A beautifully executed restoration of this this little 'giant killer' 125 (24BHP @ 12,500RPM). This machine came to the current owner from a collector in Florida and has very liitle time on it since the restoration. Frame # 400-999259, engine # AS3-990259.

 

Pretty, rare and competent machine.

 

More at www.vintagemotorcyclesforsale.ca

"Broken Column" is a site-specific sculpture project by the British artist Antony Gormley, commissioned by the Rogaland Museum of Fine Arts and executed between 1999 and 2003. It consists of a set of 23 identical sculptures, 195 cm tall, cast from the artist's own body and installed in carefully selected sites in the city of Stavanger, Norway.

The Cathedral of Saint Patrick in Harrisburg, located at 212 State Street, is the Mother Church of the Roman Catholic Diocese of Harrisburg and is the seat of its prelate bishop, designated a cathedral in 1868. The cathedral was constructed from 1904 to 1907 in the Italian Renaissance style design of George I Lovatt Sr. Cruciform in shape and built at a cost of $250,000, the exterior was executed in North Carolina granite. In the nave are forty-four stained glass windows imported from Munich, Germany.

XH558 was the first Vulcan B. Mk2 to be delivered to the RAF, and is the oldest surviving complete Vulcan in the world. After retiring from the RAF's Vulcan Display Flight in 1992, the aircraft was sold to a private owner. After 15 years, the aircraft was painstakingly brought back to flying condition by the Vulcan To The Sky Trust, and has been visiting air displays from 2008 until the final UK tour in October 2015.

 

A fairly primitive shot taken from Lincoln Castle showing XH558 at the beginning of her last show flight over southern England. The aircraft had just left Robin Hood Airport, Doncaster 10 minutes earlier, and is seen executing the turn over RAF Waddington before heading south.

 

Apologies to all those who have taken stunning close up photos of the Vulcan, but it was probably my last chance to see her flying over Lincoln!

 

More on XH558 / G-VLCN 'Spirit of Great Britain' here: www.vulcantothesky.org/history/the-558-story.html

and:

en.wikipedia.org/wiki/Avro_Vulcan_XH558

 

The Vulcan Bomber

The Avro Vulcan was a delta-winged, high-altitude, strategic bomber, which was operated by the Royal Air Force (RAF) from 1956 until 1984. A total of 136 aircraft were built, including eight prototypes, and the production aircraft were delivered in four separate batches as follows:

 

First batch: XA889 - XA913 25 Vulcan B.1 & B.1As delivered between 1955 - 1957

Second batch: XH475-483, XH497-506, XH532-539, XH554-563 37 Vulcan B.1A & B.2s delivered between 1958 - 1960

Third batch: XL317-321, XL359-361, XL384-392, XL425-427, XL443-446 24 Vulcan B.2s delivered between 1960 - 1962

Fourth batch: XM569-576, XM594-612, XM645-657 40 Vulcan B.2s delivered between 1963 - 1965

Total production order - 128

 

The Vulcan B.1 was first delivered to the RAF in 1956, and deliveries of the improved Vulcan B.2 started in 1960. The B.2 featured more powerful engines, a larger wing, an improved electrical system, and electronic countermeasures, and many were modified to accept the Blue Steel missile.

 

As a part of the V-force, and one of the most distinctive military aircraft ever to take to the skies, the mighty Avro Vulcan was the backbone of the United Kingdom's airborne nuclear deterrent during much of the Cold War. Although the Vulcan was typically armed with nuclear weapons, it could also carry out conventional bombing missions, which it did in Operation Black Buck during the Falklands War between the United Kingdom and Argentina in 1982. See: www.bbc.co.uk/news/uk-england-lincolnshire-61283828

 

Vulcan B.2 XL317, the first of a production batch ordered in 1960, was the first Vulcan, apart from development aircraft, to be capable of carrying the Blue Steel stand-off missile. Thirty-three aircraft were delivered to the RAF with these modifications.

 

Operating at higher altitudes, the first Vulcan's in RAF service were finished in an overall white anti-flash scheme, intended to protect the aircraft in the seconds following detonation of a nuclear device, however, advances in Soviet anti-aircraft missile defences brought about a significant change in the aircraft's attack profile.

 

Moving from high to low altitude strike operations during the early to mid 1960s, Vulcans retained their white undersides, but were given a striking grey and green camouflage on their upper surfaces, markings which really suited the huge delta shape of this magnificent aircraft. Although moving to low-level bombing operations, retention of the white anti-flash undersides clearly illustrates the Vulcan's continued role as a nuclear armed strategic bomber.

 

After retirement by the RAF, one example, B.2 XH558, named The Spirit of Great Britain, was restored for use in display flights and air shows, whilst two other B.2s, XL426 and XM655, have been kept in taxiable condition for ground runs and demonstrations. B.2 XH558 flew for the last time in October 2015, but has been kept in taxiable condition.

 

RAF Waddington

During the Cold War, RAF Waddington became an Avro Vulcan V-bomber station, with No. 83 Squadron being the first in the RAF to receive the Vulcan in May 1957. The other Squadrons to fly the Vulcan from Waddington were Nos. 9, 44, 50 and 101 Squadrons. From 1968, the UK nuclear deterrent was transferred to Polaris submarines, beginning with HMS Resolution. The station continued in this role until 1984 when the last Vulcan squadron, No. 50 Squadron, disbanded. It continued to be the home for the last flying Vulcan (XH558) of the Vulcan Display Flight until its disbandment in 1992.

 

RAF Scampton

In October 1960, No. 83 Squadron arrived at Scampton from RAF Waddington and equipped with the Vulcan B.2. Together with No. 27, No. 35 and No. 617 Squadrons, who by this time had also taken delivery of the Vulcan, the "Scampton Wing" was formed, the aircraft being equipped with the Blue Steel stand-off missile.

 

On 30 June 1968, Blue Steel operations at Scampton were terminated, as the Royal Navy, with the submarine launched Polaris missile, assumed responsibility for the UK nuclear deterrent. Scampton squadrons were assigned to the tactical nuclear and conventional bombing roles. This led to the disbandment of No. 83 Squadron in August 1969, however in December 1969 No. 230 Operational Conversion Unit moved to RAF Scampton from RAF Finningley.

 

With disbandment of No. 230 Operational Conversion Unit and the cessation of No. 617 Squadron's Vulcan operations in 1981, followed by the cessation of Vulcan flying at Scampton by No. 27 Squadron and No. 35 Squadron in 1982, Scampton was transferred to RAF Support Command and became home to the Central Flying School (CFS) in 1983.

 

You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/

Beatrice Rangel: Venezuela - Anschluss Executed!

 

"The takeover of political parties by the Venezuelan regime is the sign that a complex process of phagocytosis has ended and thus we have in front of us a new and different political entity that does not correspond to the definition of nation state or colony," concludes former Venezuelan Minister of Ministers Beatrice Rangel. "Venezuela has become a deviant state that has lost its defining properties to alien entities that have penetrated its body, sucked out its spirit and filled the cocoon with an organism that pursues other interests and sustains other values."

 

laht.com/article.asp?ArticleId=2493032&CategoryId=13303

 

Finally getting around to executing that owl motif that I fell in love with several weeks ago. The plan is to make these fingerless gloves (a thumb hole and one big opening instead four shortened fingers), with the main intended use for when my hands get cold at the computer. I used the Beer Gloves pattern from Son of Stitch and Bitch as a rough guide for sizing, and for the thumb hole method; the rest is patterned somewhat on the fly. Copious project notes on the picture, let me know if you have any questions.

 

I don't know if I'll make the owls friends or lovers.

 

This is also my first thing that I Knit In Public. Did it during while working as an election judge yesterday. All the older ladies (and the two older gentlemen) working with me were very impressed and several voters commented positively about it too.

 

One of the other judges brought her craft stuff, too. She was doing filet crochet using crochet thread and a tiny tiny hook to make a tablecloth. Whoa, she already had a few feet done, but think she'd finish until the holidays or so! I watched her work on it a little bit and got a good idea of how it works, so that's on my list of stuff to try now.

U.S. Marine Cpl. Joseph Burk executes speed-reload drills aboard the USS Rushmore (LSD 47) during Certification Exercise (CERTEX) off the coast of San Diego April 10, 2015. Burk is a team leader with Kilo Company, Battalion Landing Team 3rd Battalion, 1st Marine Regiment, 15th Marine Expeditionary Unit. As members of the 15th MEU’s ground combat element, these Marines must maintain a state of readiness while preparing to deploy later this spring.

 

Photo by Sgt. Emmanuel Ramos

 

www.facebook.com/15thMarineExpeditionaryUnit

 

twitter.com/15thmeuofficial

Finally! This project was simple to execute, but it took forever to get all the pieces in order. I bought a basic Mattel Merida very cheaply in a local discount shop last year, and really liked the stylised head, but disliked her stiff, awkward body. Given how pale she is, I thought she would be a good match for Apple White's awesome Ever After High body (not such a fan of the heads in the main, but such is life). However, being a total miser, I was unprepared to shell out for her when she first came out, but she was recently marked down to nearly £10 on Amazon, so I ordered one at last (and was roundly mocked by my colleagues when I had her delivered to work...).

 

Anyway, here's my Merida/Apple White mashup, who is named Brigitte (in tribute to her 'The Most Popular Girls in School' relative). I went with brown eyes, because I've always had a soft spot for red hair/brown eyes.

 

I also have a Disney Store Merida waiting to be messed with at some point, but I think she's going to be a repaint in character.

Monument to Mary, Queen of Scots

 

Mary, Queen of Scots was born in 1542, daughter of King James V of Scotland and Mary of Guise. Her father died just a week after her birth. A fervent Roman Catholic and a claimant to the English Crown Mary was a great danger to her cousin Elizabeth I. When Mary fled to England after her army was routed in 1568 she was confined by Elizabeth and was finally executed at Fotheringhay Castle on 8th February 1587.

