View allAll Photos Tagged Executed
the iliveisl sim, Enercity Park, goes away shortly after these pics were taken. it was one of only 100 or so remaining openspace sims.
it had been 3750 prims but when Linden Lab poorly executed their change in policy and pricing and went from $75 to $95 per month and from 3750 prims to 750 prims, this became the most expensive type of land isl
but i promised my residents that Enercity would have a park so kept it until the estate was transferred to the very best residents in all of second life
the park was the closest to a home that Ener Hax had. two sparse fallout shelters would become Ener's homes
one just a bare mattress and cardboard boxes to reduce drafts from broken windows and had and old turret slowly rotating that stood as a silent sentinel to bygone eras when we humans could have taken a lesson from our own avatars and the other a small emergency shelter for the bus stop
the lake in the park was called Butterfly Lake from its shape when viewed from the air and had a swan and ducklings swimming and a nice bench for friends to sit and visit under a weeping willow. near that spot was an old underground shelter to park military vehicles. that spot became an underground skatepark and was connected to the city's catacombs. these catacombs, like in Paris, ran below the city streets
zombies lived in one section near a small graveyard. no one knew why zombies were there, some suspect it was related to the war time bunkers. the manhole cover near the zombies was opened and the catacombs tagged with "i <3 ener hax" and "subQuark sux"
the most favourite spot for Ener Hax was near the bus stop and the 1950's era rotating and steaming coffee billboard (hmm, maybe the chemical smoke from that big coffee cup is to blame for the zombies? after all, the "steam" does drift over the grave yard
the fave spot looked over the smaller lake west of the bus stop and was in view of one of the parks two waterfalls. that spot was made very special because of Mr. Bunny. Ener loved to sit on the ground and just watch Mr. Bunny hop around and doze occasionally. what a cute bunny =) he even had his own carrots planted by Ener
high above the eastern part of the park was the huge zebra striped zeppelin. a bit of a trademark of the iliveisl estate
it was a lovely spot, even had tai chi on the big bunker and a zip line from the water tower
ooh, the water tower! as a surprise gift, DreamWalker scripted the water tower and turned it int a funky hang out spot. there was an abandoned pool inside the tower (???) and place to sit and talk. even a cute ladybug called it home. the water tower's top would slide up and down and also turn invisible. for romance, a moon beam came through the towers top port and could even have its brightness changed
even though the park was outrageously expensive, it was Ener Hax and Mr. Bunnies home and will be sincerely missed
namas te
Not only was Heinz Petry mere 16 year old when executed, his execution took place on June 11, 1945 -long after World War II hostilities in Europe ended.
There were actually three boys, two of them students of AHS.(Adolf Hitler School) Of the latter one who was arrested by the Americans, could escape. The other two were convicted and executed on 01.06.1945. That was the Adolf Hitler students Heinz Petry and the Hitler Youth Josef Schöner (not Schener). In the court's opinion of the U.S. military the accusation of spying served only as a pretext for the Chairman of the Military Court who emphasized in the court's opinion "that the responsibility for the fate of the two boys lies with the Nazi leaders, and they only, will send send them to their deaths. The German military and political leaders force us", said the chairman,"to fight fire with fire and blood with blood. We will not tolerate those responsible to hide behind women and children". Unless the presiding judge considered this a "deterrent sentence", he unjustly sentenced the sixteen and seventeen year-old boys whose guilt as so called spies did not justify the death penalty. Read the text quoted in the "Aachen News" www.youtube.com/watch?v=XOKEebktVco
Stained Glass executed by Kraut. Designed by Maestro Rafael del Casal.
From the Cathedral of the Immaculate Conception, Diocese of Cubao.
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.
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).
For more see below:-
Thousands of pounds worth of Class A drugs, cash, and a suspected firearm have been recovered during raids across Manchester this morning.
At around 5am this morning (Thursday 25 March) Officers from GMP's City of Manchester Division, the Intelligence development Unit, Op Challenger and the North West Regional Organised Crime Unit, executed warrants as part of Operation Apostle, at five addresses across the city.
During the Operation, five men, aged between 23 and 59 were arrested on suspicion of drugs and firearms offences, and money laundering, and remain in custody for questioning.
During searches of the properties, Class A drugs were recovered believed to be worth around £10,000, along with £2000 worth of cash, and a suspected firearm.
This morning's activity forms part of an investigation into organised crime, possession of firearms and drug dealing in the Hulme, Moss Side and Manchester area.
Chief Inspector John Harris of GMP's City of Manchester Division, said "The early morning police activity today has been the culmination of a great team effort. Over a period of time officers have been gathering intelligence and evidence, leading to the activity today where we have been able to continue to enforce, intervene and tackle organised crime in Hulme, Moss Side and the wider Manchester area.
Today we have been able to recover a potentially lethal weapon, a significant quantity of drugs, and an amount of cash. This is another positive step forward in our commitment to ensuring the community are kept safe and that the risk of harm is reduced.
“A lot of unseen work has gone into the preparation of today's activity to disrupt and dismantle organised criminal activity, and our investigations will continue. Officers often rely on the intelligence and information received from members of the community, so I would encourage anyone with any information or concern to contact the police, whether in person, by telephone on 0161 856 4428, online www.gmp.police.uk or anonymously via the independent charity Crimestoppers on 0800 555 111."
Wikipedia: The church is renowned for its spectacular interior, which is dominated by a series of 12th century mosaics executed by Byzantine craftsmen. The mosaics show many iconographic and formal similarities to the roughly contemporary programs in the Cappella Palatina, in Monreale Cathedral and in Cefalù Cathedral, although they were probably executed by a distinct atelier.[9]
The walls display two mosaics taken from the original Norman façade, depicting King Roger II, George of Antioch's lord, receiving the crown of Sicily from Jesus, and, on the northern side of the aisle, George himself, at the feet of the Virgin. The depiction of Roger was highly significant in terms of its iconography. In Western Christian tradition, kings were customarily crowned by the Pope or his representatives; however, Roger is shown in Byzantine dress being crowned by Jesus in the byzantine fashion. Roger was renowned for presenting himself as an emperor during his reign, being addressed as basileus ("king" in Greek). The mosaic of the crowning of Roger carries a Greco-Latin inscription written in Greek characters (Rogerios Rex ΡΟΓΕΡΙΟΣ ΡΗΞ "king Roger").
The nave dome is occupied by the traditional Greek image of Christ Pantokrator surrounded by the archangels St Michael, St Gabriel, St Raphael and St Uriel. The register below depicts the eight prophets of the Old Testament and, in the pendentives, the four evangelists of the New Testament. The nave vault depicts the Nativity and the Death of the Virgin.
The newer part of the church is decorated with later frescoes of comparatively little artistic significance. The frescoes in the middle part of the walls are from the 18th century, attributed to Guglielmo Borremans.
Lonely Planet: La Martorana: On the southern side of Piazza Bellini, this luminously beautiful 12th-century church was endowed by King Roger's Syrian emir, George of Antioch, and was originally planned as a mosque. Delicate Fatimid pillars support a domed cupola depicting Christ enthroned amid his archangels. The interior is best appreciated in the morning, when sunlight illuminates magnificent Byzantine mosaics.
In 1433, the church was given over to an aesthetically challenged order of Benedictine nuns – founded by Eloisa Martorana, hence its nickname – who tore down the Norman apse, reworked the exterior in a fussy baroque fashion and demolished most of the stunning mosaics executed by Greek artisans, replacing them with the gaudy baroque ornamentation of their own frescoed chapel. The few remaining original mosaics include two magnificent portraits, one representing George of Antioch, crouched behind a shield at the feet of the Virgin Mary, and one of Roger II receiving his crown from Christ (the only portrait of him to survive in Sicily).
