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...

The Coventry Martyrs were a disparate group of Lollard Christians executed for their beliefs in Coventry between 1512 – 1522 (seven men and two women) and in 1555 (three men). Eleven of them are commemorated by a six-metre high monument, erected in 1910 in a public garden in the city, between Little Park Street and Mile Lane; and by a mosaic constructed in 1953 inside the entrance to Broadgate House in the city centre.

The Coventry Martyrs were a group of Lollard Christians executed for their beliefs in Coventry between 1512 – 1522 (seven men and two women) and in 1555 (three men).

Those martyred were -

Joan Ward (or Washingby). She was burnt at Coventry on 12 March 1512.

Master Archer (a shoemaker), Thomas Bond (a shoemaker), Master Hawkins (a shoemaker or skinner), Robert Hockett, or Hatchet, or Hatchets (a shoemaker or leather-dresser), Thomas Lansdail or Lansdale (a hosier) and Master Wrigsham (a glover) were all burned on 4 April 1520.

A widow, Mistress Smith, was due to be discharged when a document was discovered in her sleeve, containing (in English) the Lord’s Prayer, Ten Commandments and Apostles' Creed. For this, she was immediately condemned and burnt with the others.

Robert Silkeby (or Silkby or Silkesby) was burnt on 13 January 1522.

The three martyrs burnt during the reign of Mary Tudor were-

Laurence Saunders burnt in the city on 8 February 1555.

Robert Glover burnt in Coventry on 20 September 1555.

Cornelius Bongey, or Bungey, was a tradesman (hatmaker), and was executed on the same day as Glover.

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)

Kronos Troop, 3rd Squadron, 2d Cavalry Regiment executes a Troop air assault exercise in Norio, Georgia, Aug. 8, 2018. 3/2CR is currently supporting Noble Partner 18 - a Georgian Armed Forces and U.S. Army Europe cooperatively-led exercise in its fourth iteration. The exercise is intended to support and enhance the readiness and interoperability of Georgia, the U.S. and participating nations during a multinational training operation. (U.S. Army photos by 1st Lt. Ellen C. Brabo, 2d Cavalry Regiment)

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 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.

This bronze portrait bust of José Cecilio del Valle, executed by Juan José Sicre, was dedicated on the south lawn of the Organization of America in December, 1967.

José Cecilio del Valle (1780 – 1834), known as "The Wise", was the author of he Act of Independence of Central America and is one of the key figures of the Central American independence movement.

The Organization of American States (OAS), or, as it is known in the three other official languages, (OEA), is an international organization comprised of the thirty-five independent states of the Americas. Its headquarters, the Pan American Union Building, at 17th Street and Constitution Avenue, NW, occupies the former site of the Van Ness mansion. The building was designed in 1910 by Albert Kelsey and Paul C. Cret in classical style with allusions to Spanish Colonial styles.

The Art Museum of the Americas (AMA), formally established in 1976 by the OAS, is primarily devoted to exhibiting works of modern and contemporary art from Latin America and the Caribbean. The Museum is housed in an annex, which is separated by the Blue Aztec Garden, featuring a small reflecting pool presided over by Xochipilli, the Aztec god of flowers.

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.

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.

Craft these easy to execute chalkboard #Easter "baskets" that you can upcycle after the holiday into indoor or outdoor plant pots! DIY blogged here.

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)

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.

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

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

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

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

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

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

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

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

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

Edmonton Police Chief Rod Knecht expressed outrage Friday at what he called two gratuitous, barbaric and evil acts of violence in which two Mac’s convenience store clerks were “executed” early Friday in connected overnight armed robberies.

“It is very rare that we see this kind of senseless and r...

figmedia.com/2015/12/19/13-year-old-among-suspects-after-...

This finely executed statue's owner seems to have been highly ranked, as his statue was made of Parian marble, the finest and most expensive among all Greek marbles. He is represented in a heroic posture, and the shape of his beard differs from the Greek Hellenistic pattern, suggesting a Libyan origin. Alexandria was a destination for immigrants from everywhere in the Mediterranean. The sculpture was of an honorific function, perhaps placed in a theatre, gymnasium, house or agora.