She was betrothed to the Dauphin of France and educated at the French Court. Her husband, who succeeded as Francis II, died within a year of his accession and Mary left France in 1560 never to return. She married secondly in 1565 Henry, Lord Darnley, son of Margaret Stewart, Countess of Lennox, in 1565 and had one son who became King James VI of Scotland and I of England. After Darnley's mysterious murder she married James, Earl of Bothwell but divorced him after a short time.

James I ordered that her remains be brought to Westminster Abbey in 1612.

...The King had erected a magnificent marble tomb for her in the south aisle of the Lady Chapel on which there is a fine white marble effigy under an elaborate canopy. She wears a close-fitting coif, a laced ruff, and a long mantle fastened by a brooch. The sculptors were William and Cornelius Cure. A crowned Scottish lion stands at her feet. An ornamental railing was made by smith Thomas Bickford to surround the tomb (this was sold off in the early 19th century but returned to the Dean and Chapter in 1920).

[Westminster Abbey]

 

Inside the Lady Chapel, Westminster Abbey

 

Westminster Abbey (The Collegiate Church of St Peter)

In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.

The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.

Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.

Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.

It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.

There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.

A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.

Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.

Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.

History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.

But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.

[Westminster Abbey]

 

Bird Woman was executed in 2001 by sculptor R.V. Greeves.

 

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

newcastlephotos.blogspot.com/2006/06/all-saints-cemetery....

 

All Saints Cemetery

This Cemetery stands on Jesmond Road, opposite Jesmond Old Cemetery and was the first cemetery in Newcastle to be instigated by the Burial Board. Consecrated in 1855 and opened in 1856 this was very much a rural part of Newcastle. The residential housing surrounding the cemetery on 3 sides were built later.

 

Noted Newcastle architect Benjamin Green designed the cemetery, its buildings and the fine Gothic archway over the entrance from Jesmond Road. The cemetery is surrounded by cast iron railings with fleur-de-lys heads.

 

The cemetery was extended to Osborne Avenue, from just under 10 acres by another 1.3 hectares in 1881.

 

In 1924 Carliol Square Gaol was demolished and the bodies of its executed criminals were transferred into unmarked graves in the cemetery.

 

In total around 90,000 burials have taken place here.

 

Thomas Harrison Hair (1810-1875) the artist best known for his Views of the Collieries of Northumberland and Durham, is buried here in an unmarked grave.

 

Two Small Chapels:

2 chapels. 1856 by Green. Coursed squared sandstone with ashlar turrets and dressings; Welsh slate roofs. T-plan with additional porch on side away from centre of cemetery, and corner turret on innermost side at south end. Aligned north-south. Decorated style. Double doors, with elaborate hinges,on inner fronts have nook shafts and head-stopped dripmoulds; similar surround to plainer door in outward-facing porch; windows of 3 lights facing gateway, 2 lights on other fronts, have similar dripmoulds. Lancets to corner turrets with gabled belfry under octagonal spirelets. Buttresses. Steeply-pitched roofs with cross finials. LISTED GRADE 2.

 

1 of the Chapels is now the Russian Orthodox Church Of St. George.

 

Gate, walls, piers, gates and railings.

 

Cemetery gateway, walls, piers, gates and railings. Dated 1856; by Green. Coursed squared sandstone with ashlar dressings; wrought iron gates; cast iron railings. Gothic style. High gable over 2-centred arch with 12 shafts each side and many mouldings; gabled ends have fantastic beasts climbing down kneelers; head-stopped dripmoulds, buttresses and finials.

 

High, pointed coping to flanking walls containing pedestrian doors in arches; end piers have gables with fleur-de-lis moulding. Chamfered coping to dwarf quadrant walls and similar walls along cemetery front, with 4 square piers at each side having pyramidal coping. High gates are Gothic-patterned; railings have fleur-de-lis heads.

 

Burials:

Samuel Smith.

Celtic Cross monument. Samuel Smith OBE JP (1872-1949) was the founder of Rington's Tea. He was born in Leeds and became an errand boy for a tea merchants on leaving school at 11. In 1908 he moved to Newcastle and set up a small shop in Heaton with William Titterington. They called the company Ringtons. The tea was imported from India and Sri Lanka then tasted, blended and packaged. It was delivered by the company's black, gold and green horse-drawn coaches. In 1926 the business moved to purpose-built premises in Algernon Road. Eventually there were 26 branches of Ringtons in the North. The firm moved into coachbuilding during the World Wars, which led to the creation of Smith's Electric Vehicles at Team Valley Trading Estate.

 

Alexander Gardner.

Cross monument. Alexander Gardner (1877-1921) was a footballer for Newcastle United. Before the First World War, Newcastle United were in the First Division, won three league titles and won one FA Cup final of three. Alexander was the captain and played at right half (midfielder). He made 268 appearances and scored 20 goals. He was born in Leith in 1899. The 1904/5 team won 23 out of 34 league games. In 1909 Alexander broke his leg, which ended his football career. He became landlord of the Dun Cow Inn in Claremont Road.

 

Michael Joseph Quigley.

Gravestone of Michael Joseph Quigley (1837-1924), American Civil War veteran. Michael was born in Bradford and emigrated to America with his wife shortly before the outbreak of civil war. He served under General Robert E. Lee in Virginia but was wounded in his left arm. He was later employed in Government Service. He returned to Britain in 1876. He lived in St. Lawrence Square off Walker Road. His income was subsidised by a pension from the American Government.

 

James Skinner.

Obelisk monument to James Skinner (1836-1920), shipbuilder. James was born in London. He moved to Newcastle aged 14 to begin an apprenticeship at Coutts shipyard at Low Walker. He went on to manage Andrew Leslie's shipyard at Hebburn then opened a yard at Bill Quay with William Wood, shipyard cashier. The firm Wood Skinner & Co. built 330 vessels over 42 years up to 1925. They also built the 30-bed Tyne Floating Hospital for Infectious Diseases at Jarrow Slake, designed by Newcastle Civil Engineer, George Laws. The hospital ship was launched on 2 August 1885. It sank in 1888. She was refloated and remained moored there for over 40 years.

 

Francis Batey.

Urn monument to Francis Batey (1841-1915), steam tug boat owner. Francis joined his father's tug boat business at the age of 11 and eventually gained his master's certificate. When the Albert Edward Dock opened in 1884, he was assistant pilot on the Rio Amazonas, the first ship to enter the dock. He went on to be chairman of several tug related companies on the River Tyne. One of his sons, John Thomas Batey, became Managing Director of Hawthorn Leslie's Hebburn shipyard.

 

Antonio Marcantonio.

Impressive monument of a statue of a monk or friar holding an infant. Antonio Marcantonio (1886-1960), ice cream manufacturer, arrived in Newcastle in 1895 to join a small colony of Italians living in Byker. In the early 1900s he returned to Italy to marry Angela. He returned to Newcastle and began making ice cream in a room in his house using small pans of salt and ice to freeze it. Eventually he took over a small factory on Stepney Bank. 500 gallons of ice cream were made daily. He also owned five ice cream parlours, the first one was in the Grainger Arcade. The Mark Toney business still flourishes (factory at Benton Square).

 

George Henry Carr.

A 13 feet high monument to George Henry Carr (1867-1889), racing cyclist. There is a shield on each side depicting a bicycle, flowers, the badge of the Jubilee Rovers Bicycle Club and the badge of Clarence Bicycle Club. Carr was a prominent figure on the racing circuit. He died aged 22 of inflammation of the brain.

 

John James Lightfoot,

Monument of an angel to John James Lightfoot (1877-1897), apprentice joiner. John James was crushed to death aged 19 during restoration of the 200 year old Green Tree beerhouse in Robson's Entry, Sandgate.The building collapsed killing 4 people and injuring 12. The disaster was sketched by the Chronicle's artist and published on 6 March 1897 the day after the accident. The article describes the scene - 'in the house to the east there was a yawning space where the wall had tumbled in; behind the hole a staircase stood, but seemed, like the sword of Damocles, to have no more than a hair-strength to support it'.

 

Josephine Esther Salisse.

Family vault of M. and H.M. Salisse. A stone sarcophagus with a bronze female figure mourning over it. Josephine Esther Salisse (1905-1924) was from Thornton Heath in Surrey. She died suddenly at her aunt's home in Stratford Road, Heaton, aged 19.

 

John and Benjamin Green were a father and son who worked in partnership as architects in North East England during the early nineteenth century. John, the father was a civil engineer as well as an architect. Although they did carry out some commissions separately, they were given joint credit for many of their projects, and it is difficult to attribute much of their work to a single individual. In general, John Green worked on civil engineering projects, such as road and rail bridges, whereas Benjamin worked on projects that were more purely architectural. Their work was predominantly church and railway architecture, with a sprinkling of public buildings that includes their masterpiece, Newcastle's Theatre Royal.

 

Drawings by John and Benjamin Green are held by the Laing Art Gallery in Newcastle upon Tyne.

 

Biographies

John Green was born on 29 June 1787 at Newton Fell House, Nafferton, two miles north of Ovington, Northumberland. He was the son of Benjamin Green, a carpenter and maker of agricultural implements. After finishing school, he worked in his father's business. The firm moved to the market town of Corbridge and began general building work with young John concentrating on architectural work. About 1820, John set up business as an architect and civil engineer in nearby Newcastle upon Tyne.

 

John Green married Jane Stobart in 1805, and they had two sons, John (c.1807–68) and Benjamin (c1811-58), both of whom became architects. Little is known about the career of John, but Benjamin worked in partnership with his father on many projects.

 

In 1822 John Green designed a new building for the Newcastle Literary and Philosophical Society. The building, which houses the society's substantial library, is still in use today. He also designed a number of farmhouses, being employed on the Beaufront estate near Hexham and also on the Duke of Northumberland’s estates.

 

John Green was principally a civil engineer, and built several road and rail bridges. In 1829–31 he built two wrought-iron suspension bridges crossing the Tyne (at Scotswood) and the Tees (at Whorlton). The bridge at Scotswood was demolished in 1967 but the one at Whorlton still survives. When the High Level Bridge at Newcastle was proposed ten years later, John Green submitted plans, but those of Robert Stephenson were accepted by the York, Newcastle and Berwick Railway. Green also built a number of bridges using an innovative system of laminated timber arches on masonry piers, the Weibeking system, based on the work of Bavarian engineer C.F. Weibeking. The two he built for the Newcastle and North Shields Railway, at the Ouseburn and at Willington Quay remain in use, though the timbers were replaced with wrought iron in a similar lattice pattern in 1869. In 1840 he was elected to the Institution of Civil Engineers, and in 1841 he was awarded the institution's Telford Medal for his work on laminated arch design.