Mussolini returned the church to the Greek Orthodox community in 1935, and Greek Mass is still celebrated here.
Gateway M285-E specifications
General
Platform Technology Intel Centrino Duo
Windows Vista Certification Windows Vista Capable
Built-in Devices Wireless LAN antenna , Stereo speakers
Embedded Security Trusted Platform Module (TPM 1.2) Security Chip
Width 13.6 in
Depth 11.1 in
Height 1.4 in
Weight 6.8 lbs
Notebook type Tablet
Wireless capabilities 802.11g , 802.11b , 802.11a
Processor
Processor Intel Core 2 Duo T5500 / 1.66 GHz
Data Bus Speed 667.0 MHz
Features Intel Dynamic Bus Parking , Intel Advanced Smart Cache , Execute Disable Bit capability , Intel 64 Technology , Intel Smart Memory Access , Intel Dynamic Power Coordination , Intel Advanced Digital Media Boost , Intel Intelligent Power Capability , Intel Wide Dynamic Execution , Enhanced Intel Deeper Sleep with Dynamic Cache Sizing
Chipset Type Mobile Intel 945GM Express
Cache Memory
Type L2 cache
Installed Size 2.0 MB
RAM
Installed Size 512.0 MB / 4.0 GB (max)
Technology DDR2 SDRAM - 533.0 MHz
Memory Specification Compliance PC2-4200
Form Factor SO DIMM 200-pin
Configuration Features 2 x 256 MB
Environmental Parameters
Min Operating Temperature 50.0 �F
Max Operating Temperature 89.6 �F
Storage Controller
Storage controller type Serial ATA
Storage Controller / Serial ATA Interface Serial ATA-150
Storage
Floppy Drive None
Hard Drive 60.0 GB - Serial ATA-150 - 5400.0 rpm
Storage Removable None
Optical Storage (2nd)
2nd optical storage type None
Optical Storage
Type CD-ROM - Integrated
Read Speed 24x
Card Reader
Card reader type 7 in 1 card reader
Supported flash memory cards RS-MMC , SD Memory Card , xD-Picture Card , MultiMediaCard , miniSD , Memory Stick , Memory Stick PRO
Display
Display Type 14.0 in TFT active matrix
Max Resolution 1280 x 768 ( WXGA )
Widescreen Display Yes
Color Support 24-bit (16.7 million colors)
Video
Graphics Processor / Vendor Intel GMA 950 Dynamic Video Memory Technology 3.0
Max Allocated RAM Size 128.0 MB
Audio
Audio Output Sound card
Compliant Standards AC '97 , General MIDI , Sound Blaster Pro , Microsoft WSS 1.0/2.0
Audio Input Microphone
Input Device(s)
Input device type Digitizer , EZ Pad , Digital pen , Keyboard
Telecom
Modem Fax / modem
Max Transfer Rate 56.0 Kbps
Protocols & Specifications ITU V.92
Networking
Networking Network adapter
Wireless LAN Supported Yes
Wireless NIC Intel PRO/Wireless 3945ABG
Data Link Protocol Ethernet , IEEE 802.11b , IEEE 802.11a , Fast Ethernet , Gigabit Ethernet , IEEE 802.11g
Remote Management Protocol DMI 2.3
Compliant Standards IEEE 802.11b , IEEE 802.11g , IEEE 802.11a , Wi-Fi CERTIFIED
Expansion / Connectivity
Expansion Slot(s) 2.0 (total) / 1.0 (free) x Memory - SO DIMM 200-pin , 1.0 (total) / 0.0 (free) x PC Card - Type II
Interfaces 1.0 x Network - Input - RJ-11 , 1.0 x IEEE 1394 (FireWire) - Ethernet 10Base-T/100Base-TX/1000Base-T - 4 pin FireWire , 1.0 x Docking / port replicator - VGA - 4 pin USB Type A , 1.0 x Microphone - Phone line - 15 pin HD D-Sub (HD-15) , 3.0 x Headphones - Output - Mini-phone 3.5 mm , 1.0 x Modem - RJ-45 , 1.0 x Display / video - Mini-phone stereo 3.5 mm , 1.0 x Hi-Speed USB
Miscellaneous
Features Power-on password , Hard drive password , Security lock slot (cable lock sold separately)
Compliant Standards ACPI 2.0
Power
Power Device External
Voltage Required AC 120/230 V ( 50/60 Hz )
Battery
Technology 8-cell Lithium ion
Installed Qty 1.0
Capacity 77.0 Wh
Operating System / Software
OS Provided Microsoft Windows XP Tablet PC Edition 2005
Software Microsoft Office 2003 Small Business Edition , McAfee Internet Security Suite , Adobe Acrobat Reader 7 , Drivers & Utilities , Google Toolbar
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
A very successful morning in our area today, Thursday 14 July 2022, as we executed warrants which saw 11 suspects arrested and the recovery of a vehicle stolen the day before in Cheadle Hulme, Stockport.
The operation targeted burglary suspects as a result of forensic intelligence where we also recovered suspected Class A & B drugs and weapons, including a machete.
We are increasingly utilising forensic intelligence, so if criminals leave a trace at any crime scene we will arrest them.
Find out more about our work which links into Operation Castle: www.gmp.police.uk/police-forces/greater-manchester-police...
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
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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ℹ️8️⃣📞📲📳☎️♾💁♂️
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shot🔫 to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
☎️▶️⏯⏩⏭➡️🔀↕️🔘https://music.youtube.com/watch?v=qKVkhQQXEGE&feature=share
She asked me to cum⛲️💦💧🌊🎣🐟🔫 over, to #Steinway🎹🏭, in #Astoria👸; & then, after driving from #Pennsylvania #Pistolvania, she was on the #AOL_IM #AIM, w/ #JesseHenry. I told her that she was being rude; & she told me to go & fuck myself. So; I left, drove home🏡, & ate the cost💸 of travel. &, I went & fuckt myself. &; she was unhappy that I left; & she didn't get none. &; I don't really give a fuck. She can eat shit💩🚽, & die💀.👀❄️ @/#GregGutfeld #CarleyShimkus
#OliviaCampbellPatton #OliviaWildeNeeCockburne
🏰🏯🔘https://en.wikipedia.org/wiki/Sigiriya
By the way; it is #Ceylon; do not offend me again. This is your first(ly)☝️, & only⏳⌛️ warning⚠️⛔️☣️☢️
#SAP_q / #SAR_Q, how-ever, not #SAP-q / #SAR-Q; #RobertCharles #THE_COMMODORES_CIRCLE.👀😾😠😤😡
👀😎⚠️⛔️☣️☢️🔘https://en.wikipedia.org/wiki/Special_access_program#:~:text=Special%20access%20programs%20%28SAPs%29%20in%20the%20U.S.%20Federal,that%20exceed%20those%20for%20regular%20%28collateral%29%20classified%20information.
☝️; there is no quick select, of 20,000+ images, on #iPhone, #Apple #TimCook. ✌️; there is no #conspicuous way to remove the #Slideslow option, on #iPhone, w/ your shitty, shitty musick selection. Therefore, I cannot turn it off. Oh, by the way; I cannot trash individual #AppCaches, neither, all of them, in a single tap. Take a wild guess what that means for you; all of you. #HighTreason = #Execution🔫 @ the #Gallows💀😵, or #Gibbet💀😵.👋👋👋
3️⃣; @/ #GregGutfeld‼️⚠️ : The #Saxophone🎷 is lame, gey, & any-person, who may believe it to be kool, or trendy, or even good; they may eat shit💩🚽, & die💀😵.
