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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.
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.
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:-
spent the day with my old cricket club great to meet up with some old mates heres Nathan executing the cover drive
Photographs by Jennifer Hughes
PNCA opens its doors to the public for the First Thursday of February. The atrium and 511 Gallery showed the Scholastic Art Awards.
The Museum of Contemporary Craft opened its doors, unveiling the exhibition “Extra Credit”
The partnership between Museum of Contemporary Craft and Pacific Northwest College of Art presents an incredible opportunity for collaboration. Our two communities came together to present this exhibition, an exploration of curatorial practices, hands-on learning, and creative inquiry. Following a rigorous schedule of readings and discussions on curation, four students have designed and executed an exhibition drawing upon the Museum’s permanent collection over the course of two weeks. They mined the collection with individual lines of inquiry including: How do we understand the body? How do we define beauty? How do we activate the collection? Why do we keep broken things in the collection?
Extra Credit is a collaboration between PNCA students Rebecca Carlisle, Matthew Dan, Ivy Loughborough, and Lynsey Nelson with PNCA Assistant Professor and Inclusions Specialist Victor Maldonado, Nicole Nathan, Deputy Director and Curator of Collections, and Kyle Yoshioka, Manager of Public Engagement.
Around town were other shows representing current PNCA students:
At Duplex Gallery: “Becoming What Was”
"We come across moments that wear us thin and test our control. It is what comes out of these trying times and the tension of longing that creates this collective. This show is about the strain of desire. It is about the beautiful and unexpected that comes from loss. It is about the resilience that creation stems from. Within this work presented, we show beauty in spaces where it has run dry. Using the space within Duplex, walls become activated into opportunities to weave in and out of longing. Photographs, scans and drawings offer viewers the ability to move between loss and gain, presenting times of what was and what is to become. Meanwhile video installation in the front window welcomes passersby to engage in the denial of recognition, furthering desire and asking for clarity from the rest of the exhibition’s pieces.
Alongside the notion of the search for beauty, we aim to start a conversation. Within each of our lives there comes a point where these experiences overlap. This show is designed to create camaraderie—to create a collective hope in finding more than what the eye can see."
Join us for opening night of Becoming What Was. Work presented by PNCA MFA in Visual Studies 2015 Graduate Candidates: Candace Jahn, Marisa Lee, Kelly McGovern, and Micah Schmelzer.
Opening:
Thursday February 5th
6:00pm-9:00pm
Show: February 5th-27th
At Lodge Gallery: “INK”
The Hallie Ford School of Graduate Studies at PNCA and the MFA candidates in Print Media invite you to "INK", a group exhibition at The Lodge Gallery on the ground floor of Allied Works. Brandi Kruse, Carrie Ann Miyamoto, Lynsey Nelson and Harry Schneider represent the very first cohort of this groundbreaking program. This exhibition reflects their progression through the first steps of this two-year program. Along with traditional printmaking processes, their work employs multiple disciplines including sculpture, photography, video and installation.
Klinkicht, Gerhard, * 1915, † 14.03.2000 Bavaria, Wehrmacht Captain. A commemorative plaque on St. Stephen's Cathedral (side of the gate Singertor) recalls that in April 1945 Klinkicht refused to execute the order to bombard the cathedral.
Klinkicht, Gerhard, * 1915, † 14.03.2000 Bayern, Wehrmachtshauptmann. Eine Gedenktafel am Stephansdom (Seite des Singertors) hält in Erinnerung, dass sich Klinkicht im April 1945 geweigert hatte, den Befehl zur Beschießung des Doms auszuführen.
Fire in St. Stephen's Cathedral: eyewitnesses cried in the face of devastation.
Despite great need after the war, the landmark of Austria was rebuilt within seven years.
04th April 2015
What happened in the heart of Vienna 70 years ago brought tears to many horrified residents. On 12 April 1945, the Pummerin, the largest bell of St. Stephen's Cathedral, fell as a result of a roof fire in the tower hall and broke to pieces. The following day, a collapsing retaining wall pierced through the vault of the southern side choir, the penetrating the cathedral fire destroyed the choir stalls and choir organ, the Imperial oratory and the rood screen cross. St. Stephen's Cathedral offered a pitiful image of senseless destruction, almost at the end of that terrible time when the Viennese asked after each bombing anxiously: "Is Steffl still standing?"
100 grenades for the cathedral
Already on April 10, the cathedral was to be razed to the ground. In retaliation for hoisting a white flag on St. Stephen's Cathedral, the dome must be reduced to rubble and ash with a fiery blast of a hundred shells. Such was the insane command of the commander of an SS Artillery Division in the already lost battle for Vienna against the Red Army.
The Wehrmacht Captain Gerhard Klinkicht, from Celle near Hanover, read the written order to his soldiers and tore the note in front of them with the words: "No, this order will not be executed."
What the SS failed to do, settled looters the day after. The most important witness of the events from April 11 to 13, became Domkurat (cathedral curate) Lothar Kodeischka (1905-1994), who, as the sacristan director of St. Stephen, was practically on the spot throughout these days. When Waffen-SS and Red Army confronted each other on the Danube Canal on April 11, according to Kodeischka a report had appeared that SS units were making a counter-attack over the Augarten Bridge. Parts of the Soviet artillery were then withdrawn from Saint Stephen's square. For hours, the central area of the city center was without occupying forces. This was helped by gangs of raiders who set fire to the afflicted shops.
As a stone witness to the imperishable, the cathedral had defied all adversity for over 800 years, survived the conflagrations, siege of the Turks and the French wars, but in the last weeks of the Second World War St. Stephen was no longer spared the rage of annihilation. Contemporary witness Karl Strobl in those days observed "an old Viennese lady who wept over the burning cathedral".
The stunned spectators of destruction were joined, according to press reports, by a man in baggy trousers and a shabby hat, who incidentally remarked, "Well, we'll just have to rebuild him (the dome)." It was Cardinal Theodor Innitzer. Only a few weeks later, on May 15, 1945, the Viennese archbishop proclaimed to the faithful of his diocese: "Helping our cathedral, St. Stephen's Cathedral, to regain its original beauty is an affair of the heart of all Catholics, a duty of honor for all."
April 1945
In April 1945, not only St. Stephen's Cathedral burned. We did some research for you this month.
April 6: The tallest wooden structure of all time, the 190 meter high wooden tower (short-wave transmitter) of the transmitter Mühlacker, is blown up by the SS.
April 12: Following the death of President Franklin D. Roosevelt, Harry S. Truman is sworn in as the 33rd US President.
April 13: Vienna Operation: Soviet troops conquer Vienna.
April 25: Björn Ulvaeus, Swedish singer, member of the ABBA group, is born.
April 27: The provisional government Renner proclaims the Austrian declaration of independence.
