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

Building

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

Canaletto: View of Palais Liechtenstein

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

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

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

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

Sala terrene of the Palais

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

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

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

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

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

Use as a museum

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

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

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

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

www.law.mq.edu.au/research/colonial_case_law/nsw/cases/ca...

In the cemetery are the headstones of nine of the thirteen mutineers executed in September 1834. Due to Judges reluctance to travel to Norfolk Island, lots had been cast among the judges to decide who would sail to Norfolk Island to conduct the trials there, and Justice Burton was chosen. He apparently made excessive claims for expenses on this trip, which he was required to refund, the Crown refused to pay for his life insurance, wine and spirits.

THE MUTINY.

The Norfolk Island mutiny took place on January 15. 1834 but The Alligator, carrying the judge did not arrive until July. Difficulties were put in the way of the Governor by the Judges of the Supreme Court in Sydney. Although the services of Mr. Justice Burton were eventually made available, the Governor was given to understand that the Norfolk Island trip was not to be considered a precedent for holding the Court there. The trials commenced on July 10.

Details of the mutiny, which was suppressed with all the ferocity of the period, were forwarded to the Home authorities by Sir Richard Bourke the following year. He told how thirty convicts, "generally of the worst character," had attacked the gaol guard. About an equal number, "under false pretexts of ill health." had been taken to the hospital behind the gaol, under the usual escort. But, breaking out of the lock-up, where they had been detained for examination, they overpowered and confined the hospital attendants. Having knocked off each other's Irons, and armed themselves "with such implements adapted for offence as the hospital afforded," and being joined by other convicts from the saw pits and other places, they rushed the guard. For a time, the Governor admitted, the guard was nearly overpowered. But the soldiers, with the use of firearms, and assisted by reinforcements from the barracks, quelled the mutiny, killing two and wounding eleven. Seven of the latter died. That the outbreak had been carefully and ably planned was obvious and convicts at the agricultural station at Longridge attempted to join their confederates. But they only arrived In time to increase the number of fugitives. Depositions laid before the Attorney-General In Sydney resulted in 55 men being tried. Of these 29 were "capitally convicted" (by a military Jury), and 13 were ordered for execution. The remainder had their sentences commuted for various terms of additional servitude on the Island. By order, the executions on September 22 and 23, took place in the presence of the other convicts.

Archbishp Ullathorne was sent from Sydney to hear the confessions, before execution, of those condemned who were of the Catholic faith, an Anglican clergyman having been already been engaged for the same occasion. In his autobiography he describes how the executions took place half one day and half the next. One thousand convicts divided into two bodies were brought on the ground the first day, and the other thousand on the second day. “Thus all passed off in tranquillity.”

I had six of my men put together in one cell and five in another, (This implies that the writer had charge of eleven convicts. He has stated above that seven of those condemned to die had placed themselves in his hands. It is to be supposed that the additional four must have been of the number of those condemned by an earlier Commission), one of which parties was executed each day, and executed in one group, whilst the Protestants were executed in another. The second day was but a repetition of the first. The Protestant convicts were executed after the Catholics. The Anglican clergyman had three to attend to each day. Then came the funerals, the Catholics at a separate time from the Protestants. A selected number of the convicts followed each coffin to the most beautiful cemetery that the eye of man could possibly contemplate. archive.org/stream/a611465300ullauoft/a611465300ullauoft_...

CAMP COURTNEY, OKINAWA, Japan (Aug. 16, 2019 ) - U.S. Marine Cpl. Logan Foster with Headquarters Battalion, 3rd Marine Division, executes knee strikes after being sprayed by Oleoresin Capsicum Spray during a non-lethal weapons training course on Camp Courtney, Okinawa, Japan, Aug. 16, 2019. The training encompasses classes in the lawful use of force, M1014 Shotgun qualification, and OC Spray qualification. During OC Spray qualification Marines are exposed to OC and conduct a simulated arrest with a non-compliant suspect. (U.S. Marine Corps photo by Lance Cpl. Joshua Sechser) 190816-M-IB436-1500

** Interested in following U.S. Indo-Pacific Command? Engage and connect with us at www.facebook.com/indopacom | twitter.com/INDOPACOM |

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

patrimoine.region-bretagne.fr/sdx/sribzh/main.xsp?execute...

