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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:-
If one is to "MAKE" +Design
(or Design +MAKE) a heavy-bad-ass Steel + Glass Door-
one should ALSO know a bit about "BEARINGS"
and Pivoting mechanisms...
which CLEARLY-
This ill-informed Designer did not!
The "functionality"
(...errr- THE LACK OF )
was NOT considered (The Door is F*#king Massively HEAVY!!) and/or executed
in this Piss-Poor-Fabrication/ Engineering /Install ?!
Not-"Good-Design".
(albeit nice to look at)
Also- a Door is the 1st Impression-
and often the last- when you leave....
Why would you wanna leave THAT as an Impression-
the embarrassment felt in trying to operate
a door......not good!
Sorry Larissa @ www.SandStudios.com
I've "liked" your work from afar-
and - now-
after seeing it in person-
want to offer my Consulting Services....
Fold-up ladder for breaking and entering into properties belonging to cat burglar, Charles Peace, executed for killing a police officer in a burglary gone wrong in 1878. Peace was a musician serenading households by day; returning robber by night. © Museum of London / object courtesy the Metropolitan Police’s Crime Museum
Texas executes man with the adaptive skills of a 7 year-old. His trial counsel testified at a clemency hearing that he did not present any evidence of Mario’s mental retardation because of a legal flaw in the Texas death penalty statute.
In the 1820s Burney executed four large water-colour paintings satirising contemporary musical and social life: The Waltz (Victoria and Albert Museum, London), The Elegant Establishment for Young Ladies (Victoria and Albert Museum), Amateurs of Tye-Wig Music (Yale Center for British Art, New Haven, Connecticut) and The Glee Club; or, The Triumph of Music (Yale Center for British Art). Burney may have intended to publish prints of the paintings and to sell both originals and prints, in the manner of Hogarth's 'Progresses'. There was a substantial market for satirical prints during this period. The four pictures were, however, never published.
This is a version of the third-named painting, the only one, apparently, which Burney reworked as an oil painting. Its theme is the battle between 'modern' and 'traditional' taste in the music world. The modern is represented by references to Beethoven, Mozart and others in the foreground, while traditional taste is epitomised by Handel, whose bust looks down upon a group of musicians, appropriately dressed, who are playing (discordantly) music by his great contemporary Arcangelo Corelli. The concert takes place in a room whose decorations are predominantly Gothick in style, a further indication of the revival of ancient tastes. Burney includes many apparent and traditional amusing details such as the howling dog, noisy children, striking clocks, a careless servant, and a sneezing, coughing, snoring and throat-clearing audience.
Burney's picture is full of clever and subtle allusions to the battle between the Ancients and Moderns at a time when a revival of interest in the work of old composers such as Handel was beginning to challenge the accepted supremacy of contemporaries such as Beethoven. Burney came from a family prominent in the arts. His uncle, Dr Charles Burney, was a noted musicologist who was at the centre of a lively debate about the respective merits of 'old' and 'new' music, and his writings undoubtedly provided Edward with much of the inspiration for this picture. An intense rivalry existed between Dr Burney and Sir John Hawkins, a traditionalist, and Hawkins was inevitably the target of satirisation by Burney's many friends. Dr Burney wrote a long satiric poem about Hawkins in 1777, entitled The Trial of Midas the Second, naming numerous musicians associated with Hawkins and Burney. Edward must have been familiar with the work, for the same musicians appear in his painting, and a statuary group on the mantelpiece depicts the 'Judgement' with Midas (Hawkins's alter-ego in the poem) wearing a tye-wig, symbol of old-fashioned music.
Further reading:
Patricia Crown, 'Visual Music: E.F. Burney and a Hogarth Revival', Bulletin of Research in the Humanities, vol.83, no.4, winter 1980, pp.435-72
Terry Riggs
December 1997
Source: Tate
www.tate.org.uk/art/artworks/burney-amateurs-of-tye-wig-m...
