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George Junius Stinney Jr. (born October 21, 1929, died June 16, 1944) was, at age 14, the youngest person executed in the United States in the 20th century.

The case

Stinney, who was black, was arrested for murdering two white girls, Betty June Binnicker, age 11, and Mary Emma Thames, age 8, in Alcolu, located in Clarendon County, South Carolina, on March 23, 1944.

The girls had disappeared while out riding their bicycle looking for flowers. As they passed the Stinney property, they asked young George Stinney and his sister, Katherine, if they knew where to find "maypops", a type of flower. When the girls did not return, search parties were organized, with hundreds of volunteers, and their bodies were found the next morning in a ditch filled with muddy water. Both had suffered severe head wounds.

Stinney was arrested a few hours later and was interrogated by several white officers in a locked room with no witnesses aside from the officers; within an hour, a deputy announced that Stinney had confessed to the crime.

According to the confession, Stinney (90 lbs, 5'1") wanted to "have sex with" 11 year old Betty June Binnicker and could not do so until her companion, Mary Emma Thames, age 8, was removed from the scene; thus he decided to kill Mary Emma. When he went to kill Mary Emma, both girls "fought back" and he thus decided to kill Betty June, as well, with a 15 inch railroad spike that was found in the same ditch a distance from the bodies.

According to the accounts of deputies, Stinney apparently had been successful in killing both at once, causing major blunt trauma to their heads, shattering the skulls of each into at least 4-5 pieces. The next day, Stinney was charged with first-degree murder.

Jones describes the town's mood as grief, transformed in the span of a few hours into seething anger, with the murders raising racially and politically charged tension. Townsmen threatened to storm the local jail to lynch Stinney, but prior to this, he had been removed to Charleston by law enforcement. Stinney's father was fired from his job at the local lumber mill and the Stinney family left town during the night in fear for their lives.

The trial took place on April 24 at the Clarendon County Courthouse. Jury selection began at 10 am, ending just after noon, and the trial commenced at 2:30 pm. Stinney's court appointed lawyer was 30-year-old Charles Plowden, who had political aspirations. Plowden did not cross-examine witnesses, his defense was reported to consist of the claim that Stinney was too young to be held responsible for the crimes. However the law in South Carolina at the time regarded anyone over the age of 14 as an adult.

Closing arguments concluded at 4:30 pm, the jury retired just before 5 pm and deliberated for 10 minutes, returning a guilty verdict with no recommendation for mercy. Stinney was sentenced to death in the electric chair. When asked about appeals, Plowden replied that there would be no appeal, as the Stinney family had no money to pay for a continuation. When asked about the trial, Lorraine Binnicker Bailey, the sister of Betty June Binnicker, one of the murdered children, stated:

"Everybody knew that he done it, even before they had the trial they knew that he done it. But, I don't think that they had too much of a trial".

Local churches, the N.A.A.C.P., and unions pleaded with Governor Olin D. Johnston to stop the execution and commute the sentence to life imprisonment, citing Stinney's age as a mitigating factor. There was substantial controversy about the pending execution, with one citizen writing to Johnston, stating, "Child execution is only for Hitler". Still, there were supporters of Stinney's execution; another letter to Johnston stated: "Sure glad to hear of your decision regarding the nigger Stinney." Johnston did nothing, thereby allowing the execution to proceed.

Execution

The execution was carried out at the South Carolina State Penitentiary in Columbia, South Carolina on the morning of June 16, 1944, less than three months after the crime.

At 7:30 a.m. Stinney walked to the execution chamber, a bible under his arm. There were difficulties strapping the boy who at 5-1 feet and just over 90 lbs was comparably small for his age, to the electric chair. In addition, the face mask used in executions did not fit properly.

As a result, according to witnesses, it slid of his face during the execution, exposing his face to the witnesses. Stinney was pronounced dead less than four minutes after the execution began.

Controversy

Until today, the Stinney case has been regarded as controversial because it has not really satisfactorily been solved and because the investigations and judicial process showed severe shortcomings.

In this context, 1988, the case gave rise to the novel "Carolina Skeletons" by David Stout. 1991, it became the base for the film "Carolina Skeletons" (also "The End of Silence") directed by John Erman, featuring Kenny Blank (who changed his name to Kenn Michael later) as Linus Bragg, the 14 year old protagonist that is meant for George Stinney Jr.

It was later found that a beam with which the two girls had been killed weighed over twenty pounds. It was ruled that George wasn't able to lift the beam, let alone swing it hard enough to kill the two girls.

Wikipedia.org

Child killing

By Mark Gado

Alcolu is a small town off Route 521 in Clarendon County, South Carolina, about 50 miles east of Columbia. The first African-American woman to play tennis at Wimbledon, Althea Gibson, was born here. So was Peggy Parish, famous author of children’s books. Five governors of South Carolina were also born and raised here (http//www.clarendoncounty.com). Forest products are a major output of the region, along with tobacco, cotton and corn. Cucumbers are grown in abundance in Clarendon County. It is primarily an agricultural area that features only one small city: Manning, whose population in 1944 was less than 3,000. Essentially, the county was, and still is, a quiet farming community whose routine was rarely, if ever, interrupted by such a climatic event as child murder.

On the sunny afternoon of March 24, 1944, Betty June Binnicker, age 11, and her friend , Mary Emma Thames, age 8, had just left their homes to pick flowers. They were alternately walking and riding Betty’s bicycle along the railroad tracks that ran through Alcolu. The girls often played in this area on the opposite side of the town. By any measure, it was a beautiful spring day: the trees just beginning to bud, the first flowers of the season blooming among the tall grass along the tracks. As they ran and skipped their way through the grass, they saw a young black man along the same path. He also lived in this small lumber-producing town and both girls knew him. Everyone knew everyone else in Alcolu, it was that kind of place. However, within minutes, both girls lay dead on the ground, their skulls brutally bashed in by a huge railroad spike. Their bodies were dragged through the grass and dumped into a small ravine. Immediately after the murders, the killer hid the bloody weapon in the bushes and began the leisurely walk home. He seemed unconcerned and it is doubtful that he truly understood the repercussions of what he had done.

The killer of these children was a child himself. His name was George Junius Stinney Jr., 14 years old, the illiterate son of a local mill worker. And incredibly, in less than 90 days, George would meet death himself, tears streaming down his face, strapped to the electric chair inside the bleak walls of the Central Correctional Institution in Columbia. But the public would barely notice his death. For in June 1944, the country had its eyes fixed firmly upon the beaches of Normandy, where a million American sons were locked in the desperate battles of D-Day while the fate of a world hung in the balance. These were hard times in America. The daily newspapers were filled with graphic stories of killing and destruction on a scale that can scarcely be imagined today. No one had time or compassion for a black teenage killer of little white girls. Nevertheless, history would be made at the Central Correctional Institution on June 16, 1944. For on that day, George Junius Stinney Jr., age 14 and 7 months, would become the youngest person to be legally executed in the United States during the 20th century.