Executed. Turn over.

Most execute the usual shot in color, while tonight I opted for the black and white. Getting proper exposure was tricky with the light streaming in at odd angles but I managed to find a happy medium.

Cadet Tyler Schnorrbusch, University of Tampa, executes security watch around Rescue Randy while his teammate evaluates and contains the simulated injuries during the Tactical Combat Casualty Care event at the 6th Brigade Army ROTC Ranger Challenge. The Ranger Challenge was held January 13-15, 2022, at Fort Benning, Ga. The top two Ranger Challenge teams from each brigade will go on to compete in the Sandhurst Military Skills Competition at the West Point Military Academy in the spring of 2022. | Photo by Sarah Windmueller, U.S. Army Cadet Command Public Affairs

Greater Manchester Police this morning, Thursday 16 March 2023, executed a raid in Hulme to locate a man from Fallowfield, and made an arrest on suspicion of possessing indecent images of a child.

The man was also arrested on suspicion of carrying out activities relating to organised crime.

Located at Duffield Court on Brennan Close in Hulme, the 23-year-old of Selside Walk in Fallowfield, was arrested on suspicion of possession of indecent images of a child, contrary to section 160A of the Criminal Justice Act 1998.

Multiple electronic devices were seized from the address and he remains in custody for questioning. Enquiries are ongoing.

This arrest is the latest during the National Exploitation Fortnight of Action, to protect those who are being exploited - both adults and children, criminally and sexually.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Snakes (Untitled) was executed by Norval Morrisseau around 1968-1970.

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

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

Travelers, was executed by Deborah Masters in 2007, was installed in Audubon Park in March, 2008 as part of Sculpture for New Orleans.

Audubon Park, bordered by the Mississippi River and St. Charles Avenue, was carved out of the plantations owned by the Foucher and Boré familes in 1871, and initially called Upper City Park. The park is named in honor of artist and naturalist John James Audubon, who began living in New Orleans in 1821. Inside the park, there is a golf course, several lakes, and the 58-acre Audubon Zoo.

In 1884 the World's Industrial and Cotton Exposition, or World Cotton Centennial, celebrating the first shipment of cotton, was held in Audubon Park. The first street car was introduced at the expo, led by motorman/tea baron Thomas Lipton. The Mardi Gras Krewe of Rex arrived at the Expo aboard a yacht, establishing a tradition that survives today. New Orleans was still recovering from the Civil War and Reconstruction, and it was the World's Fair that helped jumpstart development around the city. Most remnants of the Cotton Exposition were demolished or destroyed in the ensuing years and Audubon Park's present form follows a a design drafted by John Charles Olmsted, a principal of the renowned Olmsted Brothers landscape architecture practice.

This bronze sculptural bust of James Rolph, Jr., was executed in 1936 by sculptor Haig Patigian and installed inside the Polk Street entrance of San Francisco City Hall in 1937. James “Sunny Jim” Rolph, Jr. (1869–1934) served as the 30th Mayor of San Francisco from 1912 to 1931, and as the 27th Governor of California from 1931 to 1934.

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

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

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

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

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

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

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

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

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

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

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

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

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

For more see below:-

www.coventrycathedral.org.uk/

The Sanctury of the St Kilda Presbyterian Church features three beautiful 1880s Ferguson and Urie stained glass windows; Faith on the left, Charity in the middle and Hope on the right. All are executed in iridescent reds, yellows, greens and blues, to reflect the colour palate used in other Ferguson and Urie windows elsewhere around the church.

Built on the crest of a hill in a prominent position overlooking St Kilda and the bay is the grand St Kilda Presbyterian Church.