Ugolino and His Sons, modeled ca. 1860–61, executed in marble 1865–67
Jean-Baptiste Carpeaux (French, 1827–1875)
Saint-Béat marble
H. 77 in. (195.6 cm)
Signed (incised in script at right front facet of base): Jbte Carpeaux./Rome 1860; (incised at right end facet of base) JBTE CARPEAUX ROMA 1860
Purchase, Josephine Bay Paul and C. Michael Paul Foundation Inc. Gift and Charles Ulrick and Josephine Bay Foundation Inc. Gift, and Fletcher Fund, 1967 (67.250)
Dante's Divine Comedy has always enjoyed favor in the plastic arts. Ugolino, the character that galvanized peoples' fantasies and fears during the second half of the nineteenth century, appears in Canto 33 of the Inferno. This intensely Romantic sculpture derives from the passage in which Dante describes the imprisonment in 1288 and subsequent death by starvation of the Pisan count Ugolino della Gherardesca and his offspring. Carpeaux depicts the moment when Ugolino, condemned to die of starvation, yields to the temptation to devour his children and grandchildren, who cry out to him:
But when to our somber cell was thrown
A slender ray, and each face was lit
I saw in each the aspect of my own,
For very grief both of my hands I bit,
And suddenly from the floor arising they,
Thinking my hunger was the cause of it,
Exclaimed: Father eat thou of us, and stay
Our suffering: thou didst our being dress
In this sad flesh; now strip it all away.
Carpeaux's visionary composition reflects his reverence for Michelangelo, as well as his own painstaking concern with anatomical realism. Ugolino and His Sons was completed in plaster in 1861, the last year of his residence at the French Academy in Rome. A sensation in Rome, it brought Carpeaux many commissions. Upon his return to France, Ugolino was cast in bronze at the order of the French Ministry of Fine Arts and exhibited in the Paris Salon of 1863. Later it was moved to the gardens of the Tuilieries, where it was displayed as a pendant to a bronze of the Laocoön. This marble version was executed by the practitioner Bernard under Carpeaux's supervision and completed in time for the Universal Exposition at Paris in 1867. The date inscribed on the marble refers to the original plaster model's completion.
Format: Fotopositiv
Dato / Date: Før 1942
Fotograf / Photographer: Ukjent, kopi gjort av Schrøder
Sted / Place: Trondheim
Oppdatert / Update: 06.07.2015 [informasjon fra Nordmenn i fangenskap]
Wikipedia: Martial law in Trondheim in 1942
Wikipedia: Dødsstraff
Digitalarkivet: Våre Falne (Bd. 1, s. 489)
Digitalarkivet: Peder Eggens husstand på plassen Hytmyren i Selbu (Folketellingen 1910)
Eier / Owner Institution: Trondheim byarkiv, The Municipal Archives of Trondheim
Arkivreferanse / Archive reference: Tor.H45.L.F9389
EGGEN, PEDER, bygningsleder, Klæbu. Født 1. juni 1889 i Selbu, s. av Kristian Eggen, f. 1852 i Selbu, og Dordi f. Eggen, f. 1856 s. st. Gift 1908 i Klæbu med Kristine, f. 1891 i Klæbu. 10 barn. Ble skutt som gissel 7. oktober 1942 under unntagelsestilstanden i Trøndelag. [Våre Falne, Bd. 1, s. 489]
EGGEN, Peder, bygningsleder, Klæbu, S-Trl., f. 01-06-89. Arr. 06-10-42, ovf. Falstad, henrettet 07-10-42.
Kilde: Nordmenn i fangenskap 1940 - 1945 (Oslo 1995) s. 176
In the early hours of Thursday 19 March 2026 eight warrants were executed simultaneously across Tameside, Oldham and Rochdale to tackle a suspected criminal network involved in the distribution of class A drugs and firearms.
Officers from Tameside Programme Challenger team, the District Intelligence Unit (DIU), and our Tactical Aid Unit (TAU) were deployed to each of the addresses where a total of
11 people aged between 24 and 77 were arrested on suspicion of drug related offences following weeks of intelligence gathering and preparation.
A firearms strike was also carried out at one of the addresses.
Eight men and three women were arrested on suspicion of a range of offences including conspiracy to supply class A and B drugs, being part of an organised crime group, possession with intent to supply, money laundering, and possession of an offensive weapon.
During searches of the addresses, class A, B and C drugs including crack cocaine, heroin, cannabis and nitrous oxide were seized. Further recoveries of £70,000 in cash, a zombie knife, a BB gun and four vehicles were also made.
Chief Superintendent Shan Nasim, District Commander for Tameside, said: “Today’s operation has been a powerful example of our continued, determined effort to dismantle organised crime in our district and Greater Manchester.
“We have 11 people in custody being questioned by our investigation teams in relation to an organised crime group (OCG) that have been causing widespread harm across our communities.
“Today's action caused significant disruption of an organised crime group (OCG) and has prevented drugs and weapons from reaching the streets, as well as the associated harms that come hand in hand with organised crime.
“Organised criminals exploit vulnerable people and blight our communities; we will take robust action to catch offenders, keep our communities safe, and protect vulnerable people across Greater Manchester.”