The history of juvenile execution in America reads like a novel with no plot: it seems to have no sense of purpose or destination. Since the early 17th century, 356 juvenile offenders have been executed in the United States (Grossfield, p. 4). USA Today reports: “the first known execution of a juvenile on these shores was in 1642: Thomas Graungery, 16, of Plymouth Colony, Mass. was hanged for bestiality” (Edmonds, p. 11). Some executions become appalling to us when we consider the age of some of these defendants. Contrary to what is generally believed, however, capital punishment in colonial America was a controversial issue. Although it was common to hang offenders in England for crimes like burglary, robbery and theft-related offences, this was rare in America (Friedman, p. 42). Lawrence Friedman writes in Crime and Punishment in American History: “All things considered, the colonies used the death penalty pretty sparingly” (p. 42).

And it must be said that any interpretation of past executions from the 18th and 19th century has to be viewed within the time frame they occurred. For it seems unrealistic to apply today’s standards, values and beliefs to a society that existed hundreds of years ago which can have no valid comparison to today’s world from a social and legal perspective. During colonial times the age of the defendants was often not considered in certain crimes. For example, in the State of New York, two young girls identified only as “Bett” age 12, a slave belonging to Phillip van Rensselear and “Dean”, age 14, a slave belonging to a Volkert Douw were executed on March 14, 1794. They were accused and convicted of starting a fire that burned down a large portion of the City of Albany on November 17, 1793 (Reynolds, pg. 384). It is difficult to identify the youngest person legally executed in American history, but it surely may be a Cherokee Indian who was hanged for murder in 1885. He was ten years old (Grossfield, p. 4). In modern times, there have been relatively few juvenile executions although 70 juvenile offenders presently sit on death row in America. In 1988 a ruling in the Supreme Court “prohibits the death penalty for juvenile offenders whose crimes were committed before they were 16” (Grossfield, p. 5). Prior to 1988, though it was not frequent, execution of children younger than 16 was permitted.

Within a few hours of the Alcolu murders on March 24, 1944, the families of the missing girls were already frantic. It was very unusual for the girls not to return home on time. Since they were always playing in the woods and were familiar with the local countryside, it was unlikely they were lost. The local lumber mill, Alderman Lumber Company, organized a search party that consisted of their employees and almost everyone who lived in Alcolu. The operation was under the direction of B.G. Alderman, owner of the lumber company, and included both blacks and whites. Although they searched throughout the night, they could not find the missing girls. Then, at about 7:30 in the morning of the next day, some of the men found small footprints in the soft ground. They followed the trail and soon discovered a pair of scissors. It was already known that Betty June had taken these same scissors from her home to cut flowers. Within minutes, the search party came upon a water filled ditch, surrounded by thick, thorn covered bushes. The bushes showed signs of being crushed. In the ditch, the faint outline of a child’s bicycle could be seen under the water. “There’s the girls!” one of the searchers screamed. Scott Lowden, a member of the search party, jumped into the muddy hole and the bodies of the missing girls were finally found. Betty June had severe head wounds in the back of the skull. Mary Emma had five separate skull fractures. The cause of death in both cases was later determined to be severe trauma to the head. The girls had been viciously beaten with a heavy, blunt object.

After a few hours of investigation, the local sheriff deputies located and arrested George Stinney Jr. who neighbors had seen in the area where the girls were found. He was brought to the local sheriff’s office where police interrogated him. Since 1944 was long before the Warren Court era, there were no Miranda Warnings, even to a juvenile. The interrogation continued without a parent being present or attorney representation. Clarendon County Sheriff's Deputy H. S. Newman and a representative did the questioning from the Governor’s Office, Officer S.J. Pratt ( The State, March 26, 1944). In less than one hour, Stinney confessed to the crime.

Deputy H.S. Newman later described the event for the court: “I was notified that the bodies had been found. I went down to where the bodies were at. I found Mary Emma she was rite at the edge of the ditch with four or five wounds on her head, on the other side of the ditch the Binnicker girl, were laying there with 4 or 5 wounds in her head, the bicycle which the little girls had were side of the little Binnicker girl. By information I received I arrested a boy by the name of George Stinney, he then made a confession and told me where a piece of iron about 15 inches long were, he said he put it in a ditch about 6 feet from the bicycle which was lying in the ditch” (from Deputy Newman’s written statement, March 26, 1944). Later that same day, Stinney voluntarily led police to the crime scene, a short distance outside of the town, where the murder weapon, a large railroad spike, at least 14 inches long, was recovered.

Immediately, there was grief and outrage in Alcolu. Never before had such a horrendous crime occurred in Clarendon County. Mill workers were especially angered since both girls had relatives who worked at the mill. Passions became further inflamed when details of the crime, supplied by Stinney, became public. The young defendant told police that he killed Mary Ellen because he wanted to have sex with Betty June, the older girl. Angry townspeople and mill workers gathered together in Alcolu and they quickly formed into a mob. On the night of March 26, 1944, a mob of angry whites headed for the Clarendon County jail to administer mob justice. Although, lynching was actually rare in the 1940s, the bitter memories of Southern vigilantism from the 1920s and 30s are a sad part of America’s history. But sheriff’s deputies wisely escorted Stinney out of the county jail to the City of Columbia in adjoining Sumter County where he was held in a more secure facility for his own safety.

On April 24, 1944, just one month after his arrest, Stinney went on trial for his life. The trial would take place at the county seat in the City of Manning. Since angry residents already ran the Stinney family out of town, George had virtually no one on his side. The county court appointed a local attorney to assist in his defense. He was a 30-year-old aspiring politician named Charles Plowden. His goal in the case was simple: to provide a bare bones defense that would fulfill his responsibilities as a defense attorney and, at the same time, not anger the local residents. Since Stinney already confessed to the police and his guilt was firmly established, there was a general feeling that a trial was only a formal requirement.

By the time the trial began on April 24 at the Clarendon County Courthouse, the case was well known throughout the region, though outside the county, it was not widely reported. Outside South Carolina, it was virtually unknown. At the courthouse, it was standing room only, for well over 1,500 people had come to witness the spectacle. The stairways and hallways were filled to capacity. At 10 AM that morning, jury selection began. The State, published in Columbia, reported that “the state rejected four and the defense eight jurors before the jury was impounded at 12:30” (Rowe, p. 1). Even more ominous, however, was the jury composite. The panel consisted of 12 white men: no blacks and no women. Of course, racial make-up of a jury does not guarantee nor prevent justice. The only standard, in 1944 as well as now, is that a juror must be able to maintain a degree of fairness and objectivity that displays no bias to either side.

Given the publicity of the murders and the nature of the crime, the defense would certainly have been better served by a change of venue. Defense Attorney Charles Plowden, however, made no such motion. After a brief lunch, testimony began. “The trial began at 2:30 PM after eight minor cases had been disposed of in the morning” (The Daily Item, April 25, 1944).

Prosecutor Frank McLeod introduced Stinney’s statements of March 25 into evidence. In his initial statement to Deputy Sheriff Newman, Stinney explained that he was near his own home outside Alcolu when the oldest girl came along and asked him where she could pick some flowers. As he attempted to show the girls where the flowers grew, he said, the younger girl accidentally fell into a ditch. As he tried to help Mary Emma, both girls suddenly attacked him. Stinney admitted to hitting the girls with the railroad spike but claimed he did so in self-defense.