The St Kilda Presbyterian Church's interior is cool, spacious and lofty, with high ceilings of tongue and groove boards laid diagonally, and a large apse whose ceiling was once painted with golden star stenciling. The bluestone walls are so thick that the sounds of the busy intersection of Barkley Street and Alma Road barely permeate the church's interior, and it is easy to forget that you are in such a noisy inner Melbourne suburb. The cedar pews of the church are divided by two grand aisles which feature tall cast iron columns with Corinthian capitals. At the rear of the building towards Alma Road there are twin porches and a narthex with a staircase that leads to the rear gallery where the choir sang from. It apparently once housed an organ by William Anderson, but the space today is used as an office and Bible study area. The current impressive Fincham and Hobday organ from 1892 sits in the north-east corner of the church. It cost £1030.00 to acquire and install. The church is flooded with light, even on an overcast day with a powerful thunder storm brewing (as the weather was on my visit). The reason for such light is because of the very large Gothic windows, many of which are filled with quarry glass by Ferguson and Urie featuring geometric tracery with coloured borders. The church also features stained glass windows designed by Ferguson and Urie, including the impressive rose window, British stained glass artist Ernest Richard Suffling, Brooks, Robinson and Company Glass Merchants, Mathieson and Gibson of Melbourne and one by Australian stained glass artist Napier Waller.

Opened in 1886, the St Kilda Presbyterian church was designed by the architects firm of Wilson and Beswicke, a business founded in 1881 by Ralph Wilson and John Beswicke (1847 - 1925) when they became partners for a short period. The church is constructed of bluestone with freestone dressings and designed in typical Victorian Gothic style. The foundation stone, which may be found on the Alma Road facade, was laid by the Governor of Victoria Sir Henry Barkly on 27 January. When it was built, the St Kilda Presbyterian Church was surrounded by large properties with grand mansions built upon them, so the congregation were largely very affluent and wished for a place of worship that reflected its stature not only in location atop a hill, but in size and grandeur.

The exterior facades of the church on Barkley Street and Alma Road are dominated by a magnificent tower topped by an imposing tower. The location of the church and the height of the tower made the spire a landmark for mariners sailing into Melbourne's port. The tower features corner pinnacles and round spaces for the insertion of a clock, which never took place. Common Victorian Gothic architectural features of the St Kilda Presbyterian Church include complex bar tracery over the windows, wall buttresses which identify structural bays, gabled roof vents, parapeted gables and excellent stone masonry across the entire structure.

I am very grateful to the Reverend Paul Lee for allowing me the opportunity to photograph the interior of the St Kilda Presbyterian Church so extensively.

The architects Wilson and Beswicke were also responsible for the Brighton, Dandenong, Essendon, Hawthorn and Malvern Town Halls and the Brisbane Wesleyan Church on the corner of Albert and Ann Streets. They also designed shops in the inner Melbourne suburbs of Auburn and Fitzroy. They also designed several individual houses, including "Tudor House" in Williamstown, "Tudor Lodge" in Hawthorn and "Rotha" in Hawthorn, the latter of which is where John Beswicke lived.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Group portrait of Masai Ujiri, President, Toronto Raptors; Simelane; Xasa and Bishop while addressing during Africa Investment Forum 2018 - The Business of Sports - Executing for Success in November 2018, at Sandton Convention Centre, Johannesburg, South Africa.

MARINE CORPS AIR STATION IWKAUNI, Japan (May 5, 2018) - The U.S. Army Golden Knights execute a flag jump during the 42nd Japan Maritime Self-Defense Force - Marine Corps Air Station Iwakuni Friendship Day at MCAS Iwakuni. Since 1973, MCAS Iwakuni has held a single-day air show designed to foster positive relationships and offer an exciting experience that displays the communal support between the U.S. and Japan. The air show also encompassed various U.S. and Japanese static display aircraft, aerial performances, food and entertainment. (U.S. Marine Corps photo by Sgt. N.W. Huertas) 180505-M-RH401-0099

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This portrait bust of George Walton, located in the Georgia Capitol Building, was executed by sculptor Bryant Baker around 1957. George Walton signed the United States Declaration of Independence as a representative of Georgia, and later served as a United States Senator from 1795 to 1796.