April 30: The Red Army hoists the Soviet flag on the Reichstag building. Adolf Hitler, the dictator of the Third Reich, commits suicide with Eva Braun.
Brand im Stephansdom: Augenzeugen weinten angesichts der Verwüstung.
Trotz großer Not nach dem Krieg wurde das Wahrzeichen Österreichs binnen sieben Jahren wieder aufgebaut.
04. April 2015
Was vor 70 Jahren im Herzen Wiens passierte, trieb vielen entsetzten Bewohnern die Tränen in die Augen. Am 12. April 1945 stürzte die Pummerin, die größte Glocke des Stephansdoms, als Folge eines Dachbrandes in die Turmhalle herab und zerbrach. Tags darauf durchschlug eine einbrechende Stützmauer das Gewölbe des südlichen Seitenchors, das in den Dom eindringende Feuer zerstörte Chorgestühl und Chororgel, Kaiseroratorium und Lettnerkreuz. Der Stephansdom bot ein erbarmungswürdiges Bild sinnloser Zerstörung, und das fast am Ende jener Schreckenszeit, in der die Wiener nach jedem Bombenangriff bang fragten: "Steht der Steffl noch?"
100 Granaten für den Dom
Bereits am 10. April sollte der Dom dem Erdboden gleichgemacht werden. Als Vergeltung für das Hissen einer weißen Fahne auf dem Stephansdom ist der Dom mit einem Feuerschlag von 100 Granaten in Schutt und Asche zu legen. So lautete der wahnwitzige Befehl des Kommandanten einer SS-Artillerieabteilung im schon verlorenen Kampf um Wien gegen die Rote Armee.
Der aus Celle bei Hannover stammende Wehrmachtshauptmann Gerhard Klinkicht las die schriftlich übermittelte Anordnung seinen Soldaten vor und zerriss den Zettel vor aller Augen mit den Worten: "Nein, dieser Befehl wird nicht ausgeführt."
Was der SS nicht gelang, besorgten einen Tag später Plünderer: Zum wichtigsten Zeugen der Geschehnisse vom 11. bis 13. April wurde Domkurat Lothar Kodeischka (1905–1994), der als Sakristeidirektor von St. Stephan in diesen Tagen praktisch durchgehend an Ort und Stelle war. Als am 11. April Waffen-SS und Rote Armee einander am Donaukanal gegenüberstanden, war laut Kodeischka die Nachricht aufgetaucht, SS-Einheiten würden einen Gegenstoß über die Augartenbrücke unternehmen. Teile der sowjetischen Artillerie wurden daraufhin vom Stephansplatz abgezogen. Für Stunden sei der zentrale Bereich der Innenstadt ohne Besatzung gewesen. Dies nützten Banden von Plünderern, die Feuer in den heimgesuchten Geschäften legten.
Als steinerner Zeuge des Unvergänglichen hatte der Dom über 800 Jahre hinweg "allen Widrigkeiten getrotzt, hatte Feuersbrünste, Türkenbelagerungen und Franzosenkriege überstanden. Doch in den letzten Wochen des Zweiten Weltkrieges blieb auch St. Stephan nicht mehr verschont vor der Wut der Vernichtung. Zeitzeuge Karl Strobl beobachtete damals "eine alte Wienerin, die über den brennenden Dom weinte".
Zu den fassungslosen Betrachtern der Zerstörung gesellte sich laut Presseberichten ein Mann in ausgebeulten Hosen und mit abgeschabtem Hut, der so nebenbei bemerkte: "Na, wir werden ihn (den Dom) halt wieder aufbauen müssen." Es handelte sich um Kardinal Theodor Innitzer. Nur wenige Wochen danach, am 15. Mai 1945, ließ der Wiener Erzbischof an die Gläubigen seiner Diözese verlautbaren: "Unsere Kathedrale, den Stephansdom, wieder in seiner ursprünglichen Schönheit erstehen zu helfen, ist eine Herzenssache aller Katholiken, eine Ehrenpflicht aller."
April 1945
Im April 1945 brannte nicht nur der Stephansdom. Wir haben für Sie recherchiert wa noch in diesem Monat geschah.
6. April: Das höchste Holzbauwerk aller Zeiten, der 190 Meter hohe Holzsendeturm des Senders Mühlacker, wird von der SS gesprengt.
12. April: Nach dem Tod von Präsident Franklin D. Roosevelt wird Harry S. Truman als 33. Präsident der USA vereidigt.
13. April: Wiener Operation: Sowjetischen Truppen erobern Wien.
25. April: Björn Ulvaeus, schwedischer Sänger, Mitglied der Gruppe ABBA, kommt zur Welt.
27. April: Von der provisorischen Regierung Renner wird die österreichische Unabhängigkeitserklärung proklamiert.
30. April: Die Rote Armee hisst die sowjetische Fahne auf dem Reichstagsgebäude. Adolf Hitler, der Diktator des Dritten Reiches, begeht mit Eva Braun Selbstmord.
www.nachrichten.at/nachrichten/150jahre/ooenachrichten/Vo...
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.
The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.
Building
Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688
Canaletto: View of Palais Liechtenstein
1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.
The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.
For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.
A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .
Sala terrene of the Palais
1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.
After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.
Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.
Garden
Liechtenstein Palace from the garden
The new summer palace of Henry of Ferstel from the garden
The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.
Use as a museum
Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.
From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .
On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.
de.wikipedia.org/wiki/Palais_Liechtenstein_(F%C3%BCrstengasse)
Executed in the early 1630s during a particularly creative period in Molenaer’s career, this painting can be compared with one of a similarly mirthful violinist formerly in the Weldon Collection and sold Sotheby’s, New York, 22 April 2015, lot 1 (fig. 1). Unlike the ex-Weldon painting, the young violinist here pays no heed to the viewer, his upturned eyes conveying his emersion in his music. Such images of musicians making music were a specialty of Haarlem painters in the orbit of Frans Hals, with whom Molenaer studied, and highlight the contemporary Dutch interest in its making.
In Molenaer’s time, the violin would have been relatively new, having first appeared in Italy circa 1500 and would only arrive in the Netherlands around 1600. Enjoyed for its sophistication today, in the seventeenth century the instrument held rather more complicated associations. While contemporary musical theorists held that string instruments were, in general, superior to the flutes, recorders and other wind instruments played by the more uncouth segments of society, the violin tended to be played solo as an accompaniment to song or dance, with the violinist frequently unable to read sheet music. Molenaer may well have intended to convey the boy’s lower social status through an intriguing detail – the manner in which he holds his bow. He uses the French manner, his thumb under the bow’s hair, as opposed to the more sophisticated Italian grip, where the thumb is placed between the bow and hair. While the French manner enabled the musician to play with greater spontaneity, it prevented him from producing more subtle notes.