In the second statement, also given to Deputy Newman and Officer Pratt, Stinney gave a different version of the event. He told police he was indeed at his own home when he first saw the girls go by. He stated that he then followed the girls into the woods. Stinney said that he was interested in the older one, Betty June. In order to have Betty June to himself, he killed Mary Emma first by hitting her with the railroad spike. Betty June then attempted to run away and Stinney chased and caught her. When she continued to resist his sexual advances, he battered her with the same railroad spike. The State reported that Judge P. Stoll, who was from Kingstree, just 15 miles from Alcolu, halted the testimony to give women in the courtroom a chance to leave prior to “morbid details” (Rowe, p.1).

Scott Lowden, who found the dead girls, was called to the stand. He testified as to the condition of the bodies when they were found. He described a broken bicycle, which lay over the girls. The bodies were entangled with each other and lay submerged in the water where Stinney had dumped them. Betty June’s sister testified that it was she who gave the scissors to the girls to cut flowers.

The prosecution then called Dr. R. F. Baker to testify. It was Dr. Baker and Dr. A. C. Bozard of the Tuomey Hospital in Sumter who performed the post mortem examination of the dead girls. The autopsy reports were read into testimony: “We examined the body of eleven year old white girl. There was evidence of at least seven blows on the head of the child that seemed to have been made by a blunt instrument with a small round head about the size of a hammer. Some of these have only cracked the skull while two have punched definite holes in the skull” (Dr. Bozard’s autopsy report). Although Dr. Baker was unable to positively state that a rape or sexual assault had occurred, he did say that it was possible (Rowe, p. 1). Stinney, dressed in blue Junes, maintained a calm demeanor throughout the afternoon; “He remained calm and apparently little concerned” (Rowe, p. 1).

The presentation of the case, led by McLeod, moved quickly. Too fast, some say. Plowden and his assistant, attorney J.W. Wireman of Manning, presented no witnesses or evidence for the defense of Stinney. Instead, Plowden attempted to portray Stinney as a child who was too young, by law, to be held responsible for his crimes. In retaliation, the prosecution introduced Stinney’s birth certificate, which indicated he was born on October 21, 1929. Under South Carolina law in 1944, an adult was anyone over the age of 14. George Stinney was 14 years and five months old. That was the end of the case. It had begun at 2:30 in the afternoon and was over by 5:30 PM. “The jury retired at five minutes before five to deliberate. Ten minutes later it returned with its verdict: guilty, with no recommendation for mercy” (Brock, sec. D). The entire court proceeding from opening statements to sentencing had taken less than 3 hours. George Stinney “only when asked to arise and be sentenced, did he appear nervous and slightly excited” (Rowe, p.1). Judge Stoll sentenced him to die in the electric chair at Central Correctional Institution in Columbia, South Carolina on June 16, 1944. Stinney was quickly escorted out of court. He had less than two months to live.

The weeks passed as Stinney languished in prison. Some local organizations, like the N.A.A.C.P., churches and unions appealed to Governor Olin D. Johnston to stop the execution. The Daily Item reported on June 13, 1944 “The A.M.E. Church protested to Governor Olin D. Johnston in a telegram the imminent execution June 16 of a 14 year old Negro boy convicted of the murder of a young white girl”. A few days before the scheduled date, the Associated Press published a story on the Stinney case. The Governor’s office received hundreds of pleas to intervene in the name of mercy and fairness. Many cited Stinney’s age as an extraordinary factor that deserved consideration. One message received by the Governor’s Office read: “Child execution is only for Hitler” (Brock, p. D2). Others, however, had their own reasons for Stinney to die: “Sure glad to hear of your decision regarding the nigger Stinney” (Bruck, p. D2). Governor Johnston was unmoved by public sentiment and decided not to intervene. The Daily Item wrote: “The Governor said Friday he had studied the case and found no reason to intervene making this statement after the C.I.O., Tobacco Worker’s Union, the National Maritime Union and the White and Negro Ministerial Unions at Charleston asked him to commute the sentence to life imprisonment (June 13, 1944).

On the morning of June 16, 1944, a year in which 120 other convicts were executed in America’s prisons (U.S. Department of Justice), George Junius Stinney Jr. began his last walk on this earth at 7:30 AM. He carried a bible under one arm as he was escorted to the electric chair by prison guards. Stinney was of slight build. The teen-ager weighed just over 90 lbs and stood 5 feet, 1 inch tall. Since the electric chair was designed and constructed for adults, the attendants had a difficult time strapping him firmly into the seat. The mask that fitted upon the face also did not fit properly. Witnesses to the execution included Betty June’s father and brother Raymond. “Stinney refused to make any statement when given the opportunity by prison officials” (Daily Item, June 17, 1944). It was reported that the force of the electricity caused the mask to slip away from Stinney’s head, exposing his face to the gallery. Witnesses, it was said, would never forget the horror etched on Stinney’s childlike face in those final moments. He was pronounced dead less than four minutes later.

Although legitimate questions linger concerning the quality of Stinney’s defense team, no appeal was ever made. Politics may have played a strong role in that decision. In 1944, Plowden was scheduled to run for public office on the state level. There was speculation that he did not want to disrupt the community by appearing to be too enthusiastic about defending a killer who many felt deserved to die for his offense. Years later, in an interview, Plowden commented on the case: “There was nothing to appeal on” and added the Stinney family had no funds to continue the case (Bruck, sec. D).

Initially, it may appear that Stinney’s trial and execution were the product of a racist justice system, but it isn’t that final. Perhaps a case could be made as to the objectivity and fairness of the judicial process. The judge, prosecutor, defense attorney and jury all had friends, relatives and co-workers who lived in Alcolu. The Alderman Lumber Company employed hundreds of workers in the area who participated in the search. The crime and its lurid details were highly publicized and the racial nature of the case certainly influenced some of the community as well. However, nothing illegal was done during the investigation and prosecution of the case. All the procedures utilized by the police, courts, prosecution and prison system conform to the existing standards and legal requirements of the time and place. The court was well aware of Stinney’s age but the laws of the time allowed for a capital prosecution of a 14-year-old defendant.

The day after Stinney’s execution, June 16, 1944, a small, three-inch article appeared in The State newspaper, which contained the following line “Stinney, 14 years and five months old, was the youngest person ever to die in the chair”.

Incredibly, the crime for which he was executed had occurred just 81 days before, a time span that seems unthinkable to us today. In modern times, it is common for many years to pass before a convicted killer faces an execution. Stinney was buried in an unknown location and immediately forgotten by everyone except his family. In 1994, on the 50th anniversary of the case, Stinney’s sister, Catherine Robinson was interviewed. She stated that her brother wrote to her parents while he was on Death Row in Columbia, South Carolina. George told them he was innocent (The State, June 17, 1994).