The Georgia State Capitol, located at 206 Washington Street SW, was constructed from 1883 to 1889 to the design by Willoughby J. Edbrooke and Franklin P. Burnham of Chicago. Prior to 1868, Georgia's capitol sat in Savannah, Augusta, Louisville and Milledgeville. The capitol building, which sits on a five acre property occupied previously by the first Atlanta City Hall, highlights the democratic ideal of transparency in government with its wide open spaces and large windows. The offices of the governor, lieutenant governor and secretary of state are on the second floor. The third floor houses the General Assembly, or the legislative chambers--the 180-member House of Representatives, and the 56-member Senate. The fourth floor features visitors' galleries and the Georgia Capitol Museum. Under the rotunda is a Hall of Fame with marble busts of the Georgia signers of the Declaration of Independence, as well as other notable citizens from the past.

Travelers, was executed by Deborah Masters in 2007, was installed in Audubon Park in March, 2008 as part of Sculpture for New Orleans.

Audubon Park, bordered by the Mississippi River and St. Charles Avenue, was carved out of the plantations owned by the Foucher and Boré familes in 1871, and initially called Upper City Park. The park is named in honor of artist and naturalist John James Audubon, who began living in New Orleans in 1821. Inside the park, there is a golf course, several lakes, and the 58-acre Audubon Zoo.

In 1884 the World's Industrial and Cotton Exposition, or World Cotton Centennial, celebrating the first shipment of cotton, was held in Audubon Park. The first street car was introduced at the expo, led by motorman/tea baron Thomas Lipton. The Mardi Gras Krewe of Rex arrived at the Expo aboard a yacht, establishing a tradition that survives today. New Orleans was still recovering from the Civil War and Reconstruction, and it was the World's Fair that helped jumpstart development around the city. Most remnants of the Cotton Exposition were demolished or destroyed in the ensuing years and Audubon Park's present form follows a a design drafted by John Charles Olmsted, a principal of the renowned Olmsted Brothers landscape architecture practice.

Raymond Jonson's Cloud Forms and Mesas No. 1, an oil paint on canvas, was executed in 1926. When Jonson first visited New Mexico in 1922, he found that the landscape fit his increasingly abstract approach. Although modern styles like cubism were not popularly accepted at the time, Jonson pushed the envelope with painitings like this one, which simplified the lanscape into flat, geometric forms.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Katyń massacre ("zbrodnia katyńska" in Polish) was the mass murder of approximately 22000 Polish nationals carried out by the Soviet secret police (NKVD) in April and May 1940. The massacre was prompted by a proposal (dated 5th March 1940) from Lavrentiy Beria, Minister of Internal Affairs of the Soviet Union, to execute all members of the Polish Officer Corps who had been captured and imprisoned by the USSR during the Nazi-Soviet invasion of Poland in 1939. This official document was approved and signed by the Soviet Politburo, including its leader Joseph Stalin.

As well as approximately 8000 officers of the Polish army, the victims of the Katyń massacre included 6000 police officers and thousands of university lecturers, teachers, doctors, lawyers, civic leaders, politicians, government officials, priests and other members of the "bourgeoisie" who had been targeted for arrest following the Soviet occupation of eastern Poland.

By physically eliminating Poland’s military and civilian elites, Stalin wanted to decapitate the Polish nation and ensure it was less able to resist the enforced Sovietisation of the occupied Polish territories.

The victims were all citizens of Poland, but not all were ethnically Polish - for example, the murdered army officers included Ukrainians, Belarusians and several hundred Jews, among them Baruch Steinberg, the Chief Rabbi of the Polish army. The majority were interned at three Soviet camps (Kozielsk, Starobielsk and Ostaszków) before being taken to NKVD mass murder sites, where they were executed and buried in mass graves.

en.wikipedia.org/wiki/Baruch_Steinberg

Although the killings took place at several different locations in Soviet Russia, Ukraine and Belarus, the massacre is named after the Katyń forest in the Smolensk Oblast of western Russia where the graves of the Kozielsk prisoners were discovered in 1943. The exact fate of the other victims and the location of their graves was not confirmed until five decades later. After the discovery of the Katyń burial site the USSR denied responsibility for the massacre and tried to blame it on the Germans, and continued to lie about the killings for 50 years until finally admitting Soviet guilt in 1990 and revealing where the remaining victims were buried.

