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The 1965-66 Coca-Cola hockey card series was a brilliantly executed promotional scheme that encouraged hockey fans to guzzle down the soft drinks and collect specially marked bottle caps with an NHL team’s nickname on the liner. Once a collector acquired 10 caps featuring one team’s nickname, they could mail them in for an 18-card perforated strip of player cards from that team (along with a 19th card that could be redeemed for a now highly sought after collector’s album).
The unnumbered cards themselves were fairly plain and printed on thin paper, offering a black-and-white image on the front with the player’s name along the bottom. On the back were player vitals, including their complete stats in the NHL. Not the most visually striking collectibles, but what they lacked in eye appeal was made up for with inclusivity.
It all added up to a 108-card series that was nearly as representative of the league as Topps’s 128-card series that season. There are a number of noteworthy cards in the set, including rookie year issues of Gerry Cheevers, Phil Esposito, Yvan Cournoyer, Ed Giacomin, Paul Henderson, Dennis Hull, Ken Hodge and more. It also features a single of Bernie Parent that pre-dates his 1968-69 Topps/OPC RC by three years and pictures the future Hall of Famer with his first NHL team, the Boston Bruins. LINK to checklist - www.beckett.com/news/1965-66-coca-cola-hockey-cards/
This set contains 108 unnumbered black and white cards featuring 18 players from each of the six NHL teams. The cards were issued in perforated team panels of 18 cards. The cards are priced below as perforated cards; the value of unperforated strips is approximately 20-30 percent more than the sum of the individual prices. The cards are approximately 2 3/4" by 3 1/2" and have bi-lingual (French and English) write-ups on the card backs. An album to hold the cards was available from the company on a mail-order basis. It retails in the $50-$75 range in Near Mint. The set numbering below is by teams and numerically within teams as follows: Boston Bruins (1-18), Chicago Blackhawks (19-36), Detroit Red Wings (37-54), Montreal Canadiens (55-72, New York Rangers (73-90), and Toronto Maple Leafs (91-108).
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Ab McDonald - Alvin Brian McDonald (February 18, 1936 – September 4, 2018) was a Canadian professional ice hockey forward. Career - Born in Winnipeg, Manitoba, McDonald began his professional hockey career with the Montreal Canadiens of the National Hockey League in 1958. He later played for the Chicago Black Hawks, Detroit Red Wings, Boston Bruins, Pittsburgh Penguins, and St. Louis Blues. He won four straight Stanley Cups: three with Montreal followed by another with Chicago. He was the first team captain of the Penguins and Winnipeg Jets organizations, and scored the first goal for the Jets in the World Hockey Association. He ended his career after 147 games for Winnipeg, retiring after the 1973–74 season. He died at his home in Winnipeg from cancer on September 4, 2018, at the age of 82.
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Bruce MacGregor (born April 26, 1941) is a Canadian former professional ice hockey forward who played for the Detroit Red Wings and New York Rangers of the National Hockey League, and the Edmonton Oilers of the World Hockey Association. During his NHL career, MacGregor scored 213 goals and 257 assists in 893 games. He won 5 Stanley Cups with the Edmonton Oilers as the assistant general manager in 1984, 1985, 1987, 1988, 1990.
Are you a cat owner who wouldn't fathom living without your feline friend, but have become frustrated with its recent "spraying" issues?
Are you at your wits end trying to figure out how to find a solution? Look no further.
Cat Spraying No More is a system that has all you need to understand why your cat is doing what it's doing, and how to bring about a peaceful solution that will not only fix the problem, but will serve to bring you closer to your cat.
Spraying, or peeing, around the house is a big no-no, for obvious reasons; and sometimes, cats that regularly use their litter box turn to other areas of the house to urinate or spray. As a result, owners tend to focus on the issue of the mis-targeted urination, rather than on why the behavior is occurring - the key element to Cat Spraying No More.
The Cat Spraying No More System carefully outlines various scenarios of unwanted spraying and targets possible causes in an easy to understand and well-laid out format. The system eases the reader into the topic and playfully chides with owners about the author's own unfortunate experiences, how the author was able to overcome them, and how you can, too.
The author's encouraging voice helps cat owners understand their cats better. There are underlying reasons for why cats do what they do, and when things are not quite right, they react. This system helps cat owners understand their cats better by discussing reasons why cats urinate outside their litter box.
It then outlines a system for owners to follow, based on their specific situation, so results are targeted and more effective. Depending on each scenario, there are detailed step-by-step instructions that are easy to follow. The author guides cat owners with reassurance and support.
Some of the major plus points behind Cat Spraying No More are:
Saving money and time. No more carpet cleaning, upholstery shampooing and time wasted finding these incidents and attending to them.
Tricks you can use to get your cat to "like" its litter box again. This system helps you direct your cat back to using the litter box, on its own, without force.
A home free of stress and smell. Once you see how easy it is to get your cat back on track with this system, your home will be cleaner, you’ll be less stressed, and everyone will be happier. Trust me.
Helpful hints to effectively clean up the misfires. The system provides detailed instructions on clever concoctions that will effectively and permanently clean accident areas so you never know they existed.
Four bonus guides to boost your knowledge of caring for your cat:
Cat Training Bible
101 Recipes for a Healthy Cat
The Cat Care Blueprint
Pet Medical Recorder Software
An affordable and easy system to follow. Nothing in this system is overly expensive or difficult to execute. It also comes with a 60-day money back guarantee.
On the negative side, the following are points to consider before purchasing this system:
This system is not a perfect solution for 100% of cases (of bad cat behaviors). While the system is effective in 95% of the cases, there are instances in which the system does not work.
Results may differ. As long as the system is used as instructed results are generally achieved very fast, however if the system is not followed properly, little to no results are experienced.
In Conclusion
There really is no risk in trying out this product. With a no questions asked money-back guarantee, if things don't work out as you expected you get what you paid back.
Without risking anything, you will give yourself and your cat a chance to fix what's wrong and grow a little closer in the process. It's a deal worth every penny.
shot executed by pinhole Auloma Superpanorama 6x17, negative scanned by Canon EOS 1100D, 120 film Fomapan 100
This was during my last South African trip to Durban. After spending almost 5.5 years it was time to say good bye to SA and thanks to my travel buddy there Kalyan Bhadra who mostly helped to pan and execute. Early morning took a walk along with Kalyan and it was a experience of lifetime. Sky colour was so good that I cant describe by words. Durban is a must visit if you plan to travel South Africa (but still first Visit CapeTown & Drakensburg).
Nicely executed sharpness from the Tessar.
Full review here: almost-hasselblad.blogspot.com/2022/02/ica-icarette-b.html
The crew of Cumbres & Toltec K-36 #488 executes a lengthy, simultaneous blow-down from both sides of her firebox as she coasts across Lobato Trestle at MP 339.80, with the daily train from Antonito. The operation to clear the boiler's mudring of minerals and sediment is typically performed several times during the daily runs and is usually done when the locomotive is drifting downhill and steam pressure and water levels are not particularly critical.
Pendant son séjour à Rome le duc de Luynes avait sollicité Ingres pour exécuter un ambitieux décor pour son château, deux immenses peintures de 6,60 de haut sur 4,80m de large.
"L'âge d'Or" et son pendant "L'âge de fer" devaient être le manifeste esthétique, testament professionnel d'Ingres.
A 60 ans passé, Ingres a accumulé une centaine de dessins avant de s'attaquer au décor.
Inspiré par la "Chambre de Raphaël" au Vatican, il met en scène les deux âges de l'humanité depuis Hesiode.
"L'Age d'or" ne sera jamais terminé et "l'Age de fer" jamais commencé, Ingres mourra avant.
During his stay in Rome, the Duke of Luynes had asked Ingres to execute an ambitious decoration for his castle, two immense paintings measuring 6.60m high and 4.80m wide.
"The Golden Age" and its counterpart "The Iron Age" were to be Ingres' aesthetic manifesto and professional testament.
At the age of 60, Ingres had accumulated a hundred drawings before tackling the decor.
Inspired by the "Chamber of Raphael" in the Vatican, he staged the two ages of humanity since Hesiod.
The "Golden Age" will never be finished and the "Iron Age" never begun, Ingres will die before then.
Domenico Ghirlandaio (1449-1494) - Thomas Aquinas - polychrome stained-glass windows, executed in 1492 by Alessandro Agolanti to a design by Ghirlandaio - Tornabuoni Chapel (1485-1490) - Santa Maria Novella Firenze
La cappella Tornabuoni è la cappella maggiore della basilica di Santa Maria Novella a Firenze. Contiene uno dei più vasti cicli di affreschi di tutta la città, realizzato da Domenico Ghirlandaio e bottega dal 1485 al 1490.
Gli affreschi hanno come tema le Scene della vita della Vergine e di san Giovanni Battista, inquadrate da finte architetture (pilastri con capitelli corinzi dorati e trabeazioni con dentelli, sulle tre pareti disponibili. Le scene si leggono dal basso verso l'alto, da destra a sinistra, secondo uno schema che già all'epoca doveva risultare un po' arcaico.
Le due pareti principali, a destra e a sinistra, presentano tre file di scene ciascuna, a sua volta divise in due scene rettangolari, ed una grande lunetta sulla sommità, per un totale di sette scene a parete.
The Cappella Tornabuoni is the main chapel (or chancel) in the church of Santa Maria Novella, Florence, Italy. It is famous for the extensive and well-preserved fresco cycle on its walls, one of the most complete in the city, which was created by Domenico Ghirlandaio and his workshop between 1485 and 1490.