However, Vermelle Tucker, Betty June’s sister, had this to say in the same article: “All my dad said was ‘Thank God he won’t do it to anybody else’” (The State, June 17, 1994). Indeed, he never would. But George Junius Stinney Jr., on June 16, 1944, became a tragic and unwilling fragment of American history as the youngest person legally executed in America during the 20th century

The Roman Empire The mint is Roma unless otherwise stated

Elagabal, 218-222

d=22 mm

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

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

composition. Virtually as struck and almost Fdc

NAC40, 782

Executed 1993-96 according to my trusted soarce

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

Esquisse exécutée pour le Salon de la Paix de l'Hôtel de Ville de Paris détruit lors de l'incendie de 1871

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

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

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

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

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

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

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

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

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

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

Building

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

Canaletto: View of Palais Liechtenstein

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

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

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

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

Sala terrene of the Palais

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

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

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

Garden

Liechtenstein Palace from the garden

The new summer palace of Henry of Ferstel from the garden

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

Use as a museum

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

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

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

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

unedited-Not part of my personal collection

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

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

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

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

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

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

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

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

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

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

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

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

3 years... 8 months... 20 days. 1.8 million were murdered by the Khmer Rouge. Of the over 14,000 prisoners who entered the now infamous S21 prison camp, formerly a high school, only 7 survived. They photographed each one before their execution. Learn about it here:

www.killingfieldsmuseum.com/s21-victims.html

Her name is hout bophana, born circa 1951, executed by the khmer rouge at the killing fields on 18 march 1977 at the age of about 26. in her short life, she had survived rape and the resultant birth, starvation, persecution and finally several months of torture in the s-21 prison. her husband sitha also spent several months in the same prison, unbeknownst to bophana and possibly only 10s of metres away. he also perished at the killing fields in 1977. her calm and dignified pose shows a strength of spirit that makes her stand out from the endless walls of photos in the prison museum. but even such strength wasn't enough to stop her turning in countless relatives and contacts through 1000s of pages of mainly fictional confessions she was forced to write under torture. the s-21 prison was a factory for confessions. and they were extraordinarily efficient. Thanks goes to Peter Stuckings for this information.

On 20th October 2005 Luis Ramirez, a Hispanic man, was executed after being convicted of hiring Edward Bell to kill 19-year-old Nemicio Nandin, on 8th April 1998.

4wardeveruk.org/cases/cases-abroad/prison-restraint/luis-...

In the early hours of the morning (Thursday 27 July), Operation Vulcan, supported by GMP Tactical Aid Unit, executed two warrants in Cheetham Hill at a suspected badging factory and a residential address.

Inside the units believed to be responsible for mass producing counterfeit items, police found a number of machines which are used to affix counterfeit designer logos onto unbranded items.

Police also seized a number of items consistent with a substantial counterfeit operation – including large quantities of counterfeit clothes, 1000s of branded badges ready to be attached to clothing and handbags, cash, vapes, and machinery.

A 36-year-old man has been arrested on suspicion of trademark offences. He remains in police custody for questioning.

Sergeant Dan Cullum, one of Operation Vulcan’s specialist officers said: “Whilst there may be less of an appetite for counterfeit clothing on the streets of Cheetham Hill following relentless police and partner activity, we are acutely aware there is still an online demand. That’s why pursuing those responsible for mass producing these counterfeit items continues to be a top priority for Operation Vulcan.

“We’ve said it before, but I’d like to take this chance to remind members of the public to remain vigilant when shopping. You may think you’re getting a bargain when buying fake clothing, but it’s a bargain built on exploitation and further criminality. That handbag or pair of shoes is at the end of a long chain of misery that is lining the pockets of some very nasty and ruthless individuals involved in drugs trafficking, forced labour and violent crime.”

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)

Its been a while since ive done one of these, so i thought i should do another!

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

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

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

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

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

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

Best best

Efj.

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

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

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

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

Best best

Efj.

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.

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.

en.wikipedia.org/wiki/Edith_Cavell

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Situated on Admiralty Pier for connection to ships, this was constructed on an expanded pier by SECR, finished in 1914, began to be used on 2 February 1915 but was not available for public use until 18 January 1919; in the meantime it had been renamed Dover Marine on 5 December 1918. It was a large terminus with four platforms covered by a full roof. Platforms were extended to take 12-car trains in February 1959.[6] It was renamed again to Dover Western Docks on 14 May 1979, and was closed by British Rail on 26 September 1994[1] with the demise of boat trains and the opening of the Channel Tunnel. It has since been turned into a cruise-liner terminal.[7]

Work on the new train ferry pier at the station suffered damage worth £300,000 during the Great storm of 1987.[8]

Regie voor Maritiem Transport used to run ferries until 1994 from here to Oostende railway station which connected into Belgian railway line 50A run by NMBS. There was a fast ferry service using the Jetfoil as well as conventional ferries.

The Southern Railway opened a large locomotive depot at the site in 1928. This was closed in 1961 and demolished.

en.wikipedia.org/wiki/List_of_railway_stations_in_Dover

Sugarloaf is taken down after being pronounced dead

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.

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

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

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

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

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

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

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

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

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

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

www.coventrycathedral.org.uk/

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.

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

This bust is outside the Banqueting House.

Robert Devereux, 2nd Earl of Essex (10 November 1565[1] – 25 February 1601), is the best-known of the many holders of the title "Earl of Essex." He was a military hero and royal favourite of Elizabeth I, but following a poor campaign against Irish rebels during the Nine Years' War in 1599, he failed in a coup d'état against the queen and was executed for treason.

Essex was born on 10 November 1565 at Netherwood near Bromyard, in Herefordshire, the son of Walter Devereux, 1st Earl of Essex and Lettice Knollys. His maternal great-grandmother Mary Boleyn was a sister of Anne Boleyn, mother of Queen Elizabeth I, making him a cousin of the Queen, and there were rumours that his grandmother, Catherine Carey, a close friend of Queen Elizabeth's, was Henry VIII's illegitimate daughter.[3]

He was brought up on his father's estates at Chartley Castle, Staffordshire and at Lamphey, Pembrokeshire in Wales and educated at Trinity College, Cambridge.[4] His father died in 1576, The new Earl of Essex became a ward of Lord Burghley. On 21 September 1578 his mother married Robert Dudley, Earl of Leicester, Elizabeth I's long-standing favourite and Robert Devereux's godfather.[5]

Essex performed military service under his stepfather in the Netherlands, before making an impact at court and winning the Queen's favour. In 1590 he married Frances Walsingham, daughter of Sir Francis Walsingham and widow of Sir Philip Sidney, by whom he was to have several children, three of whom survived into adulthood. Sidney, Leicester's nephew, died at the Battle of Zutphen in which Essex also distinguished himself.

Essex first came to court in 1584, and by 1587 had become a favourite of the Queen, who relished his lively mind and eloquence, as well as his skills as a showman and in courtly love. In June 1587 he replaced the Earl of Leicester as Master of the Horse.[6]

He underestimated the Queen, however, and his later behaviour towards her lacked due respect and showed disdain for the influence of her principal secretary, Sir Robert Cecil. On one occasion during a heated Privy Council debate on the problems in Ireland, the Queen reportedly cuffed an insolent Essex round the ear, prompting him to draw his sword on her.

After Leicester's death in 1588, the Queen transferred to Essex the royal monopoly on sweet wines, which the late Earl had held; by this Essex could profit from collecting taxes.

In 1589, he took part in Sir Francis Drake's English Armada, which sailed to Iberia in an unsuccessful attempt to press home the English advantage following the defeat of the Spanish Armada; the Queen had ordered him not to take part in the expedition, but he only returned upon the failure to take Lisbon. In 1591, he was given command of a force sent to the assistance of King Henry IV of France. In 1596, he distinguished himself by the capture of Cadiz. During the Islands Voyage expedition to the Azores in 1597, with Sir Walter Raleigh as his second in command, he defied the Queen's orders, pursuing the treasure fleet without first defeating the Spanish battle fleet.