4️⃣ By the way; #SullyErna; you're a bitch.👋💀
🔘https://music.youtube.com/watch?v=R8pj2y39_jc&feature=share
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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At around 5.30am today (Tuesday 12 October) officers from GMP's Oldham Challenger Team executed three warrants at addresses across Newton Heath and Failsworth.
The warrants formed part of an ongoing investigation into the supply of class A drugs across Greater Manchester, as well as the criminal use of the encrypted communications platform Encrochat, often used by organised criminal groups.
During the raids, three men in their 30s were arrested on suspicion of conspiracy to supply cocaine and two of the men were further arrested on suspicion of conspiracy to supply amphetamine, entering into a money laundering agreement and possession of a prohibited weapon with intent to cause fear.
They remain in custody for questioning by detectives.
Following searches of all three properties, suspected class A and B drugs were recovered, along with over £3000 in cash, designer clothing, jewellery, phones and vehicles.
In July 2020, GMP alongside nearly every law enforcement agency across the UK came together as part of the National Crime Agency led 'Operation Venetic', focused on the takedown of 'Encrochat' - a sophisticated encrypted communications service used by OCG's.
GMP launched a series of intricate investigations bringing together 16 teams of officers from across all ten districts of Greater Manchester. Codenamed 'Operation Foam', the force wide operation has been in constant action for the past 15 months.
Detective Sergeant Alex Brown of GMP's Oldham Challenger Team, said: "Today's action is the culmination of months of intricate investigative work and is another positive result for the team in our endeavour to disrupt and dismantle the distribution and trade of drugs across our region.
"Thankfully today we have been able to remove what is suspected to be a large quantity of drugs from our community, and although we have three men in custody our searches and investigation will continue this morning and we will ensure all criminal assets are seized.
"An inordinate amount of work goes on behind the scenes to investigate the distribution of drugs and I hope today's arrests and seizures send a stark warning that GMP will do all in its power to pursue offenders and ensure no one benefits from ill-gotten gains and the sale of drugs.
"Often these investigations rely on intelligence passed to police by members of the public can often play a big part in investigations. If you have information that could aid our investigations into the trade of drugs across Greater Manchester then please get in touch with police."
Anyone with information should contact police on 101. Alternatively, details can be passed via our LiveChat function at www.gmp.police.uk or via the independent charity Crimestoppers on 0800 555 111.
You can access many of our services online at www.gmp.police.uk.
For emergencies only call 999, or 101 if it's a less urgent matter.
Tony Lloyd, the Police and Crime Commissioner for Greater Manchester joins Assistant Chief Constable Steve Heywood and Superintendent Alex Millet at the operation briefing.
Twelve people have today, Thursday 10 January 2013, been arrested by officers from Project Gulf, Salford’s multi agency task force set up to target organised crime groups.
In total 14 warrants were executed at addresses across Salford.
The arrests were made on suspicion of a variety of offences including violent disorder, drugs offences and money laundering.
They remain in police custody for questioning.
Items recovered as part of the warrants include cash, drugs, balaclavas, body armour and a crossbow. Pictures which could illustrate an affiliation to organised crime groups have also been seized.
The warrants follow an investigation into an incident of violent disorder at the Blue Bell pub on Monton Green on 9 December 2012, during which a group of men entered and assaulted a number of people inside.
Officers attended the premises following contact with the police but no complaints were made. They recovered CCTV from the premises and have been investigating the matter since.
As part of a joint agency approach three housing inspections, two visits from local authority social workers and eight benefit fraud inspections were also carried out.
Superintendent Wayne Miller, said: “Today’s action reflects the determined and pro active approach we are taking to identify and disrupt organised crime groups operating in Salford.
“We were not called directly to the incident but as soon as we became aware we took and continue to take steps to identify those involved.
“We recovered some CCTV that quite clearly shows a determined and coordinated effort on the part of a significantly large number of offenders to deliberately target some of those inside the pub.
“While we cannot speculate on the motive for this, it is clear to me that this was not a random incident but an attempt by a gang of men to commit serious violence and to intimidate and threaten our communities. “
Tony Lloyd, the Police and Crime Commissioner for Greater Manchester said: ”We will not tolerate such behaviour and are standing shoulder to shoulder with partner agencies to pick at these crime groups member by member to disrupt their criminality by whatever means necessary.
"Today's operation was a fantastic example of partnership working with the police, council and local community all joining forces to make a stand against organised crime. Project Gulf shows how working together can make a real difference to Greater Manchester people. It also acts as a warning to those involved in organised crime that it simply will not be tolerated."
ABOUT PROJECT GULF:
Project Gulf was set up in 2010 to tackle serious organised crime. The multi-agency team investigates every area of a suspected criminal's life - including their business interests, benefits, housing and associates.
The Gulf team includes representatives from Greater Manchester Police, Salford City Council, the Serious Organised Crime Agency, UK Border Agency, Environment Agency, Greater Manchester Fire and Rescue Service, DVLA, Department of Work and Pensions, Security Industry Association, Housing, HM Revenue & Customs and children’s services.
Serious organised crime causes devastating harm to local communities and the Project Gulf team is determined to taking these criminals off the streets, disrupting their lifestyles and making the streets of Salford a safer place to live.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement
•-----------•----•💀•---•-------------•
#ELDER_SCROLL_OF_MNEM_0.0♾😻
•-----------•----•💀•---•-------------•
ℹ️8️⃣📞📲📳☎️♾💁♂️
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shot🔫 to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
☎️▶️⏯⏩⏭➡️🔀↕️🔘https://music.youtube.com/watch?v=qKVkhQQXEGE&feature=share
She asked me to cum⛲️💦💧🌊🎣🐟🔫 over, to #Steinway🎹🏭, in #Astoria👸; & then, after driving from #Pennsylvania #Pistolvania, she was on the #AOL_IM #AIM, w/ #JesseHenry. I told her that she was being rude; & she told me to go & fuck myself. So; I left, drove home🏡, & ate the cost💸 of travel. &, I went & fuckt myself. &; she was unhappy that I left; & she didn't get none. &; I don't really give a fuck. She can eat shit💩🚽, & die💀.👀❄️ @/#GregGutfeld #CarleyShimkus
#OliviaCampbellPatton #OliviaWildeNeeCockburne
🏰🏯🔘https://en.wikipedia.org/wiki/Sigiriya
By the way; it is #Ceylon; do not offend me again. This is your first(ly)☝️, & only⏳⌛️ warning⚠️⛔️☣️☢️
#SAP_q / #SAR_Q, how-ever, not #SAP-q / #SAR-Q; #RobertCharles #THE_COMMODORES_CIRCLE.👀😾😠😤😡
👀😎⚠️⛔️☣️☢️🔘https://en.wikipedia.org/wiki/Special_access_program#:~:text=Special%20access%20programs%20%28SAPs%29%20in%20the%20U.S.%20Federal,that%20exceed%20those%20for%20regular%20%28collateral%29%20classified%20information.
☝️; there is no quick select, of 20,000+ images, on #iPhone, #Apple #TimCook. ✌️; there is no #conspicuous way to remove the #Slideslow option, on #iPhone, w/ your shitty, shitty musick selection. Therefore, I cannot turn it off. Oh, by the way; I cannot trash individual #AppCaches, neither, all of them, in a single tap. Take a wild guess what that means for you; all of you. #HighTreason = #Execution🔫 @ the #Gallows💀😵, or #Gibbet💀😵.👋👋👋
3️⃣; @/ #GregGutfeld‼️⚠️ : The #Saxophone🎷 is lame, gey, & any-person, who may believe it to be kool, or trendy, or even good; they may eat shit💩🚽, & die💀😵.
4️⃣ By the way; #SullyErna; you're a bitch.👋💀
🔘https://music.youtube.com/watch?v=R8pj2y39_jc&feature=share
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.
Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.
HISTORY
Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).