The boy’s clothing – his foppish feathered hat (traditionally associated with sixteenth-century Northern European mercenaries), brilliant red cloak and the gorget slung awkwardly around his neck – equally add to the comedic aspects of this painting. While artists like Rembrandt often employed military apparel to enhance their images, here Molenaer seems to play with their use, their inclusion deliberately defying their intended function and adding to the painting’s discordant, boisterous atmosphere.
A copy after this painting attributed by Cornelis Hofstede de Groot to Molenaer's wife, Judith Leyster, was offered Sotheby's, Amsterdam, 6 November 2001, lot 4, as Follower of Jan Miense Molenaer.
Source: Christie’s’ Lot Essay
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.
"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"
Donatello's Bronze David (1430) - This was the first nude statue executed since ancient times - Bargello - Florence (1/2) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Shahin Najafi the 31 year old Iranian musician singer and social activist residing in Germany, has gone into hiding following Iranian clerics placing a $100,000 bounty on his murder. Najafi has been condemned for violating a ‘fatwa’ that calls for the execution of anyone who blasphemes Ali an-Naqi, one of the 12 imams or religious figures revered by Shia Muslims. Najafi released a song "Naqi" that takes its name from Ali an-Naqi, its lyrics oppose the oppression and human rights abuse following the 2009 contested Iranian presidential election. Its lyrics call on Naqi to intervene and save the country. Najafi's songs generally touch on sensitive issues such as “theocracy, poverty, sexism, censorship, child labor, execution, drug addiction and homophobia”. The Independent reports the “The Iranian religious website, Shia-Online, put a $100,000 bounty on the singer's head and said he deserved to die for "grossly insulting" Ali an-Naqi. More than 100 people have joined an online "campaign to execute Shahin Najafi". Mr Najafi is popular within the 120,000-strong Iranian community in Germany. Brought up in a small port in southern Iran, he fled to Germany in 2005 after being threatened, apparently by Iranian intelligence, for staging underground concerts. Tehran has so far made no comment on the fatwas against Mr Najafi.” Inspired by The Independent ow.ly/bgE2m image source Wikipedia ow.ly/bgDYs
"This state barge was built for Frederick, Prince of Wales, eldest son of King George II[…]The hull is built in the wherry tradition and the barge had 21 oarsmen. The original oars are still in her. The carving was executed by James Richardson, who succeeded Grinling Gibbons as Master Carver to the Crown in 1721. Paul Petit used 24-carat gold leaf throughout to gild it."
Source: RMG website
The Bridge and Cascade.
Grade I listed.
Cascade I Bridge and cascade. Designed with a single arch by Robert Adam in 1761. Redesigned, with three arches in 1764. Executed 1770- 1771. Ashlar. The bridge has three round-arched spans with moulded hoodmoulds. Fluted roundels in the spandrels. Projecting piers with apsed niches and moulded sill band. The tops of the piers with swags. Fluted frieze and dentil cornice. Balustraded parapet the balusters divided into three units per span. Cast iron balusters. Steep road approaches with the end walls curving outwards and downwards. End piers. Rubblestone cascade to east.
Listing NGR: SK3126840716
historicengland.org.uk/listing/the-list/list-entry/1335352
The Bridge by Robert Adam
Kedleston Hall is an English country house in Kedleston, Derbyshire, approximately four miles north-west of Derby, and is the seat of the Curzon family whose name originates in Notre-Dame-de-Courson in Normandy. Today it is a National Trust property.
The Curzon family have owned the estate at Kedleston since at least 1297 and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo. At the time a relatively unknown architect, Robert Adam was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with Adam's designs, that Adam was quickly put in charge of the construction of the new mansion.
World War II
In 1939, Kedleston Hall was offered by Richard Curzon, 2nd Viscount Scarsdale for use by the War Department.[1] Kedleston Hall provided various facilities during the period 1939–45 including its use as a mustering point and army training camp. It also formed one of the Y-stations used to gather Signals Intelligence via radio transmissions which, if encrypted, were subsequently passed to Bletchley Park for decryption.
National Trust
In the 1970s the estate was too expensive for the Curzon family to maintain. When Richard Nathaniel Curzon, 2nd Viscount Scarsdale died, his cousin Francis Curzon, 3rd Viscount Scarsdale offered the estate to the nation in lieu of death duties. A deal was agreed with the National Trust that it should take over Kedleston while still allowing the family to live rent-free in the 23-room Family Wing, which contained an adjoining garden and two rent-free flats for servants or other family members.
External design
The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, largest block contains the state rooms and was intended for use only when there were important guests in the house. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation. Plans for two more pavilions (as the two smaller blocks are known) of identical size, and similar appearance were not executed. These further wings were intended to contain, in the south east a music room, and south west a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.
If the great north front, approximately 107 metres in length, is Palladian in character, dominated by the massive, six-columned Corinthian portico, then the south front (illustrated right) is pure Robert Adam. It is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief. The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.
Gardens and grounds
The gardens and grounds, as they appear today, are largely the concept of Robert Adam. Adam was asked by Nathaniel Curzon in 1758 to "take in hand the deer park and pleasure grounds". The landscape gardener William Emes had begun work at Kedleston in 1756, and he continued in Curzon's employ until 1760; however, it was Adam who was the guiding influence. It was during this period that the former gardens designed by Charles Bridgeman were swept away in favour of a more natural-looking landscape. Bridgeman's canals and geometric ponds were metamorphosed into serpentine lakes.
Adam designed numerous temples and follies, many of which were never built. Those that were include the North lodge (which takes the form of a triumphal arch), the entrance lodges in the village, a bridge, cascade and the Fishing Room. The Fishing Room is one of the most noticeable of the park's buildings. In the neoclassical style it is sited on the edge of the upper lake and contains a plunge pool and boat house below. Some of Adam's unexecuted design for follies in the park rivalled in grandeur the house itself. A "View Tower" designed in 1760 – 84 feet high and 50 feet wide on five floors, surmounted by a saucer dome flanked by the smaller domes of flanking towers — would have been a small neoclassical palace itself. Adam planned to transform even mundane utilitarian buildings into architectural wonders. A design for a pheasant house (a platform to provide a vantage point for the game shooting) became a domed temple, the roofs of its classical porticos providing the necessary platforms; this plan too was never completed. Among the statuary in the grounds is a Medici lion sculpture carved by Joseph Wilton on a pedestal designed by Samuel Wyatt, from around 1760-1770.
In the 1770s, George Richardson designed the hexagonal summerhouse, and in 1800 the orangery. The Long Walk was laid out in 1760 and planted with flowering shrubs and ornamental trees. In 1763, it was reported that Lord Scarsdale had given his gardener a seed from rare and scarce Italian shrub, the "Rodo Dendrone".
