Washington, executed by Donald De Lue and Bryant Baker in 1959, was dedicated adjacent to the New Orleans Public Library on February 2, 1960 to mark the Lousiana Grand Lodge, Free and Accepted Order of Masons' sesquicentennial. The monument features a full length heroic figure of George Washingtn, striding forward, in a Masonic apron.

ALE Executed the transportation and installation of 19 vessels at the Preemraff Refinery in Lysekil, Sweden.

www.ale-heavylift.com

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)

Arash Rahmanipour another victim which executed in his 20 .

‫متن یکی از آخرین نوشته های آرش :

به نام خداوند جان و خرد، کزین برتر اندیشه برنگذرد

نمی دونم کی بود که فهمیدم وظیفه ای دارم و نسبت به اون خاکی که روش قدم می زارم مسئولم؛ فقط می دونم حالا که اسم این خاک و این سرزمین رو می شنوم غم عجیبی که پر از غروره تمام وجودم رو فرا میگیره. غرور رو بیشترمون داریم اما غم برای اینه که حتی ذره ای از وظایفم رو نسبت به کشورم انجام ندادم.

نمی دونم چرا باید این جای تاریخ ایستاده باشم، نمی دونم این خاک تاکی نباید روی آسایش ببینه!!!

به بالای این سالیان دراز به ایران نیامد بجز سوز و ساز

ز دشمن بجز آتش و خون نبود بجزغرش دیو مجنون نبود

بسوزاند دشمن کتاب مرا همه رامش و خُر و خواب مرا

این خاک ماست، همه ی زندگی ماست همه هویت ماست. آرزوم اینه که همه بدونند در مقابل این خاک وظیفه ای دارند.

اما از حق نگذریم. بد جوری اشتباه کردم شاید همین علاقه بیش از حد جلوی جشمام رو گرفت و باعث شد مسیر درست انجام وظیفه رونبینم ولی مطمئن هستم اگه عمری باشه پیداش میکنم، بقول اون قدیس مسیحی: برای هر بنده ای یه چوپان و یک مسیر هست تا به چراگاه حقیقت برسه. این هم مسیر منه که داخلش هستم. درسته که سخته و مشکل درسته که تنهام و یه خرده خسته اما من همه این سختی ها رو برای رسیدن به اون حقیقت طلائی به جون می خرم چون باید وظیفه ام رو انجام بدم.

چو فردا نیاید بلند افتاب من و گرز و میدان و افراسیاب

حکایت من حکایت عجیبه که هنوز خودم درکش نکردم شاید توی چند بیت شعر بشه خلاصش کرد.

زان یار دلنوازم شکریست ما شکایت گرنکته دان عشقی بشنو تو این حکایت

تصمیم گرفتم حرفهام رو بیشتر با خدای خودم بزنم فکر می کنم فقط اونه که حرف دلم رو میفهمه درسته که همه سختیهای این مسیر رو باید به جون بخرم اما بعضی گله ها رو باید به خود خودش گفت البته شاید یکی هم این نوشته ها رو خوند و فهمید درد ما چیه.

بی مزد بود منت هر خدمتی که کردم یارب مباد کس را مخدوم بی عنایت

من برای عشق به کشورم تلاشی که از دستم بر میاد انجام می دم ولی گله ی من اینجاست که آیا مزد این عشق، گمراهی بود. من به امید کسی یا چیزی فعالیت نمی کردم اما از خدای خودم توقع داشتم کمکم کنه. اما شاید کرده باشد و من ندیده باشم.

رندان تشنه لب را آبی نمی هد کس گویی ولی شناسان رفتند ازین ولایت

ما کجا و عشق کجا من فقط لاف عشق می زنم ولی دلم بدجوری میگیره وقتی بین این مردم حتی لاف هم خریداری نداره، دلم بد جوری از درد بی عشقی میگیره.

در زلف چون کمندش ای دل مپیچ کانجا سرها بریده بینی بی جرم و بی جنایت

دلم میگیره وقتی میبینم توی این دیار، عاشقی جرمه، جرمی که مجرمش بی گناه بالای دار میره !!!

در این شب سیاهم گم گشت راه مقصود از گوشه ای برون آی ای کوکب هدایت

راهم رو گم کردم نه همراهی دارم نه تجربه ای. اما پرم از عطش رسیدن، پر از امید، پر از اعتقاد به هدف . گله ام اینه که چرا راهنماییم نمی کنی خدایا؛ شاید میکنی و باز من نمی بینم.

هرچند بردی آبم روی از درت نتابم جور از حبیب خوشتر کز مدعی رعایت

خیلی چیزها از دست دادم و باز هم خواهم داد ولی یه چیز بزرگتری رسیدم و اون اطمینان به هدفم بود با این حال می دونم این مدعی عاشقی هیچ کاری برای کشورش نکرده.

به کوی میکده گریان و سر افکنده روم چرا که شرم همی ایدم زحاصل خویش

هر روز جوونهای این خاک روی زمین میوفتند و غرب و شرق باید دلشون برای اونها بسوزه نمی دونم چند ندا و ترانه باید کشته تا ... ولی امید دارم به جمله ی سروش که گفت: مرگ ترانه موسوی، ترانه مرگ نظام بود.

رقیب آزارها فرمود و جای آشتی نگذاشت مگر آه سحر خیزان سوی گردون نخواهد شد

از هرچه بگذریم سخن دوست خوشتر است

خیلی حرفها دارم که با شما عزیزا بزنم، چی شد، چی به من گذشت، اظهارات من معلول چه عللی بود چیزهایی که توقع نداشتم دیدم و شنیدم و هزار چیز دیگه که شاید باور نکنید چون هنوز خودم هم باور نکردم ولی با این همه

نشد ابر و خم از سنگینی بار قفس مارا که این سنگین سبکتر باشد از بال مگس مارا

اول از همه یه دنیا شرمندگی دارم برای همتون نیلوفر، جمال، سارا، پیام، خاله ی عزیز و عمه ی عزیز، سحر، بهاره و ... امیدوارم منو ببخشید به خاطر دلتنگی ها و لحظه هایی که پر از غم و دلهره شدید البته بین خودمون بمونه من همچین آدم دلچسبی هم نیستم ولی خوب خاطرات تلخ و شیرین زیادی با هم داشتیم حالا هم هر موقع دلم تنگ میشه سعی می کنم خوابتون رو ببینم.