 

John Green died in Newcastle on 30 September 1852.

 

Benjamin Green

Benjamin Green was a pupil of Augustus Charles Pugin, father of the more famous Augustus Welby Northmore Pugin. In the mid-1830s he became a partner of his father and remained so until the latter's death in 1852. The two partners differed somewhat. John has been described as a 'plain, practical, shrewd man of business' with a 'plain, severe and economical' style, whereas Benjamin was 'an artistic, dashing sort of fellow', with a style that was 'ornamental, florid and costly'.

 

The Greens worked as railway architects and it is believed that all the main line stations between Newcastle and Berwick upon Tweed were designed by Benjamin. In 2020 Morpeth Station was restored to Green's original designs following a £2.3M investment. They also designed a number of Northumbrian churches, the best examples being at Earsdon and Cambo.

 

The Green's most important commissions in Newcastle were the Theatre Royal (1836–37) and the column for Grey's Monument (1837–38). Both of these structures were part of the re-development of Newcastle city centre in neo-classical style by Richard Grainger, and both exist today. Although both of the partners were credited with their design, it is believed that Benjamin was the person responsible.

 

Another well-known structure designed by the Greens is Penshaw Monument (1844). This is a folly standing on Penshaw Hill in County Durham. It was built as a half-sized replica of the renowned Temple of Hephaestus in Athens, and was dedicated to John George Lambton, first Earl of Durham and the first Governor of the Province of Canada. The monument, being built on a hill is visible for miles around and is a famous local landmark. It is now owned by the National Trust.

 

Benjamin Green survived his father by only six years, and died in a mental home at Dinsdale Park, County Durham on 14 November 1858.

 

Major works

Presbyterian Chapel, Newcastle upon Tyne, 1822 (demolished 2011)

Literary and Philosophical Society, Newcastle upon Tyne, 1822–1825

St Peter's Church, Falstone, 1824–1825

Westgate Hill Cemetery, Newcastle upon Tyne, 1825–1829 (lodge demolished 1970, railings and gates removed, piers and basic layout remains)

Ingram Farm, Ingram, 1826

Whorlton Suspension Bridge, Wycliffe, County Durham, 1829–1831

Hawks Cottages, Gateshead, 1830 (demolished 1960)

Scotswood Chain Bridge, Newcastle upon Tyne, 1831, (demolished 1967)

Church of St Mary and St Thomas Aquinas, Stella, 1831–1832[1]

Bellingham Bridge, Bellingham, 1834

Holy Trinity Church, Stockton-On-Tees, 1834–1835[2]

Holy Trinity Church, Dalton (near Stamfordham), 1836

Vicarage of St Alban, Earsdon, 1836

Church of St Alban, Earsdon, 1836–1837

St Mary's Roman Catholic Church, Alnwick, 1836

Church of the Holy Saviour, Newburn, 1836–1837

Poor Law Guardians Hall, North Shields, 1837

Master Mariners Homes, Tynemouth, 1837–1840[3]

Theatre Royal, Newcastle upon Tyne, 1837

Parish Hall of the Church of the Holy Saviour, Newburn, 1838

Column of Grey's Monument, Newcastle upon Tyne, 1838

Willington Viaduct, Wallsend, 1837–1839

Ouseburn Viaduct, Newcastle upon Tyne, 1837–1839

Church of the Holy Saviour, Tynemouth, 1839–1841

Ilderton Vicarage, Ilderton, 1841

The Red Cottage, Whitburn, 1842

Holy Trinity Church, Cambo, 1842

Holy Trinity Church, Horsley-on-Rede, 1844

The Earl of Durham's Monument, Sunderland, 1844

St Edwin's, Coniscliffe, Co. Durham, 1844 (restoration of mediaeval church)

40–44 Moseley Street, Newcastle upon Tyne, 1845

Witham Testimonial Hall, Barnard Castle, 1846

Old Railway Station, Tynemouth Rd, Tynemouth 1846–1847

Acklington Station, Acklington, 1847

Chathill Station, Chathill, 1847

Belford Station, Belford, Northumberland, 1847

Morpeth Station, Morpeth, Northumberland, 1847

Warkworth Station, Warkworth, Northumberland, 1847

Holy Trinity Church, Seghill, 1849

Newcastle Joint Stock Bank, St Nicholas Square, Newcastle, c.1850

Norham station, Norham, 1851

St Paul's Church, Elswick, 1854

All Saints Cemetery, Jesmond, 1854

Sailor's Home, 11 New Quay, North Shields, 1856

United Free Methodist Church, North Shields, 1857

Corn Exchange, Groat Market, Newcastle (demolished 1974)

 

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

 

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

 

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

 

Roman settlement

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

 

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

 

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

 

Anglo-Saxon development

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

 

Norman period

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

 

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

 

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

 

Middle Ages

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

 

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

 

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

 

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

 

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

 

Religious houses

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Tudor period

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

 

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

 

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

 

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

 

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

 

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

 

Stuart period

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Eighteenth century

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Victorian period

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

 

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

 

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

 

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

 

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

 

Industrialisation

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

 

Innovation in Newcastle and surrounding areas included the following:

 

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

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

 

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

 

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

 

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

 

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

 

Glassmaking

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

 

Locomotive manufacture

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

 

Shipbuilding

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

 

Armaments

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

 

Steam turbines

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

 

Pottery

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

 

Expansion of the city

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

 

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

 

Twentieth century

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Recent developments

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

Executing a bottle of beer by firing squad.

Performance by Joan Morey, ‘TOUR DE FORCE. El cos utòpic’ [TOUR DE FORCE: The Utopian Body], 2017. Reenactment executed by the original performer, Eduard Escoffet. Presented in the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 13 December 2018. Photo: Noemi Jariod. Courtesy the artist.

 

Each of the six programmed performance reenactments is extracted from its original context as studies or scenes from earlier projects and given independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.

 

A dramatic extract from the fifth act of ‘TOUR DE FORCE’ (2017), which has only previously been witnessed by an audience of six people in the setting of a white limousine driving on a route through Barcelona. The project as a whole puts together a conceptual history of the HIV/AIDS pandemic—from the fear and stigma surrounding diagnosis and infection in the 1980s and 1990s to the possibility today of its management and control via pharmaceutical compliance.

 

This performance corresponds to the latter historical context, addressing the complexities of understanding the disease in an epidemiological sense and as a symbolic phenomenon enmeshed with global governance, human rights and civil liberties. A performer dressed in black leather garments makes a ritualistic reading from a mobile device, listing the dates on which new antiretroviral drugs have been approved for use in the US, beginning from 1987. The brand names of each of the medications join the litany of dates, and the pill trademarks are repeated as though they were figures worthy of veneration: Saint Genvoya, Saint Stribild, Saint Odefsey, etc.

 

The subtitle refers to a 1966 radio broadcast by the philosopher Michel Foucault, known for his histories of healthcare and sexuality, who in 1983 became the first public figure in France to die from an AIDS-related illness.

 

© Text by Latitudes

 

—

 

Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.

 

COLLAPSE encompasses three parts: The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.

 

The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.

 

Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019, at an especially resonant – yet deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.

 

COLLAPSE is curated by Latitudes.

 

—> info: www.lttds.org/projects/morey/

—> info: ajuntament.barcelona.cat/centredart/en/projectes/anterior...

CAMP PENDLETON, CA (Jan. 16, 2019) - U.S. Marines with 1st Marine Division and Japan Ground Self-Defense Force Soldiers of 1st Amphibious Rapid Development Regiment, execute surf passage using combat rubber raiding crafts for Iron Fist on U.S. Marine Corps Base Camp Pendleton, CA. Exercise Iron Fist is an annual, multilateral training exercise where U.S. and Japanese service members train together and share techniques, tactics and procedures to improve their combined operational capabilities. (U.S. Marine Corps photo by Cpl. Cutler Brice) 190116-M-SK635-013

 

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www.instagram.com/indopacom | www.flickr.com/photos/us-pacific-command; | www.youtube.com/user/USPacificCommand | www.pacom.mil/ **

 

Antoine-François Callet (1741-1823), a travaillé entre autres à Paris

Le roi Louis XVI. (1754-1793) de la France dans la robe de couronnement, 1781

Le roi porte la robe de couronnement et l'Ordre du Saint-Esprit. Les insignes de son pouvoir et l'ambiance magnifique soulignent le caractère festif de la peinture. Ceci remonte aux premiers portraits de Louis XVI. par Callet, qui se trouvent à Versailles. Pendant la Révolution française, le couple royal a été condamné à mort et exécuté à Paris.

 

Antoine-François Callet (1741-1823), tätig unter anderem in Paris

König Ludwig XVI. (1754-1793) von Frankreich im Krönungsornat, 1781

Der König trägt den Krönungsornat und den Ordre du Saint Esprit. Die Insignien seiner Macht und das prunkvolle Ambiente unterstreichen den festlichen Charakter des Gemäldes. Dieses geht auf erste Bildnisse Ludwigs XVI. von Callet zurück, die sich in Versailles befinden. Im Verlauf der Französischen Revolution wurde das Königspaar zum Tode verurteilt und in Paris hingerichtet.

 

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

Marines with 3rd Battalion, 1st Marine Regiment, hike back from snow patrol training Feb. 24 during Exercise Forest Light 14-2 at Sekiyama Training Area in Niigata prefecture, Japan. The exercise is bilateral in natural and focuses on cold-weather survival skills with Japan Ground Self-Defense Force members. The battalion is currently assigned to 4th Marine Regiment, 3rd Marine Division, III Marine Expeditionary Force, under the unit deployment program.