During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.
In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.
Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.
TECHNIQUE
In the history of mural several methods have been used:
A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.
Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.
Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
MATERIAL
In Greco-Roman times, mostly encaustic colors applied in a cold state were used.
Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.
In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.
A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.
Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.
As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.
The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.
Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.
SIGNIFICANCE OF MURALS
Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.
Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.
Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.
Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.
The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.
Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.
WIKIPEDIA
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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ℹ️8️⃣📞📲📳☎️♾💁♂️
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shot🔫 to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
☎️▶️⏯⏩⏭➡️🔀↕️🔘https://music.youtube.com/watch?v=qKVkhQQXEGE&feature=share
She asked me to cum⛲️💦💧🌊🎣🐟🔫 over, to #Steinway🎹🏭, in #Astoria👸; & then, after driving from #Pennsylvania #Pistolvania, she was on the #AOL_IM #AIM, w/ #JesseHenry. I told her that she was being rude; & she told me to go & fuck myself. So; I left, drove home🏡, & ate the cost💸 of travel. &, I went & fuckt myself. &; she was unhappy that I left; & she didn't get none. &; I don't really give a fuck. She can eat shit💩🚽, & die💀.👀❄️ @/#GregGutfeld #CarleyShimkus
#OliviaCampbellPatton #OliviaWildeNeeCockburne
🏰🏯🔘https://en.wikipedia.org/wiki/Sigiriya
By the way; it is #Ceylon; do not offend me again. This is your first(ly)☝️, & only⏳⌛️ warning⚠️⛔️☣️☢️
#SAP_q / #SAR_Q, how-ever, not #SAP-q / #SAR-Q; #RobertCharles #THE_COMMODORES_CIRCLE.👀😾😠😤😡
👀😎⚠️⛔️☣️☢️🔘https://en.wikipedia.org/wiki/Special_access_program#:~:text=Special%20access%20programs%20%28SAPs%29%20in%20the%20U.S.%20Federal,that%20exceed%20those%20for%20regular%20%28collateral%29%20classified%20information.
☝️; there is no quick select, of 20,000+ images, on #iPhone, #Apple #TimCook. ✌️; there is no #conspicuous way to remove the #Slideslow option, on #iPhone, w/ your shitty, shitty musick selection. Therefore, I cannot turn it off. Oh, by the way; I cannot trash individual #AppCaches, neither, all of them, in a single tap. Take a wild guess what that means for you; all of you. #HighTreason = #Execution🔫 @ the #Gallows💀😵, or #Gibbet💀😵.👋👋👋
3️⃣; @/ #GregGutfeld‼️⚠️ : The #Saxophone🎷 is lame, gey, & any-person, who may believe it to be kool, or trendy, or even good; they may eat shit💩🚽, & die💀😵.
4️⃣ By the way; #SullyErna; you're a bitch.👋💀
🔘https://music.youtube.com/watch?v=R8pj2y39_jc&feature=share
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
•———————————•
#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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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.
BALTOPS is an annual U.S.-led, Naval Striking and Support Forces NATO- executed, multinational maritime exercise in the Baltic Sea region designed to enhance flexibility and interoperability among its participants.
the iliveisl sim, Enercity Park, goes away shortly after these pics were taken. it was one of only 100 or so remaining openspace sims.
it had been 3750 prims but when Linden Lab poorly executed their change in policy and pricing and went from $75 to $95 per month and from 3750 prims to 750 prims, this became the most expensive type of land isl
but i promised my residents that Enercity would have a park so kept it until the estate was transferred to the very best residents in all of second life
the park was the closest to a home that Ener Hax had. two sparse fallout shelters would become Ener's homes
one just a bare mattress and cardboard boxes to reduce drafts from broken windows and had and old turret slowly rotating that stood as a silent sentinel to bygone eras when we humans could have taken a lesson from our own avatars and the other a small emergency shelter for the bus stop
the lake in the park was called Butterfly Lake from its shape when viewed from the air and had a swan and ducklings swimming and a nice bench for friends to sit and visit under a weeping willow. near that spot was an old underground shelter to park military vehicles. that spot became an underground skatepark and was connected to the city's catacombs. these catacombs, like in Paris, ran below the city streets
zombies lived in one section near a small graveyard. no one knew why zombies were there, some suspect it was related to the war time bunkers. the manhole cover near the zombies was opened and the catacombs tagged with "i <3 ener hax" and "subQuark sux"
the most favourite spot for Ener Hax was near the bus stop and the 1950's era rotating and steaming coffee billboard (hmm, maybe the chemical smoke from that big coffee cup is to blame for the zombies? after all, the "steam" does drift over the grave yard
the fave spot looked over the smaller lake west of the bus stop and was in view of one of the parks two waterfalls. that spot was made very special because of Mr. Bunny. Ener loved to sit on the ground and just watch Mr. Bunny hop around and doze occasionally. what a cute bunny =) he even had his own carrots planted by Ener
high above the eastern part of the park was the huge zebra striped zeppelin. a bit of a trademark of the iliveisl estate
it was a lovely spot, even had tai chi on the big bunker and a zip line from the water tower
ooh, the water tower! as a surprise gift, DreamWalker scripted the water tower and turned it int a funky hang out spot. there was an abandoned pool inside the tower (???) and place to sit and talk. even a cute ladybug called it home. the water tower's top would slide up and down and also turn invisible. for romance, a moon beam came through the towers top port and could even have its brightness changed
even though the park was outrageously expensive, it was Ener Hax and Mr. Bunnies home and will be sincerely missed
namas te
Greater Manchester Police has launched a pre-Christmas crackdown on crime.
Over the next month police will execute 12 high-profile days of action as part of a pre-emptive strike on criminals who spread misery in the run up to Christmas.
The operation – codenamed Bauble – will see more than 800 officers over the 12 days tackling a range of offences including burglary, domestic abuse and criminality on the roads.
A day of action will be held on each of GMP’s 12 divisions, including the Airport.
Local officers will be supported by special constables and specialist units including traffic, mounted officers, tactical aid units, dog handlers and intercept ANPR teams.
Superintendent Craig Thompson from Specialist Operations said: “Operation Bauble sends a very clear warning to offenders that we will not be winding down for Christmas and letting them go on their merry way.
“Over the next month we will be holding a series of high-profile days of action aimed at disrupting criminal activities and keeping the good people of Greater Manchester safe during the festive period.
“Using officers and specialist units from across the force, we intend on blitzing crime and stopping offenders in their tracks so that the only Christmas they’ll be looking forward to is with us.”
Follow #OpBauble on twitter for live updates from the operation.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
House built 1882, designed by Edmund Wright, sold 1914 to Marist Brothers for Sacred Heart College, a Catholic Boys school. Sale of contents Jun 1915 listed entrance hall, drawing room, ballroom, library, breakfast room, dining room, billiard room, sitting room, 11 bedrooms, sewing room, bathrooms and more.