از همه بیشتر نگران این هستم که عزیز هایی که به خاطر من روز هاشون رو از دست دادند من رو نبخشند می دونم خیلی سخت بود اما وجود شما توی این چهار دیواریها هزار بار روزگار من رو سختر می کرد. راستی زمزمه ی ناراحتی ها رو توی بازجویی ها و بعد از آزادیتون شنیدم ولی بسیار از کسان از من نزد شما بدگوئی کردند و هیچ از انچه گفته اند راست نبود است. و این کسان می توانند بد را خوب و زشت را زیبا جلوه دهند. از کسایی که این بهتانها را باور و گسترانده اند بیشتر باک دارم زیراکه هر کس سخن ایشان را بشنود چنین می پندارد که کسی به این کارها و جستجو ها روزگار می گذرانند خداوندان را باور ندارد. اینان هم پنهانند و هم آشکار اما من نمیتوانم آنان را نزد شما حاضر و سخنهایشان را رد کنم و باید برای دفاع خود باسایه و شیح در آویزم و بدون انکه حریف ظاهر شود به مدافعه و معارضه پردازم. پس ای گرامیان، این نکته را درست بدانید که من با دو دسته از مدعیان طرف هستم: یکی آنان که از دیرگاه از من {...} کرده اند و دیگر آنان که اخیرا من را به محاکمه کشیده اند و تصدیق کنید که در آغاز باید پاسخ مدعیان پیشین را بدهم زیرا که شما هم اول دعاوی انان را شنیده اید و تاثیر سخنان ایشان در ذهن شما بیش از دیگران بوده است. ای گرامیان من برای دفاع خود باید کوشش کنم که در زمانی بسیار اندک بهتانهایی که از مدتی دراز در اذهان شما ریشه دوانده از خاطر شما دور سازم و البته آرزومندم که کوشش من در صورتی که به حال شما و خودم نافع باشد نتیجه بدهد و بی گناهی من روشن گردد ولی در این باب به اشتباه نیستم و می دانم چه کاردشواری در پیش دارم و به هر حال کار خود را به خدا وامیگذارم چون مرد تسلیم بی دفاع به این موج مهاجم نیستم بر حسب تکلیف به مدافعه می پردازم با ان که میدانم این موج مرا با خود خواهد برد.

پس برگردیم به مبدا این بهتان و سخنانی که ایم همه در مورد من گفته شده و "مدعی" آن را برای جلب من به محاکمه، دست آویز نموده است .

مدعیان پیشین چه می گفتند؟ هرگاه دعاوی ایشان را به صورت ادعانامه در بیاوریم این گونه می شود : آرش گناهکار است بنابر کنجکاوی فضولانه ی {...} خود می خواهد اوضاع آسمان و زمین را دریابد. روش گمراهی پیش گرفته و دیگران را به پیروی آن وا می دارد و به ایشان می آموزد. این است ادعای مدعیان و شما خود در تئاتر سبز آرش را دیدید که مدعی پرواز در هوا و دعاوی پوچ از همین فقرات بود. البته این بدان معنا نیست که من خود را کنار کشیده ام نکند که مدعی این راهم بر من گناه تازه گیرد. می گویند تو آموزگاری می کنی و مزد میگیری، این دروغیست بس بزرگ من چنین هندی را به درهم و دینار نمی فروشم و اساسا در این روزگار کسی را نمی شناسم که لیاقت این مهم را دارا باشد. اما آیا این مدعیان نیستند که این همه را در خود می بیند و جوانان را شهر به شهر می فریبند تا به ایشان بپیوندند و به اصل و ریشه ی خود پشت کنند. ای گرامیان اگر من چنین هنری داشتم بسی سرافراز بودم ولی افسوس که ندارم. اکنون شاید بپرسید که ای آرش پس تو چه می کنی ونسبت ها که به تو می دهند و شایع است از چه روست ؟ زیرا گر همواره مانند همشهریان دیگر بودی هر آینه این چنین سر زبان ها نبودی و آوازه نداشتی.

این سخن به جاست پس می کوشم که آشکارش کنم پس گوش دل و خود فرا دهید. ای گرامیان اقرار میکنم که دانشی دارم که موجب شهرتم شده اما نپندارید که دانشی فراتر از بشر باشد که بالعکس همه باید آن را دارا شوند ولی مدعیان، داعیه دار دانشی هستند فراتر از بشر که من ان را دروغ پنداشتم و این مهم آهنگ بهتان شد. و آن دانش را بخوبی می دانم که پروردگار مرا برای هدفی آفرید و ان چیزی نبود جز ساختن وطن، ساختن ابران بر پایه ی نیک پندار و نیک گفتارو نیک کردار. دیری در این اندیشه بودم و سرانجام بر سر آزمایش امدم و نزد یکی از بزرگان شنیدم که "به عمل کار برآید".

و چون این مسئله بر من آشکار گردید کوشیدم پندار را به کردار آورم و این کار سبب شد مدعیان از من بیزار شوند. ای گرامیان شرم دارم واقع امر را بگویم لیکن ناچارم و می گویم که بیشتر این مردمان بی دانشند و اگر بدانند هم، خود را به سفاهت میزنند. کلمات شیرین از زبان جاری می سازند ولی خود نمی فهمند که چه می گویند و فهمیدم که سبب سرایش و گویش زیبایشان عجیب اهداف پوچ و مادیست. ای گرامیان بدانید که همه ی این دشمنیهای خطرناک و بهتانهای ناروا که متوجه من نمودند سببش همین جستجو و تفتیش و دانشی است که گفتم. چون این مهم را دریافتم، برای مزید پیروی، فرمان خداوند هم رنگ خود را طلب کردم و چون از همشهریان نومید گشتم رو به بیگانه نهادم ولی آن کسان هم، کسان من نبودند. این وظیفه چنان مرا گرفتار ساخت که خود را فراموش کرده و چون در این عبادت خدا فرو رفتم روزگارم به سختی گرایید و به اینجا رسیدم. حال به مدعیان امروز بپردازم و دعاوی را به ادعا در آوریم میگویند آرش گناهکار است چون جوانی فاسد است و به خداوندان این کشور اعتقاد ندارد و خداوندان نو بجای آن میگذارد و اینک دعاوی را یک به یک در نظر بگیریم: من جوانی فاسدم چون گناهانی دارم. ای گرامیان من می گویم گناهکار مدعی است که امور جدی را سرسری می گیرد و بدون وجدان تاریخ مارا به زیر سوال می برد و چنان می نماید که به بعضی امور اعتنای تام دارد در صورتی هرگز عنایتی به آن نداشته، می پندارد با ماست اما با بیگانه دشمنی؛ دوستی می کند. میپندارد از ماست اما به تاریخ من ریشخند می زند. ایا این ریشخند گناه نیست که در خور سزا باشد.

شاید کسی بگوید ای آرش آیا شرمگین نیستی که در دنیا چنان زندگی کردی که جان خود را به خطر انداختی؟ در جواب به معترض خواهم گفت اشتباه در این است که اندیشه مرگ و زندگی نزد تو اهمیت دارد ولی چنین نیست و تنها چیزی که شخص باید نگران آن باشد این است که آنچه میکند درست است یا نا درست و حقیقت است یا باطل و ارزش است یا ... و گرنه تمام دلاورانی که در عرصه دفاع از این مرز جنگیدند از سفیهان بوده اند. ای گرامیان این اصلی مسلم است در نزد من که اگر کسی به حقیقتی شریف دست یابدکه در آن پایمرد باشد. نه از مرگ باندیشد و نه از خطر هراسد و شرافت را فدای سلامت نکند که اگر من جز این می کردم گناهکار بودم و خواه به هر شکلی که به حقیقتی برسم هرگز روش خود را تغییر نخواهم داد اگر چه هزار بار به عرصه ی هلاک در آیم. پس ای قضات ظلم، از مرگ من امیدوار و هراسناک باشید که پس از این خداوند هیچ گاه رحمت را بر طالب حق قطع نمی کند.

