View allAll Photos Tagged Executed
by firing squad on this spot in 1916. Kilmainham Gaol, Dublin.
Another was executed at the other end of the yard because he was a Protestant. He was already close to death from a gangrenous bullet wound, but an example had to be made.
Sutra The Gastropub : A Bon Vivant’s delight
Sutra Gastropub which hosted a wonderful event with Signature Expressions and the cult band Indian Ocean this week has already become a very significant part of the party scene in Gurgaon’s Cyber Hub. The restaurant offers soups, salads, a wide variety of starters and serves cuisines like Indian, Italian, Moroccan, American and European.
I like the menu; it has hearty, trustworthy dishes that the chefs have managed to execute well. The well being of the flourishing, diverse and experimental food tradition in India rests in the hands of such restaurants.
Jhul e kabab @ SutraSpeaking of the well-written, hunger-inducing, gutsy menu, we read it and immediately knew what we wanted. Such a musical night with iconic singers and musicians called for a lot of finger food and signature cocktails. We ordered a “Manhattan” with Signature’s best whiskey, “Mustard Fish Tikka”, “Seekh-e-khas” and “Jujeh Kebabs”.
Alfresco dining, iconic music, and an extremely cosy restaurant, is all that we needed after a long hard day at work. The restaurant is well planned and spacious. There is dark-wood furniture. There are two bars with bar stools for people who wish to sit there and drink the bartenders interesting cocktail concoctions; they also have a wine rack. Indian ocean sutra
On a weekday (Wednesday), the place is bustling with people; I wasn’t at all surprised, most restaurants at Cyber Hub are thriving, every day is good business, weekends are especially brilliant.
IMG_2425And then the food starts to arrive and it’s clear everything is going to be great. The food is fresh, the drinks are well balanced and the staff is courteous. Check. Check. Check. The restaurant checks all the right boxes for me. For main course I got a thin crust “Chicken Pizza”. I expected it to be heavy but it turned out to be surprisingly light. It was an utterly guilt-free pizza with extremely coordinated ingredients.
Most evenings and weekends are special for the restaurant because they organise fun-filled events for their patrons. Anoop, who manages the place, and it feels very much like a one-man operation, clearly knows how to make customers feel at home.
There are chunky burgers with chicken and lamb; the meat is tender, well cooked and extremely delicious. This multi-cuisine restaurant does a mouth-watering molten brownie cake, chocolate tiramisu and some really interesting cheesecake to finish.
Sutra seems to be doing a great job because the evening was a raving success and went absolutely glitch free.
XOXO
Shivangi
(Shivangi Reviews)
Contact: shivangireviews@gmail.com
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Published on: Live in Style by Shivangi Sinha
Klick Link For Read Online Or Download The Great Loop Experience - From Concept to Completion: A Practical Guide for Planning, Preparing and Executing Your Great Loop Adventure Book : bit.ly/2hcXZ3N
Synopsis
This guide helps you create the journey of a lifetime. The book covers important financial, medical, insurance, home, time-frame, and life-style factors that should be considered before starting. It details choosing and outfitting your boat for the journey, route planning, guidebooks, and charts to have onboard, types of locks, dealing with customs, negotiating open water passages, and more.Atlantic Publishing is a small, independent publishing company based in Ocala, Florida. Founded over twenty years ago in the company president s garage, Atlantic Publishing has grown to become a renowned resource for non-fiction books. Today, over 450 titles are in print covering subjects such as small business, healthy living, management, finance, careers, and real estate. Atlanti
Henry Howard, executed by Henry VIII in 1547. He was a cousin to Anne Boleyn and Catherine Howard. His sister was married to Henry Fitzroy.
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.
This bronze sculptural bust of Cordell Hull, executed by Bryant Baker in 1943, was dedicated in front of the entrance of the Organization of America on April 14, 1956. Cordell Hull (1871–1955) was an American politician from the U.S. state of Tennessee. He is best-known as the longest-serving Secretary of State, holding the position for 11 years (1933–1944) in the administration of President Franklin Delano Roosevelt. Hull received the Nobel Peace Prize in 1945 for his role in establishing the United Nations, and was referred to by President Roosevelt as the Father of the United Nations.
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.
ALE Executed the transportation and installation of 19 vessels at the Preemraff Refinery in Lysekil, Sweden.
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)
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.
