 2002-5.

Piper & Reyntiens' apse windows are quite unique, and more figurative than so much of their more familiar later work. The images represent nine aspects of Christ, each personifying a different aspect of his divinity. The colouring is rich and dense and the stylisation bold, many of the faces being more reminiscent of some powerful tribal mask than anything seen in a British church before. It took great vision and courage to commission these windows (Piper & Reyntiens had little experience at this stage and no previous collaboration to their names) and is perhaps symptomatic of postwar optimism and a more forward thinking approach than is often seen in today's commissions in glass. John Betjeman was so impressed on first seeing these works that he stated that the chapel would become a place of pilgrimage to art lovers, and so it should be to anyone with an interest in modern glass.

The aisle windows by Mark Angus are no less richly coloured, and some (at the west end) are equally figurative but most use a more abstract symbolic language. Much of the drawing has a rather charming, almost childlike naivety and the designs are in many cases kept refreshingly simple, allowing the various bold colours to dominate these smaller apertures.

Oundle School Chapel is a must for anyone with an interest in contemporary stained glass and the School is to be commended for its vision in making such a statement in its choice of artists. The chapel may be open to visitors much of the time but it might be advisable to check if making a special journey to see it.

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.

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

Building

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

Canaletto: View of Palais Liechtenstein

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

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

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

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

Sala terrene of the Palais

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

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

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

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

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

Use as a museum

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

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

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

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

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

By Cotton Mather, D.D.

To Which Is Added

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

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

London: John Russell Smith, Soho Square, 1862.

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

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

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

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

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

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

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

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

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.

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)