The portraits of the members of the Tornabuoni family and of relatives, friends, allies and clients of the Medici and the Tornabuoni are included as spectators to the holy stories.
Ghirlandaio worked to the frescoes from 1485 to 1490, with the collaboration of his workshop artists, who included his brothers Davide and Benedetto, his brother-in-law Sebastiano Mainardi and, probably, the young Michelangelo Buonarroti. The windows were also executed according to Ghirlandaio's design. The complex was completed by an altarpiece portraying the Madonna del Latte in Glory with Angel and Saints, flanked by two panels with St. Catherine of Siena and St. Lawrence.
Meanwhile, at Dunder Mifflin, new hire George Constanza* has executed his plan to chat with Pam at the copier.
"-so I thought we could print double-sided for the daily QR reports and that alone would save a ton of paper. I mean, even though we are a paper company we can still be environmentally conscious."
"Wow, Pam, that's exactly the way I think. I'm very big into environmental. Very big. I saved a whale one time."
"Oh, wow! A whale."
George thinking: "No laugh track!** I can't tell what's going on! Is she liking my angle? Maybe I should throw in something about Greenpeace. Why does she have to be one of those environuts? It's always so difficult to come up with something for that. I wonder if she's into architecture..."
"Yeah, yeah, a whale. Had a golf ball stuck in his blowhole. snrt! Say, do you like architecture?"
"Architecture? I guess... why?"
"Well, there's a new expansion on a building downtown and... let's just say I may have had a hand in it. I'd love to show you!"
"Oh, you're in architecture?"
"Well, I dabble."
"That's cool, let me ask Jim. I think he'd like to see it too."
"Jim? Oh, Jim! Jim at the desk over there!"
"Yes, we're going out."
"Oh, of course you are..."
__________________________
A year of the shows and performers of the Bijou Planks Theater.
Funko
Mini Moments
The Office
Michael Scott
Dwight Schrute
Jim Halpert
Pam Beesly
Darryl Philbin
Funko
Mini Moments
Seinfeld - Jerry's Apartment
George
* George's interview was seen in BP 2022 Day 173!
www.flickr.com/photos/paprihaven/52164948582/
** George has been thrown off by the lack of a laugh track at The Office, as seen in BP 2022 Day !
Executing a lovely topside whilst performing a missed approach at RAF Fairford ahead of their attendance at Ex Ramstein Flag 2025.
Once again I had been called into the field for a last minute operation for the Triumvirate, I had my orders to go to Iridonia, a planet covered in rocks sand and acid pools. The planet was an important one to capture as it had access to many useful hyper lanes, leading straight to the hearts of some of our greatest threats, so it was key that we executed the orders without fail.
Once landing, I had been dispatched from the main group with a squad of elite death troopers, who were to help me target a specific group of rebels while the rest rounded out other rebels. We arrived at the house, which was surrounded by an acid lake, typical of this part of the planet, where we entered peacefully, the Zabrak I talked claimed he knew nothing but I k ew who he was, Baak Chiser, freedom fighter of Iridonia, as I continued to pursue answers from him about the hideouts located around the planet, the remainder of my squad located those that were there and executed them without question. We had them all where we wanted them except for one, there was a child of Chiser’s who was hidden from us, I tapped into their fins but found nothing, my troopers arrived back to me and reported they had done what they had asked. “I will escort Chiser back the ship personally, he has a child find it!”
I have been planning and dreaming of this concept for about a year now. It felt like the perfect choice to execute after taking some much needed time away from photography to refresh my creativity. I lost the passion and confidence in my work with the stresses of university and other life happenings. I missed creating pieces I was excited aboout and sure about dearly. I'm setting right back on that track now. I am so happy with how this piece turned out and it has given me so much energy for other concepts I am going to be working on this summer.
I wrote a 'creating of' post on my blog about shooting this piece that has also has a few detail frames and a before and after of my post processing. You can read that blog post, here.
Erin Graboski ©
Website | Blog | Facebook | Twitter | Tumblr | Ask.Fm | Instagram: @eringraboskiart
By Thomas Thornycroft (1815-1885), executed between 1856 and 83, erected at its present post in 1902. Hamo, his son (1850-1925), also an English sculptor, must have assisted his father during the making of the statue in the later years. No way, a much larger amusement for father and son than to build a Lego space shuttle nowadays, though the same experience at least.
A farewell to my 2015 London photos for a while but probably the ouverture of a future series.
A meet is executed at Big Stone Gap as an empty hopper train powers through the siding behind SD40-2 8122 and three other six-motor units. The Chessie unit on the right is a U30B, and formerly C&O 8207. The GE is the rear of three four-motor units serving as the rear end pusher. As soon as the empty train clears, the NS dispatcher will likely give the loaded train clearance to head for the NS-CSX junction ahead and across Powell River.
This is the gravesite of the first and only female prisoner to be executed in South Australia. Charged with poisoning her husband.
Excerpt from phillips.com:
In 1986, during the centennial of the Statue of Liberty’s arrival in America, Andy Warhol executed his indelibly famous silkscreens employing the pattern of camouflage. In the present lot, Statue of Liberty, 1986, Warhol spins the colors of war into a tribute to international solidarity. Appropriating the historical pattern of violence and concealment, Warhol brilliantly rebrands camouflage as a stylistic statement. And, in doing so, he bequeaths the symbol of cooperation between the United States and France with an aesthetic grace that rivals any of his work from this prolific period in his life.
Yet camouflage did not appear in Warhol’s paintings until more than twenty years later. Previous to 1986, Warhol had been working in a variety of techniques and stylistic formats, including the reversal series and the infamous oxidation paintings. But perhaps the most telling harbinger of his work with camouflage was the “shadow paintings”, which appeared with regularity throughout the decade leading up to 1986. In these paintings, we see his tendency for color-field patterns with varying shapes and border patterns. “Shape and shadow are the two principles most central to the concept of camouflage.”
On a face already defined by the dramatic presence of shadow, Warhol’s camouflage pattern lends an exhilarating chromatic dimension. His canvas, six feet square, bears three layers of silkscreened image. The underlayer is composed of only the face and upper arm of the statue of liberty, resplendent in her classical glory. Here, Warhol exhibits a remarkable attention to detail in terms of the distribution of the paint and its equal distribution across the canvas; nowhere can we spot smudges or a visually unintelligible section due to over saturation of pigment. Atop his original layer, Warhol lays his camouflage pattern. Crawling at every whim across the face of the statue and her outstretched arm, we behold four shades of lavender-blue that make the stern face even more intimidating. She looks as an enlisted soldier does, but instead, her mission is to pronounce the greatness of American liberty.
But even as Warhol fortifies the Statue with a fierce resolve, his third layer of silkscreen is tongue-in-cheek: he inserts a label for the French cookie company, “Fabis”, into the lower right-hand corner of his picture. The image bears French and American flags flying together, corroborating the international solidarity represented by the Statue of Liberty with a delightful piece of kitsch. While we may be whisked away temporarily or perhaps even inspired by the Statue dressed in military garb, Warhol stamps his work with a comment on the commercialism for which he is known best; both France and America are trademarks, at peace with each other’s brand of business.
Statue of Liberty, 1986, has the benefit of being hotly suggestive but not prescriptive, which was one of Warhol’s many gifts as an artist. However, what begins to show through in the work executed close to his time of death was his unprecedented level of self-reflection. Later in the year, he even employed camouflage as a pattern over one of his many self-portraits. But we need not look so far for Warhol’s self-reference; in the craggy recessions and stoic lines on the face of the Statue, we observe Warhol’s own aging mask, weighted with connotations yet unwilling to yield any personal truth.
Sometimes I really enjoy executing other peoples concepts, it gives me a chance to test my methods in new territories & I end up creating images that I wouldn’t other wise. Variety is the spice of life & all that…
Read more & see the behind the scenes on my blog.
My Site | Twitter | Facebook | Instagram
Strobist Left Shot:
• 600ex-rt camera right on 1/1th power, through the Westcott 43-inch Collapsible Umbrella.
Ercole de 'Roberti, also known as Ercole da Ferrara (Ferrara, 1451-1456 - Ferrara, 1496) - Face of weeping Magdalene (1478-1486) fresco detached from the Garganelli Chapel in the Cathedral of San Pietro in Bologna 24.5 x 28, 5 cm - Pinacoteca Nazionale di Bologna
Questo piccolo dipinto di straordinaria intensità emotiva, con il volto di Maria Maddalena piangente è l’unico frammento superstite della decorazione ad affresco eseguita da Ercole Roberti insieme a Francesco del Cossa, altro autorevole rappresentante della pittura ferrarese, sulle pareti della Cappella Garganelli nella cattedrale di San Pietro a Bologna.
Il crollo parziale della chiesa, avvenuto nel 1599, comportò la distruzione degli affreschi, ma le fonti storiche e alcune copie consentono di ricostruire l'intero programma figurativo della cappella, talmente nota e celebrata da essere definita da Michelangelo “una mezza Roma di bontà”. Ed è, appunto, da una copia con la Crocifissione, che possiamo rilevare la posizione esatta che occupava il frammento all’interno del ciclo.
Il volto della Maria Maddalena testimonia la straordinaria qualità dei perduti dipinti e una potenza espressiva che richiama la drammaticità dei volti delle Marie del gruppo scultoreo con il Compianto sul Cristo morto di Niccolò dell’Arca conservato nella chiesa bolognese di Santa Maria della Vita.