Parian Marble

Ptolemaic Period 1st century AD

Provenance unknown

Graeco-Roman Museum

Alexandria Egypt

The Christopher Columbus Memorial, executed by sculptor Giuseppe Ciochetti, was dedicated in Washington Park on October 12, 1927. Funded by the Associated Italian Societies of Newark and the Giuseppe Verdi Society, the memorial features a bronze portrait of Christopher Columbus atop a tall square base adorned with four bronze relief plaques depicting the commissioning, embarkation, voyage, and landing of Columbus. Each corner of the base, between the reliefs, is adorned with a standing female figure representing discovery. The female figures stand with their faces directed toward the sky and their hands raised to their chests. The corners above each female figure are carved with fluted stone columns, above which a bronze garland encircles the base. Un March 1973, one of the base plaques fell off and was taken to the Bureau of Parks and Ground warehouse to await replacement by the Department of Public Works. Graffiti was cleaned from the base of the memorial in April 1985.

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 daughter of Sir Thomas Barre by Alice daughter of Richard , 4th Baron Talbot d1396 and Ankaret le Strange, 7th Baroness Strange of Blackmere. (Sister of John Talbot Earl of Shrewsbury www.flickr.com/photos/52219527@N00/7361308108/ )

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

Thomas son of Elizabeth & Thomas sold the Kyre estates in 1520 to the half-brother of his mother John Croft,

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.

K / 1/13 dead mask

Death mask of the robber Johann Voboryl, who was executed on 11 August 1902.

An hour after the execution of the delinquent, the dead man was taken from the gallows and a mask of death was taken before the autopsy. The cast should supplement the anthropometric measurement of the later macerated skull. Only in a few cases from executed people dead masks were taken.

K/1/13 Totenmaske

Totenmaske des am 11. August 1902 hingerichteten Raubmörders Johann Voboryl.

Eine Stunde nach der Hinrichtung des Delinquenten wurde der Tote vom Galgen genommen und noch vor der Obduktion eine Totenmaske abgenommen. Der Abguss sollte die anthropometrische Vermessung des später mazerierten Schädels ergänzen. Nur in wenigen Fällen wurden von Hingerichteten Totenmasken abgenommen.

The Vienna Crime Museum is a museum in the 2nd district of Vienna, the Leopoldstadt, in the district of the same name.

Location

The museum, emerging at the end of 1991 at the current location from the Criminal Police Museum of the Federal Police Office Vienna (founded in 1984), successor of the former Imperial-Royal Police Museum (founded in 1899), is situated in the Soap Boiler's house, one of the oldest houses in the second district, in Great Sperl alley 24 (until 1862: Street of the Lords 297). It stands at that place where previously the community hall of the (displaced) Jewish Community had been located and it was built in 1685 (designated on the arch brick of the portal). The name of the house is based on the fact that it was purchased in 1794 by a soap boiler. Today, the museum is located between Karmeliter market and the church of Saint Leopold.

In the courtyard of the building is a café.

Exhibition

Burglar tools of the legendary "Burglar King" Breitwieser

The museum consists of 20 rooms, where the history of the judiciary, the police system and the criminality from the Middle Ages to the new era are presented. Represented there are medieval penal system and the last public executions in Vienna. Furthermore, some interesting criminal cases such as those of the poison-murderer Hofrichter or the case of Josefine Luner from the inter-war period are shown.

The exhibits include numerous original documents and reproductions on criminal cases, crime scene photos and court documents as well as body parts of executed criminals, including the heads of Juliana Hummel and Franz Hebenstreit. After protests, Hebenstreits head 2012 was removed from the collection.

The director of the museum is Harald Seyrl, who has been working on the matter since 1984, suggested the location of the museum and is heading the house since 1991.

Das Wiener Kriminalmuseum ist ein Museum im 2. Wiener Gemeindebezirk, der Leopoldstadt, im gleichnamigen Bezirksteil.