“There is now on view in the window of Messrs. E. S. Wigg & Sons' premises, in Rundle-street, a beautifully executed perspective in pen and ink, drawn by Mr. J. S. Beaver, of a residence designed and being built at Somerton, near Brighton, for Mr. J. F. Cudmore.” [Register 9 Feb 1882]
“The house of 30 rooms was renowned for its woodwork and beautiful fittings. The stained-glass windows at the entrance hall depicted the Cudmore coat of arms. Entertaining was run on a lavish scale, and visitors to the house will remember the beautiful stained windows in the ballroom which represented the seasons of the year. Many of the rooms had walls of embossed oak leaves, and the Marshall Wood statuary, the wonderful pictures and china, and rare old silver kept connoisseurs in a state of rapture. The entrance hall was remarkable for its Italian tiles, and beautiful parquetry floored most of the rooms.” [The Mail 15 Dec 1928]
“the Chief Secretary received a letter from Mr. J. F. Cudmore, of Glenelg, of which the following is a copy:— ‘In view of the prospect of war with Russia, I beg to offer the Government without cost the use of my house, Paringa HalL New Glenelg, as a military hospital should such be required, and I am also prepared without expense to the Government to provide such furniture and bedding as may be found necessary. I would call the attention of the Government to the fact that the position of my house, the number of rooms, and the appointments (which include hot and cold water baths), would render it in every way suitable for the purposes above mentioned, as would also the fact of its having a tower and flagstaff, from which observations could be made and signals given.’” [Register 29 Apr 1885]
“CUDMORE.-On the 17th August at Paringa Hall, Somerton, Glenelg, James Francis beloved husband of Margaret Cudmore, aged 74 years.” [Register 19 Aug 1912]
“The death occurred on Saturday of Mr. J. F. Cudmore, of Paringa Hall, Brighton road, Somerton, at the age of 74 years. The deceased was one of the leading pastoralists of South Australia, and his activities extended to the other States. His father (the late Mr. D. Cudmore) originally came out from England to Tasmania to join a cousin, who was attached to a regiment of British troops there, but subsequently decided to settle on the mainland of Australia. He chartered a vessel to cross over to South Australia, and on the voyage the late Mr. J. F. Cudmore was born. The father started a brewery at Kapunda, but not long afterwards took up sheepfarming at Yongala Station. The son was educated at Sevenhills College, in the Clare district. About 1859 he crossed the River Murray, and became the occupier of Paringa Station, opposite to Renmark. In 1863 he proceeded to Brisbane, bought sheep there, travelled them along the coast to Rockhampton, and then out into Central Queensland in search of another pastoral holding. The flock was shorn en route. . . a few years later he ventured into Queensland again, started Gooyea Station, and next the Milo and Welford Downs, in South-Western Queensland. As time went on he became interested in land in Central Queensland, and took up Tara Station, with several of his sons. He established his home at Paringa Hall about 30 years ago. When the Western Australian gold rush occurred he was early on the Coolgardie field with a camel party, and erected what was believed to be the first crusher there. . . He has left six sons and four [five] daughters. The sons are Mr. K. Cudmore (Brisbane manager for Goldsbrough, Mort, & Co.), Dr. A. M. Cudmore (of Adelaide), Messrs. J. K. and D. C. Cudmore (of Tara), T. C. Cudmore (of near Blackall), and R. M. Cudmore (of Adelaide).” [Register 19 Aug 1912]
“CUDMORE.—On the 1st December, at Paringa Hall, New Glenelg, Margaret, widow of the late J. F. Cudmore.” [Register 2 Dec 1912]
“Mrs. Cudmore, widow of Mr. J. F. Cudmore, died at her residence, Paringa Hall, New Glenelg, on Sunday. Her husband, who for some years was one of the leading pastoralists in South Australia, besides being interested in squatting pursuits in the other States, died on August 17 last. Six sons and five daughters are left.” [Advertiser 3 Dec 1912]
“For Sale. . . Paringa Hall. The well-known residence of the late J. F. Cudmore, situated in 10 Acres of Grounds, with complete Stables, Outhouses, &c, and 7 Acres of adjoining Land, with Cottage.” [Register 20 Nov 1913]
“The purchase of Paringa Hall by the Marist Brothers of Sacred Heart College, Semaphore, demonstrates the great interest taken in educational extension by the educational authorities of the Roman Catholic faith; and in their latest possession, which cost originally £30,000 to build. Paringa College will be one of the most ornate educational institutions in the Commonwealth. When originally constructed by Mr. J. F. Cudmore, the question of expense was not allowed to enter into the minds of builder or architects, and one large set of stained glass windows alone cost 300 guineas. The upstair portion, surrounded by spacious balconies, will form the living quarters for the students and guardians, whilst the ground floor will be utilised for chapel, class, and living room.” [Advertiser 6 Jun 1914]
“Messrs. Theodore Bruce & Co.. auctioneers, wish to draw special attention to the fact that the furniture at Paringa Hall, as advertised in the auction columns, is of the highest quality throughout, having been manufactured to order by Walker and Sons, the well-known English manufacturers. The marble statuary and bronzes are also worthy of special mention, being works of art of the best quality. Included in the statuary are exceptionally fine examples by Marshall Wood, the world-famed sculptor.” [The Mail 13 Jun 1914]
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
150828-M-JH956-813
Sgt. Stephen Johnson executes a weighted squat during a morning workout Aug. 28, in the Shogun CrossFit gym on Kadena Air Base. Johnson asked to be stationed in Okinawa in order to focus on training for the CrossFit games next summer. According to Johnson, CrossFit has not only made him a better athlete but also a better Marine. Johnson is a combat videographer Combat Camera, G-3/5; operations, training and plans; Marine Corps Installations Pacific-Marine Corps Base Camp Butler.
Bauhaus meets Charleston traditional architecture. This rare example of the radical 20th century style perfected in Europe between the two great wars, was executed by Charleston architect, Gus Constantine. Unfortunately the city's preservation design and review staff allowed the virtual distruction of this building's principal features over the years since 1980.
Gone is the raised cast aluminum scrip which served as the signage for the original occupant: Marilyn Shoes. Gone is the red neon which lighted the script from underneath casting a red glow splashed across the very un-Bauhaus white marble veneer.
The aluminum awning, window trim and corner column remain, but in poor repair.
The distinctive terrazzo and brass framed sidewalk paving has been badly damaged and partially replaced with sub-standard materals that no longer match the color of the original.
Needlessly, the exposed concrete walls along the southern facade fronting Liberty Street out of view to the left in the photograph was painted over for no appearant reason after 1990. The Corbousie influenced design was all but destroyed. After more than 40 years the unfinished exterior walls were beginning to cure with the intended patina allowing the original poured concrete to show elements of the original plywood molding process. It was possibly Charleston's only Corbousie influenced architectural example of the period.
This was a very fine example of a Bauhaus architectural type sensably adapted to the location. Though the Bauhaus school of thought did not require it, the architect of this building was already familiar with the location's requirements for harmonious height, scale and mass. The favor has not been returned by subsequent generations of preservationists and technical experts working within the city's design review process. Ironically these are some of the same people who frown on traditional architecture and call out for "architecture for our time". These people obviously have no real understanding of the city's architectural traditions beyond their ability to repeat second rate cliches, both architectural and literary. None of the buildings in this photo were intended as cliche, nor were any of them built without liberally drawing upon the time honored lessons of classical architecture.
Charleston is too ignorant of contemporary styles for it to attempt to showcase examples of contemporary architecture. Given this example and others like it, Charleston has no history of appreciation of good contemporary architecture or the proven ability to discern between good and bad modern designs. Charleston should stick with what it knows and has a proven record for understanding...the execution, use, interpretation and preservation of high quality classical architecture. There should be no shame in this city escuing what it does not understand and what it is not known to do well.
Charleston, SC. Photo taken September 2009.
Photo and text posted: 7 September 2009.
Revised: 1 October 2010.
Copyrights reserved: hdescopeland.
A classic example of the layered arcade design solution, a solution in which New York pioneered, the Romanesque Revival Lincoln Building is representative of an important transitional phase in the history of tall buildings. It was constructed in 1889-901 and was designed by the well-known New York architect R. H. Robertson.
Using interior metal skeleton skyscraper construction in combination with traditional masonry bearing walls, the building is executed in limestone, granite, and brick, and has exceptionally fine carved and terra cotta detail — which includes the corner griffin, acanthus scrolls, Byzantine capitals, crisp moldings, human and lion heads — that is effectively placed on both the Union Square West facade and on the 14th-Street elevation.