La descrizione meticolosa di ogni più piccolo dettaglio realizzato nello stile calligrafico di Ercole Roberti mostra la conoscenza della contemporanea pittura fiamminga, conosciuta direttamente a Ferrara nelle collezioni estensi.
La pelle arrossata dal pianto, le palpebre socchiuse, i denti visibili nella bocca spalancata, i capelli delineati uno a uno, sino all’eccellenza esecutiva delle lacrime cristalline sono particolari davvero strabilianti, soprattutto se si considera la rapidissima esecuzione obbligata dalla tecnica dell’affresco.
This small painting of extraordinary emotional intensity, with the face of Mary Magdalene weeping, is the only surviving fragment of the fresco decoration executed by Ercole Roberti together with Francesco del Cossa, another authoritative representative of Ferrara painting, on the walls of the Garganelli Chapel in the cathedral of San Pietro in Bologna.
The partial collapse of the church, which took place in 1599, led to the destruction of the frescoes, but historical sources and some copies make it possible to reconstruct the entire figurative program of the chapel, so well known and celebrated that it was defined by Michelangelo as "a half Rome of goodness" . And it is precisely from a copy with the Crucifixion that we can detect the exact position that the fragment occupied within the cycle.
The face of Mary Magdalene testifies to the extraordinary quality of the lost paintings and an expressive power that recalls the drama of the faces of the Marys of the sculptural group with the Lamentation over the Dead Christ by Niccolò dell’Arca preserved in the Bolognese church of Santa Maria della Vita.
The meticulous description of every smallest detail made in Ercole Roberti's calligraphic style shows the knowledge of contemporary Flemish painting, known directly in Ferrara in the Este collections.
The skin reddened by tears, the half-closed eyelids, the teeth visible in the wide open mouth, the hair outlined one by one, up to the executive excellence of the crystalline tears are truly amazing details, especially if we consider the very rapid execution required by the fresco technique.
English Queens, nobles and a trio of unfortunate Scottish soldiers are amongst the names commemorated on a new permanent memorial, unveiled at the Tower of London on September 4 2006.
Designed by British artist Brian Catling, the circular memorial focuses on the ten executions that have taken place on Tower Green, within the Royal castle’s walls. It is intended to remember all those executed over the years at the Tower - providing a focal point for contemplation, reflection and remembrance.
Two versions of Medusa were created by Michelangelo Merisi da Caravaggio – one in 1596 and the other in 1597 – depicting the exact moment she was executed by Perseus. He plays with the concept by replacing Medusa's face with his own, as an indication of his immunity to her dreadful gaze. Due to its bizarre and intricate design, the painting is said to complement Caravaggio's unique fascination with violence and realism. It was commissioned by Italian diplomat Francesco Maria del Monte as a means of giving it to the Grand Duke of Tuscany, and is now located in the Uffizi Museum in Florence without signature.
In the 1590s Caravaggio had just started becoming a successful and wealthy artist in Rome. However, the time in which he painted the two versions of the Medusa were characterized by several run-ins with the law. In July 1597, Caravaggio and his partner Prospero Orsi became involved as witnesses in a crime that occurred near San Luigi de' Francesi. In one instance, a barber named Luca gave a testimony about Caravaggio where he provided a description regarding his mysterious attire:
"This painter is a stocky young man…with a thin black beard, thick eyebrows and black eyes, who goes dressed all in black, in a rather disorderly fashion, wearing black hose that is a little bit threadbare, and who has a thick head of hair, long over his forehead."
At the time, there was an unsolved case in which two items were reported as being missing – a dark cloak and a small dagger. As a result of his mysterious behavior and also due to his affiliation with cloaks, Caravaggio was arrested several times in which he indicated that he favored dressing in dark attire to avoid being seen by the public, which is also why he preferred to make late night trips to evade excessive or unnecessary attention. On May 4, 1598, he was arrested again for possessing a sword in public, in which he asserted:
“I was arrested last night…because I was carrying a sword. I carry the sword by right because I am Painter to Cardinal del Monte. I am in his service and live in his house. I am entered on his household payroll.”
Caravaggio's paintings were never in tune with the idealized themes that were prevalent during the time period. Instead, he became more intrigued with the idea of realism and incorporated it into his paintings such as Boy with a Basket of Fruit, The Fortune Teller, The Cardsharps, Bacchus, and even The Musicians, which were all painted within the same time period. When he painted Medusa, Caravaggio hit a great milestone in his life - he was given a chance to decorate the Contarelli Chapel, in which he created realistic images regarding the life of St. Matthew himself. Some of these paintings include Saint Matthew and the Angel, The Martyrdom of Saint Matthew, and The Calling of Saint Matthew. This opportunity to paint the chapel gave him great advantage and a sense of motivation to incorporate more realism in his artworks.
The first version of the painting created in 1596 is known as Murtula, named after poet Gaspare Murtola, who wrote "flee, for if your eyes are petrified in amazement, she will turn you to stone." It measures 48 by 55 cm in length and is signed Michel A F, indicating "Michel Angelo made [this]", with Michelangelo being Caravaggio's first name after all. This work is privately owned.
The second version of the painting created in 1597 is known as Medusa (Italian: Testa di Medusa). It is slightly bigger than the first, measuring 60×55 cm in length and although it's not signed, it is often dated with the year 1597. This work is held in the Uffizi Museum located in Florence.
For its subject matter, Caravaggio drew on the myth of Medusa. The painting depicts the severed head of Medusa, a monster described as a woman with bronze hands and golden wings who had countless venomous snakes on her head in place of her own hair. Anyone who even so much as glanced at her would be turned to stone. Medusa, along with her two sisters Stheno and Euryale, was known as a Gorgon, a powerful mythical creature in ancient Greek mythology. She was cursed by the Roman goddess Minerva (or the Greek goddess Athena), who turned her into the venomous monster she was. Perseus, son of Greek god Zeus and princess Danae, decapitated Medusa using a shield given by Athena.
In his painting, Caravaggio depicts a self-portrait of his own face in the place of Medusa's, as a way of indicating his immunity to her dreadful gaze. Though the head is decapitated, it still appears conscious as the painting captures its final moments in silence before being atrociously defeated. Blood pours down in many streaks, while the mouth hangs wide open baring teeth. With brows creased and eyes amplified, an appalling expression is portrayed.
The painting was commissioned as a commemoration shield by Cardinal Francesco Maria Del Monte, who wanted to give it to the Grand Duke of Tuscany, Ferdinando I de' Medici, for his courage, and have it placed in the Medici collection
Mid-February 1696 a plot was to have been executed to kill the King by Jacobites vehemently opposed to the Glorious Revolution (1688) which had brought the Dutch stadtholder and his wife to the English Throne as William III (1650-1702) and Mary II (1677-1694). The plans were discovered, Orange prevailed, and the would-be assassins were made to feel the force of the law.
Mary had sadly died in 1694, so she probably wouldn't have seen these pretty Orange Canary Bell-Flowers which are attested for the gardens of their palace, Hampton Court in 1696.
Today our Bell-Flower is much beloved by gardeners around the Globe. But as endemic wild plants on the Canary Islands they are endangered. Environmental measures are being taken to protect them. William of Orange survived that plot by six years; it is hoped these Bell-Flowers have a longer wild future.
The Midland Camera club planned and executed a wonderful trip to the Jordan Valley and Leelanau peninsula in pursuit of Fall colors, landscapes, farms, sand dunes, Lake Michigan. lighthouses, and a vast assortment of interesting subjects to photograph. All the members came home with a nice collection of photographs and much joy in the adventure spent together. Visit our viewing site to see the work of the members.
www.flickr.com/groups/3021281@N20/
216d 10 - TAC_5438 - lr-ps
35mm 3:2 motion blur sunset photo executed with the left to right panning to create the horizontal motion blur flowing across the frame.
The Coronation of the Virgin is a painting by the Italian early Renaissance master Fra Angelico, executed around 1434–1435 in Fiesole (Florence). It is now in the Musée du Louvre of Paris, France. The artist executed another Coronation of the Virgin (c. 1432), now in the Uffizi in Florence.
The work is not thought to have originally been painted around 1434 (a few years after the similar painting in the Uffizi) for the convent of San Domenico of Fiesole, near Florence, where Fra Angelico was a Dominican friar and for which he painted also the Fiesole Altarpiece (1424-1425) and the Annunciation now at the Museo del Prado. Some art historians, such as John Pope-Hennessy, date it instead to Angelico's visit to Rome (1450).
The painting was brought to France as a result of the pillages of the Napoleonic Wars. Like several other artworks, it was not given back with the excuse of its large size.
The work shows several differences from the earlier Coronation now at the Uffizi. The gilded background has disappeared, replaced by a more realistic light blue sky. The composition is more advanced, perhaps inspired to the innovation introduced by Masaccio. Angelico here depicts a rich cyborium with Gothic triple mullions, supported by a series of polychrome marble steps, as the set of the Incoronation. Elements such as the twisted columns show similarities with the tabernacles painted in the frescoes of the Niccoline Chapel in Rome.
Such as in the Florence painting, the angels and the saints form the audience at the side of the central scene, but the figures are more defined and some are shown from back, and the pavement's tiles are painted according to geometrical perspective. Pope-Hennessy supposed that the angels were influenced by those in the San Brizio Chapel of Orvieto Cathedral (1447).