It eventually became possible to exhume and identify the bodies from the mass murder sites at Charków (Kharkiv), where the NKVD murdered the prisoners who were interned at Starobielsk, and Miednoje (Mednoye), where the NKVD murdered the prisoners who were interned at Ostaszków - as well as other locations such as Bykownia (Bykivnia).

Most of the Ostaszków prisoners were killed by Beria's chief executioner Vasily Blokhin, who was awarded the Order of the Red Banner by Stalin at the end of April 1940 for demonstrating "skill and organisation in the effective carrying out of special tasks".

en.wikipedia.org/wiki/Vasily_Blokhin

Although several other ex-members of the NKVD eventually confessed to participating in the Katyń massacre, none of the perpetrators were ever brought to justice, and neither the Soviet government nor successive governments of Russia have ever permitted a full investigation of this war crime.

There's also no shortage of vatniks, tankies and other useful idiots out there who are still in denial about it, even though claims that the murders were carried out by the Germans have zero credibility and have been comprehensively debunked (it's actually impossible for the Polish prisoners interned at Ostaszków - who disappeared without trace in 1940 and whose bodies were found in Miednoje in 1991 - to have been captured, killed and buried by the Germans, who never reached either of these locations in Russia at any time during World War 2)....

holocaustcontroversies.blogspot.com/2023/02/debunking-gro...

en.wikipedia.org/wiki/Katyn_massacre

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/

Detail of the fine mosaic, with a wonderfully executed, complicated and colorful meander pattern, in the impluvium of the court of the House of the Trident.

www.law.mq.edu.au/research/colonial_case_law/nsw/cases/ca...

In the cemetery are the headstones of nine of the thirteen mutineers executed in September 1834. Due to Judges reluctance to travel to Norfolk Island, lots had been cast among the judges to decide who would sail to Norfolk Island to conduct the trials there, and Justice Burton was chosen. He apparently made excessive claims for expenses on this trip, which he was required to refund, the Crown refused to pay for his life insurance, wine and spirits.

THE MUTINY.

The Norfolk Island mutiny took place on January 15. 1834 but The Alligator, carrying the judge did not arrive until July. Difficulties were put in the way of the Governor by the Judges of the Supreme Court in Sydney. Although the services of Mr. Justice Burton were eventually made available, the Governor was given to understand that the Norfolk Island trip was not to be considered a precedent for holding the Court there. The trials commenced on July 10.

Details of the mutiny, which was suppressed with all the ferocity of the period, were forwarded to the Home authorities by Sir Richard Bourke the following year. He told how thirty convicts, "generally of the worst character," had attacked the gaol guard. About an equal number, "under false pretexts of ill health." had been taken to the hospital behind the gaol, under the usual escort. But, breaking out of the lock-up, where they had been detained for examination, they overpowered and confined the hospital attendants. Having knocked off each other's Irons, and armed themselves "with such implements adapted for offence as the hospital afforded," and being joined by other convicts from the saw pits and other places, they rushed the guard. For a time, the Governor admitted, the guard was nearly overpowered. But the soldiers, with the use of firearms, and assisted by reinforcements from the barracks, quelled the mutiny, killing two and wounding eleven. Seven of the latter died. That the outbreak had been carefully and ably planned was obvious. For, convicts at the agricultural station at Longridge, armed with implements, attempted to Join their confederates. But they only arrived In time to increase the number of fugitives. Depositions laid before the Attorney-General In Sydney resulted in 55 men being tried. Of these 29 were "capitally convicted" (by a military Jury), and 13 were ordered for execution. The remainder had their sentences commuted for various terms of additional servitude on the Island. By order, the executions on September 22 and 23, took place in the presence of the other convicts.

Archbishp Ullathorne was sent from Sydney to hear the confessions, before execution, of those condemned who were of the Catholic faith, an Anglican clergyman having been already been engaged for the same occasion. In his autobiography he describes how the executions took place half one day and half the next. One thousand convicts divided into two bodies were brought on the ground the first day, and the other thousand on the second day. “Thus all passed off in tranquillity.”