Programme Challenger brings agencies across Greater Manchester together to protect vulnerable people, dismantle criminal networks and prevent exploitation in all its forms.
Members of the public are encouraged to share intelligence, which remains vital in disrupting criminal networks. GMP and partner agencies are committed to safeguarding vulnerable people who are victims of crime or at risk of committing offences.
If you are concerned about criminal activity in your area, contact police on 101, or call Crimestoppers, anonymously, via 0800 555 111.
Huntsville, Texas.
At the Captain Joe Byrd Cemetery in Huntsville, Texas, inmates of state prisons are buried whenever no one claims their bodies.
The Huntsville Unit, also called the Walls Unit, is the oldest state prison in Texas. It is the prison where the State of Texas kills the prisoners sentenced to death. Since the death penalty was reinstated in 1982 more than 500 people have been executed at the Huntsville Unit.
This work, executed in ink and watercolor on a laid paper, depicts various printed works, nails, a key, a pair of lunettes. What look like plate marks were created with watercolor on a brush. Since its a little hard to tell what's real and what isn't in this work, we took a closer look.
Maker unknown
Trompe-l'oeil map
Collection of Shelburne Museum 27.18-6
SMOKY88 executes a touch and go at Walker Field in Grand Junction, CO.
Website: One Mile High Photography
Facebook: www.facebook.com/OneMileHighPhotography
Having executed the tight 90 degree turn to starboard, the three Cunarders are now in line abreast straddling the River Mersey between the Liverpool and Birkenhead pier heads. 'Queen Mary 2' is nearest, 'Queen Victoria' in the middle, and 'Queen Elizabeth' on the far right. Copyright John Whitehouse - all rights reserved
Washington, executed by Donald De Lue and Bryant Baker in 1959, was dedicated adjacent to the New Orleans Public Library on February 2, 1960 to mark the Lousiana Grand Lodge, Free and Accepted Order of Masons' sesquicentennial. The monument features a full length heroic figure of George Washingtn, striding forward, in a Masonic apron.
The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
Specular reflection with a shift character. Multicomposition in one frame. Some body parts are painted light in being fixed, and then the bulk of female flesh shifted, creating a warm ball of smoke in the frame.
We submit the sample photos in this series in three-nine-square.
Photos is possible to look here:
6th Regiment, Basic Camp Cadets executing their Night Land Nav exercise during Cadet Summer Training 2018. (Fort Knox, Ky. July 11) Photos by: Jakob Coombes
have retained all the poignant scratchings on the walls of the cells.Hostages taken in reprisals by the SS were either executed here (849) or forwarded to concentration camps.Over 12000 passed through this location situated in the most idyllic mountain setting.
Today I received a letter revealing that the mosaics at the back of the front door of the Mansion were designed and executed by a Miss Gertrude Martin. In the St. Petersburg Times 30th April 1924 it recorded "Although most of her work has been in churches. Miss Martin thinks mosaic work would be quite as effective in homes, and she recently did a couple of small niches in a house for Sir Philip Sassoon" news.google.com/newspapers?nid=888&dat=19240430&i.. The black pieces are glass and would have arrived in large pieces which she would then have to had to clipped, the gold would have come from Italy in small bits packed in little bags stored in barrels. Interested in Moasic check out www.bamm.org.uk/ or make a visit to Belfast Cathedral www.belfastcathedral.org/visitors/virtual-tour/item/1/cha...
Little Dancer, Aged Fourteen
Executed in wax 1878-1881; cast in bronze c. 1922
Hilaire-Germain-Edgar Degas (French, 1834–1917) Bronze cast by the foundry Adrien Hébrard (Paris)
Degas depicted young ballet dancers--in performances, at rehearsals, or at moments of exhausted rest--in numerous paintings, drawings, pastels, and monotypes. In 1878, he added sculpture to his investigation of the theme. A young dancer named Marie van Goethem posed for what would be the only sculpture that Degas exhibited in his lifetime. Originally executed in wax and shown in 1881, the work daringly incorporated real elements such as the dancer's tulle tutu and silk hair ribbon. The sculpture was cast in bronze around 1922, several years after Degas's death.
*
The Philadelphia Museum of Art (PMoA), originally chartered in 1876 for the Centennial Exposition in Philadelphia, opened in a into its permanent home on Fairmount, a hill located at the northwestern end of the Benjamin Franklin Parkway, in 1928. The main building's Greek Revival design was the product of collaboration of the architectural firms of Horace Trumbauer and Zantzinger, Borie and Medary, but mostly credited to two architects in Trumbauer's firm--Howell Lewis Shay for the building's plan and massing, and Julian Abele, the first African American to graduate from University of Pennsylvania's Department of Architecture, for the detail work and perspective drawings. The museum houses more than 240,000 objects including major holdings of European, American and Asian origin, spread across more than 200 galleries spanning 2,000 years.