آنچه اکنون برای من پیش آمده از تصادف و اتفاق نیست و یقین دارم خیر من در این است که حتی دیگر زنده نمانم و از همه اندیشه های دنیا آسوده شوم. با آنکه میدانم مدعی هدف خیر نداشت و قصد آزارم داشت از آن گله مند نیستم چون در مقام گله نیست. اما از شما گرامیان درخواست دارم: "ایران را فراموش نکنید و آن را افضل بدانید بر نفع خود."

نمی دانم اینک شاید و شاید وقت آن رسیده که از یکدیگر جدا شویم من آهنگ مردن کنم و شما در فکر زندگی باشید اما کدام یک بهره مند تریم جز خداوند هیچ کس آگاه نیست.

اگر این آخرین تیر من برای دفاع از ایران است بدانید که آرش جان خود درتیر کرد و آن را خواهدش افکند.

88/8/10

اوین209 سلول 121

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Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.

The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.

Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]

Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.

Executed by C Maurice Taberner, to record the subject's retirement as Superintendent of the Sunday School at Tyldesley Wesleyan Methodist Chapel, near Leigh, Lancashire.

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

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

Monument to Queen Victoria. 1906. Executed by Herbert Hampton and presented by Lord Ashton. Portland stone ashlar with bronze reliefs and statuary. The principal elements are a large square plinth, surrounded by bas-relief panels, and a tall pedestal on which stands a statue. The plinth, approx 7m square and mounted on 2 steps, is hollow-sided with rounded corners; its base is shaped as a seat with a hollowed back-rest. Beneath a prominent cornice, its sides are filled with large bas-reliefs portraying groups of eminent Victorians, framed by bronze pilasters, and its corners are occupied by exuberantly executed high-relief representations of Wisdom, Truth, Liberty and Justice, each with a seated woman surrounded by angels and putti. On top of the plinth, seated lions at the corners guard a tall tapered pedestal, on which stands the statue of the Queen, elderly but sternly regal; she is bearing a mace and facing the Town Hall (qv) on the south side of the Square. The south side of the pedestal bears an inscription in bronze lettering - 'VICTORIA 1837-1901' - beneath a roundel carved with the Royal Arms, and the north side has an inscription in similar lettering: 'GIVEN TO HIS NATIVE TOWN BY LORD ASHTON A.D. 1906'. EH Listing

Hugh Mortimer executed after the Battle of Wakefield 1460. He wears the yorkist collar. He was the son of John Mortimer d1415 Lord of the Manor of Kyre & Martley: and grandson of Roger Mortimer. The manors passed to his elder brother John who died a minor in 1420. Hugh inherited aged 7 and was under the guardianship of Roland Lenthall until his majority. He is thought to have been the builder of the church tower c1450.

Aged 41 he m Eleanor d1520 daughter of Sir Edmund Cornwall of Burford d1435 www.flickr.com/photos/52219527@N00/8544972201/ by Elizabeth Barre,

Children

1 John dsp 1505 m Margaret daughter of John Nevile, Marquess of Montagu,

2. Elizabeth m Sir Thomas West 3rd Lord De la Warr (son Thomas sold the Kyre estates in 1520 to the half-brother of his mother John Croft) (daughter Dorothy m Harry son of David Owen son of Owen Tudor www.flickr.com/photos/52219527@N00/685123040/ )

The alabaster side of the table tomb, with angels holding shields, on which the effigy rested is now over the fireplace of the rectory great hall !

His widow Eleanor m2 Sir John Croft d1509 of Croft www.flickr.com/photos/52219527@N00/8980286632/ having 6 more children

Eleanor outlived both her children by Hugh. She died aged nearly 90 in 1520 and is buried in Croft church in a double effigy with her second husband, who died in 1509.

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

Building

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

Canaletto: View of Palais Liechtenstein

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

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

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

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

Sala terrene of the Palais

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

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

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

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

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

Use as a museum

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

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

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

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

The Capuchin Friars first arrived in Dublin in 1615, but it was not until 1624 that the first friary was established, in Bridge Street. They came to Church Street in 1690, shortly after the Battle of the Boyne and opened a “Mass house” at the site of the present Church. The Mass house was enlarged in 1796. The present Church dates from 1881. The architect was James J.McCarthy. The altar and reredos was designed by James Pearse, the father of Pádraig and Willie Pearse who were executed after the 1916 Rising. It was friars from the Church Street community that attended those executed in 1916 and administered the last rites.

Today the friars serve the local community through parish work and through the Capuchin Day Centre. The Capuchin Mission Office which supports the work of the Irish friars overseas, in Zambia, South Africa, New Zealand and Korea is also located in Church Street. St Mary of the Angels is not a parish church, however, the Friars also have responsibility for Halston Street Parish, one of the oldest in Dublin City Centre.

Executed 30th May 1431

Valentine, the patron saint of love, was executed in Rome and buried there in the 3rd century. Much later, an Irish priest was granted permission to exhume his remains, and now his skeleton lies under Whitefriar Church in Dublin

Executing another photo runby on the Connotton Valley, this time at milepost 11 in Bedford, Ohio. The distance is measured from Cleveland. (Scanned from a slide)

Cpl. Dusten R. Bradburn, right, directs his military working dog, Falco, July 2 in the Central Training Area. MWDs and their handlers executed improvised explosive device detection training, in which the dog teams patrolled through areas with odors typically associated with IEDs. The goal of the training was to identify all indicators in the lane. Bradburn is a Springfield, Colorado, native and military working dog handler with 3rd Law Enforcement Battalion, III Marine Expeditionary Force Headquarters Group, III MEF. Falco is a patrol explosive detection dog with the battalion. (U.S. Marine Corps photo by Lance Cpl. Drew Tech/Released)

The Sun Vow, executed in 1899 by sculptor Herman Artkins MacNeil and cast in 1902, has adorned the lawn in front Montclair Art Museum since it first opened. he Sun Vow depicts a Native American rite of passage that MacNeil learned of during his travels. In the Sioux tribe, for a boy to become a man and accepted as a warrior, he must shoot an arrow directly into the sun. If the chieftain is blinded by the sun’s rays and cannot follow the arrow’s path, the boy passes the test. MacNeil created The Sun Vow to fulfill a requirement for his four-year Rinehart Scholarship at the American Academy in Rome.

Montclair Art Museum (MAM), at 3 South Mountain Avenue, is one of the few museums in the United States devoted to American art and Native American art forms, with a collection consisting of more than 12,000 works. Chartered in 1909, thanks to the donations of artwork and funding of its two founders, Montclair residents William T. Evans, civic leader and art collector, and heiress Florence Osgood Rand Lang, the Montclair Art Museum opened its doors in 1914. The Beaux Arts building was designed by architect Albert R. Ross, at the direction of museum trustee Michel Le Brun. As the collection has grown, so too has the building housing it. The museum underwent renovations in 1924, 1931 and 2000-2001. The recent renovation doubled the museum's square footage, with architectural firm Beyer Blinder Belle at the helm.