Standort

Das Ende 1991 aus dem Kriminalpolizeilichen Museum der Bundespolizeidirektion Wien (gegründet 1984), Nachfolger des ehem. k.k. Polizeimuseums (gegründet 1899), am heutigen Standort hervorgegangene Museum befindet sich im Seifensiederhaus, einem der ältesten Häuser im 2. Bezirk, in der Großen Sperlgasse 24 (bis 1862: Herrengasse 297). Es steht dort, wo sich zuvor in der (vertriebenen) Judengemeinde das Gemeindehaus befunden hatte, und wurde (bezeichnet am Keilstein des Portals) 1685 errichtet. Der Name des Hauses beruht darauf, dass es 1794 von einem Seifensieder gekauft wurde. Heute liegt das Museum etwa zwischen Karmelitermarkt und Leopoldskirche.

Im Innenhof des Gebäudes befindet sich ein Kaffeehaus.

Ausstellung

Einbruchswerkzeuge des legendären „Einbrecherkönigs“ Breitwieser

Das Museum besteht aus 20 Räumen, in denen die Geschichte der Justiz, des Polizeiwesens und auch die Kriminalität vom Mittelalter bis in die neue Zeit präsentiert wird. Es werden mittelalterlicher Strafvollzug und die letzten öffentlichen Hinrichtungen in Wien dargestellt. Weiters werden einzelne interessante Kriminalfälle wie der des Giftmörders Hofrichter oder der Fall Josefine Luner aus der Zwischenkriegszeit gezeigt.

Zu den Exponaten zählen zahlreiche Originaldokumente und Reproduktionen zu Kriminalfällen, Tatortfotos und Gerichtstexte sowie Körperteile von Hingerichteten Verbrecher, u. a. die Köpfe von Juliana Hummel und von Franz Hebenstreit. Nach Protesten wurde Hebenstreits Kopf 2012 aus der Sammlung entfernt.

Direktor des Museums ist Harald Seyrl, der seit 1984 mit der Materie befasst war, den Standort des Museums vorschlug und das Haus seit 1991 leitet.

de.wikipedia.org/wiki/Wiener_Kriminalmuseum

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

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

The church of the Sacred Heart & St Catherine of Alexandria in Droitwich is a little known gem; it was built in 1919-21 and it's relatively plain brick Romanesque/Byzantine exterior hiding a wonderful secret.

Externally it looks like it belongs in central Italy, but internally one feels more specifically like one has been transported to Ravenna itself, It glitters with brightly coloured mosaic and is a stunning sight to behold. I have been in a couple of times before but it still takes my breath away.

The form is that of a modest size basilica with suitably Byzantine marble capitals, above which all is mosaic, designed and executed in the 1930s by artist Gabriel Pippet, with large panels above the arcades with the life of Christ to the left and the life of St Richard (St Richard de Wyche who is believed to have come from Droitwich) to the right.

Either side of the apse are small chapels with lovely mosaic vaults and apses, difficult to do justice to with a camera. In all an unforgettable interior and one of the most impressive Catholic churches in the country.

www.sacredheartdroitwich.org.uk/mosaics_introduction.htm

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.

A cleverly executed image of Ginger Rogers.

ift.tt/2hk4Kih #Jeju citizens awaiting executing during the Jeju Uprising, 1948 [497 x 333] #history #retro #vintage #dh #HistoryPorn ift.tt/2hqDHF3 via Histolines

Blue Angels executing the "Diamond Roll" maneuver by roll 360 degrees in delta formation at approximately 4000’ AGL (Above Ground Level).

藍天使機隊操演「鑽石編隊翻滾」全體戰機在離地面約1,200公尺的高度，以鑽石編隊的方式做整體360度翻滾。若無膽大心細的飛行技巧，就要面對機毀人亡的下場。

Justinian Panel -

Showing Emperor Justinian

executed in 547 standing next to court officials, Bishop Maximian, palatinae guards and deacons.

The halo around his head gives him the same aspect as Christ in the dome of the apse and his position emphasises that Justinian is the leader of both church and state of his empire and the mosaic is one of the most famous images of political authority from the middle ages

The mosaic program can also be seen to give visual testament to the two major ambitions of Justinian's reign: as heir to the tradition of Roman Emperors, Justinian sought to restore the territorial boundaries of the Empire. As the Christian Emperor, he saw himself as the defender of the faith. As such it was his duty to establish religious uniformity or Orthodoxy throughout the Empire.