The work was executed with the extensive help of assistants, especially in the right side: for example, St. Catherine's wheel is painted approximatively, and some of the saints in this side have less expressive faces.
The painting has a predella with scenes portraying the Miracles of St. Dominic and, in the middle, the Resurrection of Christ. Such as in other Angelico's work, the predella scenes show an extensive use of geometrical perspective, enhanced by the use of alternatively empty and full architectures.
Leading off the hallway just outside Mrs. Weatherly's boudoir into a private inner courtyard is a door featuring two beautifully executed stained glass panels and a lunette above. The lunette features at bird in a foliate frame, surrounded by losenges of stained glass, whilst the late Victorian era door panels feature four panes of flowers and two panes of birds, all hand painted and expertly coloured in glass.
Built in High Victorian style in 1878 for successful gold miner Robert Wright, Billilla mansion was originally a thirteen room mansion erected on seven and a half acres of land.
When economic boom turned to bust in the 1880s, the property was purchased in 1888 by wealthy New South Wales pastoralist William Weatherly who named it Billilla after his land holdings and established a home there for his wife Jeannie and their children Violet, Gladys and Lionel.
The house was substantially altered by architect Walter Richmond Butler in 1907, extending the house beyond its original thirteen rooms and adding the Art Nouveau façade seen today.
After William Weatherly's death in 1914, his wife, who was much younger, remained living there until her own death in 1933. She bequeathed the property to her daughter, Violet, who maintained the home with reduced staff until her own death in 1972.
The property was purchased in 1973 by the Bayside Council who subsequently used Billilla as a historical house with guided tours, a wedding and events venue, a school and finally in 2009 as an artist's precinct in the property's outbuildings. Billilla is a beautiful heritage property retaining many of its original features thanks to its long private ownership still incorporating a stately formal garden and the magnificent historic house.
Billilla, at 26 Halifax Street, Brighton, is one of Melbourne’s few remaining significant homesteads, built on land which had originally been owned by Nicholas Were. The house has a mixture of architectural styles, featuring a Victorian design with Art Nouveau features and has exquisite formal gardens, which retain much of their original Nineteenth Century layout.
Billilla retains many original Victorian elements and a number of outbuildings still stand to the rear of the property including the butler’s quarters, dairy, meat house, stable garden store and coach house.
Billilla was opened to the general public as part of the Melbourne Open House weekend 2022.
Billilla was used as a backdrop in the 1980 Australian Channel 10 miniseries adaptation of Sumner Locke Elliott's "Water Under the Bridge". It was used at the Sydney harbourside home of Luigi, Honor and Carrie Mazzini.
Irving R. Bacon (1875-1962)
Pen and ink with graphite on paper
Executed during Bacon’s Munich period of study at the Royal Academy.
Irving Roscoe Bacon was born in Fitchburg, Massachusetts on November 29, 1875.
Bacon studied with Wm Chase, F. Luis Mora, and at the Royal Academy in Munich. He spent most of his career in Michigan where he was personal artist for Henry Ford.
He died in El Cajon, CA on Nov. 21, 1962.
Exhibits:
Royal Academy, 1909 (medal)
National Academy of Design (New York City), 1910-12
Pennsylvania Academy of the Fine Arts, 1911, 1912
Art Institute of Chicago, 1911, 1912
----------------------------------
Examples of Bacon's paintings can be seen here: www.thehenryford.org/collections-and-research/digital-col...(Irving%20Reuben),%201875-1962&years=0-0&perPage=10&pageNum=1&sortBy=relevance
===================
FROM THE WEBSITE OF THE HENRY FORD:
Irving R. Bacon worked for Henry Ford as an artist. His work ranged from cartoons in the Ford Times to paintings of artifacts and events at the Edison Institute. His papers include photographs, drawings, and correspondence related to his career with Ford Motor Company and the Edison Institute.
Biographical / Historical Note
Born in 1875 in Fitchburg, Massachusetts, Irving Bacon received his early art training from Joseph Gies at the Art School of the Detroit Museum of Art.
Much of his early work concentrated on illustrations and cartoons, and often his artwork reflected the influence of his travels to the American West.
From 1894 to 1900 he worked as an illustrator at the Detroit Evening News and the Detroit Free Press. He first met Henry Ford through a mutual acquaintance in 1898, when he rode to Royal Oak and back to Detroit on Woodward Avenue in Henry's new automobile.
In 1902 he went to New York City to study at the Chase School of Art and to illustrate for Harper's Weekly and McClure's.
In 1906 he went to the Royal Academy in Munich and studied under Heinrich von Zugel, a noted animal painter. It was there where Bacon acquired his talent for painting landscapes and portraits.
After returning to Detroit in 1910, he once again met Henry Ford, who by this time was a millionaire. Henry became interested in art largely due to the interest and talent of his own son, Edsel.
He purchased a landscape scene from Bacon-a painting, which, according to Bacon, was "certainly not a masterpiece." It was after this meeting that Bacon gained permission from Henry to utilize his large estate for landscape paintings.
In 1913 he received a generous gift of money from his friend Harold Wills (a Ford executive), and once again returned to Munich for further study. His stay was cut short, however, due to the start of World War I.
Upon returning to Detroit, he realized the need for a steady salary in order to adequately support his wife and six children, so he met again with Henry Ford and soon became an employee of the Ford Motor Company, drawing cartoons for the Ford Times and later, illustrations for The Dearborn Independent.
Henry loved Bacon's cartoons, an area of work which Bacon wanted to discontinue. According to Bacon, "That class of work seemed to conflict with my high aims of art. Little did I realize at the time that I was beginning a thirty three year stretch of work for Henry Ford and his great organization that eventually would wean me away from the art world."
Working for Henry at the Ford Motor Company, and later the Edison Institute, Bacon's tasks included painting scenes and portraits that were of great interest to Henry Ford and his Museum and Village. These included portraits of Ford's family and friends, Noah Webster, Luther Burbank, Mark Twain, Dr. George Washington Carver, Stephen Foster, John Burroughs, and others.
He was also responsible for creating paintings of the artifacts located at the institute, and he also acted as stage designer for the Museum's theater.
His interest in photography and motion pictures led him to become the head of the Photographic Department for several years. Bacon retired from the Edison Institute in 1948, and moved to Miami with his second wife. He died in 1962 at the age of 86.
This collection is mainly composed of photographs, drawings, and some correspondence related to Bacon's career with the Ford Motor Company and the Edison Institute. The series within this collection are accordingly arranged to the different aspects involved with the work of Henry Bacon.
There are five series in the collection, the Golden Jubilee painting, Irving Bacon personal materials, Greenfield Village and Henry Ford Museum, Henry Ford related work, and Dearborn Independent.
Series I, Golden Jubilee painting: This series is comprised of pamphlets, notes, lists, correspondence, and photographs related Bacon’s painting entitled "Celebration of the Golden Jubilee of the Invention of the Incandescent Electric Light" also known as the "The Dedication of the Edison Institute of Technology." The Golden Jubilee occurred on October 21, 1929. It is arranged by the sub-series Printed material (1929), Correspondence (1936-1937), and Photographs (dates unknown, but assumed to be between 1920-1938). The photographs, which are mainly portraits of the individuals who attended the events of October 21, 1929, were obtained by Bacon in the years 1936-1938, for the purpose of recreating the dinner scene, some seven to nine years previous. Over 400 individuals attended this dinner, ranging from Henry Ford's personal friends to contemporary world business and political leaders. The number of dinner guests eventually included in Bacon's painting numbered 266. The filing arrangement for the Photographs subseries was left in much the same way that Bacon had organized it, which was by seating arrangements. He categorized his filing system according to "Tables," "Arches," and "Individuals Standing" e.g., Table 1, Arch 1, etc.
Series II, Irving Bacon personal materials: In this series are various materials (1907-1957) which apparently were kept for the personal use and interest of Mr. Bacon. A large portion of this series, theater interests, contains materials on early theater and film actors/actresses. The majority of the materials within this series are photographs, unless otherwise noted.
Series III, Greenfield Village and Henry Ford Museum: This series is an assortment of photographs, mixed with notes and sketches related to subjects found at Greenfield Village and Henry Ford Museum. Bacon collected photographs of the various subjects in order to study them and eventually create a likeness within his own paintings.
Series IV, Henry Ford related work: This series is an example of yet another type of work that Bacon undertook as an employee of Henry Ford. It reflects the personal interests of Henry Ford. Included are miscellaneous printed materials, photographs, sketches, and maps (photographed). The folders have retained the original titles given by Bacon himself.
Series V, Dearborn Independent: Irving Bacon's artwork created for the Dearborn Independent is found within this series (approximately 1925-1935). These oversized materials consist mainly of sketches, prints, and color drawings.
Less
Collection Details
Object ID: 84.1.1657.0
Creator: Bacon, Irving R. (Irving Reuben), 1875-1962
Inclusive Dates: 1863-1957
Size: 4.4 cubic ft. and 4 oversize boxes 7.8 cubic ft. (17 boxes) [Collection Survey]
Language: English
From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
===================
From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
•Artist: Ercole Ferrata (1610-1686), a student of Alessandro Algardi and a follower of Bernini, who was renowned for his skill in creating dynamic, dramatic compositions.