I had six of my men put together in one cell and five in another, (This implies that the writer had charge of eleven convicts. He has stated above that seven of those condemned to die had placed themselves in his hands. It is to be supposed that the additional four must have been of the number of those condemned by an earlier Commission), one of which parties was executed each day, and executed in one group, whilst the Protestants were executed in another. The second day was but a repetition of the first. The Protestant convicts were executed after the Catholics. The Anglican clergyman had three to attend to each day. Then came the funerals, the Catholics at a separate time from the Protestants. A selected number of the convicts followed each coffin to the most beautiful cemetery that the eye of man could possibly contemplate.

archive.org/stream/a611465300ullauoft/a611465300ullauoft_...

CAMP HANSEN, OKINAWA, Japan (Jan. 8, 2013) - Marines execute fast-rope techniques out of a CH-53E Super Stallion helicopter at a landing zone on Camp Hansen. "It’s important for the Marines to be comfortable with their gear when coming down (the rope),” said Sgt. Gregory J. Dominguez. “In hostile environments, they can’t be scared to come down from the helicopter. They have to be focused.” Dominguez is a machine gun section leader with 2nd Battalion, 5th Marine Regiment, currently assigned to the 31st Marine Expeditionary Unit, III Marine Expeditionary Force, under the unit deployment program. The Marines are with 2nd Bn., 5th Marines, and the helicopter and crew are with Marine Heavy Helicopter Squadron 463, currently assigned to Marine Medium Tiltrotor Squadron 265 (Reinforced), 31st MEU, under the UDP. (U.S. Marine Corps photo by Cpl. Natalie M. Rostran)

140108-M-ZH183-007

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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"

The painting was executed in Auvers not long before van Gogh's death. He repeated the motif of peasant huts on many occasions: "In my opinion, the most marvellous of all that I know in the sphere of architecture is huts with their roofs of moss-grown straw and a smoky hearth," wrote van Gogh in one of his letters.

The thatched roofs seem to be just as much an organic part of nature as the hills, fields and sky. The hilly relief of the distance allowed the artist to accentuate the dynamics of space, which he reinforced through the use of colour contrasts. The tense, wavy brushstrokes and lines convey the dramatism of the artist's perception of life and the world.

Iraqi television photo via the AP.

///COMMAND EXECUTED///

///CT-1194///

///STATUS: MIA///

///CT-5415///

///STATUS: KIA///

///C/S-3632-///

::/INCOMING TRANSMISSION::/

/:/This is CT-1194… the artillery base has been bombed… my squad is down… AZ droid eliminated, require backup… additional AZs are on their way... I'm here alone/:/

//:Scrambling gunships now… ETA 5 minutes. Hold out CT-1194//:

/:/GET THEM OVER HERE NOW! FU-/:/

///ERROR///

///TRANSMISSION LOST///

///:ABORTABORTABORTABORT///

Finally I found some building time. This is for 457th corps Mission 9.2, and please excuse the crappy photo.

This portrait bust of John A. Treutlen, located in the Georgia Capitol Building, was executed by sculptor Bryant Baker around 1959. John Adam Treutlen was a patriot who helped write Georgia's first constitution and served as Georgia's first governor in 1777.

The Georgia State Capitol, located at 206 Washington Street SW, was constructed from 1883 to 1889 to the design by Willoughby J. Edbrooke and Franklin P. Burnham of Chicago. Prior to 1868, Georgia's capitol sat in Savannah, Augusta, Louisville and Milledgeville. The capitol building, which sits on a five acre property occupied previously by the first Atlanta City Hall, highlights the democratic ideal of transparency in government with its wide open spaces and large windows. The offices of the governor, lieutenant governor and secretary of state are on the second floor. The third floor houses the General Assembly, or the legislative chambers--the 180-member House of Representatives, and the 56-member Senate. The fourth floor features visitors' galleries and the Georgia Capitol Museum. Under the rotunda is a Hall of Fame with marble busts of the Georgia signers of the Declaration of Independence, as well as other notable citizens from the past.