A brilliantly executed casting from its very first release, the Hot Wheels 2019 Chevrolet Silverado Trail Boss LT certainly likes to flaunt its almost Matchbox levels of stock realism. Hot Wheels pick-up trucks can sometimes be a little bit hit and miss but theres no question of which side this lands. Looking super clean in this latest 2020 recolour complete with licensed Belltech branding. Mint and boxed.
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.
La Joute (The Joust), a public sculptural installation executed by Jean-Paul Riopelle in 1969 was formerly located in the Parc Olympique. It was relocation to the Place Jean-Paul Riopelle in 2003 as part of the redevelopment of the Quartier international de Montréal, provoking protes5t from residents of Hochelaga-Maissonneuve, who claimed the work was deprived of the its context.
The ensemble of bronze sculptures contains a central fountain surrounded by a number of freestanding abstract animal and human figures inside and outside the fountain basin. The fountain operates on a kinetic sequence that takes about 32 minutes to complete and begins a few minutes before the half hour, every hour from 7 to 11 p.m. during the summer. The sequence starts when the fountain jet expands to form a dome over the sculptures. Then at the back end of the park the grates on the ground start to mist. The 12 grates each mist, one after the other in sequence, taking about 90 seconds to sequence from one to another until they reach the fountain. After about 18 minutes, machines inside the fountain start to produce a particularly dense cloud. The fountain jet then turns into a dribble. On the hour, nozzles in a ring surrounding the central sculpture within the basin shoot up jets of natural gas through the water; these are lit by flame sources installed in the daises of some of the sculptures, producing a dramatic ring of flame. The flame lasts for about seven minutes. The fountain itself stops. The misting stops, and then the fire is "doused" by the fountain which has restarted. The mist sequence, without the fire in the fountain, occurs every hour throughout the day.
Place Jean-Paul Riopelle, a public square built on an old exterior parking lot over the trench, a covered section of Autoroute Ville-Marie, was named in honor of Riopelle. The square features 88 trees in an "urban forest"--eleven different species from maple to hickory, all indigenous to the Montréal area.
Three people have been arrested after early morning warrants were executed in Manchester.
Earlier this morning (Friday 29 November 2019), officers executed warrants at two addresses in Cheetham Hill and made three arrests in relation to an ongoing firearms investigation.
The action comes after GMP launched a dedicated operation – codenamed Heamus - earlier in the month. The operation is set to tackle a dispute between two local crime groups, following a series of firearms discharges which have taken place since the beginning of September 2019.
Superintendent Rebecca Boyce, of GMP’s City of Manchester division, said: “Following this morning’s direct action, we have three people in custody and I would like to thank those officers who have worked extremely hard as part of this ongoing operation and who are committed to keeping the people of Cheetham Hill safe.
“Whilst we believe that these incidents have been targeted, we understand and appreciate how concerned local residents may be and as a result of this have set up this dedicated operation. We want to reassure those who feel affected that we are doing all that we can and stress that we are treating these incidents as an absolute priority.
“This is a complex investigation, which brings its own challenges and whilst we have made arrests, we are continuing to appeal for the public’s help. We believe that answers lie within the community and would urge anyone with information to get in touch. Whether you want to speak to us directly, or whether you’d prefer to talk to Crimestoppers anonymously, please do so if you think you can assist our enquiries with even the smallest piece of information.
“We will continue to work closely with partners in order to disrupt this kind of activity and I hope that this morning’s action demonstrates that are working hard in order to prevent any further incidents and protect those in our communities.
“This type of criminal behaviour is reckless and dangerous- it will not be tolerated on our streets.”
Anyone with information should call 0161 856 1146, quoting incident number 2348 of 18/11/19. Reports can also be made anonymously to the independent charity Crimestoppers on 0800 555 111.
My Pink Mural in Mexico was executed by two rotulistas (street ad painters) during three days without use of masking tape. The Warsaw version (much bigger 33 x 5 meters, here 6 x 8 meters) was done by 11 people, with use of masking tape, during a week.
Garash Galeria, Mexico DF, Mexico, Jaunuary 2006
Digital 5 MgPx
executing this photo was quite risky, i could of potentially rolled my ankle or fell about 5 feet into a pile of rocks. The rock required some balancing to stand on. Taking a second look at the photo I almost look like a huge hipster giant walking through the valley looking for inspiration. HAH
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)
East window - Pevsner Guide quotes Martin Harrison's attribution to Henry Holiday, executed by Heaton, Butler and Bayne : detail
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.