The Development of Union Square
The Commissioners Map of 1807-11, which first laid out the grid plan of Manhattan above Houston Street, allowed for certain existing thoroughfares to retain their original configuration. Bloomingdale Road (now Broadway), and the Bowery intersected at 16th Street.
The acute angle formed by this "union" was set aside by the Commissioners and named Union Place.2 Initially Union Place extended from 10th to 17th Streets, on land owned by the Manhattan Bank:
It then presented to the eye of the tourist and pedestrian a shapeless and ill-looking collection of lots, where garden sauce flourished — devoid of symmetry, and around which were reared a miserable group of shanties.
In 1815, the state legislature reduced the size of Union Place by making 14th Street its southern boundary.4 As the city expanded northward and land" use intensified, the need for open spaces became apparent. A report drafted by the street committee in 1831 states the need for public squares "for purposes of military, and civic parades, and festivities, and ... to serve as ventilators to a densely populated city."
Designated a public space in 1832 at the urging of local residents, additional land was acquired so that the area could be regularized. Graded, paved, and fenced, Union Place was finally opened to the public in July 1839. Throughout much of its history, the square has been used for public gatherings, political rallies, and demonstrations.
By the 1850s, Union Square (as it came to be known) was completely surrounded by buildings including some of the city's most splendid mansions; but, "already by 1860, the dramatic march of commerce had begun." Theaters, hotels, and luxury retailers predominated in the 1870s. By the 1890s, the vestiges of the fashionable residential area, as well as the elegant stores and theaters, had been supplanted on Union Square by taller buildings that catered to the needs of publishers and manufacturers who had moved uptown.
The block on which the Lincoln Building stands was originally part of the Henry Spingler farm, and the land, which was let on long leases, remained in the Spingler family's possession until 1958.The Lincoln Building, which replaced four smaller structures, was constructed for a Mr. Crawford, who was listed as the "owner" on the New Building Application and who may have been a trustee for the Spingler-Van Buren family's interests or connected with the lessee.
The Lincoln Building is prominently situated on the northwest corner of 14th street and Union Square West, considered the most desirable side of the square "probably because for all practical purposes it really was Broadway." Its early tenants included a wide variety of businesses and occupations — from the Eyelet Buttonhole Attachment Co. to a number of firms involved in building trades, as well as the offices of architects, including that of Alfred Zucker.
Robert H. Robertson 1849-1919
A successful and prolific architect, the Philadelphia-born Robert Henderson Robertson employed the major popular styles of the late nineteenth and early twentieth centuries.-- Montgomery Schuyler noted that Robertson had "taken part in every one of the successive *movements' that have agitated American architects in his time" — from the High Victorian Gothic to the Romanesque and later the neo-Renaissance.
Educated in Scotland and at Rutgers College, Robertson was first employed in the Philadelphia office of Henry Sims from 1869 to around 1872. After moving to New York, he worked briefly in the offices of the noted architect George B. Post and in 1873 and 1874 for Edward T. Potter.
During these years he designed the Phillips Presbyterian Church in New York, a High Victorian Gothic structure which displays the influence of Potter, who was an early advocate of the style. From 1875 to 1881, he formed a partnership with Potter's younger half-brother William A, Potter, who also favored the High Victorian Gothic style. Together they designed a number of early Shingle Style houses.
In later years Robertson was occasionally associated with others, including his son T. Markoe Robertson. Robertson joined the AIA in 1873, the New York City chapter in the following year, and was elevated to the status of Fellow in 1885; he became a member of the Architectural League in 1886.
In the 1880s, Robertson employed the Romanesque Revival style, an especially fine example being his Mott Haven Railroad Station (1885-86) . Although the noted New York critic Montgomery Schuyler observed that Robertson "took up the Romanesque in his own way and arrived at his own expression in it," the Lincoln Building (1889-90) shows the influence of H. H. Richardson and especially his later use of light stone for Romanesque designs, such as the Allegheny County Buildings in Pittsburgh (1883-88).
Robertson's other Romanesque Revival designs in New York include St. Luke's Episcopal Church (1892) located in the Hamilton Heights Historic District, and the YWCA at 7 East 15th Street (1883). The Lincoln Building is apparently his first skyscraper, soon followed by the Mclntyre Building (1890-92), the Corn Exchange Bank Building (1893-94, now demolished), the American Tract Society Building (1894-95), and the twenty-seven story Park Row Building (1896-99) , for a time the tallest building in the world.
Other notable commissions include St. James's Church (1883-85, rebuilt in 1923-24 by Ralph Adams Cram) in the Upper East Side Historic District; Saint Paul's Methodist Episcopal Church and Parish House (1895-97; now the United Church of Saint Paul and Saint Andrew), a designated New York City Landmark; Hammersmith Farm (1887-89) in Newport, Rhode Island for John W. Auchincloss; William Seward Webb House and Farm Buildings (1887-1902) in Shelburn, Vermont; The Margaret Louisa Home (1889-91) in New York; The Rutgers Rivers ide Church (1889-90), New York ; Hodge Hall, Princeton Theological Seminary (1893-94), New Jersey; New Yorfc Bank for ..Savings (1896-98); the Chas. T. Yerkes House (1896), New York; Lying-in Hospital of New York (1899-1902).
Design of the Building
The Lincoln Building is a transitional skyscraper incorporating load-bearing masonry walls along with an interior
metal skeleton consisting of steel beams with steel girders and columns of cast iron-19 By the 1890s Robertson was employing the metal skeleton alone, often considered one of the essential criteria for a true skyscraper.
The arcaded elevations of the building visually suggest the hybrid nature of its construction. The two-story arcades relate to the verticality and height which skeletal construction permitted, while the layering or stacking of floors provides a horizontality associated with traditional masonry construction. In addition, while the Lincoln Building does have a defined base, shaft, and capital — thus embodying the tripartite columnar skyscraper analogy favored by contemporary critics for tall buildings — the layering of stories nevertheless predominates.
An interesting and important stage in the evolution of the skyscraper from the modern point of view, this emphasis on the horizontal led the famous nineteenth-century critic Montgomery Schuyler to chastise the architect:
In the Lincoln building, the subordinate division is carried so far as to confuse the principal division . . . The architect's power of design is shown in the parts [of the tall building], rather than in the whole, in the picturesque features in which his ... work abounds.
Within the context of the evolution of arcaded buildings in New York during the later nineteenth century, the Lincoln Building is a classic example of the layered type, a design solution in which New York pioneered.
Other comparable examples include McKim, Mead and White's Judge Building (1888-90) and George B. Post's New York Times Building (1888-89), an arcaded structure in the "popular Richardsonian style."
Despite Schuyler's reservations, he conceded that the ornament and detailing — "the picturesque features" — of Robertson's work are exceptionally fine; those of the Lincoln Building are particularly good. Moreover, Robertson's handling of textures in the design of the Lincoln Building — smooth and rusticated limestone, brick and terra cotta — is subtle, as is the placement of the extremely handsome carved and terra-cotta ornament, which includes acanthus scrolls, Byzantine capitals, crisp moldings, human and lion heads, and the fantastical and ferocious corner griffin.
Many of the buildings qualities — such as the rich textural contrasts, the massive stone arches, piers and columns, complex Byzantine and Celtic style carving, Norman zigzag moldings — are characteristic of the Romanesque Revival as it was employed after the Civil War.24 Schuyler judged Robertson's Romanesque work to be his best, observing that "the Romanesque, or at least the Romantic, phase of his design seems to be so much the more characteristic and important as to constitute artistically the bulk of his work."
The use of historical styles for modern tall buildings posed certain problems of adaptation.