In 2007, the Philadelphia Museum of Art was ranked #24 on the AIA 150 America's Favorite Architecture list.
This marble cruciform building executed in the Roman Corinthian order is truly impressive. The building was originally designed by Ammi Burnham Young, Supervising Architect of the US Treasury Building in Washington, DC. Construction was suspended until 1870 with the outbreak of the Civil War. Architect A. B. Mullet's reduced-cost plan was finished in 1879. Charleston, South Carolina
Wonderful concept executed by Shibshankar Das & Sanatan Dinda. Devi rises from 'pralay jaladhi'- cataclysmic ocean, standing on the 'jiban taranee' , she defeats 'Madhu-Kaitava'-like demons . ''Maner Manush' - soul of mankind - lies stretched in front of Devi with a lotus in his folded hands. Lotus adorns Durga's being, her crown - wonderful !
The pandal is decorated in a very restrained manner - never outdoes the 'protima'- yet enhances the over-all impact of the presentation . Strong mythological concept - much beyond the oft-repeated 'Naba Durga' or 'DashaMahavidya' or ' Sapta Matrika'. Made a strong impact on me - 'naa dekhle jaantaam na eto unique hotey paarey' .
Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
U.S. Army Soldiers assigned to 1-10 Attack Battalion, 10th CAB conducts aerial gunnery at Range 23 on Fort Drum,, NY. The gunnery has been ongoing all month, with aircrews qualifying with the AH-64D Apache helicopter. (U.S. Army photo by Sgt. Michael Wilson)
He lands this one almost every time. This is a mechanical ski line in Deerfield Beach, FL, where skiers can perfect their many different skills.
Picture taken on a German Cemetery Lommel. Operation Greif: German soldiers in captured US Army uniforms and using some US vehicles were to cause confusion in the rear of the Allied lines. Among them were Günther Billing (21), Manfred Pernass (23) and Wilhelm Schmidt (24). They were captured and executed by US soldiers.
The Postcard
A postally unused postcard that was printed in England by Gale & Polden Ltd. of London, Aldershot and Portsmouth.
On the divided back of the card they have printed:
'Tower of London.
Execution Block and Axe.
The axe has been in the Tower
since 1687.
The block is that on which Lord
Lovat was executed on Tower
Hill in 1747'.
The Tower of London
On the 23rd. September 1940, during the Blitz, high-explosive bombs damaged the castle, destroying several buildings and narrowly missing the White Tower. After the war, the damage was repaired and the Tower of London was reopened to the public.
A 1974 Tower of London bombing in the White Tower Mortar Room left one person dead and 41 injured. No one claimed responsibility for the blast, but the police suspected that the IRA was behind it.
Gale & Polden Ltd., 1892-1981
The origins of this large printing and publishing firm began in 1866 when James Gale opened a book shop in Chatham. Seven years later he began printing books, and by 1877 he took on Ernest Polden as an apprentice.
They worked well together, moving to a larger establishment in Aldershot in 1888 and joining together to form a Limited Partnership with an office in London in 1892.
Much of the work they produced was military-related, which led them to open a third office in Portsmouth to help capture business from the Royal Navy.
In 1901 they began publishing postcards in halftone lithography. These cards also largely dealt with military themes, as they produced series on Regiments, Naval Ships, Admiral Nelson, humorous naval nicknames, and more. They also produced view-cards, but even many of these scenes were somehow related to the military.
In 1963 they were purchased by the Purnell Group, and after a number of further buy-offs, they finally shut down their printing facilities in 1981.
en.wikipedia.org/wiki/Panther_De_Ville
Of all the extraordinary cars brought to us by Robert Jankel's Panther Westwinds concern, the De Ville is surely one of the most practical as well as dramatic. Styled to loosely ape the massive Bugatti Royale of the 1930s, the tubular-framed De Ville was powered by Jaguar six or 12 cylinder units of the day. It also employed Jaguar suspension, steering and transmission, so was comparatively easy to drive and service.
The De Ville V12 (5,343cc) offered was constructed in 1979. Its coachwork is finished in green and the interior trimmed in ivory leather. It was sold new to a Texan oilman. It then enjoyed a spell in a New York Motor Museum before being repatriated for the wedding of a Cambridgeshire millionaire. The vendor acquired the Panther in 1994. The conversion from left to right-hand drive was executed by Panther Westwinds Ltd.