This prodigiously executed chalice, in white glass, blown into a silver and bronze structure has a high relief moulded glass knob with entwined figures. These blown glass objects in a metal framework were an important evolution in the manufacture of Lalique glass, and followed in the path of a tradition already known in Antiquity, that was to be taken up again by the Venetians in the nineteenth century.

 

The artist created a number of pieces of this type that varied only in the decorative theme which ranged from pine cones to ears of wheat motifs, to the vine leaves and grapes of the present example.

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 old buses, trams and a steam locomotive. (Photo scanned from an original paper).

___________________________________________________________________________

 

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

 

En esta foto se pueden ver antiguos autobuses, tranvías y una locomotora de vapor. (Foto escaneada de un original de papel).

Florida Av, Peaks Island, Portland, Maine in Casco Bay USA • Beautifully conceived and executed Occupy Wall Street themed graffiti at Battery Steele (1942), also known as U.S. Army Corps of Engineers Battery Construction #102, a United States military fortification, completed in 1942 as part of World War II, it is located on 14 acres (5.7 ha) on the oceanside area of the island. It is named for Harry Lee Steele, who was a coastal artillery officer during World War I. It was built to protect Casco Bay, particularly Portland harbor, from Kennebunk to Popham Beach in Phippsburg. – from Wikipedia. ~ It's now one of thirteen island parcels owned and managed by the Peaks Island Land Preserve.

 

• Portland and the other harbors of southern Maine were terribly important ports. Civil War forts still dotted the islands around these harbors, but Portland now needed far more advanced fortifications to protect it from German attack.

 

So Peaks Island became home to over eight hundred soldiers. Concrete bunkers and observation posts are everywhere. On the far side of the Island are two huge abandoned gun turrets separated by several hundred feet of underground tunnel. Each held a monster 16-inch naval gun. The guns were test-fired only once. Their blasts broke windows all over the island and the recoil, transmitted through rock, caused small earthquakes. After the war, an Islander ran into a German U-boat captain who said he'd spent the war looking at Peaks Island -- through a periscope. … Invasive bittersweet vines, once planted as camouflage, now grow over that history. – From a report of a visit to the Island by John H. Lienhard.

 

☞ On October 20, 2005, the National Park Service added this structure and site to the National Register of Historic Places (#05001176).

 

• GeoHack: 43°39′32″N 70°10′50″W.

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

www.coventrycathedral.org.uk/

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

Mary Jane Veloso was part a group of drug traffickers and smugglers who were to be executed on April 29th 2015. Mary, a Filipino woman, was arrested in Indonesia on April 25th 2010 for alleged possession of 2.6 kilograms of heroin.

 

On October 11th, 2010 she was given the death penalty. After many appeals, in March 2015 a petition to save Mary Jane (using the hashtag #SaveMaryJane) started in the Philippines. She was subsequently handed a Notice of Execution on April 25th 2015.

 

On April 29th she was granted a stay of her execution. Eight other prisoners (including 2 members of the Bali 9 group, Andrew Chan and Myuran Sukumaran) were executed by firing squad that same day.

 

This network graph visualises conversations about Mary Jane Veloso, the #SaveMaryJane campaign and the #MaryJaneLives response between April 25th - April 30th 2015 (UTC+8 Malaysian Standard Time).

 

Each Twitter user is represented as a node (circle). The colour and size of the node is based on the number of users replying to their tweets or retweeting their tweets. It is scaled on a range from blue (few users) -> green -> yellow -> orange -> red -> purple (most users).

 

Users are connected by lines (edges) if one user retweets another user's tweet, or replies to that user. The thickness of the edge is based on the number of retweets or replies. The colour of the line is a mix of the sender and recipient node colours.

 

@rapplerdotcom received replies from the most users, so it is both purple and the largest node.

 

Prominent users (in both size and colour) tweeted content that prompted more replies and retweets from certain followers.

 

Visualisations like this help to highlight such users, and see the chain of users that are connected to them by way of conversation. By looking at the diagram in detail, you get a sense of which users 'sparked' conversations that spread among other users.

 

Rappler (@rapplerdotcom), its Indonesian branch (@rapplerid) and civic engagement arm MovePH (@moveph), along with GMA News were instrumental in spreading awareness but did not dominate the conversation.

 

Instead, a great number of users started their own conversations about Mary Jane, sparking conversations within their own respective networks. However the presence of spam bots does make it a difficult to measure the impact of real people.

 

Here are the top 30 users, sorted by the number of replies and retweets received. This list does include spammers:

 

1. @rapplerdotcom

2. @gmanews

3. @rapplerid

4. @moveph

5. @chantinilaya

6. @ancalerts

7. @inquirerdotnet

8. @abscbnnews

9. @senyora

10. @teenwordquote

11. @skybro1000

12. @kimpoyfeliciano

13. @komnasperempuan

14. @iamsuperbianca

15. @vicegandalines

16. @mgapinoypatama

17. @textposts

18. @dawnzpost

19. @denniselazaro

20. @rahung

21. @jeffkulubot

22. @jomardlrs

23. @pinoyweekly

24. @jetdsantos

25. @abscbnchannel2

26. @miriambanat

27. @sirbanatero

28. @toogdtoresist

29. @promosiiin

30. @mamoncerdass

 

There are 54,317 nodes and 89,212 edges in this graph. This was derived from 75,834 users and 158,264 tweets. We only used connections based on retweets and replies. Not all spammers could be identified and removed due to time constraints.

 

In past disasters that we observed, typical users will retweet news of an event, and/or write a personal opinion on the event and stop at that. This is just one of many types of network visualisations that are made possible with Twitter data.

 

For a list of our services please visit www.politweet.org/site/main.php

 

For popular tweets about Mary Jane within this same time period please visit politweet.wordpress.com/2015/05/07/popular-tweets-about-m...

 

Further reading

 

Timeline of Mary Jane's case www.gov.ph/2015/05/03/for-the-record-a-timeline-of-the-ca...

 

The viral petition to save Mary Jane www.rappler.com/move-ph/91652-viral-petition-save-mary-ja...

 

In 1945, a few days before the end of the war, Wehrmacht Captain Gerhard Klinkicht was ordered by City Commander Dietrich to blow the "Dom" first to pieces with 100 shells. If that is not enough, you have to continue shooting until it is completely destroyed. "But for moral reasons, Gerhard Klinkicht refused to execute this order and thus saved St. Stephen's Cathedral from total destruction.

On 14 March 2000 Gerhard Klinkicht died in Bavaria in his 86th year. A few months before his death, he presented Dr. Christoph Cardinal Schönborn a check worth around 70,000 euros for the restoration of St. Stephen's Cathedral. In total, Klinkicht donated 150,000 euros for "Our St. Stephen's Cathedral".

A memorial plaque at the foot of the high tower commemorates the savior of St. Stephen's Cathedral:

"Captain Gerhard Klinkicht thank you. By his decision of conscience he saved St. Stephen's Cathedral from destruction in April 1945. "

 

St. Stephen's Cathedral and the Second World War

During the Second World War, of course, hardly any restoration work could be carried out. Priority was the valuable art treasures to protect against possible bomb attacks: thus, for example, the pulpit and the tomb of Friedrich had been walled, the beautiful, colorful glass panes were removed, the giant gate secured and movable art objects brought into the catacombs.

On the night of April 11 to 12, 1945, the scaffolding on the north tower began to burn. Since there was no water to extinguish, the fire could spread to the roof. As a result of the fire, the Pummerin collapsed, including the belfry, the great organ was destroyed, the medieval choir stalls were burned and the vaults of the central and south choir collapsed: essential substance of St. Stephen's Cathedral was lost.

Yet 1945 was begun with the reconstruction of St. Stephen's Cathedral. From 1945 to 1948, the back of the cathedral was used as a church, while the choir (separated by a wall) was restored. In 1952, the choir was solemnly opened and the new Pummerin - a gift from Upper Austria - brought to Vienna.

Actions such as the "roof tile action" (a roof tile cost 5 shillings) or the Dombaulotterie (cathedral building lottery) contributed significantly to the rapid reconstruction of St. Stephen's Cathedral. The material that was used in 1945 (St. Margarethner limestone), was basically good. In some cases, however, layers were used that were biologically interfused and thus vulnerable. This material is still being replaced today.

In 1945 it was also considered to build a flat roof (such as the Milan Cathedral) instead of the steep Gothic roof. The idea was rejected.

The year 1960 marked the end of the reconstruction, from this point on one speaks of restoration work.

 

Wehrmachtshauptmann Gerhard Klinkicht erhielt 1945 einige Tage vor Kriegsende von Stadtkommandant Dietrich den Befehl, den „... Dom zunächst mit 100 Granaten in Schutt und Asche zu legen. Sollte das nicht ausreichen, ist bis zu seiner völligen Zerstörung weiterzuschießen." Doch Gerhard Klinkicht verweigerte aus moralischen Gründen die Ausführung dieses Befehls und rettete damit den Stephansdom vor der totalen Zerstörung.

Am 14. März 2000 ist Gerhard Klinkicht in Bayern im 86. Lebensjahr verstorben. Einige Monate vor seinem Tod überreichte er Dr. Christoph Kardinal Schönborn einen Scheck im Wert von rund 70.000 Euro für die Restaurierung des Stephansdoms. Insgesamt spendete Klinkicht 150.000 Euro für „Unser Stephansdom“.

Eine Gedenktafel am Fuß des Hochturms erinnert an den Retter des Stephansdoms:

„Hauptmann Gerhard Klinkicht zum Dank. Durch seine Gewissensentscheidung bewahrte er im April 1945 den Stephansdom vor der Zerstörung."

 

Der Stephansdom und der Zweite Weltkrieg

Während des Zweiten Weltkriegs konnten selbstverständlich kaum Restaurierungsarbeiten durchgeführt werden. Vorrangig waren die wertvollen Kunstschätze vor möglichen Bombeneinschlägen zu schützen: So wurden z. B. die Kanzel und das Friedrichsgrab ummauert, die schönen, bunten Glasscheiben wurden ausgebaut, das Riesentor gesichert und bewegliche Kunstgegenstände in die Katakomben gebracht.