The Romanesque Revival style could be adapted to arcaded designs, even if the massiveness and heaviness traditionally associated with it were less suited to the vertical ity demanded by the skyscraper and by open shop-fronts with their wide expanse of plate-glass windows.
And indeed — as skyscrapers grew ever taller and the arcaded type was abandoned, architects who favored medieval styles turned to the Gothic for inspiration, going on to create soaring spire-like towers, such as Cass Gilbert's famous Woolworth Building (1911-13)
Description
The Lincoln Building is a nine-story28 structure, which combines iron- and steel-framing with masonry bearing walls. Faced with light-colored smooth- and rock-faced Indiana limestone, light brick, and granite, the Union Square West facade is divided into four bays, the 14th Street elevation into seven.
Except at the ground floor, all the windows and arches at each story of the 14th Street elevation appear to be the same but wider than those of the Union Square facade. Located in the northernmost bay on the Union Square facade, the main entrance to the offices above is composed of a massive round arch with engaged columns and ornamented with a Norman zigzag molding; the arch spandrels contain Byzantine acanthus scroll carving.
Although the ground floor has been substantially altered, the original engaged colonettes with Byzantine detailing remain on six of the seven 14th-Street bays and on one side of the southernmost bay on the Union Square facade. The commercial bays on 14th Street and the southernmost bay on the Union Square West facade are flanked by the original rock-faced limestone piers (four now have display windows which are later additions). These piers rest on granite bases. The final westernmost bay on this elevation contains a service entrance that retains its cast-iron frame ornamented with bosses. Late nineteenth and early twentieth century photographic views show the original design.
The first three office stories are faced with smooth- and rock-faced limestone. The second- and third-story windows are set within a double-height arcade demarcated by smooth limestone piers with rock-faced arches. The pier capitals, arch spandrels, and imposts are ornamented by Byzantine foliage, Celtic intertwining bands, bunches of grapes, Norman zigzags, and expressive human heads. On the second story are pairs of windows separated by piers with Byzantine capitals. A molding of counterposed triangles decorates the chamfered upper edge of each window enframement.
Smooth rectangular panels outlined by bands of small square indentations separate the second-story windows from the round-arched third-story openings. A band of these indentations runs between the third and fourth stories. At the fourth story, paired round-arched windows are separated by squat
Byzantine columns. Elaborately embellished imposts and corbels support the smooth limestone voussoirs which have simple molded enframements.
At both Union Square corners of the building, very slender three-story colonnettes rise from the base of the second story ending in flaring foliate capitals that support bulbous cartouches surrounded by foliate decoration.
A crisp cornice of dentils placed within indentations surmounts the fourth story and articulates the transition to the simple brick and limestone fifth floor, with paired rectangular windows separated by piers with Byzantine curvilinear terminations. Surmounted by a protruding band of small square indentations, the fifth story forms a transition between the double-height arcades of the lower section and those above.
The design of the sixth and seventh stories echoes that of the second and thi*rd; however the upper stories are faced with brick and smooth limestone, and the architectural forms are lighter and more restrained. The sixth story has corbels at the corners of the windows which are separated by piers again with Byzantine capitals. The seventh-story windows are round-arched.
These two stories are divided by spandrels with recessed rectangular panels with terra-cotta egg-and-dart moldings. The moldings of the seventh story arches rest on corbels ornamented with human faces; at the corners, the moldings extend into rich acanthus scrolled banding at impost level. A stylized variant of a dentilled cornice runs above the seventh story. At the corner this cornice is accentuated by a flagpole base in the form of a large and impressive griffin. The paired round-arched windows of the eighth story are faced with terra-cotta panels.
Those of the upper half are cast in complex Byzantine guilloche and Celtic patterns. Above is a band of stylized triglyphs and metopes surmounted by a heavy projecting cornice consisting of moldings, a band of bosses, and a smooth band supported by a row of human and lion headed corbels. The ninth story, a loggia with paired terra-cotta spiral columns separating the small rectangular windows, is shorter than the stories below. Handsome strapwork embellishes the Union Square West corner. The attic is topped by an ovolo molding with recessed panels and incising.
- From the 1988 NYCLPC Landmark Designation Report
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".
PYEONGTAEK CITY — Soldiers from the 6-52nd Air and Missile Defense Battalion participated in a cultural exchange program at the Cheongdam Art Center, as local Korean students put on performances ranging from traditional Korean Opera to contemporary Hip Hop Dance July 30.
The experience, hosted by Pyeongtaek City Hall, was intended to facilitate cultural exchange and build friendships between U.S. Soldiers and Korean community. And, it succeeded in many ways, judging from the enthusiastic handshakes and warm conversation between the Soldiers and students afterward.
Without a doubt, the performance reached its climax with the excellent hip-hop dance performed by a local student team. The American crowd went wild as the dancers executed one complex move after another.
For other Soldiers, it was the genuine smile of the locals that impressed them the most.
After the performance, Soldiers went to a local Korean restaurant for a meal of mushroom bulgogi and seasoned kimchi.
U.S. Army photos by 1st Lt. Austin Liu
For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys' official web site or check out our online videos.
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
Some Key Terms: Mannerism, Michelangelo, Contrapposto, Chiaroscuro
This painting is executed in the style we call Mannerism, which flourished c.1515-1600. Mannerist taste delighted in the bizarre, the complex, the hyper-stylish, the distorted, and the melodramatic. Although these qualities have sometimes been condemned as decadent, Vasari viewed this stylishness as the expressive culmination of the Third or Perfection Stage in the Progress of the Arts. Having mastered all the techniques of naturalistic represention, artists were now free to creatively stretch the rules. For Vasari, who was a Mannerist, such artificiality was the true test of an artist's judgment.
According to the Mannerist concept of "Disegno Intorno (Internal Design)" each talented artist's soul was endowed from birth with his or her own unique sensitivity to beauty. Accordingly, the artist's loftiest task was to produce perfected images of things rather than merely realistic ones. Images more perfect than nature would express the inner character of their subject(s) more effectively than merely superficial "realism" would. Thus, the distortion and bizarreness of Mannerist art was understood to communicate its artist's unique intuition of Divine beauty, goodness, and truth. The bizarreness was meant to shock us out of our ordinary modes of perception and spur us to hypersensitive levels of consciousness, to divine intoxication. If Realism is like clear water, Mannerism is like sparkling wine.
For a video that, in my opinion, captures the strange "divine efferrevescence" of Mannerism, see The Eurythmics' "There Must be an Angel Plyaing with My Heart: www.youtube.com/watch?v=TlGXDy5xFlw&ob=av3e
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
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
Police in North Manchester have raided a network of shops selling 'legal highs' or New Psychoactive Substances.
It follows an investigation by Greater Manchester Police who previously seized a large amount of legal highs from a storage unit in the Strangeways area. These packets were forensically tested and a large proportion were found to contain illegal class B drugs such as Methylphenidate and Ethylphenidate.
Today, 20 May 2015, officers from Greater Manchester Police's North Manchester division have executed warrants at two shops in Manchester city centre as well as a shop in Strangeways and a private property in Sale.
As a result of today's raids, numerous packets of legal highs, non-descript bags of pills and a large amount of unknown powder have been seized from the shops and will now be subject to forensic analysis by experts to establish their true chemical composition.
Police Sergeant Adam Cronshaw said: "Today's warrants are GMPs response to safeguard vulnerable people from 'legal highs.' We are encountering increasing numbers of young people across Manchester under the influence of these drugs making them vulnerable to child sexual exploitation and addictive behaviour. We want to satisfy ourselves and the community that illegal products are not being sold.
A recent report revealed that since 2009, the number of deaths attributed to these 'legal highs' has increased by 800 percent, which shows the very real dangers anyone faces when taking these substances. Essentially, you are playing Russian Roulette with your own lives. Even though these shops will say that they only sell to over 18s it is clear that they are eventually ending up in the hands of children. They only cost £8 per packet and so are easily affordable. Some of these shops even sell their products over the internet.