This mosaic thus establishes the central position of the Emperor between the power of the church and the power of the imperial administration and military.

Like the Roman Emperors of the past, Justinian has religious, administrative, and military authority.

Justinian's gesture of carrying the bowl with the bread of the Eucharist can be seen as an act of homage to the True King of Christ

Closer examination of the Justinian mosaic reveals an ambiguity in the positioning of the figures of Justinian and the Bishop Maximianus.

Overlapping suggests that Justinian is the closest figure to the viewer, but when the positioning of the figures on the picture plane is considered, it is evident that Maximianus's feet are lower on the picture plane which suggests that he is closer to the viewer. This can perhaps be seen as an indication of the tension between the authority of the Emperor and the church.

On January 25, 2012 hundreds of thousands of Egyptians marched to Tahrir square from different spots. Some went to celebrate the first anniversary of the Egyptian revolution, but most of people went to continue the revolution which is now against SCAF who has been ruling Egypt since February 11, 2011 after Mubarak stepped down.

I believe it was the biggest protest ever in Egypt's history. Tens of marches kept flowing to Tahrir, to the extent that many couldn't enter the square.

Executing campaigns under the supervision of a qualified #AttorneyInternetMarketing becomes even more beneficial. This fact has become an established one now and in future, the legal requirements are going to be more important.goo.gl/gSWwgc

Washington (CNN)-The execution of an Iranian nuclear scientist accused of spying for the US is reverberating from Tehran to the presidential campaign trail.

Critics, including opponent Donald Trump, are slamming former Secretary of State Hillary Clinton for having received emails mentioning...

www.similaritiesanddifferences.info/trump-attacks-clinton...

HUD Secretaries Visit Puerto Rico to Execute Disaster Grant Agreement

Passing a westbound NS double-stack container train through Marysville, PA

PRIMORDIAL LANDSCAPES

Even our parks are manicured. Everything is designed and executed by humans. They resemble exhibitions, rather than Nature. More concrete than greenery.

Talking of concrete; what do we see when we walk down a road? Buildings, roads, bridges, passages, pavements, billboards, shop windows, vehicles of every size and type. When we look up, airplanes passing over. Concrete, metal, glass, etc.

When was the last time we wetted our feet and hands on a natural beach? I do not mean the fake beaches of holiday villages, nor the concrete docks alongside the piers, but beaches in the real sense. Where beaches are shaped by waves, where moss dance slowly, where the sound of the sea tingle our ears?

When was the last time we climbed on a real rock? When was the last time we sat on real earth?

The stars are obscured by the city lights, we cannot see them. We erased them all.

But there were mountains, seas, rivers, deserts, even before we existed on this planet. Who knows how it looked? Now we have to search for primordial landscapes in other planets.

Perhaps we can see their traces if we look carefully at trees. Perhaps barks of the remaining trees contain records of the past. We may see them if we look carefully and close enough.

Now let us look a little more carefully, a little closer; can we spot ourselves in those primordial landscapes?

Gotta eat all that chocolate!

2 picture of recycling old hardware - use it as a model. It survived at least 10 blows, until the screen came of - a sign of good quality. For the pitiful ones - it has been killed before it was smashed - drowned, to be exact (flic.kr/p/dpuGWi).

Strobist Info: 580 EX on a long wire, 24mm, manual mode, highsppedsynced (Shutter was 1/1000), full power, ¼ CTS from 2:00h 1.5m high, mastering the 430 with ¼ CTS behind Lias (11:00h) and triggering it (B Group) at ¼ power, 24mm, high speed

Andreas Hofer (November 22, 1767 – February 20, 1810) was a Tirolean innkeeper and patriot. He was the leader of a rebellion against Napoleon's forces.

He was an innkeeper turned politician who fought for Austria against the French during the War of the Third Coalition. In 1809, he became the leader of a rebellion against Franco-Bavarian forces that sparked the War of the Fifth Coalition. He was subsequently captured and executed.