In der Nacht von 11. auf 12. April 1945 begann das Gerüst auf dem Nordturm zu brennen. Da kein Wasser zum Löschen vorhanden war, konnte sich das Feuer auf das Dach ausbreiten. Infolge des Brandes stürzte die Pummerin samt Glockenstuhl herab, die große Orgel wurde zerstört, das mittelalterliche Chorgestühl verbrannte und das Gewölbe des Mittel- und Südchores stürzte ein: Wesentliche Substanz des Stephansdoms war verloren.

Noch 1945 wurde mit dem Wiederaufbau des Stephansdoms begonnen. In den Jahren 1945 bis 1948 wurde der hintere Teil des Doms als Kirche verwendet, während der Chor (durch eine Wand getrennt) wiederhergestellt wurde. 1952 wurde der Chor feierlich eröffnet und die neue Pummerin – ein Geschenk Oberösterreichs – nach Wien gebracht.

Aktionen wie die „Dachziegelaktion“ (ein Dachziegel kostete 5 Schilling) oder die Dombaulotterie trugen wesentlich zum raschen Wiederaufbau des Stephansdoms bei. Das Material, das 1945 verwendet wurde (St. Margarethner Kalksandstein), war grundsätzlich gut. Teilweise kamen aber Schichten zum Einsatz, die biologisch durchsetzt und somit anfällig waren. Noch heute wird dieses Material ausgetauscht.

1945 wurde auch überlegt, ein Flachdach (wie z. B. am Mailänder Dom) anstelle des steilen gotischen Daches zu errichten. Die Idee wurde jedoch verworfen.

Das Jahr 1960 markiert das Ende des Wiederaufbaus, ab diesem Zeitpunkt spricht man von Restaurierungsarbeiten.

www.stephansdom.at/restaurierung_zweiter_weltkrieg.htm

.

Detroit Industry Murals - 1932-1933

Diego M. Rivera - (Mexican, 1886 - 1957)

  

"Between 1932 and 1933, artist Diego Rivera, a premier leader in the 1920s Mexican Mural Movement, executed one of the country's finest, modern monumental artworks devoted to industry. Often considered to be the most complex artworks devoted to American Industry, the Detroit Industry mural cycle depicts the city's manufacturing base and labor force on all four walls of the Detroit Institute of Arts Garden Court, since renamed the Diego Court. Rivera's technique for painting frescoes, his portrayal of American life on public buildings, and the 1920s Mexican Mural Movement itself directly led to and influenced the New Deal mural programs of the 1930s and 1940s.

 

The Mexican Mural Movement came into being in 1920s at the end of the Mexican Revolution. Mexico's new president wanted to promote a Mexican culture. He appointed a new Minister of Education, Jose Vasconcelos, who envisioned a comprehensive program of popular education to teach Mexican peasants what it meant to be Mexican. Vasconcelos' plan was to adorn public buildings with murals to promote a national identity. One of the more prominent painters of this program was Diego Rivera. Rivera studied at the San Carlos Academy of Fine Arts. He won a scholarship to study art in Europe, where he learned about Italy’s 13th and 14th century murals. This study helped him develop a philosophy of public art that would support the mural movement in post-revolutionary Mexico.

 

The Detroit Industry Murals consist of 27 panels spanning four walls. These panels depict industry and technology as the indigenous culture of Detroit. They emphasize a relationship between man and machine. Technology is portrayed in both its constructive and destructive uses, to illustrate the give-and-take relationships between North and South Americans, management and labor, and the cosmic and technological. The east and west walls depict the development of technology and the north and south walls show a representation of the four races, the automobile industry, and the secondary industries of Detroit-medicine, drugs, gas bomb production, and commercial chemicals."

 

www.nps.gov/places/detroit-industry-murals-detroit-instit...

 

_____________________________________________

The Detroit Institute of Arts has one of the largest and most significant art collections in the United States. With more than 65,000 artworks that date from the earliest civilizations to the present, the museum offers visitors an encounter with human creativity from all over the world.

 

www.youtube.com/watch?v=M2E8t-aPwo4

 

dia.org

________________________________________________

  

The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self-Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range, and depth. The DIA’s mission is to create opportunities for all visitors to find personal meaning in art.

 

www.michigan.org/property/detroit-institute-arts

 

Detroit Institute of Arts, art museum in Detroit, Michigan, U.S., noted for its collection of American paintings from the 19th century and its Dutch, Flemish, and Italian paintings from the Renaissance through the Baroque period. It is also known for a large collection of arts of antiquity and of the Islamic world, based on works acquired by pharmaceutical magnate Frederick Stearns. The Greek, Roman, Egyptian, and ancient Persian holdings have been augmented by artifacts from western Europe, Mesopotamia, and ancient Arabia. The museum also houses traditional Asian, African, Oceanian, and Native American works and contemporary art from around the world.

 

The museum was founded in 1885 by a group of Detroit citizens. It was given to the city in 1919 and moved into its present Neoclassical-style structure in 1927. It was enlarged by additions completed in 1966 and 1971. The museum’s central courtyard is decorated with a series of 27 murals by the Mexican painter Diego Rivera that depict the automobile industry. In 2001 the museum created a new department, the General Motors Center for African American Art, and in 2010 it opened a gallery dedicated to Islamic art.

 

www.britannica.com/topic/Detroit-Institute-of-Arts

 

...

 

The Detroit Institute of Arts has one of the largest and most significant art collections in the United States. With more than 65,000 artworks that date from the earliest civilizations to the present, the museum offers visitors an encounter with human creativity from all over the world.

 

www.youtube.com/watch?v=M2E8t-aPwo4

 

dia.org

________________________________________________

  

The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self-Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range, and depth. The DIA’s mission is to create opportunities for all visitors to find personal meaning in art.

 

www.michigan.org/property/detroit-institute-arts

 

Detroit Institute of Arts, art museum in Detroit, Michigan, U.S., noted for its collection of American paintings from the 19th century and its Dutch, Flemish, and Italian paintings from the Renaissance through the Baroque period. It is also known for a large collection of arts of antiquity and of the Islamic world, based on works acquired by pharmaceutical magnate Frederick Stearns. The Greek, Roman, Egyptian, and ancient Persian holdings have been augmented by artifacts from western Europe, Mesopotamia, and ancient Arabia. The museum also houses traditional Asian, African, Oceanian, and Native American works and contemporary art from around the world.

 

The museum was founded in 1885 by a group of Detroit citizens. It was given to the city in 1919 and moved into its present Neoclassical-style structure in 1927. It was enlarged by additions completed in 1966 and 1971. The museum’s central courtyard is decorated with a series of 27 murals by the Mexican painter Diego Rivera that depict the automobile industry. In 2001 the museum created a new department, the General Motors Center for African American Art, and in 2010 it opened a gallery dedicated to Islamic art.

 

www.britannica.com/topic/Detroit-Institute-of-Arts

 

...

Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.

"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"

ROCKHAMPTON, Australia (July 10, 2015) - Lt. Guy Williams (left), a nursing officer and Pvt. Jessica Edwards (right), an advanced medical technician, both with 1st Close Health Battalion in the Australian army, give simulated medical treatment to U.S. Army Capt. Omar Alens, a liaison officer with 6th Squadron, 17th Cavalry Regiment. Talisman Sabre is a biennial exercise that provides an invaluable opportunity for nearly 30,000 U.S. and Australian defense forces to conduct operations in a combined, joint and interagency environment that will increase both countries' ability to plan and execute a full range of operations from combat missions to humanitarian assistance efforts. (Photo by Sgt. Sinthia Rosario)

 

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This mural, located along NW 26th Street, was executed for Outside the Walls by assume vivid astro focus in 2010. Eli Sudbrack founded the art collective "assume vivid astro focus" (avaf) in 2000 after moving to New York from São Paulo. Eli has been working with Christophe Hamaide-Pierson in New York and Paris since 2005. Their production process usually begins with a hand-drawn image, which is digitized and manipulated in Illustrator and Photoshop before it is printed on self-adhesive and installed. avaf lent a labyrinth of previously produced wallpapers for an interior space at Wynwood Walls. For their exterior mural, Eli and Cristophe worked with Miami graffiti artist Skott Johnson to translate their images. The shoe imagery owes the many old shoes warehouses of the Wynwood District. When avaf learned there was one sign painter employed by all the warehouses, they located him and Diego agreed to collaborate with them.

 

Wynwood Walls, located on a six-building complex along NW 2nd Avenue between NW 25th and NW 26th Streets, was opened by Tony Goldman and Goldman Properties in 2009 to bring together the world's greatest artists working in the graffiti and street art. In 2010, Tony added the Wynwood Doors, 176-feet of roll-up storefront gates. And in 2011, murals outside the complex have been commissioned for Outside the Walls.

MS Ee.3.59 Page: 7r. Life of St Edward the Confessor

by Matthew Paris.

Cambridge Digital Library.

Part of the Treasures of the Library Collection.

Part of the Christian Works Collection.

 

The only copy of an illustrated Anglo-Norman verse Life of St Edward the Confessor, written in England probably in the later 1230s or early 1240s and, as preserved in this manuscript, executed c. 1250-60.

 

cudl.lib.cam.ac.uk/view/MS-EE-00003-00059/19

 

A masterpiece of mid thirteenth-century English illumination, the present manuscript preserves vital evidence for the study of the hagiographical writings about St Edward sponsored by Henry III (1216-72), and also for the complexity and sophistication of English pen and wash narrative art in this period. The text, entitled in the first rubric La estoire de seint aedward le rei translatee de latin, is based upon Aelred of Rievaulx's twelfth-century Latin Life, written around the time of the saint's canonisation in 1161. The Life tells how Edward was exiled as a boy during the Danish occupation, and how his rule proved of benefit to the English people; it describes his visions and miracles, his patronage of Westminster Abbey and the manner of his death, before covering the downfall of his successor, Harold, and the eventual opening of the king's tomb.

  

The present translation into verse was composed by someone either at Westminster, where the shrine of the saint lay, or more probably at St Albans. Numerous correspondences between the text and the historical works of Matthew Paris (d. 1259) suggest very strongly that Matthew was in fact the author. The text opens with a form of dedication to Queen Eleanor of Provence, and was thus composed after 1236, when Eleanor married Henry III, but probably before the birth of Prince Edward, later Edward I, in 1239, and certainly before the start of work on the rebuilding of Westminster Abbey by Henry III in 1245, which the passages in the poem about St Edward's own refoundation of the Abbey appear to anticipate.