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

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

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

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

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

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

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

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

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

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

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

Фото: Олександр Гайн

Artist Jacob Jordaens, Flemish, 1593-1678

Oil on Canvas, about 1645

Jacob Jordaens, the leading 17th century painter in Flanders (modern day Belgium), was well-known for his paintings and tapestry designs. Cavalier on a Horse Executing a Levade is perhaps a preparatory study for one of this tapestries, which often had horsemen as their subjects. Jordaens shows the rider executing a levade, a move in horsemanship where the horse goes back on its haunches and holds the position as a show of strength. An unidentified figure wearing hat and boots, perhaps a riding instructor, stands in the background while a dog trainer and his dog stand in the foreground. A parrot above the trainer's shoulder and an arch in the background, which were painted over by Jordaens but now have begun to emerge, reveal the artist's initial design and subsequent changes.

The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.

Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.

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 a cabin of the cable car of St. Jeroni, in Montserrat; a former Barcelona fire truck; behind him diesel railcar type "Zaragoza" (Wismar), modified; to the left a bus covered with a tarp ... (Photo scanned from an original paper).

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

En esta foto se pueden ver una cabina del teleférico de Sant Jeroni, en Montserrat; un antiguo camión de bomberos de Barcelona; detrás suyo un automotor diésel tipo "Zaragoza" (Wismar) modificado; a la izquierda un autobús tapado con una lona... (Foto escaneada de un original de papel).

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

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

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

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

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

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

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

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

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

If something doesn’t feel right – report it.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

namas te

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

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

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

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

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

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

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

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

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

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

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

Фото: Олександр Гайн

A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.

Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.

HISTORY

Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).

During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.

In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.

Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.

TECHNIQUE

In the history of mural several methods have been used:

A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.

Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.

Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.

MATERIAL

In Greco-Roman times, mostly encaustic colors applied in a cold state were used.

Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.

In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.

A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.

Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.

As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.

The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.

Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.

SIGNIFICANCE OF MURALS

Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.

Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.

Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.

Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.

The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.

Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.

I feel it's time for something slightly darker after bokeh flowers and Santa Claus. I've been away for a while, moving to a new house, but we have the internet again, so will try to comment and visit people soon! I'll also upload more pics soon too.

This one is an edit of a shot I took of the noose used to execute prisoners in Freemantle prison, western Australia. More of an experiment with layers really.

[Edit. Hmm, I'm not too sure about this one anymore, I did a bit of a rush job on it - was more of a prototype really....Anyone got any ideas?]

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"

Pioneer Mother was executed by Alexander Phimister Proctor in 1927. This grouping of figures--mother and baby riding a pack animal, father walking beside--has been used by artists for centuries but to represent a biblical theme: The Holy Family's flight into Egypt. Proctor called this sculpture "my tribute to the women who gave themselves and their lives to the making of this great West."

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

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

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/

Talaat Harb Street

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The prisoners could be executed for a range of infringements or even no infringement.

Illustration in Behind Bamboo by Rohan Rivett 1946.

Rohan Rivett (1917-1977), was an Australian war correspondent based in Malaya covering the Japanese advance in WW2. Following the fall of Singapore in 1942, he escaped in a ship which was subsequently attacked and sunk by the Japanese. With some companions he trekked through the jungle, and while attempting to escape by canoe was captured by the Japanese and sent to three and a half years of ‘hell’ in captivity in Burma, working on the ‘Burma railway’, and elsewhere. Finally freed in 1945 he wrote this explicit account of the cruelty and depravity of the Japanese forces and his great respect for the spirit of the Australian, British and American soldiers and the Burmese captives.

Published by Angus and Robertson, Sydney. Cream boards with illustrated jacket. 400 pages, 15cm x 22cm. First edition with illustrations by Flip Relf and Jack Chalker.

More on Rohan Rivett:

adb.anu.edu.au/biography/rivett-rohan-deakin-11533

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

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

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

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

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

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

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

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

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

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

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

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

As a reprisal for an action by the Resistance, 29 prisoners from the Detention Center on the Weteringschans were transferred to this location by the occupying forces and executed without any form of trial in the early morning of October 29, 1944.

Choreography executed to perfection is a fundamental part of Madonna, and she didn't fail to deliver for Like a Prayer on her Sticky & Sweet Tour, 2009.

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