Detail from the centre of the Address, showing the chapel, with its building date of 1888. It replaced an earlier building - and has been replaced in its turn by a more modern building.
This morning (Thursday 15 January 2026), officers executed an arrest warrant at an address on Brooklands Avenue, Chadderton, resulting in three arrests.
A 26-year-old man was arrested on suspicion of possession with intent to supply Class A, B, and C drugs, as well as possession of offensive weapons. A man aged 62, and a woman aged 61, were also arrested on suspicion of being concerned in the supply of drugs.
The warrant was the culmination of a thorough investigation by Chadderton’s Neighbourhood Team, who remain committed to tackling drug supply and misuse across the borough.
Acting on intelligence provided by the local community, officers identified the address as a suspected hub for drug activity. Police Sergeant Tom Layton and PC Aleks Gornisiewicz led the investigation, securing sufficient evidence to obtain today’s warrant.
Upon entry, officers located a man in an attic bedroom. Officers were able to seize drugs located in the bedroom.
Inside the property, officers discovered a variety of Class A, B, and C drugs, including suspected cocaine, nitrous oxide, and cannabis. Several bladed weapons—such as axes, machetes, and zombie knives were also seized, along with multiple mobile phones and luxury items.
The three suspects currently remain in custody for further questioning and all seized drugs will be transported to our labs for testing.
PS Tom Layton from the Chadderton Neighbourhood team said: "Today’s warrant was a great success, made possible thanks to vital intelligence from our community.
“I want residents to know that we are here to listen and act on your concerns. As a Neighbourhood Sergeant, my priority is keeping our community safe.
“Greater Manchester Police is relentless in tackling the supply and use of drugs across the force, and I am deeply committed to that mission here in Oldham.
“We have zero tolerance for offensive weapons and removing them from our streets remains an absolute priority.
“I urge anyone with information about criminal activity to come forward. Today’s warrant demonstrates just how crucial community intelligence is and how we act on it to protect you."
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
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)
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)
The statue of Queen Victoria, executed by Princess Louise, was presented to Royal Victoria College at the opening of the Strathcona Building in 1899.
The Strathcona Music Building, at 555 Sherbrooke Street West, houses the Schulich School of Music at McGill University. Built in 1899 by architect Bruce Price at the request of Lord Srathcona, formerly Donald Smith, it was originally the home for Royal Victoria College, McGill's college for women named in honor of Queen Victoria. Srathcona purchased the Tiffin and Learmont properties and funded the project with an additional £50,000. The original, five storey central edifice, named the Hurlbatt Wing after the College's first warden, is of the British chateau style, crowned by many gables and dormers and covered by a layer of grey, Montreal limestone. The building is decorated by many carvings that refer both to wisdom and to its namesake, the Queen.
($15)
Absolutely beautiful. One of the better executed plates from my year of dining.
On the right was a velvety rich fist of sweetbread (the largest nodule I've encountered to date, but not to be associated as being distasteful - in fact, quite the opposite), braised first in white wine, then given the thinnest crispy shell finish. The sweetbreads were flavourful, creamy smooth, but it was that well seasoned crust that had me swooning. A light porcini reduction finished the "plate," rounding out the flavours and giving added intensity to the flawlessly executed organ meat. If all offal was treated with this respect, prime cuts would likely go out of fashion.
On the left of the plate was a course given the "local shrimps" designation. If first impressions count, then Montreal is a mecca for seafood. What looked like anorexic crustaceans turned out to be nearly crisp super sweet, intense Icelandic shrimp. The perfect texture and creaminess only elevated more by a toothsome bed of lightly dressed diced turnips, carrots and pearls of fresh green peas, then contrasted by an airy fried cracker crown. If anyone has ever had the tarragon mayonnaise-shrimp-melon starter (with deep fried milk cubes) that are sometimes served at Chinese banquets (it might sound wrong, but it's incredibly refreshing), this is similar but elevated to the n-th degree. A suitable offering at any bourgeois picnic table, or those with the developing bourgeois palate. ;P
There's the notion in dining that it's best to serve only enought to make the diner want more. Even though both starters were served as generous portions, I was left fighting for the last morsels, hoping perhaps there might be more tucked away somewhere on the plate. Stellar.