Jeff executing the sickest back torque this ledge has ever seen!
Sacramento blading 2011
generator session
vivitar 285 full power in front of the ledge
canon 430ex behind Jeff full power
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:-
Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
Ask YC: I just quit Microsoft to work on this product full-time. What's your brutal feedback?
"... I just quit Microsoft to work on this product full-time. What's your brutal feedback? ..."
Show through demonstration. Well thought out, flawlessly executed in an area that will no doubt have the potential to make bucket loads of cash.
But there are a few problems I can think of. The first is the market for adverts is dominated by a giant. But where there is competition there is potential for success. The other problem is images + javascript can be blocked through code [0] and by humans. [1] Those clever lads at google get around this using text. Text fools code blocking and to some extent humans. So the technique you use will be less effective than googles technology. What other technology is behind the advert engine. How for instance does it target individuals?
Q What do we really need?
Maybe it's a little bit idealistic but for me I just want to make things that users want [2] and try to make their day a little easier and helping them instead of bombarding them. Reducing the amount of useless information and noise. Linda Stone poses the question(s), *"what do we really need, and what do we need to pay attention to"*. [3] And your system is something I think does not really benefit the consumers full stop. Microsoft thinking at it's best.
Q What do we need to pay attention to?
I'm sure advertising will be a hit for creators, synthesisers. But is this the right question?
Reference
[0] noscript.net/ for example ~ www.flickr.com/photos/bootload/2250089864/ and humans if www.flickr.com/photos/bootload/2250089862/ you see the distinctive shape.
[1] *"Is Navigation Useful?"*, '... users rarely look at logos, mission statements, slogans, or any other elements they consider fluff (in particular, they ignore advertising and anything that looks like an ad) ...' ~ www.useit.com/alertbox/20000109.html
[2] *"Creators, Synthesizers, and Consumers"* , '100% are consumers, 10% active synthesizers & 1% creators'~ www.elatable.com/blog/?p=5
[3] *"Linda Stone"*, 'Continuous partial attention' ~ itc.conversationsnetwork.org/shows/detail739.html
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a kiss, or a hanshake, for the person that can tell me what Casio model this one is!
Visual projects executed by Vicenza High School students are on display near VHS teacher Lisa Balboni’s Honors 10 World History class.
This year’s Honors 10 World History class project was called The Swerve.
About 30 students working in pairs used different creative ideas to show how historical events tie into one other. The project started with Dark Ages and ended with the French Revolution, analyzing political, economic and social change from the 16th to the 18th century.
Photo by Laura Kreider, USAG Vicenza/PAO
Learn more on www.usag.vicenza.army.mil or www.facebook.com/USAGVicenza.
"The pulley rein is executed by shortening one rein as tight as you can and pushing your knuckles into the horse's neck, with your hand braced and centered over its neck (it is important that this hand is pressed into the neck and not floating free). Then you slide your other hand down the other rein as far forward as you can and pull straight back and up with all your weight. Since the first rein is locked and braced, it is preventing your horse's head from turning, so the pull on the second rein creates a lot of pressure."
Public Affairs Manager of Engro Chemical Pakistan Limited executing plans to reconstruct more than 100 homes at village Battal in Mansehra District under the earthquake victims rehabilitation program in collaboration with The Citizens Foundation
ift.tt/1qjpo4A Political prisoners and peasants lay dead together after being executed by the South Korean army in 1952, a Korean War photo LIFE magazine chose not to publish. At least 100,000 South Koreans were executed without trial on suspicion of supporting communism during the war. [NSFW][1200x800] #HistoryPorn #history #retro ift.tt/1qjpklB via Histolines
Plötzensee
Berlin
The Plötzensee prison was found in 1868 and became an execution site in 1890, where 36 people were sent to death before Hitler took power in 1933. From then on, the number of executed increased – 2891 people found death between 1933-1945. Initially, victims were brought till death with an axe. It was Hitler who commanded in 1936 that a guillotine should be used – which was brought over in the deepest secret to Berlin in 1937.
Among the victims were famous resistance members, such as the circle of the Red Orchestra and a number of actors within the 20 July plot to kill Hitler in 1944. Also the foreign resistence circles – such as the 670 executed Czechs – made out a significant number of the victims. A more anonymous group of victims are the farmers who helped forced labourers to go into hiding. Sometimes, an ‘ordinary’ murderer found death here – for example August Eckert, who killed his jewish collegue and her daughter in 1943.