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

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

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

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

• GeoHack: 43°39′32″N 70°10′50″W.

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

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

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

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

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

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

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

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

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

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

www.coventrycathedral.org.uk/

My buddies: Eero and Raf.

They asked me to do some promo shots of their melodic death metal band: Execute Damage

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"

RIVAL 52 executes a low approach during one of his passes in the VFR pattern.

This photo is my 2,000th photo uploaded to Flickr.

I would like to thank everyone who has viewed my photos, left comments and/or marked them as favorites.

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George M. Ottinger's The Last Ride of the Pony Express was executed in 1874.

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.

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

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

Auguste Rodin, About 1885, Patinated plaster.

“Executed by Rodin around 1885 for The Gates of Hell, of which it would never become a part, this curled-up female nude suggests painful affliction. The work’s title was inspired by the Greek myth of the fifty daughters of King Danaus, all of them guilty of having slit their husband’s throat on their wedding night and condemned to fill a bottomless jug for eternity in Hell.”

“Contrary to traditional iconography showing the figures in action, Rodin chose to depict the despair of one of them: realizing the unproductiveness and inanity of her task, she falls and remains prostrate on the ground. Exhausted, Danaid places her head, “like a large sob,” on her arm. Her spreading hair, which Rainer Maria Rilke called liquid, merges with the water flowing from her jug. Here Rodin has constructed a female landscape by emphasizing the line of the back and the nape of the neck.”

“In 1889, Danaid was both enlarged and carved in marble. The success of this sculpture was such that Rodin made many copies in bronze and in marble.”

(Details from mmfarodin.com/w/la-danaide-grand-modele?lang=fr&from-...)

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)

Executed in Illustrator & Photoshop for a personal project.

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"

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. (Photo scanned from an original paper).

___________________________________________________________________________

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

En esta foto se puede ver una cabina del teleférico de Sant Jeroni, en Montserrat. (Foto escaneada de un original de papel).

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_%28F%C3%BCrste...

Bain News Service,, publisher.

Floral display at Dago Frank's funeral

[1914 April]

1 negative : glass ; 5 x 7 in. or smaller.

Notes:

Title from data provided by the Bain News Service on the negative.

Photo shows funeral of "Dago Frank" Cirofici, a New York City criminal convicted of murdering Herman Rosenthal, along with his associates Harry Horowitz "Gyp the Blood", Louis Rosenberg (Rosenweig) "Lefty Louis", and "Whitey" Lewis (Frank Seidenshner) on July 16, 1912. The four men were executed at Sing Sing prison, Ossining, New York on April 13, 1914. (Source: Flickr Commons project, 2010)

Forms part of: George Grantham Bain Collection (Library of Congress).

Format: Glass negatives.

Rights Info: No known restrictions on publication.

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.15763

Call Number: LC-B2- 3025-9

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

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

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

Lafayette Square Historic District National Register #70000833 (1970)

This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.

For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...

A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

Best best

Efj.

There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time but deals more with dynamic movement .I hope to execute these ideas in the future...........

All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.

I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..

If you are interested in more info please feel free to contact ...efj@sbcglobal.net

Best best

Efj.

On the left, looking upwards, stands shopkeeper Georges Maertens; next to him, with arms folded and a steady gaze, is Armentières salesman Ernest Deceuninck (or Deconninck); to his right, looking down with his arms hanging by his side, stands Belgian worker Sylvère Verhulst; and finally, wine seller and local secretary of the Human Rights League, Eugène Jacquet waits calmly for his fate with hands in pockets and a defiant look in his eyes. Further to the right, lying face down on the ground, is the young student Léon Trulin who seems to be already dead although he was executed a month and a half later than the others, on 8 November 1915.

We WILL remember them!

Please read more at: www.remembrancetrails-northernfrance.com/trails/the-war-o...

HEADQUARTERS SECOND CAVALRY DIVISION,

March 20, 1863.

GENERAL: I have the honor to report that, pursuant to instructions received from you, I left the main body of this army on the 16th instant, for the purpose of crossing the Rappahannock River and attacking the cavalry forces of the enemy, reported to be in the vicinity of Culpepper Court-House, under the command of General Fitzhugh Lee. My orders were to attack and rout or destroy him. To execute these orders, I was directed to take a force of 3,000 cavalry and six pieces of artillery. Accompanying the orders were several reports containing information of the operations of rebel cavalry north of the river, in the vicinity of Brentsville, the force of which was reported from 250 to 1,000, with at least one piece of artillery, and I was directed to take every precaution to insure the success of my expedition. As a precautionary measure, I requested that a regiment of cavalry be sent to Catlett’s Station, which is the key-point to the middle fords of the Rappahannock, to throw out from thence pickets in the direction of Warrenton, Greenwich, and Brentsville. My request Was not granted, and I was obliged to detach about 900 men from my force to guard the fords and look out for the force alluded to in the information.

The battery ordered from near Aquia Creek made a march of 32 miles on the 16th, and joined my command at Morrisville at 11 o’clock that night, with horses in poor condition for the expedition. Small parties of my cavalry had been sent, two to four hours in advance, on all the roads and to the fords, to mask the approach of my main body from the enemy’s scouts.

On the night of the 16th, the fires of a camp of the enemy were seen from Mount Holly Church by my scouts, between Ellis’ and Kelly’s Fords, and the drums, beating retreat and tattoo, were heard from their camps near Rappahannock Station. Rebel cavalry appeared in front of my pickets on the roads leading west during the evening of the 16th.

Lieutenant-Colonel Curtis, First Massachusetts Cavalry, was left at Morrisville to take charge of all my cavalry pickets north of the Rappahannock, who directed Lieutenant-Colonel Doster, Fourth Pennsylvania Cavalry, with 290 men, to start from Mount Holly Church at 4 a.m. on the 17th instant, and drive the enemy’s pickets toward Rappahannock Station; to go thence to Bealeton, and, finally, to station himself at Morgansburg and communicate with a picket which would be established at Elk Run and with Curtis’ force at Morrisville. These orders were executed, and the enemy driven out of that section.

At 4 a.m. I set out from Morrisville with a command of about 2,100 men, made up as follows: From the First Brigade, Second Division, Colonel Duffie, 775; from the Second Brigade, Second Division, Colonel Mcintosh, 565; from the Reserve Brigade, Captain Reno, 760, and the Sixth Independent New York Battery, Lieutenant Browne commanding. Kelly’s Ford was selected for the crossing, because the opposite country was better known to me than that beyond any other ford, and it afforded the shortest route to the enemy’s camp.

The head of my column arrived at the ford at 8 a.m. The crossing was found obstructed by fallen trees, forming an abatis upon both banks, which, defended by 80 sharpshooters, covered by rifle-pits and houses on the opposite bank, rendered the crossing difficult. Two squadrons were dismounted and advanced under shelter of an empty mill-race or canal, which runs near the bank of the river, whence a brisk fire was at once opened, under which an attempt was made to cross by the advance, which failed. Two subsequent attempts of the pioneers met with the same fate. During this time a crossing was attempted one-fourth of a mile below, but it was found impracticable, owing to the depth of the stream and the precipitous character of the banks. After half an hour had passed in endeavors to cross, my chief of staff, Maj. S. E. Chamberlain, who had immediate charge of the operations at the crossing, selected a party of 20 men, and placed them under the command of Lieutenant Brown, First Rhode Island Cavalry, with orders to cross the river and not return. Lieutenant Brown obeyed his orders; the abatis was passed, and 25 of the enemy were captured.