•Depiction: The relief celebrates the triumph and martyrdom of Saint Agnes. The central figure is Saint Agnes herself, depicted as serene and holy, surrounded by angels and saints in a celestial scene. The sculpture reflects her moment of glorification and ascent to heaven, symbolizing purity and divine grace.
•Historical Context: Saint Agnes was martyred in the early 4th century during the reign of the Roman Emperor Diocletian. According to tradition, she was executed on the site where the church now stands in Piazza Navona.
•Baroque Style: The piece exemplifies the Baroque aesthetic with its emphasis on movement, emotional intensity, and dramatic use of light and shadow. The figures appear almost to come to life, reaching out to the viewer, a hallmark of Baroque art aimed at evoking deep spiritual contemplation.
About Sant’Agnese in Agone Church:
•The church itself was designed by famed Baroque architects Francesco Borromini, Giacomo della Porta, and Carlo Rainaldi.
•It was built on the site of Saint Agnes’s martyrdom, making it one of the most significant religious sites in Rome.
•The church’s interior is filled with other Baroque masterpieces, making it a treasure trove of art for enthusiasts exploring Piazza Navona.
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This was a test for finding some behaviors of the magic donkey (interestingness algorithm), which executed as a black-box test, with tuning inputs and evaluationg outputs.
You can check the experience results here.
The following is original description of this photo, before publishing the results:
---------------------------------------------------------------------------------------------
سلام رفيق
ميخواستم اگر پررويي نباشه، خودم هديه تولدم رو بگم چي باشه
اگه عيبي نداره، اين عكس رو به فوورايتهات اضافه كن
(به خاطر محدوديت تعداد تگ، اين قسمت حذف شد، تگهاي دوستاني كه لطف كرده بودند و اسمشون رو اضافه كرده بودند هم به خاطر حفظ عدالت حذف شد)
(اگر مثل من توي فو كردن خسيسي، كافيه اين رو اد كني و 10 روز ديگه برش داري)
ميخوام ببينم اگه همه دوستام يه عكي رو فو كنن، چه رتبهاي پيدا ميكنه
All my dear friends,
I want to ask you for a birthday gift!
I would be appreciated if you please add this photo to your favorites.
(Because of tags limitation, I removed this part of my request. I also removed all your kindly added tags just because of respecting those who couldn't add a tag!)
(For those who are scrimpy in fave-ing (like me), you can add it to your list, and remove it after 10 days)
I just want to check if all flickr members who like my photos fave this, what rank it should gain in Explore ;)
So please do not add this photo as a favorite if you don't know me or I'm not a contact of you. I mean if you want to fave this just because of itself, please do not do that. I want to count my friends ;)
Of course you will be appreciated as a new friend, if you fave this..
I won't post this photo to any set or group for ten days!
----
I started a discussion thread in FlickrCentral about this shot and my test:
A hack, or a test? "Interestingness"!
And another better discussion on hep forum:
Strange action of "interestingness" algorithm
-----------
Last hours of day 2:
- Seems visits and faves are almost finished.
- Now I want to add it to "iranian" group and a set just for evaluating the result.
First hours of day 3:
- Interestingness rank of this shot in my own photostream increased from 56 to 38 after adding to Iranian group!
- I'll try 1-2-3 style groups now
Day 3, 5 o'clock:
- It is #28 now
- I'm going to remove from all 123 style groups
End of day 3:
- #21
Day 8:
- Not yet in Explore
- #17 in my stream
Test is over!
Executed in the Beaux Arts style, the stations
won Gold Medal of the Paris Exposition of 1888.
Each station is more or less 5ft x5ft excluding the base,
the most beautiful Via Crusis I have seen so far.
Take note of the huge amount of red pigments on the stained
glass. Gold is used to create the red.
One-off
- One-off glass T-top conversion executed shortly after delivery by the U.S. importer
- 4.9-liter V8 backed by a five-speed ZF transmission
-Converted to European bumpers under Dutch ownership using factory components
- Exhibited in the Oldtimer-Museum Volante
- Comprehensive 2025 mechanical refurbishment by Sportwagen Service in Hamburg
Broad Arrow’s Zoute Concours Auction
Approach Golf - Het Zoute
Estimated : € 175.000 - 225.000
Sold for € 161.000
Zoute Grand Prix Car Week 2025
Knokke - Zoute
België - Belgium
October 2025
Irving R. Bacon (1875-1962)
Pen and ink with graphite on paper
Executed during Bacon’s Munich period of study at the Royal Academy.
Irving Roscoe Bacon was born in Fitchburg, Massachusetts on November 29, 1875.
Bacon studied with Wm Chase, F. Luis Mora, and at the Royal Academy in Munich. He spent most of his career in Michigan where he was personal artist for Henry Ford.
He died in El Cajon, CA on Nov. 21, 1962.
Exhibits:
Royal Academy, 1909 (medal)
National Academy of Design (New York City), 1910-12
Pennsylvania Academy of the Fine Arts, 1911, 1912
Art Institute of Chicago, 1911, 1912
----------------------------------
Examples of Bacon's paintings can be seen here: www.thehenryford.org/collections-and-research/digital-col...(Irving%20Reuben),%201875-1962&years=0-0&perPage=10&pageNum=1&sortBy=relevance
===================
FROM THE WEBSITE OF THE HENRY FORD:
Irving R. Bacon worked for Henry Ford as an artist. His work ranged from cartoons in the Ford Times to paintings of artifacts and events at the Edison Institute. His papers include photographs, drawings, and correspondence related to his career with Ford Motor Company and the Edison Institute.
Biographical / Historical Note
Born in 1875 in Fitchburg, Massachusetts, Irving Bacon received his early art training from Joseph Gies at the Art School of the Detroit Museum of Art.
Much of his early work concentrated on illustrations and cartoons, and often his artwork reflected the influence of his travels to the American West.
From 1894 to 1900 he worked as an illustrator at the Detroit Evening News and the Detroit Free Press. He first met Henry Ford through a mutual acquaintance in 1898, when he rode to Royal Oak and back to Detroit on Woodward Avenue in Henry's new automobile.
In 1902 he went to New York City to study at the Chase School of Art and to illustrate for Harper's Weekly and McClure's.
In 1906 he went to the Royal Academy in Munich and studied under Heinrich von Zugel, a noted animal painter. It was there where Bacon acquired his talent for painting landscapes and portraits.
After returning to Detroit in 1910, he once again met Henry Ford, who by this time was a millionaire. Henry became interested in art largely due to the interest and talent of his own son, Edsel.
He purchased a landscape scene from Bacon-a painting, which, according to Bacon, was "certainly not a masterpiece." It was after this meeting that Bacon gained permission from Henry to utilize his large estate for landscape paintings.
In 1913 he received a generous gift of money from his friend Harold Wills (a Ford executive), and once again returned to Munich for further study. His stay was cut short, however, due to the start of World War I.
Upon returning to Detroit, he realized the need for a steady salary in order to adequately support his wife and six children, so he met again with Henry Ford and soon became an employee of the Ford Motor Company, drawing cartoons for the Ford Times and later, illustrations for The Dearborn Independent.
Henry loved Bacon's cartoons, an area of work which Bacon wanted to discontinue. According to Bacon, "That class of work seemed to conflict with my high aims of art. Little did I realize at the time that I was beginning a thirty three year stretch of work for Henry Ford and his great organization that eventually would wean me away from the art world."
Working for Henry at the Ford Motor Company, and later the Edison Institute, Bacon's tasks included painting scenes and portraits that were of great interest to Henry Ford and his Museum and Village. These included portraits of Ford's family and friends, Noah Webster, Luther Burbank, Mark Twain, Dr. George Washington Carver, Stephen Foster, John Burroughs, and others.
He was also responsible for creating paintings of the artifacts located at the institute, and he also acted as stage designer for the Museum's theater.
His interest in photography and motion pictures led him to become the head of the Photographic Department for several years. Bacon retired from the Edison Institute in 1948, and moved to Miami with his second wife. He died in 1962 at the age of 86.
This collection is mainly composed of photographs, drawings, and some correspondence related to Bacon's career with the Ford Motor Company and the Edison Institute. The series within this collection are accordingly arranged to the different aspects involved with the work of Henry Bacon.
There are five series in the collection, the Golden Jubilee painting, Irving Bacon personal materials, Greenfield Village and Henry Ford Museum, Henry Ford related work, and Dearborn Independent.
Series I, Golden Jubilee painting: This series is comprised of pamphlets, notes, lists, correspondence, and photographs related Bacon’s painting entitled "Celebration of the Golden Jubilee of the Invention of the Incandescent Electric Light" also known as the "The Dedication of the Edison Institute of Technology." The Golden Jubilee occurred on October 21, 1929. It is arranged by the sub-series Printed material (1929), Correspondence (1936-1937), and Photographs (dates unknown, but assumed to be between 1920-1938). The photographs, which are mainly portraits of the individuals who attended the events of October 21, 1929, were obtained by Bacon in the years 1936-1938, for the purpose of recreating the dinner scene, some seven to nine years previous. Over 400 individuals attended this dinner, ranging from Henry Ford's personal friends to contemporary world business and political leaders. The number of dinner guests eventually included in Bacon's painting numbered 266. The filing arrangement for the Photographs subseries was left in much the same way that Bacon had organized it, which was by seating arrangements. He categorized his filing system according to "Tables," "Arches," and "Individuals Standing" e.g., Table 1, Arch 1, etc.