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:-
To the south of the high altar stands the most artistically significant of Framlingham's tombs, that of 3rd Duke of Norfolk Thomas Howard (d.1554), uncle to both of Henry VIII's executed queens (Anne Boleyn & Catherine Howard) and also his first wife Anne Plantagenet (d.1511), the fifth daughter of Edward IV and Elizabeth Woodville.
en.wikipedia.org/wiki/Thomas_Howard,_3rd_Duke_of_Norfolk
The tomb itself is remarkable as perhaps the last example of traditional Catholic iconography appearing on a church monument in this country and an extremely rare example of what the English Renaissance might have been had the Reformation not suffocated it. The figures of Apostles adorn the tomb chest in a rich display and fusion of late medieval and Renaissance styles, the niches that frame them being wholly in the latter spirit.
Framlingham was perhaps my most anticipated target of the day, one of the 'big three' of my itinerary that I knew I'd require more time for, and getting later in the afternoon I was increasingly anxious about not arriving here too late. St Michael's is justly renowned for its fine tombs, really special and quite unique, and is an impressive building in its own right. I was fortunately here a while until closing time, and the ladies on duty I met kindly checked I'd got all I wanted before locking up and even gave me access to the organ gallery for some great final views of the interior.
The church announces its presence with its handsome 15th century west tower, poking proudly above the rooftops in the oldest part of the town. The churchyard is set back from the streets and reveals a grand, fairly sprawling building, all apparently late medieval but some of it later still. What strikes the observer most is the way the chancel with its aisles has spread outwards, being of far greater width than the nave, which though of good proportions itself appears rather slim by comparison. The reason for this discrepancy becomes clear within.
Entry is by the south porch and it is immediately clear what an impressive space this is, very much the large town church. The nave is light and crowned by a fine medieval roof and opposite the entrance the eye is drawn to a 15th century mural of the Trinity. At the west end in the gallery is the handsome Baroque organ case of the precious 17th century Thamar organ, its pipes painted with swirling foliate designs. In the north aisle is the medieval font following the classic East Anglian design but less well preserved than some.
Stepping beyond the nave the chancel seems like a separate building, with its aisle split into three vessels of equal height like some great pillared hall. It is light and spacious and at first sight appears a little austere until one notices the cluster of tombs at the east end on either side, which are the reason for this part of the building's existence which was finished only in 1554 in order to house them. The Tudor tombs belong to the family of the Dukes of Norfolk who at the time owned nearby Framlingham Castle and made this church a family mausoleum as a direct consequence of losing their previous chosen resting place, Thetford Priory, to the Dissolution and thus the earlier tombs were transferred from there shortly after they were originally erected.
The tombs are a remarkable expression of English Renaissance design on the cusp of the Reformation and thus still informed as much by medieval precedents as the more standard forms of the following decades. The oldest is that of Henry Fitzroy, Duke of Richmond and illegitimate son of Henry VIII who married in to the Norfolk family. His tomb has no effigy but is adorned with some fetching small-scale reliefs. Much grander is the tomb of the wives of the 4th Duke nearby with recumbent effigies, but for me the most significant tomb here artistically is that of 3rd Duke Thomas Howard to the south of the altar. This remarkable monument is the best example we have of how English Renaissance church art might have blossomed without the Reformation, for the tomb chest is adorned with with a series of carved apostles in the medieval format but in detail wholly Renaissance, the figures in a still familiar on the continent but extremely rare over here. Award for the most colourful tomb however goes to that of Henry Howard on the north side (erected several decades after his execution under Henry VIII) and adorned with richly painted effigies, heraldic beasts and kneeling progeny.
Framlingham church would be worth a visit even without its fine tombs but these monuments make it unmissable, especially as they capture such a snapshot of one of the most turbulent periods of English history. I was duly relieved to have got here before they closed, but the church is generally kept open and welcoming in normal times so those getting less distracted than me en route here shouldn't have to worry so much about getting in.
For more on this fine church see its entry on the Suffolk Churches site below:-
RIVAL 52 executes a low approach during one of his passes in the VFR pattern.
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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)
In response to safeguarding concerns identified by our Rochdale organised crime team, we’ve executed eight warrants this morning and locked up six suspected gang members.
We identified a teenage boy who was being exploited and coerced into drug dealing by a suspected local gang.
With immediate safeguarding measures put in place, we were able to pursue those responsible
As the investigation developed, we identified further victims, including a vulnerable adult whose house was being cuckooed and used as a stash house for the gang.
This morning, we’ve arrested six men aged 18 - 26 on suspicion of conspiracy to supply class A and B drugs and modern slavery offences.