The gardens and grounds today, over two hundred years later, remain mostly unaltered. Parts of the estate are designated as a Site of Special Scientific Interest, primarily because of the "rich and diverse deadwood invertebrate fauna" inhabiting its ancient trees.
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:-
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:-
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:-
For executing the handmade collage were printed several A3 size boards (around 10) with the photos in different scales. This allowed us to have some flexibility by not having to go back to the original every time it needed to be scaled.
Tapestry: Chancellerie
Executed by Etienne-Claude Le Blond (French, about 1700 - 1751)
After designs by Guy-Louis Vernansal (French, 1648 - 1729)
and after designs by Claude Audran III (French, before 1658 - 1734)
Royal Factory of Furniture to the Crown at the Gobelins Manufactory (French, founded 1662 - present)
about 1728–1730
Medium: Wool and silk; modern linen straps and lining
Dimensions: 351.5 × 273.4 cm (138 3/8 × 107 5/8 in.)
Gift of J. Paul Getty
the Getty Center ● J. Paul Getty Museum
Los Angeles
20190308_143632
This seems to be getting more difficult. Actually executing the shot is getting easier but coming up with new ideas is getting harder as I go (and I'm only 20 days in!!). The inspiration for this shot (and one of my early inspirations in photography in general) came from Connor Roelke. He's a local photographer who did a 365 project last year that I followed towards the end and has done some really nice work. Here's his flickr profile and his gallery on pbase with the 365 project and lots of other pictures http://pbase.com/connorroelke
This one took a bit of experimenting to light up my outline the way I wanted but I think it came out pretty well. It's funny how your mind works because the original photo I was going for was going to be based off of something I thought I had seen on Connor's 365 and that is to be in a dark room holding my hands toward the camera cupped with a light in them lighting my face. As it turns out, (as far as I can tell) Connor never did a photo like that. Rather, he did one quite similar to what I ended up doing (I think his came out better but to be fair, I don't have any remote flashes to work with and have to make do with desk lamps :-P) www.pbase.com/connorroelke/image/96705689.
Ironic, I think.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
St Albans claims to be the earliest site of Christian pilgrimage in England, being named after our first martyr, who was executed at some point in the 3rd century AD (when the city was still known by its Roman name, Verulanium) having sheltered a persecuted Christian priest, St Amphibalus, and been impressed by his faith, offering himself for arrest in his place. Both men were buried here and Alban's tomb was venerated and marked in some form long before the present cathedral was built.
The cathedral is nonetheless one of the most ancient of our major churches, though its cathedral status dates only to 1877 when the new diocese of St Albans was formed. The church was originally founded as St Alban's Abbey, and built close to the presumed site of Alban's martyrdom. Founded in 793 by King Offa, the abbey was rebuilt several times with the earliest parts of the present cathedral dating back to the late 11th century. Much use was made of recycled material from the abandoned Roman city of Verulanium, and the handsome Romanesque tower appears to be entirely constructed of reused Roman bricks. The Abbey was built on an impressive scale, and must have once been a very wealthy institution owing to pilgrimages to the shrine of St Alban behind the high altar. However its fortunes had begun to decline even before the Reformation swept medieval monastic life away.
The abbey church miraculously survived the Dissolution in its entirety and was sold to the town for use as their parish church. The monastic buildings however were completely erased aside from the splendid Abbey Gatehouse near the west end, and only the weathered remains of arcading on the south side of the nave remains of the former cloisters. Upkeep thereafter seems to have been a serious challenge and the huge church spent much of the following centuries in poor repair, thus much work was done by a succession of architects in the Victorian period prior to the abbey church being raised to the status of cathedral. The most obvious interventions are those made by Edmund Beckett / Lord Grimthorpe, an amateur architect who paid for much of the work in the 1870s in return for a free hand in redesigning parts of the building. His are the strange turrets on ends of the transepts, along with their facade windows below and the west front, which is clearly a Victorian confection, though the medieval facade it replaced had been left in a rather bare, unfinished state.
The cathedral we see today is thus a rather surprising mixture of styles and materials, everything from Roman brick, flint and rubble to fine white limestone., which gives it a rather patchy appearance. Its great length however is remarkable, being the second longest medieval church in the country (only Winchester is longer, but St Albans has a longer nave). The oldest parts are the towers and transepts from the end of the 11th century, along with much of the north side of the nave, all fine examples of early Romanesque architecture. Most of the rest was rebuilt in the Gothic style in various phases throughout the 14th century, including the greater part of the nave and all of the choir and Lady Chapel (though the east end was heavily renewed externally in the Victorian restoration).
Entering the cathedral one cannot fail to be impressed by the enormous length of the nave,, mostly of late 13th and early 14th century date aside from the strikingly austere north arcade in the more easterly section, where the raw unadorned early Norman architecture contrasts dramatically with the more ornate Gothic arcade opposite. The Norman columns have the added appeal of retaining substantial remains of medieval mural decoration, with a succession of Crucifixion scenes that may have originally served as reredos to long vanished side altars. The medieval pulpitum screen remains and separates the eastern bays for use as the choir beyond it. This area also retains its flat late medieval wooden ceiling complete with painted panels of angels holding shields.
The transepts and crossing beneath the tower form an especially memorable interior space, again the architecture is of the more raw, auster Norman variety, but the tower arches are enlivened with painted decoration simulating brickwork and much Roman and Saxon material is incorporated in the transepts. Beyond is the fully Gothic eastern limb with the presbytery covered by a handsome medieval wooden vault, again replete it medieval painted decoration, and the striking altar reredos, a towering late medieval screen populated with elaborate niches and statuary (the latter being Victorian replacements for originals long lost). Behind this is the re-assembled shrine of St Alban (along with that of St Amphibalus in the south choir aisle nearby). The Lady Chapel beyond is a handsome example of 14th century Decorated Gothic, though much restored following centuries of use as a schoolroom separated from the rest of the church.
There is much of interest to see in the cathedral, though most of the furnishings are Victorian (the originals having long vanished) and there are few monuments of note aside from the two late medieval chantry chapels of Abbot Ramryge and Humphrey Duke of Gloucester, the latter overlooking the shrine of St Alban and balanced by a 15th century wooden watching loft on the opposite side (a rare survival). There is a mixture of glass, the most notable pieces being the most recent additions in the south aisle and north transept rose window. The best features are the unusually extensive remnants of medieval mural painting in various parts of the church, a quite remarkable survival, making a thorough exploration of this cathedral all the more rewarding.