Series II, Irving Bacon personal materials: In this series are various materials (1907-1957) which apparently were kept for the personal use and interest of Mr. Bacon. A large portion of this series, theater interests, contains materials on early theater and film actors/actresses. The majority of the materials within this series are photographs, unless otherwise noted.
Series III, Greenfield Village and Henry Ford Museum: This series is an assortment of photographs, mixed with notes and sketches related to subjects found at Greenfield Village and Henry Ford Museum. Bacon collected photographs of the various subjects in order to study them and eventually create a likeness within his own paintings.
Series IV, Henry Ford related work: This series is an example of yet another type of work that Bacon undertook as an employee of Henry Ford. It reflects the personal interests of Henry Ford. Included are miscellaneous printed materials, photographs, sketches, and maps (photographed). The folders have retained the original titles given by Bacon himself.
Series V, Dearborn Independent: Irving Bacon's artwork created for the Dearborn Independent is found within this series (approximately 1925-1935). These oversized materials consist mainly of sketches, prints, and color drawings.
Less
Collection Details
Object ID: 84.1.1657.0
Creator: Bacon, Irving R. (Irving Reuben), 1875-1962
Inclusive Dates: 1863-1957
Size: 4.4 cubic ft. and 4 oversize boxes 7.8 cubic ft. (17 boxes) [Collection Survey]
Language: English
From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
===================
From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
After executing single-ship takeoffs in rapid-fire fashion, the 10 "Ponies" of Italy's Frecce Tricolor aerobatic team have joined their Delta Formation for their opening pass at the Rochester, NY International Airport. In the lead, Major Pierluigi Raspa drives the formation in from behind the crowd as Italy's beautiful national anthem "Il Canto degli Italiani" plays on the PA system. The national pride of Italy is about to go on display for a very receptive American audience.
The Equestrian statue of Bartolomeo Colleoni is a Renaissance sculpture in Campo Santi Giovanni e Paolo, Venice, Italy, executed by Andrea del Verrocchio in 1480–1488. Portraying the condottiero Bartolomeo Colleoni (who served for a long time under the Republic of Venice), it has a height of 395 cm excluding the pedestal. It is the second major equestrian statue of the Italian Renaissance, after Donatello's equestrian statue of Gattamelata (1453).
In 1475, the Condottiero Colleoni, a former Captain General of the Republic of Venice, died and by his will left a substantial part of his estate to the Republic on condition that a statue of himself should be commissioned and set up in the Piazza San Marco. In 1479 the Republic announced that it would accept the legacy, but that (as statues were not permitted in the Piazza) the statue would be placed in the open space in front of the Scuola of San Marco. A competition was arranged to enable a sculptor to be selected. Three sculptors competed for the contract, Verrocchio from Florence, Alessandro Leopardi from Venice and Bartolomeo Vellano from Padua. Verrocchio made a model of his proposed sculpture using wood and black leather, while the others made models of wax and terracotta. The three models were exhibited in Venice in 1483 and the contract was awarded to Verrocchio. He then opened a workshop in Venice and made the final wax model which was ready to be cast in bronze, but he died in 1488, before this was done.
He had asked that his pupil Lorenzo di Credi, who was then in charge of his workshop in Florence, should be entrusted with the finishing of the statue, but the Venetian state after considerable delay commissioned Alessandro Leopardi to do this. In 1496, the statue was erected on a pedestal made by Leopardi in the Campo SS. Giovanni e Paolo, where it stands today.
en.wikipedia.org/wiki/Equestrian_statue_of_Bartolomeo_Col...
This bodypainting was executed with khidab. Khidab is a Gall ink which is employed in Yemen mainly in the mountainous regions around the capital Sanaa instead of henna. For an account how it is made you can download an article:
Yemeni Women’s Body Painting with Black Gall Ink Khidab, Production Methods,
from my colleage Dr. Hanne Schönig at www.henna-und-mehr.de/pdf/Khidabartikel_eu.pdf; (Englisch)
or www.henna-und-mehr.de/pdf/schoenig_deutsch.pdf (German)
If you like to see original Yeminite bodypaintings with this ink visit: www.henna-und-mehr.de/de/khidabslide.html (German) or
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Tonight however, we are at Simpson’s-in-the-Strand*, near Covent Garden and the theatre district of London’s West End. Here, amidst the thoroughly English surrounds of wooden panelling, beautifully executed watercolours of British landscapes and floral arrangements in muted colours, men in white waistcoats and women a-glitter with jewels are ushered into the dining room where they are seated in high backed chairs around tables dressed in crisp white tablecloths and set with sparkling silver and gilt china. The large room is very heavily populated with theatre patrons enjoying a meal before a show and therefore it is full of vociferous conversation, boisterous laughter, the clink of glasses and the scrape of cutlery against crockery as the diners enjoy the traditional English repast that Simpson’s is famous for. Seated at a table for two along the periphery of the main dining room, Lettice and Selwyn are served their roast beef dinner by a carver. Lettice is being taken to dinner by Selwyn to celebrate the successful completion of his very first architectural commission: a modest house built in the northern London suburb of Highgate built for a merchant and his wife. Lettice has her own reason to celebrate too, but has yet to elaborate upon it with Selwyn.
“I do so like Simpson’s.” Lettice remarks as the carver places a plate of steaming roast beef and vegetables in front of her. Glancing around her, she admires the two watercolours on the wall behind her and the jolly arrangement of yellow asters and purple and yellow pansies on the small console to her right.
“I’m glad you approve.” Selwyn laughs, smiling at his companion.
“I’m always put in mind of Mr. Wilcox whenever it’s mentioned, or I come here.”
“Who is Mr. Wilcox?” Selwyn asks, his handsome features showing the signs of deep thought.
“Oh,” Lettice laughs and flaps her hand, the jewels on her fingers winking gaily in the light. “No-one. Well, no one real, that is.” she clarifies. “Mr. Wilcox is a character in E. M. Forster’s novel, ‘Howard’s End’**, who thoroughly approves of Simpson’s because it is so thoroughly English and respectable, just like him.”
“I can’t say I’ve read that novel, or anything by him.” Selwyn admits as the carver places his serving of roast beef and vegetables before him. “My head has been too buried in books on architecture.” Selwyn reaches into the breast pocket of his white dinner vest and takes out a few coins which he slips discreetly to the man in the crisp white uniform and chef’s hat.
“Thank you, Your Grace,” the carver says, tapping the brim of his hat in deference to the Duke of Walmsford’s son before placing the roast beef, selection of vegetables in tureens and gravy onto the crisp white linen tabletop, and then wheeling his carving trolley away.
Lettice giggles as she picks up the gravy boat and pours steaming thick and rich dark reddish brown gravy over her dinner.
“Well, what’s so funny, my Angel?” Selwyn asks with a querying look as he accepts the gravy boat from Lettice’s outstretched hands and pours some on his own meal.
“Oh you are just like Mr. Wilcox.”
“You know,” He picks up his silver cutlery. “And please pardon me for saying this, but I didn’t take you for reading much more than romance novels.”
“Oh!” Lettice laughs in mild outrage. “Thank you very much, Selwyn!”
“I didn’t mean it like that,” Selwyn defends himself, dropping his knife and fork with a clatter onto the fluted gilt edged white dinner plate.
“Then what do you mean?” Lettice asks, trying to remain serious as she looks into the worried face of her dinner companion, which makes her want to reach out and stroke his cheek affectionately and smile.
“I… I merely meant that most ladies of your background have had very little education, or inclination to want to read anything more than romance novels.”
“Well,” Lettice admits. “I must confess that I do quite enjoy romance novels, and I wouldn’t be as well read if it weren’t for Margot.”
“Aha!” Selwyn laughs, popping some carrots smeared in gravy into his mouth.
“But,” Lettice quickly adds in her defence. “I’ll have you know that my father is a great believer in the education of ladies, and so was my grandfather, and I applied myself when I studied, and I enjoyed it.”
“It shows my Angel,” Selwyn assures her. “You are far more interesting than any other lady I’ve met in polite society, most of whom haven’t an original thought in their heads.”
“I take after my Aunt Egg, who learned Greek amongst other languages, which served her well when she decided to go there to study ancient art. Although Mater insisted that I not go to a girl’s school, so I would not become a bluestocking*** and thereby spoil my marriage prospects by demonstrating…”
“That’s what I was implying,” Selwyn interrupts in desperate defence of his incorrect assumptions about Lettice. “Most girls I have met either feign a lack of intelligence, or more often genuinely are dim witted. Admittedly, it’s not really their fault. With mothers like yours, who believe that the only position for a girl of good breeding is that of marriage, they seldom get educated well, and their brains sit idle.”
“Well, I have a brain, and I know how to use it. Pater and Aunt Egg drummed into me the importance of intelligence as well as good manners and looks in women of society.”
“Well, there are a great many ladies whom I have met who could take a leaf out of your book. I know you have a mind of your own, my Angel,” Selwyn purrs. “And that’s one of the many attributes about you that I like. Having a conversation with you about art, or my passion of architecture, is so refreshing in comparison to speaking about floral arrangements or the weather, as I shall soon have to when I start escorting my cousin Pamela for the London Season.”
Lettice cannot help but shudder silently at the mention of Selwyn’s cousin, Pamela Fox-Chavers, for she is immediately reminded of what Sir John Nettleford-Hughes said to her at the society wedding of her friend Priscilla Kitson-Fahey to American Georgie Carter in November. He pointed out to her that Selwyn’s mother, Lady Zinnia, plans to match Selwyn and Pamela. From his point of view, it was already a fait accompli.