Last year CEA Project Logistics were employed to assist the Royal Thai Navy in the transportation and shipping of a USD multi-million Seahawk Helicopter.

This project was executed with the upmost efficiency with all parties involved being very happy with the outcome.

Such was the professionalism of the teams at CEA and the impression they gave, the Royal Thai Navy once again employed their service and assistance on a very similar project.For this project another Seahawk helicopter was to be transported and shipped to Australia for maintenance and repairs.

CEA teams, Royal Thai Navy personnel and representatives from the maintenance company convened at Utapao Airport in Rayong province Thailand to begin the project. As with all projects CEA conduct a tool box talk was given to the teams to explain the lift and rigging plan for the day. Rigging equipment was then prepared while another team set up a safe exclusion barricade for the operational activities.

Personnel from the Royal Thai Navy carefully moved the valuable cargo into position for the lift.Two Modular spreader bars were assembled with the required nylon slings attached, these were then attached to the waiting 55 T mobile crane. The slings and shackles were attached to the designated lift points on the Seahawk, with the fuselage of the helicopter being protected by use of sling pads. Chain blocks were used to make precise alterations to the lift to ensure that the helicopter lifted level.

As the helicopter rose form the ground a Drop-Deck Air Ride trailer was placed underneath, the Seahawk was lowered on to the trailer and secured in her slots. All slings and shackles were carefully removed and the rigging team went to action securely lashing down the helicopter readying her for the journey to CEA HQ in Laem Chabang.

Upon arrival at CEA the Seahawk was transported to one of their main warehouses and removed from the trailer. After all checks were complete a CEA Shrink Wrap team set to work enveloping the whole helicopter in an industrial grade shrink wrap that will protect the Seahawk from the corrosive effects the elements can produce during transportation.

The Aircraft was transported again on the Drop-Deck Air Ride Trailer to Laem Chabang Port where a Mafi Trailer was awaiting. Prior to loading the Mafi was thoroughly cleaned and sprayed with Cilsin 25 to negate any issues with Australian DAFF/AQIS authorities upon arrival. As the fore wheels were wider than the Mafi a steel plate extension was fabricated by the CEA team for a safe and secure load. The Aircraft was safely loaded onto the Mafi and professionally lashed by CEA under the close supervision of a 3rd party marine surveyor.

After she was loaded a tug master pushed the Mafi and aircraft into place on the RoRo vessel where it was safely secured for the transit to Australia. Hats off to the CEA team who once again handled another multi-million USD shipment without incident.

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)

For that private meeting, our Executive lounge is one of a kind

You are welcome to correct me if this is not in fact a gantry crane.

Limerick Station also known as Colbert Station or Limerick Colbert serves the city of Limerick in County Limerick. It is on Parnell Street and is the main station on the Limerick Suburban Rail network. It has approximately 2,500 rail passengers a day travelling on four rail routes. The Bus Éireann bus station on site services approximately one million passengers a year, with 125 buses departing each day.

The station opened on 28 August 1858, replacing a temporary station 500 metres further east, which had operated from 9 May 1848. It was built by the Waterford and Limerick Railway (W&LR), which ran its first train, as far as Tipperary, on Tuesday, 9 May 1848, with intermediate stations at Killonan, Pallasgreen and Oola (all since closed). Two months later the GS&WR connected their Dublin–Cork line with the W&LR at Limerick Junction, near Tipperary. The work was carried out at the height of the Irish Potato Famine, resulting in extreme financial difficulties for the company.

Originally named "Limerick", the station was given the name Colbert on 10 April 1966 in commemoration of Cornelius Colbert, one of the executed leaders of the Easter Rising of 1916.