This was my third visit, and longest one, though my attempt at a fuller photographic record was severely compromised by accidents with my camera, which at one point fell from my tripod onto the stone floor in one of the chantry chapels. I was lucky it survived at all given the dreadful crash it made, but it was seriously affected and my photos were very hit and miss from that point onwards. My day however ended on a happier note, returning in the evening to attend a lovely performance of Mozart's Requiem, and the acoustics in there are indeed impressive.
For more about the cathedral see below.
363 Broome Street, Little Italy, Manhattan, New York City, New York, United States
Fire Engine Company 55 is a richly ornamented, mid-block firehouse, erected in 1898- 99. It was the prominent New York architect R. H. Robertsonís only commission for the New York City Fire Department and one of the first firehouses completed following the consolidation of Greater New York. Built to replace an earlier facility located at 173 Elm Street (now Lafayette Street), the new structure was among several civic improvements planned and executed in the "Little Italy" neighborhood at the turn of the century.
The brick and limestone facade is characteristic of Robertsonís late work, reflecting both the Romanesque Revival style popular during the 1880s and the Beaux-Arts style which dominated American architecture from the 1890s on. With a monumental arch that serves as the apparatus bay, a company banner carved in stone, as well as a pair of oval windows draped with garlands, Fire Engine Company 55 stands out as a distinguished example of late nineteenth-century civic architecture, having continuously served its community for nearly one hundred years.
DESCRIPTION AND ANALYSIS
The Fire Department of the City of New York
From its first days as a Dutch colony to the end of the Civil War, New York City relied on teams of unpaid volunteers to extinguish fires. While under Dutch rule all men were expected to participate, under the British a force of thirty volunteers was organized by the General Assembly of the Colony in 1737 to operate two Newsham hand pumpers that had been recently imported from London. After the American Revolution, a few tentative steps were taken to give firefighting a more professional character. Authorized by the New York State Legislature in 1798, the Volunteer Fire Department of the City of New York was placed under the supervision of a paid engineer and six subordinates.
Over the next half century, New York grew and so did the number of volunteer fire-fighters, which increased from 600 men in 1800 to more than 4,000 by 1860. Those who served benefited from their association with the department; not only were firemen admired for their heroism, but participation was often used as a stepping-stone in political careers, including that of seven New York City mayors elected after 1835. Despite rapid growth, the department was frequently criticized for poor performance. Public disapproval was especially strong during the Civil War, a period when many volunteers resigned to serve in the Union Army, leaving the department without sufficient personnel. Under such circumstances, support grew for creating a professional force ó like that of the police, established in 1845. Advocates maintained, based on recent experience in Albany, Boston, Buffalo, and other American cities, that a paid department would prove more reliable, and be better equipped to protect city residents.
In May 1865, the New York State Legislature established the Metropolitan Fire District, comprising the cities of New York (south of 86th Street) and Brooklyn. The act abolished the volunteer system and created the Metropolitan Fire Department under the jurisdiction of the state government. The lawís impact was immediate. With numerous firehouse closings and the forced retirement of thousands of volunteers, only 500 salaried firefighters remained on duty by the end of the year.
Under General Alexander T. Shaler, who served as President of the Board of Fire Commissioners between 1867 and 1870, further changes were initiated. A former volunteer and decorated Civil W ar general, he reorganized the department
"according to a military model in which specialization, discipline, and merit were encouraged by a system of daily advisory orders, trials for disobedience, and ranks." Despite the Metropolitan Fire Departmentís generally excellent record, with a steady decline in annual property losses, the City sought and regained control of the department and other municipal services under the Charter of 1870 (commonly known as the "Tweed Charter").
During the following decade there was increasing pressure to expand and improve fire protection. Not only did the city nearly double in size with the annexation of the western portion of the Bronx in 1874, but the increased height of many recently constructed buildings created new challenges for firefighters. In response, public funds were allocated to upgrade the departmentís equipment and training ó a new fire alarm telegraph was purchased, as well as gas floodlights, taller ladders, and steam engines with increased pumping pressure.
Firehouse Design
During the eighteenth century, firehouses were simple wood-frame buildings, large enough to accommodate a single firefighting apparatus and little more. These sheds were small and inconspicuous, designed by local carpenters. The earliest examples, built to store two Newham pumpers in the late 1730s, stood behind the City Hall on Kip Street (now Nassau Street). As the number of volunteer companies multiplied, so did the number of firehouses which reached a total of fifty-five by 1823. By the 1850s two major innovations were adopted by the department -- the use of larger, horse-drawn steam-powered engines, and the inclusion of sleeping facilities. Among the engine houses that reflected this change, the best known was the Americus, or "Big 6," Engine Company, where William Marcy "Boss" Tweed was elected foreman in the early 1850s. Completed in 1854, the elaborate brownstone firehouse featured a dormitory and meeting rooms as part of a reputed effort to improve attendance and response time by volunteers.
Although the well-appointed interiors were criticized for their club-like atmosphere, the general plan adopted in the Americus Company firehouse became the norm. Under the architect Napoleon LeBrun, who designed nearly all department structures between 1879 and 1894, engine house plans became more or less standardized. Most were two- or three-story structures built on narrow side street lots and clad in stone, brick, and terra cotta. The plan of the ground floor was generally arranged as follows: horse stalls and feed storage were located at the rear of the building, while the firefighting apparatus was stored close to the street. On the floors above were various spaces for the uniformed men, including a bunkroom, bathroom, kitchen, storage, and offices. While firefighting technology would continue to evolve over the next century, this basic program remains in use today.
The 1890s proved to be a particularly significant decade in terms of firehouse design. This was an era of bold experimentation, when the department gave commissions to a number of rival firms, each working in the Classical or Renaissance Revival style. They included Hoppin & Koen (Fire Engine Company 65, 33 West 43rd Street, 1897-98, a designated New York City Landmark), Flagg & Chambers (Fire Engine Company 33, 44 Great Jones Street, 1898-99, a designated New York City Landmark), Horgan & Slattery (Fire Engine Company 73, 655 Prospect Avenue, Bronx, 1899- 1900), as well as R. H. Robertson, the architect of Fire Engine Company 55. For Flagg & Chambers and Robertson, these would be their only Fire Department commissions, but for Hoppin & Koen, Horgan & Slattery, as well as Alexander H. Stevens, this was the beginning of a long and productive relationship with the recently consolidated department.
The 14th Ward ó Little Italy
For more than a century, the area encompassed by what was the 14th Ward has been called "Little Italy," a neighborhood with borders extending from the Bowery to Broadway and from Canal Street to Houston Street. As in the section to the west, residential development began in the first years of the nineteenth century when the areaís uneven terrain was graded and the streets laid in a rectangular grid. During the decade that followed, a highly desirable residential quarter developed, attracting such prominent New Yorkers as Stephen Van Rensselaer (1764-1839), who constructed a two- story Federal-style house (c. 1816, a designated New York City Landmark) at the northwest corner of Mulberry and Grand Streets while serving as commissioner of the Erie Canal project. Representative of the districtís fashionable character during this period are two extant structures, St. Patrickís Old Cathedral (Joseph-Fran5ois Mangin, 1809-15, a designated New York City Landmark) on Mott Street near Prince Street, and the Odd Fellows Hall (Trench & Snook, 1847-48, a designated New York City Landmark) at Grand and Centre Streets.