“I like my cousin,” Selwyn carries on, not noticing the bristle pulsating through Lettice. “But like so many of the other debutantes of 1923, she is lacking interests beyond the marriage market and social gossip and intrigues. You, on the other hand, my Angel, are well informed, and have your own opinions.”
“Well, you can thank Pater for instilling that in me. He hired some very intelligent governesses to school my sister and I in far more than embroidery, floral arranging and polite conversation.”
“And I’m jolly glad of it, my darling.”
“And Aunt Egg told me that I should never be afraid to express my opinion, however different, so long as it is artfully couched.”
“I like the sound of your Aunt Egg.”
“I don’t think your mother would approve of her, nor of me having a brain, Selwyn. Would she? I’m sure she would prefer you to marry one of those twittering and decorous debutantes.” She tries her luck. “Like your cousin Pamela, perhaps?”
“Oh, come now, Lettice darling!” Selwyn replies. If she has thrown a bone, he isn’t taking it as he rests the heels of his hands on the edge of the white linen tablecloth, clutching his cutlery. He chews his mouthful of roast beef before continuing. “That isn’t fair, even to Zinnia. She’s a very intelligent woman herself, with quite a capacity for witty conversation about all manner of topics, and she reads voraciously on many subjects.”
“I was talking to Leslie about what his impressions of your mother were when I went down to Glynes**** for his wedding in November.”
“Were you now?” Selwyn’s eyebrows arch with surprise over his widening eyes.
“Yes,” Lettice smirks, taking a mouthful of roast potato drizzled in gravy which falls apart on her tongue. Chewing her food, she feels emboldened, and sighs contentedly as she wonders whether Sir John was just spitting sour grapes because she prefers Selwyn’s company rather than his. Finishing her mouthful she elucidates, “Leslie is a few years older than us, and of course, I only remember her as that angry woman in black who pulled you away after we’d played in the hedgerows.”
“Well, she obviously left a lasting impression on you!” Selwyn chortles.
“But it isn’t a fair one, is it?” she asks rhetorically. “So, I asked Leslie what he remembered of her from time they spent together in the drawing room whilst you and I were tucked up in bed in the nursery.”
“And what was Leslie’s impression of Zinnia?”
“That, as you say, she is a witty woman, and that she liked to hold men in her thrall with her beauty, wit and intelligence.”
“Well, he’s quite right about that.”
“But that she didn’t much like other ladies for company, especially intelligent ones who might draw the gentlemen’s attention away from her glittering orbit.”
Selwyn chews his mouthful of dinner and concentrates on his dinner plate with downcast, contemplative eyes. He swallows but remains silent for a moment longer as he mulls over his own thoughts.
After a few moments of silence, Lettice airs an unspoken thought that has been ruminating about her head ever since Selwyn mentioned her. “You know, I’d love to meet Zinnia.”
Selwyn chuckles but looks down darkly into his glass of red wine. “But you have met her, Lettice darling. You just said so yourself. She was that angry woman yelling at you as I was dragged from the hedgerows of your father’s estate.”
“I know, but that doesn’t count! We were children. No, I’ve heard of her certainly over the years, but now that I’ve become reacquainted with you as an adult, and now that we are being serious with one another.” She pauses. “We are being serious with one another, aren’t we Selwyn?”
“Of course we are, Lettice.” Selwyn replies, unable to keep his irritation at her question out of his voice. “You know we are.” Falling back into silence, he runs his tongue around the inside of his cheek as he retreats back into his own inner most thoughts.
“Then I’d so very much like to meet her. You have met my toadying mother. Why shouldn’t I meet yours?”
“Be careful what you wish for, my Angel.” he cautions.
“What do you mean, Selwyn darling?”
Selwyn doesn’t answer straight away. He absently fiddles with the silver salt shaker from the cruet set in front of him, rolling its bulbous form about in his palm, as if considering whether it will give him an answer of some kind.
“Selwyn?” Lettice asks, leaning over and putting a hand on her companion’s broad shoulder.
“Just that you may not like her when you meet her.” He shrugs. “That’s all. Toadying is certainly not a word I would associate with Zinnia on any given day, that’s for certain.”
“Or you might be implying she might not like me.” Lettice remarks downheartedly. “Is that it?”
Softening his tone, Selwyn assures her, “I like you, and I’m sure she will too. You will get to meet her soon enough, Lettice darling. I promise. But not yet.” He suddenly snaps out of his contemplations and starts to cut a piece off his roast beef, slicing into the juicy flesh with sharp jabs of his knife. “We have plenty of time for all that. Let’s just enjoy us for now, and be content with that.”
“Oh of course, Selwyn darling,” Lettice stammers. “I didn’t… I didn’t mean, now.”
“I know you didn’t may angel.” He sees the look of concern she is giving him as she stiffens and sits back in her straight backed chair, afraid that she has offended him. “I just like it being just us for now, without the complication of Zinnia.”
“Is she complicated?”
“More than you’ll ever know, my angel. Aren’t most mothers?”
“I suppose.”
“Anyway, enough about Zinnia! I don’t want this evening to be about Zinnia! I want it to be about us. So not another word about her. Alright?” When Lettice nods shallowly, he continues, “I’m here to celebrate the success of Mr. and Mrs. Musgrave of Highgate being happy with their newly completed home.”
“Oh yes! Your first architectural commission completed and received with great success!” Lettice enthuses. “Let’s raise a toast to that.” She picks up her glass of red wine, which gleams under the diffused light of the chandeliers in Simpson’s dining room. “Cheers to you Selwyn, and your ongoing success.”
Their glasses clink cheerily.
“And what of Bruton?”
“Oh, Gerald is doing very well!” Lettice assures Selwyn, returning her glass to the tabletop. “His couture business is really starting to flourish.”
“It’s a bit of rum business*****, a chap making frocks for ladies, isn’t it?” Selwyn screws up his nose in a mixture of a lack of comprehension and distaste.
“It’s what he’s good at,” Lettice tugs at the peacock blue ruched satin sleeve of her evening gown as proof, feeling proud to wear one of her friend’s designs. “And he’s hardly the first couturier who’s a man, is he, Selwyn Darling?”
“I suppose not. Zinnia does buy frocks from the house of Worth******, and he was a man.”
“Exactly.” Lettice soothes. “And who would know what suits a lady better than a man?”
“Yes, and I must say,” Selwyn says, looking his companion up and down appreciatively in her shimmering evening gown covered in matching peacock blue bugle beads. “You do look positively ravishing in his creation.”
“Thank you, Selwyn.” Lettice murmurs, her face flushing at the compliment.
“We never see him at the club any more. I think the last time I saw him was the night I met you at your parents’ Hunt Ball, and that was almost a year ago.”
“Oh well,” Lettice blusters awkwardly, thinking quickly as to what excuse she can give for her dearest friend. She knows how dire Gerald’s finances are, partially as a result of his father’s pecuniary restraints, and she suspects that this fact is likely the reason why Gerald doesn’t attend his club any longer, even if he is still a member. Even small outlays at his club could tilt him the wrong way financially. However she also knows that this is a fact not widely known, and it would embarrass him so much were it to become public knowledge, especially courtesy of her, his best friend. “Running a business, especially in its infancy like Gerald’s and mine, can take time, a great deal of time as a matter of fact.”
“But you have time, my Angel, to spend time with me.” He eyes her. “Are you covering for Bruton?”
Lettice’s face suddenly drains of colour at Selwyn’s question. “No… no, I.”
Lowering his voice again, Selwyn asks, “He hasn’t taken after his brother and found himself an unsuitable girl, has he?”
Lettice releases the breath she has held momentarily in her chest and sighs.
“I know Gerald wouldn’t go for a local publican’s daughter, like Roland did, but being artistic like he is, I could imagine him with a chorus girl, and I know if news of that ever got back to Old Man Bruton, there would be fireworks, and it would be a bloody******* time for Bruton. Poor chap!”
“No, no, Selwyn darling!” Lettice replies with genuine relief. “I can assure you,” And as she puts her hand to her thumping heart, she knows she speaks the truth. “Gerald hasn’t taken up with a chorus girl. He genuinely is busy with his couture business. Establishing oneself, as you know only too well, isn’t easy, even for a duke’s son, much less a lower member of the aristocracy without the social profile. And my business is ticking along quite nicely now, so I don’t need to put in as much effort as Gerald does.”
“But how selfish of me, my Angel!” Selwyn exclaims, putting his glass down abruptly and looking to his companion. “What a prig I’m being, aggrandising myself and bringing up Bruton, when you said that you had something to celebrate tonight too. What is it?”
“Oh, it’s nothing like you’ve done, by finishing a house for someone.” Lettice says, flapping her hand dismissively.
“Well, what is it, Lettice darling?” Selwyn insists. “Tell me!”
Lettice looks down at her plate for a moment and then remarks rather offhandedly, “It was only that I had a telephone call from Henry Tipping******** the other day, and received confirmation that my interior for Dickie and Margot Channon’s Cornwall house ‘Chi an Treth’ will be featured in an upcoming edition of Country Life.”
“Oh may Angel!” Selwyn exclaims. “That’s wonderful!” He leans over and kisses her affectionately, albeit with the reserve that is expected between two unmarried people whilst dining in a public place, but with no less genuine delight for her. “That’s certainly more than nothing, and is something also worth celebrating!” I say, let’s raise a toast to you.” He picks up his glass of red wine again. “Cheers to you Lettice, and may the article bring you lots of recognition and new business.”