Users may have no idea what substances may be contained within the packets as there are no legal quality controls and the packets are often marked with 'Not For Human Consumption' to absolve the sellers from any responsibilities should someone become ill from taking them.
To find out more about Greater Manchester Police please visit our website.
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.
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:-
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.
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:-
Korean Air Boeing 777-2B5/ER (HL7530). Hong Kong International Airport, Hong Kong.
Aircrew executing control surface checks before taxiing off.
A M270 Multiple Launch Rocket System fires a rocket while conducting a simulated fires mission during exercise Dynamic Front II at the 7th Army Training Command in Grafenwoehr, Germany, Mar. 6, 2017. Dynamic Front II is an artillery operability exercise focusing on developing solutions within the theater level fires system by executing multi-echelon fires and testing interoperability at the tactical level. Dynamic Front II includes nearly 1,400 participants from nine NATO nations. (U.S. Army photo by Sgt. Seth Plagenza)
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).
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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).
The vintage 1-series Scania does have great appeal to me. Previously I had a LB141 in Astran livery from the UK, a company executing overland haulage towards the Middle East for decades. But they weren’t the only company carrying out that kind of long distance routes towards those countries. Also quite a lot of Dutch haulers picked a few cherries. One of them was Rynart of Klundert.
I think I saw this LB141 in a magazine for the first time. The livery is really attractive and LEGO has matching colors nowadays. I had quite some dark azure elements in my collection already and I found out that there are many more available. At least enough to build this model. First I removed the yellow Astran cab from the chassis, as well as the engine. The Astran one had a red engine, but originally it should have a turquoise one. Also this color has quite a wide variety of elements nowadays and apart from a few special elements I was able to turn the red engine into a turquoise one. The chassis is stretched a bit and the old tanks have been replaced by a new single one and a storage box. The chassis itself largely remained the same with just a few layout changes (like the air tanks). The cab got a new interior in different colors and with some improvements to the sleeper part. The unit is finished with a lot of details like a spare wheel with winch behind the cab, a roof rack with an aircon unit and two Michelin figures.
For the new trailer I actually only used the axles from the previous one and the base of the ladder chassis. The layout is completely different from the other one (other manufacturer and a bit longer). It got a new rear wide spread boogie with trailer brake, spare wheel racks and landing gear. The tarpaulin consist of about a thousand 2x4 tiles; I needed to order quite a few more for this one. The black line around is the seal line and for the white vertical ones I used a stretched old elastic from an old Technic set. It is also white on the real thing.
It really is a fresh looking model and I think it’s also because of the white wheel hubs. With those it looks way different than will the dull grey one. I only needed to order three more for the spare wheels since I already had quite a large number of them. Jaaptechnic supplied the decals and that really completes the entire model, especially the trailer.
This model is a replica of a real existing truck which is also a replica of a Middle East runner from the late 70s / early 80s.
Czech Republic soldiers of 42nd Mechanized Battalion prepare to receive Multiple Integrated Laser Engagement System gear to install on their vehicles during exercise Combined Resolve IV at the U.S. Armys Joint Multinational Readiness Center in Hohenfels, Germany, May 13, 2015. Combined Resolve IV is a multinational decisive action training environment exercise intended to train a U.S. led multinational brigade in order to enhance interoperability with multiple partner nations and execute unified land operations against a complex threat while improving the combat readiness of all participants. The Combined Resolve series of exercises incorporates the Armys Regionally Aligned Force to U.S. European Command with the European Activity Set to train with our Allies and partners. (U.S. Army photo by Pfc. Lloyd Villanueva)
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)
the iliveisl sim, Enercity Park, goes away shortly after these pics were taken. it was one of only 100 or so remaining openspace sims.
it had been 3750 prims but when Linden Lab poorly executed their change in policy and pricing and went from $75 to $95 per month and from 3750 prims to 750 prims, this became the most expensive type of land isl
but i promised my residents that Enercity would have a park so kept it until the estate was transferred to the very best residents in all of second life
the park was the closest to a home that Ener Hax had. two sparse fallout shelters would become Ener's homes
one just a bare mattress and cardboard boxes to reduce drafts from broken windows and had and old turret slowly rotating that stood as a silent sentinel to bygone eras when we humans could have taken a lesson from our own avatars and the other a small emergency shelter for the bus stop
the lake in the park was called Butterfly Lake from its shape when viewed from the air and had a swan and ducklings swimming and a nice bench for friends to sit and visit under a weeping willow. near that spot was an old underground shelter to park military vehicles. that spot became an underground skatepark and was connected to the city's catacombs. these catacombs, like in Paris, ran below the city streets
zombies lived in one section near a small graveyard. no one knew why zombies were there, some suspect it was related to the war time bunkers. the manhole cover near the zombies was opened and the catacombs tagged with "i <3 ener hax" and "subQuark sux"
the most favourite spot for Ener Hax was near the bus stop and the 1950's era rotating and steaming coffee billboard (hmm, maybe the chemical smoke from that big coffee cup is to blame for the zombies? after all, the "steam" does drift over the grave yard
the fave spot looked over the smaller lake west of the bus stop and was in view of one of the parks two waterfalls. that spot was made very special because of Mr. Bunny. Ener loved to sit on the ground and just watch Mr. Bunny hop around and doze occasionally. what a cute bunny =) he even had his own carrots planted by Ener
high above the eastern part of the park was the huge zebra striped zeppelin. a bit of a trademark of the iliveisl estate
it was a lovely spot, even had tai chi on the big bunker and a zip line from the water tower
ooh, the water tower! as a surprise gift, DreamWalker scripted the water tower and turned it int a funky hang out spot. there was an abandoned pool inside the tower (???) and place to sit and talk. even a cute ladybug called it home. the water tower's top would slide up and down and also turn invisible. for romance, a moon beam came through the towers top port and could even have its brightness changed
even though the park was outrageously expensive, it was Ener Hax and Mr. Bunnies home and will be sincerely missed
namas te
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:-
Seven people have been arrested following a series of dawn warrants to target a suspected gang of violent criminals.
This morning, 7 July 2014, police in Stockport executed a number of warrants in the Brinnington area following a string of violent home invasions and assaults, during which homeowners were either threatened or attacked.
Assisted by the Tactical Aid Unit, seven warrants were carried out and seven men have been arrested on suspicion of assault and aggravated burglary.
Detective Sergeant Matt Tarr said: "We believe the gang responsible for these violent attacks and home invasions are involved in an extensive criminal web that involves drugs, weapons and burglaries.
"During one of assault the homeowner suffered a nasty wound to his arm as a result of being attacked with a machete so clearly those responsible are dangerous and have no qualms about resorting to violence.
"We also believe there may be a case of mistaken identity in a number of these burglaries meaning innocent people who are not involved in this criminal web are being unfairly and unnecessarily subjected to a great deal of distress and upset.
"That is why we have taken this action today and arrested seven people on suspicion of robbery.
"Police in Stockport, together with our partner agencies, have made huge inroads into tackling organised criminality in this town and in recent years we have seized millions of pounds in drugs and cash and put behind bars some high-profile criminals which has disrupted the supply of weapons and drugs onto our streets.
"We know that residents want us to take a tough stand against those involved in the supply of drugs and other criminality that destroys the fabric of the communities we serve. I hope today sends a message to the community, including the criminal fraternity, that we will not allow people to be terrorised in their own homes and we will be coming for anyone who is involved."
Anyone who has information is asked to call police on 101 or the independent charity Crimestoppers, anonymously, on 0800 555 111.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
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.