By mid-century, many of the neighborhoodís well-to-do families had begun to abandon the neighborhood, to be replaced by working class Irish, Jews, and other immigrant groups. After the Civil War, the wardís Italian population increased dramatically, reaching 110,000 residents by 1920. While the blocks surrounding Engine Company 55 were by no means the cityís largest Italian community, it was probably the best known due to its population density, its colorful street festivals, and its proximity to the Mulberry Street and later Centre Street headquarters of the New York Police Department.
During the last two decades of the nineteenth century, social critics and reformers often focused their efforts on the impoverished residential blocks east of Centre Street. Though at the time the southern end of Mulberry Street, especially between Park and Baxter Streets, received the most attention, the photo-journalist Jacob Riis in his 1890 book How the Other Half Lives observed that "Little Italy already rivals its parent, the íBend,í in foulness.î Frank Mossís 1897 guide to New York City expressed a similar view, declaring Elizabeth Street "a famous thoroughfare of vice." In response to the conditions found here, many institutions to aid the immigrant population were established, such as the Childrenís Aid Society of New York at Hester and Elizabeth Streets, the Fourteenth Ward Industrial School (Vaux & Radford, 1888-89, a designated New York City Landmark) built by the Childrenís Aid Society on Mott Street, the Centre Market Peopleís Baths" (1890, demolished) between Grand and Broome Streets, as well as numerous schools and churches.
Fire Engine Company 55
In the decade following the consolidation of Greater New York many civic structures were built throughout the five boroughs, particularly public libraries, police stations, and firehouses. Not surprisingly, a large number of public projects were planned and completed in the 14th Ward. Fire Engine Company 55 was organized on June 4, 1887, at 173 Elm Street (later 185 Lafayette Street). While the neighborhood already had two firehouses, Fire Engine Company 9 at 47 Marion Street (now Lafayette Street) and Hook & Ladder 18 at 195 Elizabeth Street, the new company was probably established to provide fire protection for the new loft buildings rising along Elm and Centre Streets.
In 1896 the widening of Elm Street necessitated the relocation of Fire Engine Company 55. To secure the new site, bonds for $18,000 were issued by the City. Initially, a lot at 167 Mulberry Street, near the corner of Broome Street, was chosen; however, on July 1, 1898, the Board of Fire Commissioners convinced the Board of Estimate to the transfer the funds to acquire the present Broome Street site.' No explanation was given. As a crosstown thoroughfare more than thirty-five feet wide, Broome Street would have been more convenient for the movement of company vehicles. Acquired by condemnation, the new site was on the south side of the street, located between a row of three-story brownstone houses to the west and a five-story brick structure to the east.
On July 13, 1898, the architect R. H. Robertson submitted his plans to the Department of Buildings. The estimated cost for the "Fire Engine House" and "one-story out building" to store feed for horses, was $25,000, exclusive of lot. The brick and Indiana limestone facade was to rise forty-eight feet to a mansard roof faced with copper tile, and a hose tower extending an additional eight feet. Steel beams were used to support the first and second stories, and the ground floor interiors featured Guastavino arches and glazed brick wall tiles. These designs were approved, with amendments, on August 8, 1898. Construction began soon after and was completed eight months later in March 1899. Service from the new location was inaugurated on June 6, 1899. The company was staffed by sixteen firemen and four horses (two for the steam engine and two for the four-wheel hose wagon). In 1903 there were 319 alarms, and in 96 cases firefighters performed duty. For nearly one hundred years, this structure has served the Little Italy community as the home of Engine Company 55.
R.H. Robertson. Architect
Robert Henderson Robertson was born in Philadelphia in 1849. After graduating from Rutgers College in 1869, he worked briefly in the offices of two architects, Henry Sims of Philadelphia, and later, George B. Post of New York City. Success came quickly to Robertson who established his own firm in 1871, and became a partner of William A. Potter (1842-1909) in 1875. Although their partnership lasted less than five years, the firm designed thirty-four projects, including a library at Brown University, as well as churches and private residences in the Queen Anne and Victorian Gothic styles. In addition, they collaborated on entries for two major architectural competitions, submitting designs for New Yorkís Metropolitan Opera House in 1880 and the Cathedral of St. John the Divine in 1892.
During the 1880s Robertson produced a large and varied body of work, including institutional structures, city and country houses, as well as numerous churches in New York City. Many of these designs suggest the influence of Henry Hobson Richardson, the much-celebrated Boston architect known for his bold interpretations of the Romanesque style. While during this period many architects owed a considerable debt to Richardson, the architectural critic Montgomery Schuyler praised Robertson for taking "up the Romanesque in his own way.î This persistent individuality is expressed in many of his designs, particularly in the bold massing of the Madison Avenue M. E. Church (1884, demolished) at East 66th Street, St. Lukesís Episcopal Church (1892-95, Hamilton Heights Historic District) at the northeast corner of 141st Street and Convent Avenue, and in his later experiments with neo-classical elements beginning in the 1890s.
Robertson is also admired for his contributions to early skyscraper design. For instance, in the Lincoln Building (1889-90, a designated New York City Landmark) at 1 Union Square, he demonstrated how Romanesque and Renaissance-inspired motifs could be combined on the exterior of a tall building. Like many architects of this generation, he employed the base-shaft-capital formula, a feature that remained standard for several decades. Other skyscrapers by Robertson include the Com Exchange Bank (1893-94, demolished) at Beaver and William Streets, the American Tract Society Building (1894-95), southeast corner of Spruce and Nassau Streets, and the thirty-story-tall, Park Row Building (1896-99) which held the title as the worldís tallest building until 1908.
Robertson was an extremely prolific architect, producing designs for a diverse clientele, including religious groups, banks, clubs, as well as private individuals. Like many of his contemporaries, he adopted the architectural vocabulary popularized by the buildings constructed for the Worldís Columbian Exposition in Chicago (1893-94). At this time he gave up the richly-colored palette found in his earlier works, producing light-colored designs clad in glazed brick and limestone. Nevertheless, the classicizing work he produced was particularly robust, frequently incorporating powerful juxtapositions of form, bold decorative treatments, and a variety of picturesque details. Buildings that exemplify this approach include the Church of St. Paul and St. Andrew (1895-97, a designated New York City Landmark) at 86th Street and West End Avenue, and Fire Engine Company 55, the subject of this designation report.