Essex's greatest failure was as Lord Lieutenant of Ireland, a post which he talked himself into in 1599. The Nine Years War (1595–1603) was in its middle stages, and no English commander had been successful. More military force was required to defeat the Irish chieftains, led by Hugh O'Neill, the Earl of Tyrone, and supplied from Spain and Scotland.

Essex led the largest expeditionary force ever sent to Ireland — 16,000 troops — with orders to put an end to the rebellion. He departed London to the cheers of the Queen's subjects, and it was expected that the rebellion would be crushed instantly. But the limits of Crown resources and of the Irish campaigning season dictated another course. Essex had declared to the Privy Council that he would confront O'Neill in Ulster. But instead, Essex led his army into southern Ireland, fought a series of inconclusive engagements, wasted his funds, and dispersed his army into garrisons. The Irish forces then won several victories. Instead of facing O'Neill in battle, Essex had to make a truce with the rebel leader that was considered humiliating to the Crown and to the detriment of English authority.

In all of his campaigns, Essex secured the loyalties of his officers by conferring knighthoods, an honour which the Queen herself dispensed sparingly. By the end of his time in Ireland, more than half the knights in England owed their rank to Essex. The rebels were said to have joked that "he never drew sword but to make knights." But his practice of conferring knighthoods could in time enable Essex to challenge the powerful factions at Cecil's command.

He was the second Chancellor of Trinity College, Dublin, serving from 1598 to 1601.

Relying on his general warrant to return to England, given under the great seal, Essex sailed from Ireland on 24 September 1599, and reached London four days later. The Queen had expressly forbidden his return and was surprised when he presented himself in her bedchamber one morning at Nonsuch Palace, before she was properly wigged or gowned. On that day, the Privy Council met three times, and it seemed his disobedience might go unpunished, although the Queen did confine him to his rooms with the comment that "an unruly beast must be stopped of his provender."

Essex by Isaac Oliver, c. 1597

Essex appeared before the full Council on 29 September, when he was compelled to stand before the Council during a five hour interrogation. The Council — his uncle William Knollys included — took a quarter of an hour to compile a report, which declared that his truce with O'Neill was indefensible and his flight from Ireland tantamount to a desertion of duty. He was committed to custody in his own York House on 1 October, and he blamed Cecil and Raleigh for the queen's hostility. Raleigh advised Cecil to see to it that Essex did not recover power, and Essex appeared to heed advice to retire from public life, despite his popularity with the public.

During his confinement at York House, Essex probably communicated with King James VI of Scotland through Lord Mountjoy, although any plans he may have had at that time to help the Scots king capture the English throne came to nothing. In October, Mountjoy was appointed to replace him in Ireland, and matters seemed to look up for the Earl. In November, the queen was reported to have said that the truce with O'Neill was "so seasonably made… as great good… has grown by it." Others in the Council were willing to justify Essex's return to Ireland, on the grounds of the urgent necessity of a briefing by the commander-in-chief.

Cecil kept up the pressure and, on 5 June 1600, Essex was tried before a commission of 18 men. He had to hear the charges and evidence on his knees. Essex was convicted, was deprived of public office, and was returned to virtual confinement.

In August, his freedom was granted, but the source of his basic income—the sweet wines monopoly—was not renewed. His situation had become desperate,and he shifted "from sorrow and repentance to rage and rebellion." In early 1601, he began to fortify York House and gather his followers. On the morning of 8 February, he marched out of York House with a party of nobles and gentlemen (some later involved in the 1605 Gunpowder Plot) and entered the city of London in an attempt to force an audience with the Queen. Cecil immediately had him proclaimed a traitor. Finding no support among the Londoners, Essex retreated from the city, and surrendered after the Crown forces besieged York House.

On 19 February 1601, Essex was tried before his peers on charges of treason. Part of the evidence showed that he was in favour of toleration of religious dissent. In his own evidence, he countered the charge of dealing with Catholics, swearing that "papists have been hired and suborned to witness against me." Essex also asserted that Cecil had stated that none in the world but the Infanta of Spain had right to the Crown of England, whereupon Cecil (who had been following the trial at a doorway concealed behind some tapestry) stepped out to make a dramatic denial, going down on his knees to give thanks to God for the opportunity. The witness whom Essex expected to confirm this allegation, his uncle William Knollys, was called and admitted there had once been read in Cecil's presence a book treating such matters (possibly either The book of succession supposedly by an otherwise unknown R. Doleman but probably really by Robert Persons or A Conference about the Next Succession to the Crown of England explicitly mentioned to be by Parsons, in which a Catholic successor friendly to Spain was favored). Essex, however, denied he had heard Cecil make the statement. Thanking God again, Cecil expressed his gratitude that Essex was exposed as a traitor while he himself was found an honest man.

Essex was found guilty and, on 25 February 1601, was beheaded on Tower Green, becoming the last person to be beheaded in the Tower of London. (It was reported to have taken three strokes by the executioner to complete the beheading.) At Sir Walter Raleigh's own treason trial later on, in 1603, it was alleged that Raleigh had said to a co-conspirator, "Do not, as my Lord Essex did, take heed of a preacher. By his persuasion he confessed, and made himself guilty." In that same trial, Raleigh also denied that he had stood at a window during the execution of Essex's sentence, disdainfully puffing out tobacco smoke in sight of the condemned man.

Some days before the execution, Captain Thomas Lee was apprehended as he kept watch on the door to the Queen's chambers. His plan had been to confine her until she signed a warrant for the release of Essex. Capt. Lee, who had served in Ireland with the Earl, and who acted as go-between with the Ulster rebels, was tried and put to death the next day.

Devereux's conviction for treason meant that the earldom of Essex was forfeit, and his son did not inherit the title. However, after the Queen's death, King James I reinstated the earldom in favour of the disinherited son, Robert Devereux, 3rd Earl of Essex.

K / 1/13 dead mask

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

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

K/1/13 Totenmaske

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

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

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

Location

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

In the courtyard of the building is a café.

Exhibition

Burglar tools of the legendary "Burglar King" Breitwieser

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

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

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

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

Standort

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

Im Innenhof des Gebäudes befindet sich ein Kaffeehaus.

Ausstellung

Einbruchswerkzeuge des legendären „Einbrecherkönigs“ Breitwieser

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

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

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

de.wikipedia.org/wiki/Wiener_Kriminalmuseum

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

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

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

Seen at a gas station in Incline Village, Nevada

Sent from my iPhone

Prisoners who were executed have an "X" or "EX" and the execution number on their headstone, and not much else.

But there is a list of those who have been executed with bare bones stats. According to the list, Clarence Booker was born in Travis County in 1908. He was convicted of murder, and was the 120th person put to death in Huntsville on December 29, 1933.

He was buried beneath this rough concrete headstone that was made by inmates who would have known him. The grave would have been dug, and the casket buried by a burial detail of inmates, probably supervised by armed guards on horseback.

It consists of a madrasa, tomb and public fountain and is located on the Golden Horn side of the Bozdoğan aqueduct in the old Kırkçeşme district. Its patron was Sultan III, who was executed on 23 Rajab 1011 (January 6, 1603). One of Mehmed's gatekeepers is Gazanfer Ağa of Hungarian origin. It is estimated that it was built by Davud Ağa, since it was built during the years when Hassa was the chief architect.