When the nazi’s arrested the members of the Red Orchestra in 1942, the nazi’s erected sinister meat-hooks where the resistance members could be hanged on and suffer more before they died. The most bloody night within the prison was on the seventh and eighth of September 1943 – when 186 prisoners found death. Because the guillotine was destroyed in an air-raid only four days before, these victims were also hanged on the sadist meat-hooks. For being executed – a prisoner had to pay RM300. The executioner was paid RM60-65 for taking a life. Most of the corpses were used for anatomical studies in the Humboldt university.
In response to safeguarding concerns identified by our Rochdale organised crime team, we’ve executed eight warrants this morning and locked up six suspected gang members.
We identified a teenage boy who was being exploited and coerced into drug dealing by a suspected local gang.
With immediate safeguarding measures put in place, we were able to pursue those responsible
As the investigation developed, we identified further victims, including a vulnerable adult whose house was being cuckooed and used as a stash house for the gang.
This morning, we’ve arrested six men aged 18 - 26 on suspicion of conspiracy to supply class A and B drugs and modern slavery offences.
£30,000 cash has been seized along with cannabis and drugs paraphernalia.
Today’s activity is a key example of partnership work and effective information sharing. It’s enabled us to identify crucial members of a suspected organised crime group, but most importantly, we’ve been able to safeguard several children and vulnerable adults.
Sergeant Mark Lutkevitch from our Rochdale Challenger team said: “Exploitation, coercion, and violence are the foundations of modern slavery and drugs trafficking, and gangs will often exploit the vulnerable to further their profits. Our arrests this morning are part of a longstanding investigation into several organised crime groups operating across Rochdale that we strongly believe are involved in the exploitation of young people.
“Young people and vulnerable adults will be threatened as the criminals exert control, which is why tackling exploitation is a high priority for us. We have specialist officers working with young people in our communities to tackle the vicious cycle of gang recruitment, and teams of officers on the frontline pursuing offenders.
“Our communities are key in helping us be one step ahead of the criminals. By being our eyes and our ears and finding the courage to report what is taking place in your area only strengthens our relentless pursuit of organised crime and could make a real difference for a child.
“I want to encourage communities to trust their instinct. If something doesn’t feel right; report it. If you think somebody is being exploited, or you think a house might have been taken over by drug dealers, feed that information to us. If you want to remain anonymous, report it through Crimestoppers, and we will act.”
nformation can be shared by calling 101. If you would prefer to remain anonymous, call the independent charity Crimestoppers on 0800 555 111.
Always call 999 in an emergency.
We recently had a week’s holiday to take – Jayne’s job dictates my holidays – we went through the usual process of leaving it late and then desperately selecting a shortlist of cities where we thought the weather might be ok, after a reasonably short flight and we can fly from the north of England. Budapest was the chosen destination.
Budapest is touted as possibly the most beautiful city in Europe and we had a stream of people tell us that it was fantastic. It is. I was looking forward to getting there, no agenda other than walking, photographing the sights and trying to get off the beaten track. We certainly walked – over 70 miles – I photographed it ( I’m a bit embarrassed to say how many shots but it was a lot ) but I’m not sure we got off the beaten track as much as I wanted to.
We flew over Eastern England (and home actually – a first for us) and out over Europe. It was a late afternoon flight on a stunning day, one of the more interesting flights I’ve had. I was glued to the window watching the world go by, wondering about all of lives being played out beneath us. It was dark when we arrived. We were staying on the Buda or Castle Hill side of the city. What we didn’t know was, we were staying in one of the most prominent hotels in the city, sat on the hilltop overlooking Budapest. The Hilton sits on an historic sight and features in every photo taken of the Castle District from Pest. We had time to get out before bedtime and photograph the Matthias Church next door – floodlit – like all of the major buildings in Budapest.
Unfortunately after leaving the best weather of the year in the UK, Budapest was forecast to be a bit dull and cool – not what we wanted. There was occasional sun over the first two days but it was generally grey. Now I have to admit, I let the dullness get me down, I took photos because I wasn’t sure how the week would unfold but I was fairly sure that I was wasting my time. The photos would be disappointing and if it was sunny later we would have to revisit all of the famous landmarks again to get something that I was happy with. This is essentially what happened. The next four days were gorgeous and we did revisit, more than once all of the places that we walked to in the first two days. This meant that we didn’t have the time to go “off piste” or venture further afield as much later in the week.
The sun was rising before seven and we were staying in the best location for watching it rise. By day three I was getting up at 6.00 (5.00 our time) and getting out there with my gear. By day four I was using filters and tripod, not something I usually bother with despite always having this gear with me, and dragging it miles in my backpack. One morning I was joined by a large and noisy party of Japanese photographers, they appeared to have a model with them who danced around the walls of the Fisherman’s Bastion being photographed. Once the orange circle started to appear above the city they started clicking at the horizon like machine guns. We all got on well though and said goodbye as we headed off for breakfast – still only 7.15am.