Robertson received the commission to design Engine Company 55 at the height of career. Not only did he have a number of significant projects under construction in New York at the time, but in December 1896 Schuyler published a thirty-five page assessment of his built work in the Architectural Record.ô Although he expressed some significant reservations about Robertsonís production, he also praised the architectís boldness and lack of care for "academical correctness." The firehouse that resulted is characteristic of Robertsonís best work, combining features and forms from various stylistic sources into a single composition.
Robertsonís mid-block design stood out sharply from its modest brick and brownstone neighbors in the 14th Ward. Of particular note is the sculpted banner that appears draped above the apparatus bay. Like the corner entrance bays he designed for the Corn Exchange Bank of 1893-94, this feature identifies the engine company while giving the facade a festive and celebratory character. Overall, the effect created is heavy and dense, with a substantial amount of three-dimensional detail employed at the center of the composition. Furthermore, each floor had its own thickly embellished decoration.
While the ground and third floors were mostly classical in their inspiration, the triple-arched windows on the second story are best described as a synthesis of Beaux-Arts and Romanesque Revival forms. Unlike many of his contemporaries who enthusiastically embraced the Beaux-Arts style in the 1890s, Engine Company 55 demonstrates Robertsonís independent character, fashioning a design that was unique while still of its time.
Description
Fire Engine Company 55 is a three-story structure that occupies a 24 by 103 foot lot on the south side of Broome Street between Elizabeth and Mott Streets. The facade is faced in red brick and limestone. At the center of the ground floor is the arched vehicular entrance with a decorative wrought- iron grill inset above the stringing line. The non- historic roll-down door, painted red, has four horizontal windows. The pedestrian entrance, to the east, has a glazed transom. The door is painted red, although much of it is obscured by a metal sign.
To the west of the vehicular entrance is the house watch, marked by a double-hung window with transom. In the lower half an air-conditioning unit has been installed. Above the pedestrian entrance and the house watch window are single oval windows framed by wreaths and elaborate garland detailing carved in stone.
The oval sash is made of wood painted red. Between the top of the arch that marks the vehicular entrance and the second-story cornice a billowing banner is depicted in stone. The text reads: "55 ENGINE 55." This low relief appears to cover a projecting keystone that links the arch with the cornice above.
Numerous changes have been made to the ground floor, including the application of red and blue paint (post 1975) on the rusticated walls and on the banner. Although the red paint nearly reaches the bottom edge of the oval windows near the top of the ground floor, the keystones have been left unpainted. Likewise, attached to the facade are glass and metal lighting fixtures to the right and left of the vehicular entrance, an alarm box to the upper right of the pedestrian entrance, as well as four halogen lamps (two large, two small) linked by metal tubing attached just below the cornice. These fixtures are directed toward the street.
The second floor has three intersecting stone arches, surrounded by brick. The central arch, which is aligned directly above the vehicular entrance and is slightly shorter and less wide than its neighbors, frames a bronze plaque, set between Corinthian pilasters. Perched immediately above the pediment is a tan-colored phoenix seated in flames, probably made of terra cotta, with its head turned to the right and depicted in profile. The plaque is set in an elaborate stone frame with a broken pediment. It bears the following text:
1898
JOHN J. SCANNELL FIRE COMMISSIONER
HUGH BONNER CHIEF OF DEPARTMENT
R. H. ROBERTSON ARCHITECT
A continuous egg-and-dart molding links the three arches. Where they intersect, directly above the Corinthian pilasters, are a pair of swirling rosettes.
- From the 1998 NYCLPC Landmark Designation Report
Thunderbird 5 executing the Minimum Radius Turn (a 9-G turn aka 9 times the force of gravity). This means that a 200 lb. pilot will weigh about 1800 lbs. in their seat during the turn. These high-G maneuvers have the risk of draining lots of blood from the pilots head and transporting it towards their feet, creating tunnel vision or even worse, losing consciousness. Special breathing techniques, along with wearing an anti-G suit help the pilot from passing out during such high-G maneuvers.
The Morrison Memorial Column, executed by Emery Lin, was dedicated on the Perdido Street side of the former reflecting pool in Duncan Plaza on January 18, 1971. The 40-foot column, pays homage to DeLesseps Story "Chep" Morrison, Sr., (1912—1964), who served as mayor of New Orleans from 1946-1961 and failed in three hard-fought bids for the then-pivotal Louisiana Democratic gubernatorial nomination. He also served as an appointee of U.S. President John F. Kennedy as the United States ambassador to the Organization of American States between 1961 and 1963.
Duncan Plaza, bound by Loyola Avenue, Gravier Street and Perdido Street, sits in front of New Orleans City Hall.
The Paris Exhibition influenced art-deco designs in the Water Street entrances. African children carrying riches, an anchor and scales. It is not known why Herbert Tyson Smith, Thompson and Capstick executed this theme. 1932 was over a century after the slave trade had been abolished. Unlike the frieze on the nearby Town Hall they cannot be a 'celebration' of 'The African Trade'. Before closing in the 2000s, this was Barclay's main Liverpool Bank, inherited from one of their acquisitions, Martins Bank. It had been Martins headquarters, the only national bank headquarters outside London. For a time during the war, Britain's gold reserves were kept here rather than in London, eventually moving on to Canada.
A tremendous 1932 building by amongst others, Herbert Rowse, who also worked on India Buildings. Rowse studied under Reilly at the University School of Architecture , travelling through America before practicing. He brought the grand American office blocks of the thirties to Liverpool. The building incorporates an 8th floor boardroom, a roof garden and far and away the best banking hall of all the splendid examples in Liverpool (surely crying out for some kind of use involving renewed public access). If you get the chance to see inside the hall on an open architecture weekend, fly from Sydney rather than miss the chance to see it. ( www.google.co.uk/search?q=martins+bank,+liverpool&esp... )
Most of the upper floors were designed as lettable offices, independent of the bank, all now converted to apartments accessed through the subsidiary entrances and corner stairwells. The decoration is typically 1930s, cut back to a discreet if not quite minimalist level. The tremendous bronze doors in the main entrance are worth a closer look as is the building's rear, a tri-form window bay in the Exchange Passage elevation.
This finely executed statue's owner seems to have been highly ranked, as his statue was made of Parian marble, the finest and most expensive among all Greek marbles. He is represented in a heroic posture, and the shape of his beard differs from the Greek Hellenistic pattern, suggesting a Libyan origin. Alexandria was a destination for immigrants from everywhere in the Mediterranean. The sculpture was of an honorific function, perhaps placed in a theatre, gymnasium, house or agora.