£30,000 cash has been seized along with cannabis and drugs paraphernalia.
Today’s activity is a key example of partnership work and effective information sharing. It’s enabled us to identify crucial members of a suspected organised crime group, but most importantly, we’ve been able to safeguard several children and vulnerable adults.
Sergeant Mark Lutkevitch from our Rochdale Challenger team said: “Exploitation, coercion, and violence are the foundations of modern slavery and drugs trafficking, and gangs will often exploit the vulnerable to further their profits. Our arrests this morning are part of a longstanding investigation into several organised crime groups operating across Rochdale that we strongly believe are involved in the exploitation of young people.
“Young people and vulnerable adults will be threatened as the criminals exert control, which is why tackling exploitation is a high priority for us. We have specialist officers working with young people in our communities to tackle the vicious cycle of gang recruitment, and teams of officers on the frontline pursuing offenders.
“Our communities are key in helping us be one step ahead of the criminals. By being our eyes and our ears and finding the courage to report what is taking place in your area only strengthens our relentless pursuit of organised crime and could make a real difference for a child.
“I want to encourage communities to trust their instinct. If something doesn’t feel right; report it. If you think somebody is being exploited, or you think a house might have been taken over by drug dealers, feed that information to us. If you want to remain anonymous, report it through Crimestoppers, and we will act.”
nformation can be shared by calling 101. If you would prefer to remain anonymous, call the independent charity Crimestoppers on 0800 555 111.
Always call 999 in an emergency.
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
The Whitney Mural, located at 45 William Street, was executed by local artist Maude Lemaire in 2021. The second in the GRAMMY Museum Experience Prudential Center series, located in Newark's Central Ward, is composed of 1,000 pounds of hand-cut glass. Whitney Houston was born in Newark in 1963 to recording artist Cissy Houston, before her family moved to nearby East Orange following the riots of 1967. But she returned to the New Hope Baptist Church in Newark where she was a star soloist in the gospel choir.
Whitney Houston is one of the best selling recording artists of all-time, with sales of over 200 million records worldwide. Her accolades include two Emmy Awards, eight Grammy Awards (including Record and Album of the year wins), 14 World Music Awards, 16 Billboard Music Awards and 22 American Music Awards. Houston was inducted into the Rhythm and Blues Music Hall of Fame in 2014 and the Rock and Roll Hall of Fame in 2020.
The GRAMMY Museum Experience Prudential Center Mural Project, in partnership with Prudential Financial, was started in 2018 to create a series of five murals throughout each of Newark's five wards, celebrating the city's deep musical roots.
Nurse Edith Cavell was executed by German forces during WWI as she had aided British POWs to escape.
There was great diplomatic efforts to have her death sentence commuted or delayed, but to no avail.
She was shot by eight soldiers, and in time, her body was repatriated, the wagon her body was carried from Dover is the same used for the body of the Unknown Soldier.
The luggage wagon usually rests at Bodiham on the Kent and East Sussex Railway, but for November it has been brought back to the former Dover Marine station.
I got tickets, so after lunch we would visit, not just to see the wagon and pay our respects, but the station is now a cruise terminal, and is rarely open to the public, and it had been a decade or so since my last visit.
I slept late, late enough so that Jools driving off to yoga woke me up at ten past six. Outside rain was bouncing down, and there was the bins to do.
I got up and put them out, dodging the raindrops, and back inside to make a coffee.
With rain expected all day, other than doing to the station after lunch, not much else planned, whilst Jools had her craft and gossip morning at the village library.
Jools came back from yoga as I was finishing my coffee, so I made breakfast giving her an hour before she had to leave again.
I listened to podcasts and watched videos for the morning, not much else to do, really.
Sadly, we had what we thought was the plumber coming to fix the overflow, but instead Craig came to touch up some paint in the toilet.
So Jools stayed home and I drove down to the Western Docks, over the flyover, past the former Lord Warden Hotel, then round to where lines from London entered Dover Marine, forming a large flat crossing in a tangle of lines.
You can still see how the lines used to curve west to join the main line to Folkestone, but is now concreted over, as are the tracks between the platforms, so to create a large flat parking area for cruisers.
I showed my ticket, and walked up through the central arch along what was the path of platforms 2 and three, past the former station buildings and under the footbridge.
At the far end there was the wagon, so I walked up, showed my ticket again, had my name ticked off, and went to look inside.