Two pieces of the battery had been unlimbered, but I hesitated to open them until all other means should fail, as I did not care to give the enemy sufficient warning of my advance to bring him to attack me while astride the stream.

The First Brigade was immediately crossed and placed in position, followed by two pieces; then the Second Brigade, the remainder of the battery, and the reserve. The stream has a very rapid current at the ford, and was about 4 feet 5 inches deep. The ammunition was taken out of the limbers and carried over in nose-bags by the cavalry.

The crossing was not effected without loss. My chief of staff, Major Chamberlain, fell with a dangerous wound in the head; Lieutenant [John P.] Domingo, Fourth New York Cavalry, was seriously wounded, and Lieutenant [Henry L.] Nicolai, First Rhode Island Cavalry, killed; 2 men killed, and 5 wounded; 15 horses killed and wounded.

My command was drawn up so as to meet the enemy in every direction as fast as it crossed, and pickets pushed out on the roads running from the ford.

From what I had learned of Lee’s position, and from what I knew personally of his character, I expected him to meet me on the road to his camp, and I could not object to such a proceeding, as it would not make it necessary for me to march so far to a fight. My horses would be fresher and the chances of battle be more nearly equalized.

The horses of my command were watered by squadrons, and at 12 m. I moved on, with the First Brigade in advance. Looking toward the west from the ford, one sees half a mile in advance a skirt of woods on higher ground, around the right of which may be seen an open field. It is about one-fourth of a mile through the woods. When the head of my column reached the western edge of this timber, the enemy were discovered rapidly advancing in line, with skirmishers in front. I immediately ordered the Fourth New York to the right, to form front into line and advance to the edge of the woods and use carbines; the Fourth Pennsylvania to the left, with the same orders, and a section of artillery to the front to open fire. Sent to Mcintosh to form line of battle on the right of the woods; Reno to send three squadrons to act as a reserve to the right, and one squadron up the road to support the center, and one section to the right with McIntosh.

The Fourth Pennsylvania and Fourth New York, I regret to say, did not come up to the mark at first, and it required some personal exertions on the part of myself and staff to bring them under the enemy’s fire, which was now sweeping the woods. They soon regained their firmness, and opened with effect with their carbines. At this moment I observed two or three columns of the enemy moving at a trot toward my right. I immediately went to the threatened point, and found that it was a question which should obtain possession of a house and outbuildings situated there. McIntosh soon decided it by establishing some dismounted men of the Sixteenth thereabouts, and the section of artillery soon opened with splendid effect. The right was then advanced into the open field beyond the house, and the enemy’s left attacked by McIntosh and Gregg. Duffie in the meantime had formed the First Rhode Island, Fourth Pennsylvania, and Sixth Ohio in front of the left, and the enemy were advancing to charge him.

Perceiving his want of support, I called to Reno for three squadrons, and we went to the left at a gallop, while Duffie advanced in splendid order and charged the enemy. The gallantry of Duffie had, perhaps, made him forget to leave any portion of his command as a support, excepting the Fourth New York. Two squadrons of the Fifth United States rushed across the field, while Mcintosh came in on the left flank of a fresh rebel column, and the enemy were torn to pieces and driven from the field in magnificent style. Had it been possible to reach the enemy’s flank when Duffie charged with the Fifth United States or Third Pennsylvania, 300 to 500 prisoners might have been captured, but the distance was too great for the time, the ground was very heavy, and the charge was made three minutes too soon, and without any prearranged support.

A little reorganization was requisite before advancing farther. It was necessary to form my line again and get stragglers from the Fourth New York and other regiments out of the woods behind, to assemble the sections of the battery, bring up the reserve, and give orders with regard to the wounded and prisoners. These duties occupied me half an hour or more. In advancing from the field we had won, I found the ground impracticable on the left of the road, by reason of its marshy condition. My left was, therefore, rested on the road, and the advance given to a squadron of the Fifth, under Lieutenant Sweatman. After advancing in line of battle three-quarters of a mile, driving the enemy before us through the woods, with the artillery supported by a column upon the road, we found ourselves through the woods and in the face of the enemy, drawn up in line of battle on both sides of the road half a mile in front. It became necessary to extend my line to the left as soon as possible.

The enemy opened two field-pieces upon the road with precision, and advanced upon both flanks with great steadiness. They were at once repulsed on the right. The squadrons to form the left were shifted from the right of the road under a terrific fire of shot, shell, and small-arms, and the enemy in superior numbers bore down on my left flank, arriving within 400 yards of the battery while it was unlimbering. Lieutenant Browne, commanding the battery, assisted by my aide, Lieutenant Rumsey, soon got two or three pieces playing upon them with damaging effect, and a general cavalry fight ensued on the left. We never lost a foot of ground, but kept steadily advancing until we arrived at a stubble-field, which the enemy set on fire to the windward, to burn us out. My men rushed forward, and beat it out with their overcoats. Here the enemy opened three pieces, two 10-pounder Parrotts and one 6-pounder gun from the side of the hill directly in front of my left. No horses could be discovered about these guns, and from the manner in which they were served it was evident that they were covered by earthworks. It was also obvious that our artillery could not hurt them. Our ammunition was of miserable quality and nearly exhausted. There were 18 shells in one section that would not fit the pieces, the fuses were unreliable, 5-second fuses would explode in two seconds, and many would not explode at all. Theirs, on the contrary, was exceedingly annoying. Firing at a single company or squadron in line, they would knock a man out of ranks very frequently. As soon as the enemy’s heavy guns were opened, his cavalry advanced again on my right, strongly re-enforced. They were repulsed with severe loss by Walker, of the Fifth, and Mcintosh. Mcintosh and Gregg pushed on to their left flank until they came to the rifle-pits, which could not easily be turned. Their skirmishers again threatened my left, and it was reported to me that infantry had been seen at a distance to my right, moving toward my rear, and the cars could be heard running on the road in rear of the enemy, probably bringing re-enforcements.

It was 5.30 p.m., and it was necessary to advance my cavalry upon their intrenched positions, to make a direct and desperate attack, or to withdraw across the river. Either operation would be attended with imminent hazard. My horses were very much exhausted. We had been successful thus far. I deemed it proper to withdraw. The reserve was advanced in front and deployed to mask the battery, which was withdrawn, and the regiments retired in succession until the ford was reached and crossed without the loss of a man in the operation.

The country in which these operations were conducted is level and open, and had the ground been firm would have been eminently fitted for a cavalry fight.

The principal result achieved by this expedition has been that our cavalry has been brought to feel their superiority in battle; they have learned the value of discipline and the use of their arms. At the first view, I must confess that two regiments wavered, but they did not lose their senses, and a few energetic remarks brought them to a sense of their duty. After that the feeling became stronger throughout the day that it was our fight, and the maneuvers were performed with a precision which the enemy did not fail to observe.