Parian Marble
Ptolemaic Period 1st century AD
Provenance unknown
Graeco-Roman Museum
Alexandria Egypt
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
I am with you.
white-angel-dante.deviantart.com/art/I-am-with-you-734034188
:icondante-love-trish-dmc:
(c) Capcom
(c) Platinum Games
Devil May Cry
Devil May Cry is a video game series developed by Capcom and created by Hideki Kamiya. The gameplay consists of heavy combat scenes in which the player must attempt to extend long chains of attacks while avoiding damage in order to exhibit stylized combat; this element along with time and the amount of items collected and used are taken under consideration when grading the player's performance.
''Didn't your daddy teach you how to use a sword?''
Trish is a major protagonist in the series. She joined Dante at his shop, and showed excitement at being his partner.
Alias Gloria
Occupation(s) Vigilante Devil Hunter
Appearances Devil May Cry
Devil May Cry 2
Devil May Cry 4
Devil May Cry: The Animated Series
"Though a fight every now and then does make life a little more interesting, don't ya think?"
Dante is the main protagonist of the Devil May Cry series.Dante is a paranormal mercenary, private investigator, and vigilante Devil Hunter dedicated to exterminating evil demons and other malevolent supernatural forces; a mission he follows in pursuit of those that killed his mother and corrupted his brother.
Devil Hunter
Son of Sparda
Legendary Dark Knight
Occupation(s) Paranomal Investigator
Mercenary
Devil Hunter
Appearance(s) Devil May Cry
Devil May Cry 2
Devil May Cry 3
Devil May Cry 4
As a puppet of Mundus, Trish was originally cruel and uncaring, but after Dante saved her, she began to develop emotions towards him, and eventually sacrificed herself to save him from Mundus's attack. After being revived, Trish joined Dante at his shop, and showed excitement at being his partner. She rejoins him in Devil May Cry 4 she has basically the same habits, and additionally seems to enjoy pizza, like Dante, though with a different behavior, such as sitting with her legs over one and the other on dantes table, while flirting with Dante, licking her fingers after finishing the piece she got from the Dante's pizza box, doing a stereotypical girly thing, reapplying lipstick while looking into the reflective blade of Sparda, similar to a vanity mirror. She also executes taunts, such as mentioning "May the Savior be with you." until she chuckles and mentions "As if.", and showm to be lovey-dovey with demons by blowing an explosive kiss.
While disguised as Gloria, Trish is very flirtatious and sexually teasing.
Devil May Cry 1
The demon king Mundus tries to kill Dante by using a very powerful beam from his third eye. However, Trish returns Dante's favor and sacrifices herself instead, pushing Dante out of the beam's path and allowing herself to be struck instead. Before following Mundus into the Underworld, and believing Trish to be dead, Dante utters the famous line, "I should have been the one to fill your dark soul with light!" He then leaves her with the Sparda and the Perfect Amulet. Later, cornered by a heavily mutated Mundus. She lends him her power and Mundus is defeated. With Mundus destroyed, Dante and Trish embrace, and she begins to cry. Dante tells Trish that she has become human, because "Devils never cry". It is implied that she works with Dante at the newly-renamed Devil Never Cry.
Devil May Cry 4 Special Edition
By this time, Trish is seemingly living with Dante and working alongside him as a Devil Hunter. When Lady informs them about the actions of the Order of the Sword, Trish takes the Sparda to Sanctus while posing as "Gloria", and is made an Executive of the Holy Knights. She uses this placement to spy on the Holy Knights. She discards her disguise once Dante and Nero reach the Order's headquarters, and after the Savior is activated, she goes to evacuate the island's townspeople while Dante attacks the giant statue.
After Sanctus and the Savior are defeated, Trish returns to the Devil May Cry shop with Dante
Devil May Cry X The Last Judgement is the latest entry in the Devil May Cry franchise. Unlike previous games, this one is a pachinko game, rather than a console game.
Arbour Hill Prison is a prison and military cemetery located in the Arbour Hill area near Heuston Station.
The military cemetery is the burial place of 14 of the executed leaders of the 1916 Easter Rising. Among those buried there are Patrick Pearse, James Connolly and Major John MacBride. The leaders were executed in Kilmainham Gaol and their bodies were transported to Arbour Hill for burial.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The grave site is surrounded by a limestone wall on which the names are inscribed in Irish and English. On the prison wall opposite the grave site is a plaque with the names of other people who were killed in 1916.
The prison was designed by Sir Joshua Jebb and Frederick Clarendon and opened on its present site in 1848, to house military prisoners.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
The church has an unusual entrance porch with stairs leading to twin galleries for visitors in the nave and transept.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans' Association house and memorial garden.
The two bays of the sanctuary have a quadripartite vaulted roof of Bath and Ham Hill stone. The frescos were designed by George Frederick Bodley and executed by Powell & Sons, Whitefriars.
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
Stena Edda RoRo/Passenger ferry departing Twelve Quays South.
She executed a starboard swing off the berth and proceeded outbound for sea
E-Flexer
IMO: 9807308
Name: STENA EDDA
Vessel Type - Detailed: Ro-Ro/Passenger Ship
Status: Active
MMSI: 209885000
Call Sign: 5BLE5
Flag: Cyprus
Gross Tonnage: 41671
Summer DWT: 9777 t
Length Overall x Breadth Extreme: 214.45 x 28.42 m
Year Built: 2020
ISM Manager: STENA LINE SCANDINAVIA AB
Ship manager/Commercial manager: STENA LINE LTD
Registered owner: JIAGUI INTERNATIONAL SHIP (as stated by her class society DNV.GL)
Contract date: 2016-03-11
Keel laid: 2018-06-15
Launch: 2019-04-15
Date of build: 2020-01-15
Shipyard/builders: Avic Weihai Shipyard Co. Weihai/China Merchants Jinling Shipyard (Weihai) Co., Ltd., China
Hull Number: W0264
Main Engine: x3 Wärtsilä 8L20 and x2 12M43(C)Caterpillar Motoren GmbH & Co. KG
Historical and sickeningly disturbing. Part of the Bandits, Badges & Bars exhibit at the Arkansas Old State House Museum. Partial list of executees here.
aside: Chair was unplugged for a period of time in the 1970's and "used for giving haircuts"
Another aside: The oldest chair (on the left) "was manufactured from the wood of the state gallows which it replaced in 1913."
Air Force Nathan Higgins executes a push out for one point as Marine Alexander Holloway dances the line. The two competed in the 66 kg weight class March 17 at the Griffith Field House here. Higgins is stationed at Royal Air Force Lakenheath, United Kingdom. He calls Fairbanks, Alaska, home. Holloway, a Marriette, Ga., native, is assigned to Headquarters Support Battalion at Camp Lejeune, N.C. (U.S. Air Force photo by Senior Master Sgt. Denise Johnson/Released)