According to Ekrem Hakkı Ayverdi's determinations, the Istanbul Sani Foundation Book No. 571 is in the kuyûd-ı kadîme of the General Directorate of Foundations in Ankara.On pages 11 and 12, Kapıağası and Odabaşı Gazanfer Ağa b. There is a copy of the foundation certificate of Abdurrahman dated “evâhir-i cemâziyalûlâ 1004” (January 1596). Here, after it was said, “They built a madrasah-i sheriff... with seventeen cells and classrooms at the crossroads of four roads in a beautiful place called Kırkçeşme”, next to the madrasah, “Madbûl-i cumhur ve matbû-i at the crossroads of four roads” was said. Ehl-i şûr built a sabil-i bi-adil, it is reported that the dispenser was also added to the kulliye. It is also learned from the charter that Gazanfer Ağa donated a mosque and a primary school in Gediz, as well as fountains in Üsküdar, and built a tomb for himself next to his social complex. While the Câfer Ağa (Cold Well) Madrasa, next to the Hagia Sophia Mosque and on the side of the Alemdar Slope, was built by Mimar Sinan, the building was completed in 967 (1559-60) by a person named Gazanfer Ağa after the death of its founder in 964 Zilhicce (October 1557). Although it is accepted that this is the same person as the builder of the kulliye in Kırkçeşme, the thirty-year period between the construction of the two buildings raises doubts on this issue. However, there is no doubt that the first founder of the Ayrılık Fountain and Namazgah on the side of the old Baghdad road, near the Haydarpaşa meadow on the Anatolian side of Istanbul, was the founder of this complex, Gazanfer Ağa. In addition, this person restored the Otakçiler Masjid and donated a well and a fountain next to it. Although it is accepted that this is the same person as the builder of the kulliye in Kırkçeşme, the thirty-year period between the construction of the two buildings raises doubts on this issue. However, there is no doubt that the first founder of the Ayrılık Fountain and Namazgah on the side of the old Baghdad road, near the Haydarpaşa meadow on the Anatolian side of Istanbul, was the founder of this complex, Gazanfer Ağa. In addition, this person restored the Otakçiler Masjid and donated a well and a fountain next to it. Although it is accepted that this is the same person as the builder of the kulliye in Kırkçeşme, the thirty-year period between the construction of the two buildings raises doubts on this issue. However, there is no doubt that the first founder of the Ayrılık Fountain and Namazgah on the side of the old Baghdad road, near the Haydarpaşa meadow on the Anatolian side of Istanbul, was the founder of this complex, Gazanfer Ağa. In addition, this person restored the Otakçiler Masjid and donated a well and a fountain next to it.

The complex, which was damaged in the great fires starting from the shores of the Golden Horn and extending towards the Marmara, was destroyed in the fire of 1782, but was immediately repaired. According to the list of Istanbul madrasas dated 13 Rebîülâhir 1286 (July 23, 1869), this madrasah, which accommodated twenty-five people, was mentioned in a report written on August 20, 1330 (2 September 1914) with the condition “Thirty people can reside”. In the same article, the situation of the madrasah is given in great detail: “Although it has fourteen rooms that are connected to the ground and has been recently repaired, and it is suitable for the draft with its rear windows, it is not suitable for the poor influence from its style of construction, as it is in the unity of aqueducts of the city. rather it is in a râtib state. The rooms take two people each, the ghuslhane and the laundry are necessary. Abesthanes were sufficient and repaired. A suitable courtyard, There is a lecture hall and a working fountain with a pump. Even though some of its quarters become a harmless madrasa with repairs and technical modifications and improvements, since it is difficult to save the madrasah from dampness due to the aqueducts next to it, it is necessary to take into account the student's settlement.” 1332 r. to this report. (1917), 1334 p. (1919) and 1336 r. Reports about his staff in the years (1920) were also added. From these records, it is understood that the complex was brought back into use after the whole surrounding was destroyed in the great fire in August 1908. Even though some of its quarters become a harmless madrasa with repairs and technical modifications and improvements, since it is difficult to save the madrasah from dampness due to the aqueducts next to it, it is necessary to take into account the student's settlement.” 1332 r. to this report. (1917), 1334 p. (1919) and 1336 r. Reports about his staff in the years (1920) were also added. From these records, it is understood that the complex was brought back into use after the whole surrounding was destroyed in the great fire in August 1908. Even though some of its quarters become a harmless madrasa with repairs and technical modifications and improvements, since it is difficult to save the madrasah from dampness due to the aqueducts next to it, it is necessary to take into account the student's settlement.” 1332 r. to this report. (1917), 1334 p. (1919) and 1336 r. Reports about his staff in the years (1920) were also added. From these records, it is understood that the complex was brought back into use after the whole surrounding was destroyed in the great fire in August 1908.

The kulliye, which was left to be demolished after the madrasahs were closed during the republican period, came out in all its misery, since it was right on the edge of the new Atatürk Boulevard, which was opened during the years of Lütfi Kırdar's Istanbul governor and mayorship. Despite the fact that many historical monuments such as Sekbanbaşı, Revânî Çelebi, Yahya Güzel masjids, Kırkçeşmeler, which coincide with both sides of the boulevard, were demolished and destroyed in order to gain their land, this complex was saved and repaired by Ekrem Hakkı Ayverdi in 1943-1944. Istanbul Municipality organized this place as the City Museum and exhibited various works about Istanbul. During the period of Mayor Bedrettin Dalan, some of these works were moved to the spaces in Yıldız Palace and the vacant Gazanfer Ağa Madrasa was reorganized as the Cartoon and Humor Museum.

Gazanfer Agha Complex, XVII. It is one of the first examples of small complexes consisting of a madrasah, built without being attached to a mosque. The main entrance on Kovacılar street opens to a small outer courtyard. The polygonal tomb of Gazanfer Ağa rises here. There is a fountain on the left corner of this outer courtyard wall and on the side of the boulevard. There is also a small burial ground in the courtyard, around the tombs, consisting of about ten tombs, the oldest of which is dated 1025 (1616).

The madrasa section, which is reached by passing through a second gate from this front courtyard, has a regular plan. Apart from the ablution rooms placed behind the fountain, student cells are lined up around a cloistered courtyard with marble columns with checkered heads. The fountain in the middle was repaired in 1943-1944. It is not known whether there was a fountain here before. Just opposite the entrance, there is a square planned masjid-classroom covered with a dome. It has a muqarnas mihrab. The domed cells each have a stove and cabinets. These rooms receive air and light from both the courtyard and the windows that open to the outer walls. As in the regular planned Ottoman madrasahs, the transition to the cells in the corners was provided with beveled entrances. However, access to a cell added to the back of the cell on the boulevard side in the south is possible from the room in front of it. Although there were only fifteen cells in the madrasah in terms of plan, the mention of seventeen cells in the foundation charter did not make any sense. It is not possible to include classrooms and toilets in the current number as Ekrem Hakkı Ayverdi thinks.

The mausoleum of Gazanfer Ağa, which constitutes the second element of the complex, is a dodecagonal planned dodecagonal structure covered with cut stone in the northwest corner of the outer courtyard. The interior is illuminated by two rows of windows. In the lower row, there are also cabinets between the windows. Inside, remnants of hand-drawn embroidery can be seen above the windows. In addition to Gazanfer Ağa's, there are also two women's sarcophagi here.