The enemy’s first attack was vigorous and fierce, and it took about an hour to convince him on the first field that it was necessary for him to abandon it. Between his first grand advance and his final effort there were several small charges and counter-charges which filled up the time.

I ought to mention that in front of the first wood there is a deep, broad ditch, along which runs a heavy stone wall, which served as a cover for my carbineers, but which was impassable for cavalry except around the right flank and where it was broken down in the center, and this impeded my operations somewhat. In the second field the enemy’s cavalry force was superior to mine, but it was constantly repulsed, and when I withdrew my command it was with unabated confidence in our strength as against cavalry. I hoped that they would advance, but they made no demonstration worthy of notice, even while I was withdrawing my command.

The officers and men of the battery performed their arduous duties with alacrity. Whatever of success may have attended this expedition, I am greatly indebted to the vigorous and untiring efforts of my staff, Maj. S. E. Chamberlain, First Massachusetts; Captains [Philip] Pollard and [Alexander] Moore, of General Hooker’s staff, and Lieutenants [Charles F.] Trowbridge and [William] Rumsey; but to those officers and men of the command who exhibited the unflinching courage which attends a settled purpose, my thanks are especially due. For distinguished gallantry I beg leave to call your attention to the names of Maj. S. E. Chamberlain, my chief of staff, and Second Lieut. Simeon A. Brown, First Rhode Island Cavalry, who first reached the opposite bank. Colonel Duffié was conspicuous for his gallantry; his horse was shot under him. Colonel Mcintosh, who had been left ill in camp, joined me at 1 a.m., at Morrisville, and showed during the day that he possessed the highest qualities of a brigade commander. Captain Reno, whose horse was wounded under him, handled his men gallantly and steadily. Lieutenant Walker, of the Fifth, by his readiness and resolution, did much to repulse the enemy on our left in the second field, when the battery was threatened.

To avoid repetition, I would respectfully call your attention to the names of the killed and wounded, officers and men, in the inclosed list, as deserving of especial notice for distinguished gallantry. Several others had their horses shot under them, and nearly all performed their duty in a manner which cannot be surpassed for coolness and daring.

I inclose list of casualties, of which the aggregate killed, wounded, and missing is 80.

Of the enemy, his force was reported by the prisoners first taken as five regiments, commanded by Brig. Gen. Fitzhugh Lee. Subsequently prisoners reported that he had been re-enforced, and that Major-General Stuart was present. His equipments were inferior, but his horses good. Many of his sabers were manufactured in Richmond. From all the sources, I can estimate the enemy must have left 2 officers and 68 men killed and seriously wounded on the field. If twice as many slightly wounded escaped, his loss in killed and wounded must have been over 200, and his loss in horses must be certainly as great as that of men. I think the above may be an overestimate, but it is made by combining carefully the reports of officers who were in different parts of the field, and who report from observation. The enemy’s loss in prisoners was 47; 15 more are reported, but as yet I am unable to account for them.

I inclose a list of paroled prisoners, who are included in the 47. I inclose also tabular statements of losses of my command and of the enemy. I am compelled to believe that the reports of some officers respecting their losses have been carelessly made out, and that they may have been guided in their statement of numbers by the amounts for which they are accountable.

I believe it is the universal desire of the officers and men of my division to meet the enemy again as soon as possible.

I am, general, very respectfully, your obedient servant,

WM. W. AVERELL,

Brigadier-General of Volunteers, Commanding.

Maj. Gen. D. BUTTERFIELD,

Chief of Staff, Army of the Potomac.

www.youtube.com/watch?v=vgKSRz6KGh0

Averell's Bio:

www.flickr.com/photos/59568506@N02/54576824566/in/album-7...

Arbour Hill Prison is a prison and military cemetery located in the Arbour Hill area near Heuston Station.

The military cemetery is the burial place of 14 of the executed leaders of the 1916 Easter Rising. Among those buried there are Patrick Pearse, James Connolly and Major John MacBride. The leaders were executed in Kilmainham Gaol and their bodies were transported to Arbour Hill for burial.

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

The prison was designed by Sir Joshua Jebb and Frederick Clarendon and opened on its present site in 1848, to house military prisoners.

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

The church has an unusual entrance porch with stairs leading to twin galleries for visitors in the nave and transept.

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

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

The Bridge and Cascade.

Grade I listed.

Cascade I Bridge and cascade. Designed with a single arch by Robert Adam in 1761. Redesigned, with three arches in 1764. Executed 1770- 1771. Ashlar. The bridge has three round-arched spans with moulded hoodmoulds. Fluted roundels in the spandrels. Projecting piers with apsed niches and moulded sill band. The tops of the piers with swags. Fluted frieze and dentil cornice. Balustraded parapet the balusters divided into three units per span. Cast iron balusters. Steep road approaches with the end walls curving outwards and downwards. End piers. Rubblestone cascade to east.

Listing NGR: SK3126840716

historicengland.org.uk/listing/the-list/list-entry/1335352

The Bridge by Robert Adam

Kedleston Hall is an English country house in Kedleston, Derbyshire, approximately four miles north-west of Derby, and is the seat of the Curzon family whose name originates in Notre-Dame-de-Courson in Normandy. Today it is a National Trust property.

The Curzon family have owned the estate at Kedleston since at least 1297 and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo. At the time a relatively unknown architect, Robert Adam was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with Adam's designs, that Adam was quickly put in charge of the construction of the new mansion.

World War II

In 1939, Kedleston Hall was offered by Richard Curzon, 2nd Viscount Scarsdale for use by the War Department.[1] Kedleston Hall provided various facilities during the period 1939–45 including its use as a mustering point and army training camp. It also formed one of the Y-stations used to gather Signals Intelligence via radio transmissions which, if encrypted, were subsequently passed to Bletchley Park for decryption.

National Trust

In the 1970s the estate was too expensive for the Curzon family to maintain. When Richard Nathaniel Curzon, 2nd Viscount Scarsdale died, his cousin Francis Curzon, 3rd Viscount Scarsdale offered the estate to the nation in lieu of death duties. A deal was agreed with the National Trust that it should take over Kedleston while still allowing the family to live rent-free in the 23-room Family Wing, which contained an adjoining garden and two rent-free flats for servants or other family members.

External design

The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, largest block contains the state rooms and was intended for use only when there were important guests in the house. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation. Plans for two more pavilions (as the two smaller blocks are known) of identical size, and similar appearance were not executed. These further wings were intended to contain, in the south east a music room, and south west a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.

If the great north front, approximately 107 metres in length, is Palladian in character, dominated by the massive, six-columned Corinthian portico, then the south front (illustrated right) is pure Robert Adam. It is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief. The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.

Gardens and grounds

The gardens and grounds, as they appear today, are largely the concept of Robert Adam. Adam was asked by Nathaniel Curzon in 1758 to "take in hand the deer park and pleasure grounds". The landscape gardener William Emes had begun work at Kedleston in 1756, and he continued in Curzon's employ until 1760; however, it was Adam who was the guiding influence. It was during this period that the former gardens designed by Charles Bridgeman were swept away in favour of a more natural-looking landscape. Bridgeman's canals and geometric ponds were metamorphosed into serpentine lakes.