By 8.00am everyday we were out on foot wandering along the top of Castle Hill wondering where to go that day. We tend to discover the sights as we walk on a city break, frequently discovering things as we head for a distant park or building and research it afterwards with a glass of wine. It works for us. We walked out to Heroes’ Square and beyond, returning by less well known streets. We walked along the Danube to Rákóczi Bridge a couple of times then back into Pest using a different route. Having been under the thumb of Russia for so long and considering its turbulent past there are lots of large Russian style monuments, tributes to great struggles, or the working man – very socialist and very much like Prague in a lot of respects. The Railway stations were also very similar to Prague, you could walk across the tracks and no one bothered. In the main station, now famed for the migrant crisis a few weeks previously, there was a mixture of very new and very old rolling stock from the surrounding countries, all very interesting. Considering that this station is the first thing some visitors to the city will see it is an appalling state. One side of the exterior is shored up and fenced off. This contrasts with the expensive renovation work that has been well executed in the city centre. It really is like stepping into the past when you enter the station building. It all seems to work efficiently though, unlike the UK.
Transport in Budapest is fascinating. Trams everywhere, trolley buses, ancient and new, bendybuses, again, very old and very new, the underground metro, yellow taxis in enormous numbers and of course the river and boats. This never ending eclectic mix seems to operate like clockwork with people moved around in vast numbers seamlessly. The trams looked packed at any time of day. Anyone dealing with tourists seemed to speak very good English, which is just as well as we didn’t have any grasp of Hungarian. Cost wise it was a very economical week for us in a capital city.
Once the weather (or light, to be precise) improved, I cheered up and really enjoyed Budapest. A common comment after visiting is that , although you’ve “done Budapest” you wouldn’t hesitate to go back, which isn’t always the case after a city visit. As ever, I now have a lot of work to do to produce a competent album of work. I think I will end up discarding a lot of the early days material – but then again, I’m not renowned for my discarding skills.
Thank you for looking.
140911-M-GX711-093
USNS SACAGAWEA, At Sea — Lance Cpl. Taylor C. Branyan executes a speed reload Sept. 11 on the well deck of the USNS Sacagawea. The Marines were completing the drills to improve their speed in reload techniques vital to close-quarters combat. The training is part of exercise T-AKE 14-2, a maritime pre-positioned force, multi-country theater security cooperation event that deploys from Okinawa aboard the USNS Sacagawea to conduct training exercises throughout the Asia-Pacific area of operations. Branyan is from Kokomo, Indiana, and is a tactical switching operator assigned to the Provisional Rifle Platoon with Combat Logistics Detachment 379, Combat Logistics Regiment 37, 3rd Marine Logistics Group, III Marine Expeditionary Force. (U.S. Marine Corps photo by Lance Cpl. Drew Tech/Released)
Nurse Edith Cavell was executed by German forces during WWI as she had aided British POWs to escape.
There was great diplomatic efforts to have her death sentence commuted or delayed, but to no avail.
She was shot by eight soldiers, and in time, her body was repatriated, the wagon her body was carried from Dover is the same used for the body of the Unknown Soldier.
The luggage wagon usually rests at Bodiham on the Kent and East Sussex Railway, but for November it has been brought back to the former Dover Marine station.
I got tickets, so after lunch we would visit, not just to see the wagon and pay our respects, but the station is now a cruise terminal, and is rarely open to the public, and it had been a decade or so since my last visit.
I slept late, late enough so that Jools driving off to yoga woke me up at ten past six. Outside rain was bouncing down, and there was the bins to do.
I got up and put them out, dodging the raindrops, and back inside to make a coffee.
With rain expected all day, other than doing to the station after lunch, not much else planned, whilst Jools had her craft and gossip morning at the village library.
Jools came back from yoga as I was finishing my coffee, so I made breakfast giving her an hour before she had to leave again.
I listened to podcasts and watched videos for the morning, not much else to do, really.
Sadly, we had what we thought was the plumber coming to fix the overflow, but instead Craig came to touch up some paint in the toilet.
So Jools stayed home and I drove down to the Western Docks, over the flyover, past the former Lord Warden Hotel, then round to where lines from London entered Dover Marine, forming a large flat crossing in a tangle of lines.
You can still see how the lines used to curve west to join the main line to Folkestone, but is now concreted over, as are the tracks between the platforms, so to create a large flat parking area for cruisers.