  

Consisting of thirty-seven folios and a total of sixty-four pictures, the present manuscript is a slightly later copy of the original. The script and illustrations demonstrate numerous points of contact with a number of stylistically and codicologically similar manuscripts produced not at St Albans but in London, or at Westminster itself: these include the Getty (formerly Dyson Perrins) Apocalypse, the Morgan Apocalypse and the Tanner Apocalypse. A similarly delicate hand was employed on now fragmentary wall paintings in the Dean's Cloister at Windsor Castle, made for Henry III in the 1250s. The Life of St Edward is probably the latest of the series, since some of its illustrations are in the French-influenced 'broad-fold' style common from the later 1250s; these, and some of the pen and wash marginalia, also include naturalistic foliage common only from the 1250s. This indicates that the present copy was probably made on the basis of Matthew Paris's original by court illuminators working around 1255, possibly for the use of Eleanor of Castile, who married Prince Edward in 1254, and who later owned a manuscript Life of St Edward.

  

The format of the manuscript, with framed illustrations at the head of the page, resembles such autograph works of Matthew Paris as his Life of St Alban in Dublin, and also the stylistically related Apocalypses. Here, however, the form of the poem, in octo-syllabic rhymed couplets which yield a short line and thus three columns of text per page, has shaped the appearance of each opening. As a rule the illustrations, accompanied by rubrics, cover all three columns, but occasionally occupy fewer. The marginalia are notable: that on the first opening (fo. 3) shows a semi-erased image of a man and woman kissing, perhaps a subversive reference to the substance of the main text, which stresses Edward's chastity.

  

Paul Binski

Professor of the History of Medieval Art

University of Cambridge

 

A glum looking Manchester City Police officer stares at the camera while on duty outside the gates of the city’s Strangeways Prison sometime in the early years of the 20th century.

 

In the years between 1900 and the outbreak of the Second World War more than 50 people were executed within the prison’s walls.

 

Albert Pierrepoint, perhaps Britain’s best known hangman, executed 14 people in the gaol.

 

The final person executed at Strangeways was Gwynne Owen Evans, who was hanged on the 13th of August 1964.

 

It was the custom of the prison governor to put up a notice in the prison gates once an execution had taken place. Police officers would be posted to ensure there were no disturbances by or between members of the public, the family of the executed person, or the family of the victim.

 

View here for an earlier image of officers performing this duty.

 

For more information please follow Greater Manchester Police Museum and Archives.

 

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

www.gmp.police.uk

 

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

 

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

 

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

        

Executed with a monoline, archival tool.

The elegance of copperplate script at an affordable price for most budgets.

It's a village situated in Haraz called Ayd,

Haraz is one of the most beautiful Districts located in Yemen,

Distance of 100 kilometers from the capital Sana'a City, Yemen

We alNajjar Architects got an opportunity to design and execute this ambitious project in year 2017, which was later finished in 2019.

We are proud and thankful to His Holiness Dr. Syedna Mufaddal Saifuddin Aqa (TUS) who awarded this project to his Adna Gulam.

May he live prosperously till the day of judgement.

 

MARINE CORPS BASE HAWAII, Hawaii (Dec. 11, 2019) - A U.S. Marine with Headquarters Battalion (HQBN), Marine Corps Base Hawaii (MCBH), holds a radio, Marine Corps Training Area, Bellows, Dec. 11, 2019. Marines with Headquarters Battalion, Marine Corps Base Hawaii executed 9-line transmissions, casualty response exercises, and casualty evacuations with the assistance of VMM-268 to increase their readiness. (U.S. Marine Corps photo by Lance Cpl. Samantha Sanchez) 191211-M-SS016-0005

 

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Sgt. Bryant Morales cuts square blocks in snow with an ice saw making it easier to shovel Feb. 24 during Exercise Forest Light 14-2 at Sekiyama Training Area in Niigata prefecture, Japan. The bilateral training is focused on increasing the cold-weather survival skills of the Marines from 3rd Battalion, 1st Marine Regiment. The battalion is currently assigned to 4th Marine Regiment, 3rd Marine Division, III Marine Expeditionary Force, under the unit deployment program. Morales is a squad leader with the battalion.

Three people have been arrested after early morning warrants were executed in Manchester.

 

Earlier this morning (Friday 29 November 2019), officers executed warrants at two addresses in Cheetham Hill and made three arrests in relation to an ongoing firearms investigation.

 

The action comes after GMP launched a dedicated operation – codenamed Heamus - earlier in the month. The operation is set to tackle a dispute between two local crime groups, following a series of firearms discharges which have taken place since the beginning of September 2019.

 

Superintendent Rebecca Boyce, of GMP’s City of Manchester division, said: “Following this morning’s direct action, we have three people in custody and I would like to thank those officers who have worked extremely hard as part of this ongoing operation and who are committed to keeping the people of Cheetham Hill safe.

 

“Whilst we believe that these incidents have been targeted, we understand and appreciate how concerned local residents may be and as a result of this have set up this dedicated operation. We want to reassure those who feel affected that we are doing all that we can and stress that we are treating these incidents as an absolute priority.

 

“This is a complex investigation, which brings its own challenges and whilst we have made arrests, we are continuing to appeal for the public’s help. We believe that answers lie within the community and would urge anyone with information to get in touch. Whether you want to speak to us directly, or whether you’d prefer to talk to Crimestoppers anonymously, please do so if you think you can assist our enquiries with even the smallest piece of information.

 

“We will continue to work closely with partners in order to disrupt this kind of activity and I hope that this morning’s action demonstrates that are working hard in order to prevent any further incidents and protect those in our communities.

 

“This type of criminal behaviour is reckless and dangerous- it will not be tolerated on our streets.”

 

Anyone with information should call 0161 856 1146, quoting incident number 2348 of 18/11/19. Reports can also be made anonymously to the independent charity Crimestoppers on 0800 555 111.

Site of executions on scaffold, Tower of London

27-28 April 1945, Dongo, Italy. After the partisans had received information about a German military convoy moving along the west side of Lake Como, they set up a road block at the mouth of a tunnel near the village of Musso to intercept it. It was here that it was found the lorries were carrying the fascist leader Benito Mussolini, his mistress and a number of his party aides.

The Germans had been trying to take Mussolini and his supporters to safety as the fascists were on the verge of defeat and there was considerable danger for them to have remained in Italy. Although Mussolini had been given a German overcoat and helmet in an attempt to disguise him, one of the partisans was quickly able to recognise him.

Following negotiations with the partisans, the Germans handed over the Italians in return for their own safe passage: the captives were taken to the town of Dongo, a short distance north along the lakeside, and secured at the Municipio (town hall), which is the cream coloured building in this picture.

It is believed that Mussolini and his mistress, Clara Petacci, were taken to a separate location - the village of Germasino - at some point during the day: the following day, 28 April 1945, they were taken to another nearby village, Mezeggra, where they were both shot.

As regards the remaining fascists, the partisan leaders deemed for 15 of them to be executed, which appears to have been a direct reprisal for an earlier fascist attack on the partisans, which left 15 dead, the previous August.

From contemporary photos I saw at the museum, when I visited in 2010, it seems the fascists were trooped from the town hall and stood up in a line, against the railings seen in this picture, looking out over the lake, and were then shot from behind.

The same photos I saw showed railings with three horizontal bars. Most of Dongo's waterfront has now been fitted with newer railings, but along the section where the executions took place it seems the originals have been retained.

 

Clifford’s Tower is one of the best-loved landmarks in York. It is the largest remaining part of York Castle, once the centre of government for the north of England. The 11th-century timber tower on top of the earth mound was burned down in 1190, after York’s Jewish community, some 150 strong, was besieged here by a mob and committed mass suicide. The present 13th-century stone tower was probably used as a treasury and later as a prison.

 

Archaeological evidence shows that there was activity in this area in Roman times (with a Roman cemetery lying across the site) and perhaps even earlier, but it was William the Conqueror who first established a castle here. When he marched north in 1068 to suppress a rebellion against his rule, he built a series of castles as he went, including one here where Clifford’s Tower now stands.

The Norman motte-and-bailey castle saw several violent incidents during its earliest years, including further revolts and an attack by Danish invaders. As the political situation settled down in the 1070s, however, the damage of these early years was repaired, and the castle, built largely of earth and timber, probably survived relatively unaltered through most of the 12th century.

 

The Mass Suicide and Massacre of 1190

The castle of York was the setting for one of the most notorious events in English history: the mass suicide and massacre in March 1190 of York’s Jewish community.

Tensions between Christians and Jews had been increasing throughout England during the 12th century, partly because many people were in debt to Jewish moneylenders and partly because much crusading propaganda was directed not only against Muslims but also against Jews. Anti-Jewish riots in several cities followed the coronation of the crusader king Richard I in 1189, and a rumour (untrue) was put about that he had ordered a massacre of the Jews.

 

In York, as described by William of Newburgh and other contemporary chroniclers, about 150 people from the Jewish community were given protective custody in the royal castle, probably the site of Clifford’s Tower.

Somehow, though, trust between the royal officials and the Jews broke down. The officials, finding themselves shut out from the tower, summoned reinforcements to recapture it. These troops were joined by a large mob, which soon ran out of control, incited by both anti-Jewish preachers and local gentry eager to escape their debts.

On 16 March, the eve of the Sabbath before Passover, when the Jews realised that there would be no safe way out for them, a rabbi urged his fellow-inmates in the tower to commit suicide rather than fall into the hands of their persecutors. Heads of households killed their own families before killing themselves, and the wooden tower itself was set on fire.

According to several accounts a number of Jews did survive and came out of the tower under an amnesty, only to be murdered by the attackers. A plaque at the base of the mound, commemorating these events, was installed in 1978.

Though Jewish life did in fact revive in York within a few years of the massacre, it came to an end a hundred years later, in 1290, when Edward I expelled all Jews from England. This time their exile lasted until the 17th century.