Inside there is a coffin, a replica of the one that brought the body of the unknown soldier back from France, and on the walls there were information boards on the only three bodies to be brought back from the war.
I exited it, took shots all around it, then walked to the war memorial, which is a splendid thing, and should be more accessible.
And I was done.
I thanked the volunteers and walked out, getting shots of the walkway linking the former hotel with the station and the Admiralty pier before taking shelter from the rain in the car and driving home.
I had been gone all of 40 minutes.
Once back I began to cook dinner/lunch: chicken pie, roast potatoes, steamed leeks, sprouts and spring greens, gravy and shop bought Yorkshire puddings.
It was all done by four, by which time Craig had done two coats of paint and had left.
I poured a beer and a cider, then dished up, the potatoes lovely and crunchy, without being burnt.
I won the music quiz at six, which was nice, then after washing up I settled down to watch Northern Ireland play in Slovakia.
A poor game, ended 1-0 to the home side, but Northern Ireland go to the play-offs anyway.
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Edith Louisa Cavell (/ˈkævəl/ KAV-əl; 4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for treating wounded soldiers from both sides without discrimination during the First World War and for helping some 200 Allied soldiers escape from German-occupied Belgium. Cavell was arrested, court-martialled under German military law and sentenced to death by firing squad. Despite international pressure for mercy, the German government refused to commute her sentence, and she was shot. The execution received worldwide condemnation and extensive press coverage.
The night before her execution, she said, "Patriotism is not enough. I must have no hatred or bitterness towards anyone". These words were inscribed on the Edith Cavell Memorial[1] opposite the entrance to the National Portrait Gallery near Trafalgar Square. Her strong Anglican beliefs propelled her to help all those who needed it, including both German and Allied soldiers. She was quoted as saying, "I can't stop while there are lives to be saved."[2] The Church of England commemorates her in its Calendar of Saints on 12 October.
Cavell, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium.
In November 1914, after the German occupation of Brussels, Cavell began sheltering British soldiers and funnelling them out of occupied Belgium to the neutral Netherlands. Wounded British and French soldiers as well as Belgian and French civilians of military age were hidden from the Germans and provided with false papers by Prince Réginald de Croÿ at his château of Bellignies near Mons. From there, they were conducted by various guides to the houses of Cavell, Louis Séverin, and others in Brussels, where their hosts would furnish them with money to reach the Dutch frontier, and provide them with guides obtained through Philippe Baucq.[18] This placed Cavell in violation of German military law.[4][19] German authorities became increasingly suspicious of the nurse's actions, which were further fuelled by her outspokenness.
The night before her execution, Cavell told the Reverend H. Stirling Gahan, the Anglican chaplain of Christ Church Brussels, who had been allowed to see her and to give her Holy Communion, "I am thankful to have had these ten weeks of quiet to get ready. Now I have had them and have been kindly treated here. I expected my sentence and I believe it was just. Standing as I do in view of God and Eternity, I realise that patriotism is not enough, I must have no hatred or bitterness towards anyone."[30][31] These words are inscribed on her statues in London and in Melbourne, Australia.[32][33] Cavell's final words to the German Lutheran prison chaplain, Paul Le Seur, were recorded as, "Ask Father Gahan to tell my loved ones later on that my soul, as I believe, is safe, and that I am glad to die for my country.
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)
Physical: Being a dancer takes tremendous amounts of dedication. When you see a dancer execute a perfect pirouette, most people do not realize the amount preparation it takes. There is incredible pressure involved: the strain of the muscles, the stress of not letting your company down, the anxiety of remembering a combination. Forcing your body to execute what you envision in your head. Dancers must practice for hours. I’ve heard people argue that dance is not a sport, and I strongly disagree. There is a huge amount of athleticism involved in dance. The class becomes a team, and you can’t let down your company. The members of the class recognize each other’s struggle. Push each other; push yourself. At the end of class there is fatigue, but the rush of endorphins keep you looking forward to the next class, even with aching muscles, even with sore bones. As performance day looms closer, the dancer begins nervous preparation. Working through the pain was worth it. The time has come to be past perfecting technique. It’s down to ritual and repetition, musicality and expression. Sometimes there is silence; sometimes there are encouraging words. Muscle memory and keeping up your strength is all that is left.
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.
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.
Saint. Elizabeth Seton Catholic Church - 4001 Stoneridge Drive in Pleasanton, CA 94588- Google Map - additional views