The pair clink glasses yet again and smile at one another.
*After a modest start in 1828 as a smoking room and soon afterwards as a coffee house, Simpson's-in-the-Strand achieved a dual fame, around 1850, for its traditional English food, particularly roast meats, and also as the most important venue in Britain for chess in the Nineteenth Century. Chess ceased to be a feature after Simpson's was bought by the Savoy Hotel group of companies at the end of the Nineteenth Century, but as a purveyor of traditional English food, Simpson's has remained a celebrated dining venue throughout the Twentieth Century and into the Twenty-First Century. P.G. Wodehouse called it "a restful temple of food"
**Howards End is a novel by E. M. Forster, first published in 1910, about social conventions, codes of conduct and relationships in turn-of-the-century England. Howards End is considered by many to be Forster's masterpiece. The book was conceived in June 1908 and worked on throughout the following year; it was completed in July 1910
***The term bluestocking was applied to any of a group of women who in mid Eighteenth Century England held “conversations” to which they invited men of letters and members of the aristocracy with literary interests. The word over the passing centuries has come to be applied derisively to a woman who affects literary or learned interests.
****Glynes is the grand Georgian family seat of the Chetwynds in Wiltshire, and the home of Lettice’s parents, the presiding Viscount and Countess of Wrexham and the heir, their eldest son Leslie.
*****Rum is a British slang word that means odd (in a negative way) or disreputable.
******Charles Frederick Worth was an English fashion designer who founded the House of Worth, one of the foremost fashion houses of the Nineteenth and early Twentieth centuries. He is considered by many fashion historians to be the father of haute couture. Worth is also credited with revolutionising the business of fashion. Established in Paris in 1858, his fashion salon soon attracted European royalty, and where they led monied society followed. An innovative designer, he adapted 19th-century dress to make it more suited to everyday life, with some changes said to be at the request of his most prestigious client Empress Eugénie. He was the first to replace the fashion dolls with live models in order to promote his garments to clients, and to sew branded labels into his clothing; almost all clients visited his salon for a consultation and fitting – thereby turning the House of Worth into a society meeting point. By the end of his career, his fashion house employed 1,200 people and its impact on fashion taste was far-reaching.
*******The old fashioned British term “looking bloody” was a way of indicating how dour or serious a person or occasion looks.
********Henry Tipping (1855 – 1933) was a French-born British writer on country houses and gardens, garden designer in his own right, and Architectural Editor of the British periodical Country Life for seventeen years between 1907 and 1910 and 1916 and 1933. After his appointment to that position in 1907, he became recognised as one of the leading authorities on the history, architecture, furnishings and gardens of country houses in Britain. In 1927, he became a member of the first committee of the Gardens of England and Wales Scheme, later known as the National Gardens Scheme.
Comfortable, cosy and terribly English, the interior of Simpson’s-in-the-Strand may look real to you, but it is in fact made up of pieces from my 1:12 miniatures collection, including pieces from my childhood.
The dining table is correctly set for a four course Edwardian dinner partially ended, with the first course already concluded using cutlery, from Beautifully Handmade Miniatures in Kettering in the United Kingdom. The delicious looking roast dinner on the dinner plates, the bowls of vegetables, roast potatoes, boat of gravy and Yorkshire puddings and on the tabletop have been made in England by hand from clay by former chef turned miniature artisan, Frances Knight. Her work is incredibly detailed and realistic, and she says that she draws her inspiration from her years as a chef and her imagination. The red wine glasses bought them from a miniatures stockist on E-Bay. Each glass is hand blown using real glass. The silver cruet set in the middle of the table has been made with great attention to detail, and comes from Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. The silver meat cover you can just see in the background to the left of the photo also comes from Warwick Miniatures.
The table on which all these items stand is a Queen Anne lamp table which I was given for my seventh birthday. It is one of the very first miniature pieces of furniture I was ever given as a child. The Queen Anne dining chairs were all given to me as a Christmas present when I was around the same age.
The vase of flowers in the background I acquired from Kathleen Knight’s Dolls House Miniatures in the United Kingdom.
The wood panelling in the background is real, as I shot this scene on the wood panelled mantle of my drawing room. The paintings hanging from the wooden panels come from an online stockist on E-Bay.
Executed in the last years of his life, The Shadow testifies to Magritte's continuing commitment to Surrealism. Decades after giving the teasing title to his most famous painting, a Surrealist still life inscribed "this is not a pipe"
Magritte here revisits the iconography of his best-known work. The same modest, masculine identified object hovers ominously in The Shadows, inspired by what the artist would term the "logic" dreams. Trasnscending the bounds of the phenomenal world, the painter has enlarged the image of the pipe to the scale of a tree. While the latter occupies a relatively believable space within the composition, the focus of the work is the synthesis of the pipe and the tree, and the paradox of the conflicting ideas about reality they represent.
"Martyred resistance fighters"
Monument aux résistants martyrisés et exécutés dans cette citadelle de janvier à août 1944 et aux victimes du nazisme. Pont Saint Esprit (Gard)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
This meticulously executed preparatory drawing documents the initial conception of a dramatic and monumental composition, now at the Louvre, that would become a seminal work in the artist’s oeuvre. Although Girodet would go on to produce numerous figurative studies, the Gallery’s recently rediscovered sheet is one of three compositional sketches for this painting and, as far as we know, the only preparatory work for A Deluge Scene outside of France.
The Basilica of San Michele Maggiore is a church of Pavia, one of the most striking example of Lombard-Romanesque style. It dates from the 11th and 12th centuries.
A first church devoted to St. Michael Archangel was built, at the desire of King Grimoald between 662 and 671, on the location of the Lombard Palace chapel (to this period belongs the lower section of the bell tower), but it was destroyed by a fire in 1004. Recent archeological evidence shows pre-Lombard origins of the basilica from the fifth century, like the Ostrogoth silverware found in 1968 and now preserved in the Pavia Civic Museums. The current construction was begun in the late 11th century (crypt, choir and transept) and was completed by 1130. The vaults of the nave, originally with two grossly squared groin-vaulted spans, were replaced in 1489 by the design of master architect Agostino de Candia in four rectangular spans, and the structure was created by his father the renown Pavia master mason Iacopo da Candia.
The basilica was the seat of numerous important events, including the coronations of Berengar I (888), Guy III (889), Louis III (900), Rudolph II (922), Hugh (926), Berengar II and his son Adalbert (950), Arduin (1002), Henry II (1004) and Frederick Barbarossa (1155).[4]
San Michele Maggiore can be considered the prototype of other important medieval churches in Pavia such as San Pietro in Ciel d'Oro and San Teodoro. However, it differentiates from latter in the use of sandstone instead of bricks, and for the Latin cross plan with a nave and two aisles and a much-extended transept. San Michele's transept, provided with a true façade, a false apse and a barrel vault different from the rest of the church, constitutes a nearly independent section of the edifice. Also, its length (38 m, compared to the 55 m of the whole basilica), contributes to this impression.
At the crossing of nave and transept is the octagonal dome, a 30 m-high asymmetrical structure supported on squinches, in the Lombard-Romanesque style. It is reportedly the earliest example of this form in Lombardy. The façade is decorated by numerous sandstone sculptures, of religious or profane themes; they are however now much deteriorated. The façade has five double and two single mullioned windows and a cross, which are a 19th-century reconstruction of what was thought be the original scheme. Bas reliefs in horizontal bands portray human, animal and fantastic figures. Over the minor portals are portrayed St. Ennodius, bishop of Pavia, and St. Eleucadius, archbishop of Ravenna. In the lunettes are angels which, according to a caption sculpted there, have the role of ambassadors of the faithful's words into heaven.Bronze doors, coloured mosaics, geometric designs, bronze pilasters.
The nave has four spans. The aisles have matronaea with statical function. The four chapels in correspondence of the second and four spans of the aisles are a later addition. under the apse, which has a large 16th-century fresco, is the high altar (1383) housing the remains of Sts. Ennodius and Eleucadius. The presbytery has fragments of a notable pavement mosaic with the Labours of the Months and mythological themes.In the transept there is a crucifix in silver leaf, just over 2 m high and commissioned by the abbess of the monastery of Santa Maria Teodote Raingarda in the second half of the 10th century, it arrived in the basilica of San Michele after the suppression of the monastery in 1799.
The cross of the Abbess Raingarda, 10th century.
Altar of the Virgin: the altarpiece, depicting the Virgin between Saints Rocco and Sebastian was executed by Guglielmo Caccia in 1601. In the left arm of the transept there is the altar of Santa Lucia, whose altarpiece, depicting the martyrdom of the saint, is the work of Guglielmo Caccia and the baroque altar of Sant'Anna, rich in Baroque stucco, which houses a painting representing the Virgin and Child, St. Joseph and St. Anne by the Novara painter Pietro Antonio de Pietri. The crypt, with a nave and two aisles, is located immediately under the altar: it houses beautifully decorated capitals and the monument of the Blessed Martino Salimbene (1491).
Welcome distinguished spectators! Gather around and stick your necks out to catch a glimpse of these fine axes... and of course these fine craftsmen excelling in the art of death. They are the sharp blade of justice sending the guilty on their final journey, so we might live in peace and prosperity. And while the next sinner steps up to the chopping block, you may choose your favorite executioner to do the honor. And then step back a little... justice is a bloody business!