 

The Medieval Castle

The tower burnt down in 1190 was rebuilt very shortly afterwards. Further repairs and rebuilding, some in stone, took place in the castle during the early 13th century. Then in the middle years of that century, as war with Scotland loomed, King Henry III decided to build a completely new stone tower on the mound.

A writ of March 1245 may refer to the construction of the tower. It orders Master Henry the mason and Master Simon the carpenter to advise the sheriff on strengthening the castle’s defences. Master Henry is often identified as Henry of Reyns, master mason of the new abbey at Westminster. At the abbey, as at Clifford’s Tower, English architectural detailing was applied to a plan influenced by French prototypes.

Documentary sources show that construction was intermittent and the tower was probably not finished until the 1270s, possibly not until the 1290s.

 

Despite the regional and national importance of York, its royal castle did not generally act as a royal residence. Together with Clifford’s Tower it was instead used chiefly for administrative purposes, notably for imprisonment, for storage and for judicial sessions. Occasionally it acted as a home for the Exchequer and its various treasuries when wars against the Scots caused the government to relocate to the north of England. It also housed an important royal mint.

The castle’s buildings, particularly Clifford’s Tower, whose mound was scoured by floods of the river Fosse, fell more than once into disrepair. By 1360, several of the structural defects which are visible today had already appeared.

 

The Tower in Decay

The history of the castle and Clifford’s Tower during the 15th and 16th centuries is obscure. Accounts of Henry VI, Richard III and Henry VIII suggest that several buildings were ruinous, and efforts were concentrated on maintaining a small number of them as gaols.[14] In 1540, just three years after Robert Aske (one of the leaders of the Pilgrimage of Grace) had been hanged ‘on the height of the castle dungeon’, John Leland wrote that the ‘arx is all in ruin’.

In 1596–7 a public scandal arose when the aldermen of York accused the gaoler, Robert Redhead, of trying to demolish the derelict tower and sell the stone for lime-burning. Contemporary correspondence about these events contains the first recorded use of the name ‘Clifford’s Tower’.

The name is sometimes interpreted as evidence that the Clifford family claimed the post of constable to be hereditary. Alternatively, it may refer to the rebel Roger de Clifford, who was executed after the Battle of Boroughbridge in 1322 and whose body was displayed on a gibbet at the castle.

 

War and Explosion

After a brief period when Clifford’s Tower passed out of royal ownership, in 1643 it was occupied again by a royal garrison during the Civil War. The building was re-roofed and re-floored, apparently at the behest of Queen Henrietta Maria, creating storage rooms for ammunition and a gun platform on the roof. The forebuilding was largely reconstructed.

The city fell to Parliamentarians the following year. The tower continued to be occupied by a garrison of between 40 and 80 men and it may also have served occasionally as a prison. The Quaker George Fox was imprisoned here for two nights in 1665, on his way to Scarborough Castle.

The garrison’s dissolute behaviour caused discontent among the citizens of York, who called for the demolition of the tower, scathingly nicknamed ‘the Minced Pie’. On 23 April 1684 the interior was partly gutted by fire, allegedly as a result of the firing of a ceremonial salute for St George’s Day. Destruction was not total, though, and parts of the building remained in use for storage, while cannon were still positioned on the roof.

By 1699, however, when Clifford’s Tower was released to freeholders, sketches of the interior by Francis Place show that it was completely roofless.

 

Gaol and Monument

The 18th century was a period of changing ownership for the tower and mound. Clifford’s Tower was treated as a garden folly and possibly as a stable or cattle shed.

In marked contrast, the former bailey of the castle was redeveloped as a prison. New courthouses and gaol buildings were built, until in the 1820s and 1830s the prison encompassed the entire castle area. The mound and tower were enclosed and effectively hidden from view. Clifford’s Tower was accessible only with permission from a magistrate.

In 1902 a radical campaign of repairs and investigations was undertaken by Mr Basil Mott, including the partial reconstruction of the mound in an effort to underpin the south-east lobe of the tower with buried concrete ‘flying buttresses’. During these works, the most detailed archaeological investigation to date of the internal structure of the mound was carried out.

On 30 March 1915, Clifford’s Tower was taken into state guardianship. The structure was repaired and public access improved in 1935 with the demolition of the surviving 19th-century prison buildings, notably the wall enclosing the mound on its north and west sides. The lower parts of the slope were restored to their presumed medieval profile, and a stairway leading up to the forebuilding in a straight line was created, replacing a spiral path.

Time to execute a long planned bash in the Nottingham & Mansfield area today. This is 18340 seen through the glass of Mansfield Bus Station as it arrives with the ‘Pronto’ Nottingham-Chesterfield working (vice MMC) for which I was waiting.

One of only a couple from what I call the ‘Cambridge batch’ which I’d not ridden on. Sadly sister 18341 is another, and it stubbornly refused to come out to play today. 18.4.23.

► Two youngsters are executing a “Broga jump” over their backpacks paraded in a row. It seems that everybody’s making a jump when they are at the top of Broga Hill. I saw them making star jumps, scissor jumps, frog jumps and even idiotic types of jumps as well.

  

If one fails to grasp the implicit side of the tale, it must have been sounded hyperbolic on the challenges of Broga Adventure in the Part 1 of my account. To tell you the truth, those even an understatement, still. We are not comparing to the youngsters like the ones in the picture. We are in the league of our own.

 

Oh boy, these kids do have a lot of energy – keep on jumping and jumping before the big camera of Wan Husmie's until he said he got it captured the way he wanted to have. And I too did partake with my humble D40 to get the shot above. (Check out here on Hilmy's work and here for Wan Husmie's)

 

A couple of hours before, down the trails when it was still dark, the calf muscles were screaming, the hamstrings and quadriceps were begging for mercy. We just kept on pushing every precious ounce of strength. Inching a single step up felt like the leg is tied with an inch-thick rope being pulled by an elephant from below. Seeing the peak merely meters above was the most daunting moment when all energies were practically drained out already. It was real hard on the cardiorespiratory system to catch up as every breath taken seems not to be ample for the bodily function to do the job. That funny nauseated sensation in the brink of vomiting was overwhelmed – and it’s too awful for words.

 

Hence, you can imagine how it feels like when we finally reached the peak. The feeling is beyond description. And that alone not after a few long minutes taken to refresh – catching up breaths to regain strengths – and those were the moments when only the boulders of Broga know it best.

 

Go check:

An Account of Broga Adventure (Part 1)

 

Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.

  

The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.

 

The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.

 

The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.

 

A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.

27-28 April 1945, Dongo, Italy. After the partisans had received information about a German military convoy moving along the west side of Lake Como, they set up a road block at the mouth of a tunnel near the village of Musso to intercept it. It was here that it was found the lorries were carrying the fascist leader Benito Mussolini, his mistress and a number of his party aides.

The Germans had been trying to take Mussolini and his supporters to safety as the fascists were on the verge of defeat and there was considerable danger for them to have remained in Italy. Although Mussolini had been given a German overcoat and helmet in an attempt to disguise him, one of the partisans was quickly able to recognise him.

Following negotiations with the partisans, the Germans handed over the Italians in return for their own safe passage: the captives were taken to the town of Dongo, a short distance north along the lakeside, and secured at the Municipio (town hall), which is the cream coloured building in this picture.

It is believed that Mussolini and his mistress, Clara Petacci, were taken to a separate location - the village of Germasino - at some point during the day: the following day, 28 April 1945, they were taken to another nearby village, Mezeggra, where they were both shot.

As regards the remaining fascists, the partisan leaders deemed for 15 of them to be executed, which appears to have been a direct reprisal for an earlier fascist attack on the partisans, which left 15 dead, the previous August.

From contemporary photos I saw at the museum, when I visited in 2010, it seems the fascists were trooped from the town hall and stood up in a line, against the railings seen in this picture, looking out over the lake, and were then shot from behind.

The same photos I saw showed railings with three horizontal bars. Most of Dongo's waterfront has now been fitted with newer railings, but along the section where the executions took place it seems the originals have been retained.

 

Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.

"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"

Paratroopers assigned to the 6th Brigade Engineer Battalion, 4th Infantry Brigade Combat Team (Airborne), 25th Infantry Division, U.S. Army Alaska, operate a Small Unit Sustainment Vehicle at Malemute drop zone during airborne jump training at Joint Base Elmendorf-Richardson, Alaska, Jan. 9, 2018. The Soldiers of 4/25 belong to the only American airborne brigade in the Pacific and are trained to execute airborne maneuvers in extreme cold weather/high altitude environments in support of combat, training and disaster relief operations. (U.S. Air Force photo by Alejandro Peña)

La Joute (The Joust), a public sculptural installation executed by Jean-Paul Riopelle in 1969 was formerly located in the Parc Olympique. It was relocation to the Place Jean-Paul Riopelle in 2003 as part of the redevelopment of the Quartier international de Montréal, provoking protes5t from residents of Hochelaga-Maissonneuve, who claimed the work was deprived of the its context.

 

The ensemble of bronze sculptures contains a central fountain surrounded by a number of freestanding abstract animal and human figures inside and outside the fountain basin. The fountain operates on a kinetic sequence that takes about 32 minutes to complete and begins a few minutes before the half hour, every hour from 7 to 11 p.m. during the summer. The sequence starts when the fountain jet expands to form a dome over the sculptures. Then at the back end of the park the grates on the ground start to mist. The 12 grates each mist, one after the other in sequence, taking about 90 seconds to sequence from one to another until they reach the fountain. After about 18 minutes, machines inside the fountain start to produce a particularly dense cloud. The fountain jet then turns into a dribble. On the hour, nozzles in a ring surrounding the central sculpture within the basin shoot up jets of natural gas through the water; these are lit by flame sources installed in the daises of some of the sculptures, producing a dramatic ring of flame. The flame lasts for about seven minutes. The fountain itself stops. The misting stops, and then the fire is "doused" by the fountain which has restarted. The mist sequence, without the fire in the fountain, occurs every hour throughout the day.