Adam designed numerous temples and follies, many of which were never built. Those that were include the North lodge (which takes the form of a triumphal arch), the entrance lodges in the village, a bridge, cascade and the Fishing Room. The Fishing Room is one of the most noticeable of the park's buildings. In the neoclassical style it is sited on the edge of the upper lake and contains a plunge pool and boat house below. Some of Adam's unexecuted design for follies in the park rivalled in grandeur the house itself. A "View Tower" designed in 1760 – 84 feet high and 50 feet wide on five floors, surmounted by a saucer dome flanked by the smaller domes of flanking towers — would have been a small neoclassical palace itself. Adam planned to transform even mundane utilitarian buildings into architectural wonders. A design for a pheasant house (a platform to provide a vantage point for the game shooting) became a domed temple, the roofs of its classical porticos providing the necessary platforms; this plan too was never completed. Among the statuary in the grounds is a Medici lion sculpture carved by Joseph Wilton on a pedestal designed by Samuel Wyatt, from around 1760-1770.

In the 1770s, George Richardson designed the hexagonal summerhouse, and in 1800 the orangery. The Long Walk was laid out in 1760 and planted with flowering shrubs and ornamental trees. In 1763, it was reported that Lord Scarsdale had given his gardener a seed from rare and scarce Italian shrub, the "Rodo Dendrone".

The gardens and grounds today, over two hundred years later, remain mostly unaltered. Parts of the estate are designated as a Site of Special Scientific Interest, primarily because of the "rich and diverse deadwood invertebrate fauna" inhabiting its ancient trees.

en.wikipedia.org/wiki/Kedleston_Hall

Woodcut by Albrecht Durer.

CHANDLER, Alan (1989). The Woodcuts of Albrecht Durer. In: Stretton Review, No. 22, March - May 1989

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Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. The image was based on a written description and brief sketch by an unknown artist of an Indian rhinoceros that had arrived in Lisbon earlier that year. Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. In late 1515, the King of Portugal, Manuel I, sent the animal as a gift for Pope Leo X, but it died in a shipwreck off the coast of Italy in early 1516. A live rhinoceros was not seen again in Europe until a second specimen, named Abada, arrived from India at the court of Sebastian of Portugal in 1577, being later inherited by Philip II of Spain around 1580.

Dürer's woodcut is not an entirely accurate representation of a rhinoceros. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and rivets along the seams; he also places a small twisted horn on its back, and gives it scaly legs and saw-like rear quarters. None of these features is present in a real rhinoceros. Despite its anatomical inaccuracies, Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. It has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".

On 20 May 1515, an Indian rhinoceros arrived in Lisbon from the Far East. In early 1514, Afonso de Albuquerque, governor of Portuguese India, sent ambassadors to Sultan Muzafar II, ruler of Cambay (modern Gujarat), to seek permission to build a fort on the island of Diu. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros. At that time, the rulers of different countries would occasionally send each other exotic animals to be kept in a menagerie. The rhinoceros was already well accustomed to being kept in captivity. Albuquerque decided to forward the gift, known by its Gujarati name of ganda, and its Indian keeper, named Ocem, to King Manuel I of Portugal. It sailed on the Nossa Senhora da Ajuda, which left Goa in January 1515. The ship, captained by Francisco Pereira Coutinho, and two companion vessels, all loaded with exotic spices, sailed across the Indian Ocean, around the Cape of Good Hope and north through the Atlantic, stopping briefly in Mozambique, Saint Helena and the Azores.

After a relatively fast voyage of 120 days, the rhinoceros was finally unloaded in Portugal, near the site where the Manueline Belém Tower was under construction. The tower was later decorated with gargoyles shaped as rhinoceros heads under its corbels. A rhinoceros had not been seen in Europe since Roman times: it had become something of a mythical beast, occasionally conflated in bestiaries with the "monoceros" (unicorn), so the arrival of a living example created a sensation. In the context of the Renaissance, it was a piece of Classical Antiquity which had been rediscovered, like a statue or an inscription.

The animal was examined by scholars and the curious, and letters describing the fantastic creature were sent to correspondents throughout Europe. The earliest known image of the animal illustrates a poemetto by Florentine Giovanni Giacomo Penni, published in Rome on 13 July 1515, fewer than eight weeks after its arrival in Lisbon. The only known copy of the original published poem is held by the Institución Colombina in Seville.

The exotic animal was housed in King Manuel's menagerie at the Ribeira Palace in Lisbon, separate from his elephants and other large beasts at the Estaus Palace. On Trinity Sunday, 3 June, Manuel arranged a fight between the rhinoceros and a young elephant from his collection, to test the account by Pliny the Elder that the elephant and the rhinoceros are bitter enemies. The rhinoceros advanced slowly and deliberately towards its foe; the elephant, unaccustomed to the noisy crowd that turned out to witness the spectacle, fled the field in panic before a single blow was struck.

Manuel decided to give the rhinoceros as a gift to the Medici Pope, Leo X. The King was keen to curry favour with the Pope, to maintain the papal grants of exclusive possession to the new lands that his naval forces had been exploring in the Far East since Vasco da Gama discovered the sea route to India around Africa in 1498. The previous year, the Pope had been very pleased with Manuel's gift of a white elephant, also from India, which the Pope had named Hanno. Together with other precious gifts of silver plate and spices, the rhinoceros, with its new collar of green velvet decorated with flowers, embarked in December 1515 for the voyage from the Tagus to Rome. The vessel passed near Marseille in early 1516. King Francis I of France was returning from Saint-Maximin-la-Sainte-Baume in Provence, and requested a viewing of the beast. The Portuguese vessel stopped briefly at an island off Marseilles, where the rhinoceros disembarked to be beheld by the King on 24 January.

After resuming its journey, the ship was wrecked in a sudden storm as it passed through the narrows of Porto Venere, north of La Spezia on the coast of Liguria. The rhinoceros, chained and shackled to the deck to keep it under control, was unable to swim to safety and drowned. The carcass of the rhinoceros was recovered near Villefranche and its hide was returned to Lisbon, where it was stuffed. Some reports say that the mounted skin was sent to Rome, arriving in February 1516, to be exhibited impagliato (Italian for "stuffed with straw"), although such a feat would have challenged 16th-century methods of taxidermy. In any event, the rhinoceros did not cause a popular sensation in Rome as the living beast had in Lisbon, although a rhinoceros was depicted in contemporary paintings in Rome by Giovanni da Udine and Raphael.

If a stuffed rhinoceros arrived in Rome, its fate remains unknown: it might have been removed to Florence by the Medici, or else destroyed in the sack of Rome in 1527. Its story was the basis for Lawrence Norfolk's 1996 novel The Pope's Rhinoceros.

Executed 30th May 1431

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

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

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

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

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

The painting was probably executed in England in 1629-30, illustrating Rubens's hopes for the peace he was trying to negotiate between England and Spain in his role as envoy to Philip IV of Spain. Rubens presented the finished work to Charles I of England as a gift.