I showed my ticket, and walked up through the central arch along what was the path of platforms 2 and three, past the former station buildings and under the footbridge.
At the far end there was the wagon, so I walked up, showed my ticket again, had my name ticked off, and went to look inside.
Inside there is a coffin, a replica of the one that brought the body of the unknown soldier back from France, and on the walls there were information boards on the only three bodies to be brought back from the war.
I exited it, took shots all around it, then walked to the war memorial, which is a splendid thing, and should be more accessible.
And I was done.
I thanked the volunteers and walked out, getting shots of the walkway linking the former hotel with the station and the Admiralty pier before taking shelter from the rain in the car and driving home.
I had been gone all of 40 minutes.
Once back I began to cook dinner/lunch: chicken pie, roast potatoes, steamed leeks, sprouts and spring greens, gravy and shop bought Yorkshire puddings.
It was all done by four, by which time Craig had done two coats of paint and had left.
I poured a beer and a cider, then dished up, the potatoes lovely and crunchy, without being burnt.
I won the music quiz at six, which was nice, then after washing up I settled down to watch Northern Ireland play in Slovakia.
A poor game, ended 1-0 to the home side, but Northern Ireland go to the play-offs anyway.
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Edith Louisa Cavell (/ˈkævəl/ KAV-əl; 4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for treating wounded soldiers from both sides without discrimination during the First World War and for helping some 200 Allied soldiers escape from German-occupied Belgium. Cavell was arrested, court-martialled under German military law and sentenced to death by firing squad. Despite international pressure for mercy, the German government refused to commute her sentence, and she was shot. The execution received worldwide condemnation and extensive press coverage.
The night before her execution, she said, "Patriotism is not enough. I must have no hatred or bitterness towards anyone". These words were inscribed on the Edith Cavell Memorial[1] opposite the entrance to the National Portrait Gallery near Trafalgar Square. Her strong Anglican beliefs propelled her to help all those who needed it, including both German and Allied soldiers. She was quoted as saying, "I can't stop while there are lives to be saved."[2] The Church of England commemorates her in its Calendar of Saints on 12 October.
Cavell, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium.
In November 1914, after the German occupation of Brussels, Cavell began sheltering British soldiers and funnelling them out of occupied Belgium to the neutral Netherlands. Wounded British and French soldiers as well as Belgian and French civilians of military age were hidden from the Germans and provided with false papers by Prince Réginald de Croÿ at his château of Bellignies near Mons. From there, they were conducted by various guides to the houses of Cavell, Louis Séverin, and others in Brussels, where their hosts would furnish them with money to reach the Dutch frontier, and provide them with guides obtained through Philippe Baucq.[18] This placed Cavell in violation of German military law.[4][19] German authorities became increasingly suspicious of the nurse's actions, which were further fuelled by her outspokenness.
The night before her execution, Cavell told the Reverend H. Stirling Gahan, the Anglican chaplain of Christ Church Brussels, who had been allowed to see her and to give her Holy Communion, "I am thankful to have had these ten weeks of quiet to get ready. Now I have had them and have been kindly treated here. I expected my sentence and I believe it was just. Standing as I do in view of God and Eternity, I realise that patriotism is not enough, I must have no hatred or bitterness towards anyone."[30][31] These words are inscribed on her statues in London and in Melbourne, Australia.[32][33] Cavell's final words to the German Lutheran prison chaplain, Paul Le Seur, were recorded as, "Ask Father Gahan to tell my loved ones later on that my soul, as I believe, is safe, and that I am glad to die for my country.
en.wikipedia.org/wiki/Edith_Cavell
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Situated on Admiralty Pier for connection to ships, this was constructed on an expanded pier by SECR, finished in 1914, began to be used on 2 February 1915 but was not available for public use until 18 January 1919; in the meantime it had been renamed Dover Marine on 5 December 1918. It was a large terminus with four platforms covered by a full roof. Platforms were extended to take 12-car trains in February 1959.[6] It was renamed again to Dover Western Docks on 14 May 1979, and was closed by British Rail on 26 September 1994[1] with the demise of boat trains and the opening of the Channel Tunnel. It has since been turned into a cruise-liner terminal.[7]
Work on the new train ferry pier at the station suffered damage worth £300,000 during the Great storm of 1987.[8]
Regie voor Maritiem Transport used to run ferries until 1994 from here to Oostende railway station which connected into Belgian railway line 50A run by NMBS. There was a fast ferry service using the Jetfoil as well as conventional ferries.
The Southern Railway opened a large locomotive depot at the site in 1928. This was closed in 1961 and demolished.