 

Place Jean-Paul Riopelle, a public square built on an old exterior parking lot over the trench, a covered section of Autoroute Ville-Marie, was named in honor of Riopelle. The square features 88 trees in an "urban forest"--eleven different species from maple to hickory, all indigenous to the Montréal area.

La Joute (The Joust), a public sculptural installation executed by Jean-Paul Riopelle in 1969 was formerly located in the Parc Olympique. It was relocation to the Place Jean-Paul Riopelle in 2003 as part of the redevelopment of the Quartier international de Montréal, provoking protes5t from residents of Hochelaga-Maissonneuve, who claimed the work was deprived of the its context.

 

The ensemble of bronze sculptures contains a central fountain surrounded by a number of freestanding abstract animal and human figures inside and outside the fountain basin. The fountain operates on a kinetic sequence that takes about 32 minutes to complete and begins a few minutes before the half hour, every hour from 7 to 11 p.m. during the summer. The sequence starts when the fountain jet expands to form a dome over the sculptures. Then at the back end of the park the grates on the ground start to mist. The 12 grates each mist, one after the other in sequence, taking about 90 seconds to sequence from one to another until they reach the fountain. After about 18 minutes, machines inside the fountain start to produce a particularly dense cloud. The fountain jet then turns into a dribble. On the hour, nozzles in a ring surrounding the central sculpture within the basin shoot up jets of natural gas through the water; these are lit by flame sources installed in the daises of some of the sculptures, producing a dramatic ring of flame. The flame lasts for about seven minutes. The fountain itself stops. The misting stops, and then the fire is "doused" by the fountain which has restarted. The mist sequence, without the fire in the fountain, occurs every hour throughout the day.

 

Place Jean-Paul Riopelle, a public square built on an old exterior parking lot over the trench, a covered section of Autoroute Ville-Marie, was named in honor of Riopelle. The square features 88 trees in an "urban forest"--eleven different species from maple to hickory, all indigenous to the Montréal area.

Bundesrealgymnasium, Oberstufenrealgymnasium and European Highschool (Henriettenplatz/Geibelgasse)

(further information and another picture are available by clicking on the link at the end of page!)

Abendgymnasium (evening grammar school) Vienna

BG, BRG and WRG for employed persons Vienna, night school Henriettenplatz

School form AHS (general secondary school) for working persons

Founded in 1925

Address - Henriettenplatz 6

Location Vienna

Bundesland (State of Austria) Wien

State Austria

♁ coordinates 48 ° 11 ' 26 " N, 16 ° 19' 56 " O coordinates: 48 ° 11 ' 26 " N, 16 ° 19' 56" E | |

Executing authority Vienna Board of Education

Students 1200

Teachers 75

Directorate Mag. Klaus Brandl

www.henriettenplatz.at site

Abendgymnasium Vienna

The Federal High School, Bundesrealgymnasium and Wirtschaftskundliche (with an additional focus on economics) secondary school for working professionals in Vienna (the Vienna night school or night school Henriettenplatz) is a public evening school. It leads students aged 17 and over within a maximum of eight semesters to university entrance qualification.

History

The night school was founded in 1925 and thus it is one of Europe's oldest evening high schools. After the First World War, by Dr. Wanda Lanzer and apprentices of the vocational school Mollardgasse preparation courses for obtaining the high school graduation were launched. 1925 received the "middle school course" the official approval of the Vienna Board of Education. Educational director of the new institution was Dr. Arthur Pollak.

After staffing and changes in content by the respective new political regimes (corporate state, the Nazi regime), the night school in 1939 definitely is dissolved. In 1945 the re-establishment as a "workers' Middle School" by the two social partners. The private school receives public status and in 1960 by Act of Parliament it becomes a public state school of the Republic of Austria. Directors of the reconstruction period are Dr. Alfred Bohmann and Dr. Ferdinand Hübner.

1990 is the beginning of the educational and organizational renewal of the Night School (8-semester duration, modular design, distance learning, etc.). Target under Director Dr. Oskar Achs was "to impart on the basis of a democratic, social and based firmly on the needs of adults a high quality education and according to EU standards".

Teaching program

The attendance of the Night School and the textbooks are free. However, 5 euros from the "Working Group Second Chance Education" (equivalent to a parents' association) are collected.

Structure of the training course

General organization of studies

In contrast to the Austrian daily schools, the classes at the Night School are divided into eight semesters.

Modular system

Another peculiarity of the Night School is the modular structure which means that most of the minors are not taught from the first to the eighth semester continuously but concentrated and multiplexed with higher number of hours per week finish in previous semesters. Although the extent of the subject matter remains the same, but it results in lesser burden through the lower number of subjects with whose teaching material otherwise one would have to cope simultaneously over four years. Partial examinations for school leaving examination thereby can be pulled forward.

Distance learning

Distance learning as an alternative to the formal study particularly comes to meet all those students for whom it would otherwise be difficult due to occupation, own family or other circumstances to attend classes five days a week. On two days per week contact phases take place in which the material areas in concentrated scale are dealt with and any questions are answered. The remaining material is to learn through self-study, with an online learning platform (Moodle), which is managed by the respective class teachers, providing a helpful support. Distance learning is only run as an economic Realgymnasium (WRG), otherwise it corresponds to the general organization.

Offered subjects

General Majors (1st to 8th semester, mandatory for all)

German

English

Mathematics

Foreign Language Majors (2nd to 7th semester, a subject for choice)

French or Latin or Turkish

Furthermore, it is open to the students to take an external exam from another foreign language instead of French, Latin or Turkish.

Additional subjects

Learning, presentation, and communication techniques in the first semester

History and Social Studies/Civics Education in the 1st, 2nd and 3rd semester

Geography and Economics in the first and 2nd semester

Computer science in the second and 3rd semester

Biology in the third and 4th semester

Chemistry in the 4th and 5th semester

Physics in the 4th, 5th and 6th semester

Psychology and philosophy in the 5th and 6th semester

Music education in the 7th semester

Art Education in the 7th semester

Religious education (Catholic, Protestant, Islamic) 1st to 8th semester

Type forming electives (from the 7th semester, a subject for choice)

The choice of this subject decides on the type and orientation of the later school-leaving examination and represents an extension and deepening of the in each of the preceding subjects dealt with.

Latin in high school

French in secondary school

Turkish secondary school

Computer science in the economic-oriented secondary school

Individual elective courses (from the 7th semester, a subject for choice)

Art

Economics

Other subjects in accordance with the offering

Examination modalities and assessment criteria

In mathematics, German and foreign languages ​​school work is mandatory, otherwise assessment behooves to the respective teachers. There are homeworks but with regard to the many employed people only in exceptional cases and then on a voluntary basis. The school seeks to offer "an education firmly based on the needs of adult learners".

Altogether, each module can be repeated three times, whereby seminars also being possible.

Class times

A lesson lasts 45 minutes. Most modules are given from 17.55 to 21.20 o'clock. Since several semesters, there is also an afternoon track between 14.20 und 17.40 o'clock.

Admission

Requirements

Successful completion of the eighth grade (primary school, lower grade AHS)

Completion of the age of 17 years of life not later later than in the calendar year of admission

Proof of employment or a completed education or receipt of the registration with the Employment Service

Admission to the first semester follows in accordance with the availability of places without entrance examination. Previous eduation (completed grades of secondary school) are individually recognized.

de.wikipedia.org/wiki/Abendgymnasium_Wien

Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.

"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"

By the River was executed in 2014 by sculptor Kent Ulberg.

 

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

The central focus of FDR’s second term was developing and executing the New Deal to bring the country out of economic turmoil. In this room, there are three scenes depicting the state of American citizens in the United States during the Great Depression. In front of you, against the large central wall, a rural family is depicted suffering from the effects of drought, dust bowls, and poverty. Inscribed above the sculpture is the following quote from FDR’s second inaugural address: “I see one-third of a nation ill-housed, ill-clad, ill-nourished.”

 

Turning away from this historic scene, visitors encounter two more sculptural vignettes by George Segal which exemplify the overwhelming issue of poverty. One scene, Appalachian Couple, captures a farm couple caught in what appears to be an unending cycle of despair. They appear in front of their barn, their only obvious possession a wooden chair.

 

George Segal

 

George Segal was born in the Bronx, New York City, in 1924. His parents had immigrated from eastern Europe. George exhibited an interest in art early and won honors for his work while still in high school. George was raised in New Jersey, where his family settled, and he helped his parents with their chicken-raising business throughout his teens. Later, he took over the farm and still lives there with his wife Helen. Today, the old chicken coops house his art studio.

 

Everyday life and everyday happenings form the basis of George Segal’s sculptures. His pieces are cast directly from live models, mostly friends and relatives. George’s method of sculpting is unique. It depends heavily on real-life events and people said within environments which he constructs from real elements and furnishings. Segal’s work is therefore figurative but it does not romanticize or idealize the people whom he casts.

 

As the critic Phyllis Tuckman explains in the book, George Segal: Recent Painted Sculpture, “Segal’s figures radiate an aura of the familiar. They look like the kind of people with whom you come in daily contact…. These slices of life’s scenarios belie or masked other aspects of this haunting art.” Segal’s environments express more than what is visible on the surface. They dig deeply and say much about the universal elements of life through their focus on simple tasks.

 

It was for these reasons that George Segal was chosen to work within the themes of the Memorial. George has strong feelings and deep empathy for the Roosevelt era. He quickly selected three everyday images that were descriptive of the essence of the Depression years in our country, which had such a deep influence on the character and quality of our culture. Within these depictions the message is one of inherent individual dignity in the face of overwhelming odds.

 

George Segal developed his very personal casting technique in the early 1960s. He starts by dipping cloth bandages in wet plaster and then applying them directly to a body or to an object. He spends time working with his models before casting, describing the gestures he is trying to achieve and choreographing the positioning of their bodies in space within the constructed environment. Artist and model work together to finalize the pose before wrapping begins. Once the format has been fixed, the bandages are fitted around the various parts of the body. Hardening takes only minutes and then the bandages are removed by splitting them into sections. Later, they are reassembled to form the final figures or, as was the case for figures in the Memorial, they become molds for the final bronze sculptures.