The central figure represents Pax (Peace) in the person of Ceres, goddess of the earth, sharing her bounty with the group of figures in the foreground. The children have been identified as portraits of the children of Rubens's host, Sir Balthasar Gerbier, a painter-diplomat in the service of Charles I.

To the right of Pax is Minerva, goddess of wisdom. She drives away Mars, the god of war, and Alecto, the fury of war. A winged cupid and the god of marriage, Hymen, lead the children (the fruit of marriage) to a cornucopia, or horn of plenty. The satyr and leopard are part of the entourage of Bacchus, another fertility god, and leopards also draw Bacchus's chariot. Two nymphs or maenads approach from the left, one brings riches, the other dances to a tambourine. A putto holds an olive wreath, symbol of peace, and the caduceus of Mercury, messenger of the gods.

In 1730 in paris the young jean-baptiste lemoyne and his ailing father, Jean-Louis Lemoyne, signed the contract to execute a bronze equestrian statue of Louis　XV for the Place Royale at Bordeaux.1 Despite a notorious casting disaster, Jean-Baptiste brought the work to completion in 1743. He went on to execute a monument to the king in Rennes (unveiled in 1754) and the presentation model for another at Rouen (cast in 1772).2 Louis　was so well satisfied by these public celebrations of his reign that he ordered the sculptor to portray him in busts regularly, which Lemoyne did, until the king’s death, in 1774. Art historian Antoine-Nicolas Dézallier d’Argenville’s claim that these were made every three or four years reflects the widely held perception of many courtiers at the time that Lemoyne was the king’s portrait sculptor of choice. 3 In 1768 the king’s adviser on the arts, Charles-Nicolas Cochin, observed in a letter to the marquis de Marigny that Lemoyne was "the only artist who is now free to model after the King and who, consequently, is able to represent him as he actually is, with the greatest fidelity." 4 The sculptor had unusual freedom of access to the monarch for several decades. In all probability he sketched Louis —  ​although few drawings for finished busts survive —  and certainly he modeled him in clay. 5 The artist’s familiarity with the royal features is reflected in this confident representation of the king.

Six busts of Louis by Lemoyne are listed in the records of the Administration of Royal Buildings (Direction des Bâtiments) but only two examples in marble are known today, one in a private collection in Paris, signed and dated 1749, and this one, also signed and dated, in the Museum.6 They are similar in format —  the king wears a cuirass crossed by a sash and turns sharply to his left —  but the Metropolitan’s bust is enlivened by a Rococo swirl of drapery. A comparison of the 1749 bust with this one, carved eight years later, reveals the qualities that led the king to favor Lemoyne. In both, Louis projects authority and wears the trappings of power —  armor, a cordon with the Order of the Golden Fleece, and the medal of the Order of the Holy Spirit (Saint-Esprit) pinned to his cloak —  and in both there is an ease to the way he carries himself. In the earlier characterization he is thinner and more alert. The later one shows that with the passage of time his body filled out and he became more relaxed. His hair is tied back simply with a bow, his shirt drapes casually around his neck, and he withholds his gaze from the viewer in a manner that might seem modest were he not so clearly a person of power. The flourish of his cloak, partially covering the socle, recalls that most commanding of French royal portraits, Gianlorenzo Bernini’s flamboyant bust of Louis　XIV (Versailles), but Lemoyne sought to characterize the monarch as approachable, as if seen by an intimate. One’s eye is drawn to the sheen of the crinkled silk sash, the nubbly embroidery of the Order of Saint-Esprit, and the smoothly combed hair. Rather than dazzling us with the effects of a state portrait, Lemoyne has produced a bust that engages us with closely observed textures, including the fleshy cheeks, slightly sagging eyelids, and wrinkled neck of a man of forty-seven years.

The warmth of character conveyed must have appealed to the king’s mistress, Madame de Pompadour, since she owned this bust as well as the one of 1749. It is likely that this bust, which was delivered on December 10, 1757, to Champs, a château Pompadour had rented, is the one exhibited at the Paris Salon earlier the same year. 7 Following her death, in 1764, the king bought it and presented it to Charles-François de Laverdy, his controller general of finances. There also exists a replica, lacking the inscription, in the collection of the duc de Luynes at the Château de Dampierre, which is thought to be of sufficiently high quality to have come from Lemoyne’s atelier

Donatello's Bronze David (1430) - This was the first nude statue executed since ancient times - Bargello - Florence (1/2) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.

ift.tt/1U5vEr8 This map of Hokkaido was smuggled out of Japan by a German doctor during the Edo period –Japan prohibited foreign travel and trade and traffic with almost all countries at the time– The official who gave him the maps was executed and more than 50 people were punished for the incident [OS][1024x1792] #HistoryPorn #history #retro ift.tt/20iRtp1 via Histolines

Lower-class criminals were usually executed by hanging at one of the public execution sites outside the Tower. High-profile convicts, such as Thomas More, were publicly beheaded on Tower Hill. Seven nobles (five of them ladies) were beheaded privately on Tower Green, inside the complex, and then buried in the "Chapel Royal of St. Peter ad Vincula" (Latin for "in chains," making him an appropriate patron saint for prisoners) next to the Green. Some of the nobles who were executed outside the Tower are also buried in that chapel. (External link to Chapel webpage) The names of the seven beheaded on Tower Green for treason alone are:

* William Hastings, 1st Baron Hastings (1483)

* Anne Boleyn (1536)

* Margaret Pole, Countess of Salisbury (1541)

* Catherine Howard (1542)

* Jane Boleyn, Viscountess Rochford (1542)

* Lady Jane Grey (1554)

* Robert Devereux, 2nd Earl of Essex (1601)

The Traitors' Gate

The Traitors' Gate

George, Duke of Clarence, the brother of Edward IV of England, was executed for treason in the Tower in February 1478, but not by beheading (and probably not by being drowned in a butt of Malmsey wine, despite what Shakespeare wrote).

When Edward IV died, he left two young sons behind: the Princes in the Tower. His brother Richard, the Duke of Gloucester, was made Regent until the older of his two sons, Edward V, should come of age. According to Thomas More's History of Richard III, Richard hired men to kill them, and, one night, the two Princes were smothered with their pillows. Many years later, bones were found buried at the foot of a stairway in the Tower, which are thought to be those of the princes. Richard was crowned King Richard III of England.

The last execution at the Tower was that of German spy Josef Jakobs on 14 August 1941 by firing squad formed from the Scots Guards.

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

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

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

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

St. Stephen's Cathedral and the Second World War

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

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

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

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

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

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

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

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

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

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

Der Stephansdom und der Zweite Weltkrieg

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

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

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

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

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

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

www.stephansdom.at/restaurierung_zweiter_weltkrieg.htm

Executing a classic "crotch grab" maneuver. Flawlessly, I might add.

A permanent memorial in memory of murdered Preston cotton workers was unveiled on Lune Street in 1992 - the 150th anniversary of the shooting. The memorial was designed by the British artist and sculptor Gordon Young. It was inspired by Goya's painting The Third of May 1808 picturing Spanish civilians being executed in 1808 for resisting Napoleon’s troops.

© 2013 Tony Worrall