Elle fut exécutée en 1788 d'après les dessins de Charles de Wailly, et donnée par le duc d'Aiguillon du Plessis-Richelieu, arrière-petit-neveu du cardinal de Richelieu, ancien ministre de Louis XV et premier marguillier de la paroisse. Elle est faite de chêne et de marbre, et considérée comme un chef-d’œuvre d'ébénisterie et d'équilibre (elle repose, de fait, sur les seuls escaliers latéraux qui la soutiennent). En 1791, Monsieur de Pansemont (curé de la paroisse) déclara son refus de prêter le serment de la Constitution Civile du Clergé du haut de cette chaire, devant les gardes nationaux et ses fidèles. La chaire fut, par chance, conservée par les révolutionnaires qui la jugeaient « utile ». Ses dorures et ses peintures ont fait récemment l'objet d'une restauration très soignée (2010).

La chaire comporte de nombreux symboles sur les différentes parties qui la composent :

Deux statues en bois de tilleul doré (œuvre de Guesdon), celle de gauche tenant un calice (symbole de la foi) et celle de droite une ancre (symbole d'espérance).

Quatre bas reliefs en bronze dorés d'Edme Dumont, avec des animaux qui représentent les évangélistes : un lion (pour Saint Marc, dont l'Évangile commence par le ministère de Saint Jean le Baptiste dont la parole retentit comme le rugissement d'un lion dans le désert), un taureau (pour Saint Luc, dont l'Évangile commence par l'annonce d'un fils à Zacharie, sacrificateur au temple), un ange (ou un homme, pour Saint Matthieu dont l'Évangile commence par la généalogie humaine du Christ) et un aigle (qui fixe le Soleil comme Saint Jean fixe Dieu dans la personne humaine et divine du Christ).

Un abat-voix d'Edme Dumont surmonté d'un groupe (une femme et des enfants) en bois doré représentant la charité, dont le dessous du ciel est orné d'une colombe dorée aux ailes étendues, symbole de l'Esprit Saint entouré de rayons lumineux.

Actuellement la chaire ne sert plus pour les prêches, les prédicateurs commentant les textes de la liturgie depuis le pupitre des lecteurs, près de l'autel.

(Wikipedia)

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.

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.

This bust and plaque in Whitehall, mark where the scaffold was erected. On which Charles I was beheaded on the 30th of January 1649.

This bust is outside the Banqueting House.

The Roman Empire The mint is Roma unless otherwise stated

Elagabal, 218-222

d=22 mm

Aureus 218-219, AV 7.12 g. IMP CAES M AVR ANTONINVS AVG Laureate, draped and cuirassed bust r. Rev. FIDES MILITVM Elagabal, laureate and in military attire, standing r. and holding transverse spear; to r., a soldier carrying standard and shield. Behind the emperor, another soldier carrying a standard. RIC 76. BMC p. 532, note 16. C 42. Calicó 2994 (this coin). Biaggi 1285 (this coin).

Extremely rare, very few specimens known. A superb portrait and a finely executed revere

composition. Virtually as struck and almost Fdc

NAC40, 782

Heloise Crista - St. Elizabeth Seton

A large, original bronze sculpture was commissioned of, and executed by, Heloise Crista of the Frank Lloyd Wright Foundation. It depicts St. Elizabeth Seton in a protective embrace of children and is placed prominently over a water pool at the base of the copper pyramid.

Elizabeth Ann Bayley Seton, S.C., (28 August 1774 – 4 January 1821) was the first native-born citizen of the United States to be canonized by the Roman Catholic Church (September 14, 1975). She established the first Catholic school in the nation, at Emmitsburg, Maryland, where she founded the first American congregation of Religious Sisters, the Sisters of Charity.

Elizabeth Ann Bayley Seton had five children: Anna Maria (Annina) (1795-1812), William the Second, Richard (1798-1823), Catherine (1800-1891) and Rebecca Mary (1802-1816). Anna Maria and Rebecca Mary died of tuberculosis.

St. Elizabeth Seton Catholic Church - 4001 Stoneridge Drive in Pleasanton, CA 94588- Google Map - additional views

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/

- From the 1798 rebellion, to the 1916 Easter Rising, the Anglo Irish War (1919-21), to the devastation of the Irish Civil War (1922-23) all these important events have a chapter in the story of Kilmainham Gaol .. ' James Connelly was Executed Here .. 12th May 1916 ' - 3 -