The fountain located in the northeast corner of the outer courtyard wall of the complex is octagonal, five of which protrude. While it was in a very dilapidated condition until its repair in 1943, a wide eaves was built on it at this date. Between the networks, there are marble columns with muqarnas heads and pointed arches made of bicolored stones. There are stone carved cages inside the arch. The networks under them are bronze cast. There is also a well mouth inside the dispenser. There is a malakari ornamentation on its dome. Gazanfer Ağa Madrasa, one of the most beautiful classical Ottoman madrasas in Istanbul, has been an unfortunate structure in terms of site selection. The fact that it was built very close to the Bozdoğan Aqueduct, which completely blocks the afternoon sun, has made it a damp structure.

An oil painting of the last meal of Ruben Cantu, believed to be wrongfully convicted and executed in Texas, as painted by death penalty artist Kate MacDonald. 24 x 20", oil on canvas. © Kate MacDonald, All Rights Reserved.

ift.tt/1Tm5Kw5 Belgian civilians executed by members of Joachim Peiper's troops of the 1st SS Panzer Division within a day of their murdering 84 Americans captured at Malmedy during the Battle of the Bulge. The civilians were suspected of aiding American troops. Near Stavelot, Belgium, 28 December 1944. [1184x894] #HistoryPorn #history #retro ift.tt/1X8ufTx via Histolines

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.

Justinian Panel -

Showing Emperor Justinian

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

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

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

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

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

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

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

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

Holy Trinity, Llandrindod Wells, Powys.

Window designed and executed by Florence Camm for Thomas William Camm, The Studio, Smethwick.

Detail - signature.

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

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

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

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

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

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

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

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

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

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

www.coventrycathedral.org.uk/

One of many absurdities executed in our country with the historical heritage: the long promised but never opened railway museum in the place of El Clot del Moro. The lack of political commitment, and personnel mismanagement on the part of its director, was for many years preserved vehicles were abandoned in the open and subject to the effects of the harsh climate of the pre-Pyrenees.

In this picture you can see several abandoned vehicles in the open in the middle of a mountain landscape. (Photo scanned from an original paper).

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

En esta foto se pueden ver varios vehículos abandonados a la intemperie en medio de un paisaje de alta montaña. (Foto escaneada de un original de papel).

700 Uighurs executed, 16.000 imprisoned... who stands up for language, culture and religion of the Uighures gets marked as "Terrorist" by the Chinese government. Alone since March 23, at least 760 Uighures were arrested.

Occupied in 1949, East Turkestan is just one of the countries - besides Tibet and Inner Mongolia - that has been overrun by the Chinese Army more than half a century ago...

In 1949 only five percent of the population of East Turkestan was Chinese.. By official Chinese statistics, Xinjiang (as East Turkestan got named by the Chinese) now has 8.7 million Uighurs and 7.5 million Chinese. In reality the number of Chinese is supposed to be even larger than of the Uighurs.

Chinese authorities had effectively deported hundreds of thousands of Uyghur women between the ages of 15 and 25 to other parts of China under the pretext of providing jobs for them. (But it's actually supposed to recuce the Uighur community to a minimum...)

Many Chinese had been brought to the region to take their places with the aim of eradicating Uyghur culture.

Two Seated Gas Chamber | Missouri State Penitentiary

In September 1937, Governor Lloyd Crow Stark signed a bill into law calling for execution by lethal gas. Prior to this criminals in Missouri were executed by public hangings, conducted by the Sheriff in the county were the crime was committed.

The gas chamber was located at the Jefferson City Correctional Center in a small rock building set apart from the main prison. The chamber area was built in 1937 at a cost of $3,570 and consisted of two small cells on one side of the room and the chamber on the other side.

One cell housed the condemned for the last few hours before execution. The second cell was used for mixing the sulfuric acid that was used in the execution. The cell contained the crocks used to hold sulfuric acid and later placed under the perforated chair. The leather restraints that were used to hold the condemned in the chair were also stored in the second cell.

In the center of the building was the air tight chamber painted white, with two perforated steel chairs. Beneath the chairs were guides to hold the three-gallon earthen jars which contained the sulfuric acid into which the cyanide pellets were dropped when a lever was pulled by the Warden.

After the execution the lethal gas was extracted from the chamber and vented out a forty-five foot pipe through the roof of the building.

Monument to Those Executed In The Civil War

by Isaac Díaz Pardo

A Coruña

Galicia, España

October 2008

16th century chaplain of Syon monastery executed 4th May 1535. Saint Richard Reynolds was an English Brigittine monk executed in London for refusing the Oath of Supremacy to King Henry VIII of England. He was canonized by Pope Paul VI in 1970, among the Forty Martyrs of England and Wales.

He was martyred alongside the Carthusian priors John Houghton, Robert Lawrence, and Augustine Webster by drawing and quartering at Tyburn Tree in London after being dragged through the streets. The quarters of the body of St. Richard - the first man to refuse the oath - were chopped to pieces and hung in different parts of London.

In the early hours of the morning (Thursday 27 July), Operation Vulcan, supported by GMP Tactical Aid Unit, executed two warrants in Cheetham Hill at a suspected badging factory and a residential address.

Inside the units believed to be responsible for mass producing counterfeit items, police found a number of machines which are used to affix counterfeit designer logos onto unbranded items.

Police also seized a number of items consistent with a substantial counterfeit operation – including large quantities of counterfeit clothes, 1000s of branded badges ready to be attached to clothing and handbags, cash, vapes, and machinery.

A 36-year-old man has been arrested on suspicion of trademark offences. He remains in police custody for questioning.

Sergeant Dan Cullum, one of Operation Vulcan’s specialist officers said: “Whilst there may be less of an appetite for counterfeit clothing on the streets of Cheetham Hill following relentless police and partner activity, we are acutely aware there is still an online demand. That’s why pursuing those responsible for mass producing these counterfeit items continues to be a top priority for Operation Vulcan.

“We’ve said it before, but I’d like to take this chance to remind members of the public to remain vigilant when shopping. You may think you’re getting a bargain when buying fake clothing, but it’s a bargain built on exploitation and further criminality. That handbag or pair of shoes is at the end of a long chain of misery that is lining the pockets of some very nasty and ruthless individuals involved in drugs trafficking, forced labour and violent crime.”

In the early hours of Thursday 19 March 2026 eight warrants were executed simultaneously across Tameside, Oldham and Rochdale to tackle a suspected criminal network involved in the distribution of class A drugs and firearms.

Officers from Tameside Programme Challenger team, the District Intelligence Unit (DIU), and our Tactical Aid Unit (TAU) were deployed to each of the addresses where a total of

11 people aged between 24 and 77 were arrested on suspicion of drug related offences following weeks of intelligence gathering and preparation.

A firearms strike was also carried out at one of the addresses.

Eight men and three women were arrested on suspicion of a range of offences including conspiracy to supply class A and B drugs, being part of an organised crime group, possession with intent to supply, money laundering, and possession of an offensive weapon.

During searches of the addresses, class A, B and C drugs including crack cocaine, heroin, cannabis and nitrous oxide were seized. Further recoveries of £70,000 in cash, a zombie knife, a BB gun and four vehicles were also made.

Chief Superintendent Shan Nasim, District Commander for Tameside, said: “Today’s operation has been a powerful example of our continued, determined effort to dismantle organised crime in our district and Greater Manchester.

“We have 11 people in custody being questioned by our investigation teams in relation to an organised crime group (OCG) that have been causing widespread harm across our communities.

“Today's action caused significant disruption of an organised crime group (OCG) and has prevented drugs and weapons from reaching the streets, as well as the associated harms that come hand in hand with organised crime.

“Organised criminals exploit vulnerable people and blight our communities; we will take robust action to catch offenders, keep our communities safe, and protect vulnerable people across Greater Manchester.”

Programme Challenger brings agencies across Greater Manchester together to protect vulnerable people, dismantle criminal networks and prevent exploitation in all its forms.

Members of the public are encouraged to share intelligence, which remains vital in disrupting criminal networks. GMP and partner agencies are committed to safeguarding vulnerable people who are victims of crime or at risk of committing offences.

If you are concerned about criminal activity in your area, contact police on 101, or call Crimestoppers, anonymously, via 0800 555 111.

Mighty Eighth Air Force Museum

On 1 August 1943 a force consisting of five groups flying B-24D Liberators, totaling 178 aircraft, was launched from airfields around Benghazi, Libya. Their mission was to execute a low-level attack on the German-held oil refinery complex at Ploesti, Rumania. The Ploesti complex was supplying one third of the oil requirements of the Nazi war machine. The mission was code named TIDAL WAVE. Precise timing and navigation were essential to the success of this long, arduous, and extremely hazardous mission.

Difficulties began when the force encountered foul weather over Albania and Yugoslavia. The two lead groups, the 376th with mission commander Brigadier General Uzal Ent and the 93rd, became separated from the 98th, 44th, and 389th Bomb Groups that followed. This precarious gap in the bomber stream became critical when the 376th's lead aircraft misidentified the Initial Point of the bomb run and turned too early. The leading bombers were on a course that took them toward Bucharest, the Rumanian capitol, and away from Ploesti. Discovering their mistake as they approached Bucharest, they made a turn back toward Ploesti. The confused, unplanned turns threw the formation integrity and attack plans for the two lead groups into disarray. General Ent broke radio silence and ordered the two groups to bomb any target at will.

The 93rd Bomb Group's formation broke up. Part of the unit flew to the north of Ploesti, while the remainder turned southwest. This portion of the 93rd headed for the Columbia Aquila refinery, known as Target White V in the TIDAL WAVE plan. This was the target assigned to the 44th Bomb Group, known as the Flying Eight Balls, but the 93rd bore in on the refinery on a course nearly perpendicular to the 44th's attack route. The 93rd's B-24s arrived over White V just ahead of the 44th and released their loads of short-fused 1000 lb. bombs.

The diorama before you depicts the arrival of the 44th Bomb Group's first four B-24s over Target White Five. In the lead is "Suzy- Q." flown by Major William Brandon with group commander Colonel Leon Johnson flying in the co-pilot's position. Off the left wing is "Bewitching Witch," borrowed from the 376th for the Ploesti raid and flown by 1st Lieutenant Reginald Carpenter. On the right flank is 1st Lieutenant Edward R. Mitchell's "Horse Fly." Bringing up the rear is the lead ship of the 44th's second element, "Buzzin Bear," flown by Captain William R. Cameron.

The Flying Eight Balls, leading the last wave of the attack force, arrived on time and on course to their assigned target. Colonel Johnson led his group into the inferno to deliver its bombs as planned, miraculously avoiding collisions with the 93rd aircraft coming off of the target ahead of the 44th.

All of the thirty-seven aircraft launched by the 44th reached the target. Seven were lost to anti-aircraft fire in the target area or to enemy fighters during the flight out. Four more were lost on the flight home, ditching or bailing out due to battle damage. The 44th claimed 13 enemy aircraft destroyed. It was estimated that the refinery lost 100% of its production capacity for six months after the raid. For his intrepidity and courage in leading the 44th Bomb Group in its determined attack in the face of the unknown dangers of a refinery already afire and exploding, Colonel Leon W. Johnson was awarded our nation's highest decoration, the Medal of Honor.

FR :

C’est dans la campagne devant cette chapelle qu’étaient exécuté(e)s les condamné(e)s à mort, notamment durant la période dite de “caccia alle streghe” (chasse aux sorcières) aux 16ème et 17ème siècles. Condamnations prononcées à l’époque par le "ministre de la justice" (bourreau) véritablement au nom de ce qu’on appellerait aujourd’hui la superstition, l’ignorance, et l’intolérance religieuse.

La loi de l’époque ne connaissait pas la présomption d’innocence.

Le nombre exact d’exécutions (quelques dizaines ou plusieurs centaines) reste inconnu puisque toutes les archives de la soi-disant Sainte Inquisition du diocèse de Milan de 1314 à 1764 ont été délibérément détruites le 3 juin 1788.

Certaines victimes d’exécutions ont été depuis réhabilitées, après étude de divers procès-verbaux d’origine des chanceliers de l'époque. Ces procès-verbaux nous rappellent des traditions populaires, des prétendus malheurs, des crimes odieux, des tortures atroces, des superstitions absurdes et des injustices flagrantes du passé qui ont également marqués les vallées alpines.

ITA :

Fu nella campagna di fronte a questa cappella che i condannati a morte furono giustiziati, in particolare durante il periodo noto come "caccia alle streghe" nei XVI e XVII secoli. Condanne pronunciate all'epoca dal "ministro della giustizia" (il boia) proprio in nome di ciò che oggi chiameremmo della superstizione, dell'ignoranza e dell'intolleranza religiosa.

La legge dell'epoca non prevedeva la presunzione di innocenza.

Il numero esatto delle esecuzioni (qualche decina o qualche centinaio) rimane sconosciuto poiché tutti gli archivi della cosiddetta Santa Inquisizione della Diocesi di Milano dal 1314 al 1764 furono deliberatamente distrutti il 3 giugno 1788.

Alcune vittime delle esecuzioni sono state riabilitate, dopo aver studiato vari verbali originali dei cancellieri dell'epoca. Questi verbali ci ricordano tradizioni popolari, presunte disgrazie, atroci delitti, atroci torture, assurde superstizioni e palesi ingiustizie del passato che hanno segnato anche le valli alpine.

ENG :

It was in the countryside in front of this chapel that people sentenced to death were executed, especially during the period known as "caccia alle streghe" (witch hunt) in the 16th and 17th Centuries. Condemnations pronounced at that time by the "minister of justice" (torturer) truly in the name of what we would call today superstition, ignorance, and religious intolerance.

The law of the time did not know the presumption of innocence.

The exact number of executions (a few dozen or several hundred) remains unknown because all the archives of the so-called Holy Inquisition of the Diocese of Milan from 1314 to 1764 were deliberately destroyed on June 3, 1788.

Some victims of executions have since been rehabilitated, after studying various original reports of the chancellors of the time. These reports remind us of popular traditions, alleged misfortunes, heinous crimes, atrocious tortures, absurd superstitions and blatant injustices of the past that also marked the Alpine valleys.

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