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Robert Devereux, 2nd Earl of Essex (10 November 1565[1] – 25 February 1601), is the best-known of the many holders of the title "Earl of Essex." He was a military hero and royal favourite of Elizabeth I, but following a poor campaign against Irish rebels during the Nine Years' War in 1599, he failed in a coup d'état against the queen and was executed for treason.
Essex was born on 10 November 1565 at Netherwood near Bromyard, in Herefordshire, the son of Walter Devereux, 1st Earl of Essex and Lettice Knollys. His maternal great-grandmother Mary Boleyn was a sister of Anne Boleyn, mother of Queen Elizabeth I, making him a cousin of the Queen, and there were rumours that his grandmother, Catherine Carey, a close friend of Queen Elizabeth's, was Henry VIII's illegitimate daughter.[3]
He was brought up on his father's estates at Chartley Castle, Staffordshire and at Lamphey, Pembrokeshire in Wales and educated at Trinity College, Cambridge.[4] His father died in 1576, The new Earl of Essex became a ward of Lord Burghley. On 21 September 1578 his mother married Robert Dudley, Earl of Leicester, Elizabeth I's long-standing favourite and Robert Devereux's godfather.[5]
Essex performed military service under his stepfather in the Netherlands, before making an impact at court and winning the Queen's favour. In 1590 he married Frances Walsingham, daughter of Sir Francis Walsingham and widow of Sir Philip Sidney, by whom he was to have several children, three of whom survived into adulthood. Sidney, Leicester's nephew, died at the Battle of Zutphen in which Essex also distinguished himself.
Essex first came to court in 1584, and by 1587 had become a favourite of the Queen, who relished his lively mind and eloquence, as well as his skills as a showman and in courtly love. In June 1587 he replaced the Earl of Leicester as Master of the Horse.[6]
He underestimated the Queen, however, and his later behaviour towards her lacked due respect and showed disdain for the influence of her principal secretary, Sir Robert Cecil. On one occasion during a heated Privy Council debate on the problems in Ireland, the Queen reportedly cuffed an insolent Essex round the ear, prompting him to draw his sword on her.
After Leicester's death in 1588, the Queen transferred to Essex the royal monopoly on sweet wines, which the late Earl had held; by this Essex could profit from collecting taxes.
In 1589, he took part in Sir Francis Drake's English Armada, which sailed to Iberia in an unsuccessful attempt to press home the English advantage following the defeat of the Spanish Armada; the Queen had ordered him not to take part in the expedition, but he only returned upon the failure to take Lisbon. In 1591, he was given command of a force sent to the assistance of King Henry IV of France. In 1596, he distinguished himself by the capture of Cadiz. During the Islands Voyage expedition to the Azores in 1597, with Sir Walter Raleigh as his second in command, he defied the Queen's orders, pursuing the treasure fleet without first defeating the Spanish battle fleet.
Essex's greatest failure was as Lord Lieutenant of Ireland, a post which he talked himself into in 1599. The Nine Years War (1595–1603) was in its middle stages, and no English commander had been successful. More military force was required to defeat the Irish chieftains, led by Hugh O'Neill, the Earl of Tyrone, and supplied from Spain and Scotland.
Essex led the largest expeditionary force ever sent to Ireland — 16,000 troops — with orders to put an end to the rebellion. He departed London to the cheers of the Queen's subjects, and it was expected that the rebellion would be crushed instantly. But the limits of Crown resources and of the Irish campaigning season dictated another course. Essex had declared to the Privy Council that he would confront O'Neill in Ulster. But instead, Essex led his army into southern Ireland, fought a series of inconclusive engagements, wasted his funds, and dispersed his army into garrisons. The Irish forces then won several victories. Instead of facing O'Neill in battle, Essex had to make a truce with the rebel leader that was considered humiliating to the Crown and to the detriment of English authority.
In all of his campaigns, Essex secured the loyalties of his officers by conferring knighthoods, an honour which the Queen herself dispensed sparingly. By the end of his time in Ireland, more than half the knights in England owed their rank to Essex. The rebels were said to have joked that "he never drew sword but to make knights." But his practice of conferring knighthoods could in time enable Essex to challenge the powerful factions at Cecil's command.
He was the second Chancellor of Trinity College, Dublin, serving from 1598 to 1601.
Relying on his general warrant to return to England, given under the great seal, Essex sailed from Ireland on 24 September 1599, and reached London four days later. The Queen had expressly forbidden his return and was surprised when he presented himself in her bedchamber one morning at Nonsuch Palace, before she was properly wigged or gowned. On that day, the Privy Council met three times, and it seemed his disobedience might go unpunished, although the Queen did confine him to his rooms with the comment that "an unruly beast must be stopped of his provender."
Essex by Isaac Oliver, c. 1597
Essex appeared before the full Council on 29 September, when he was compelled to stand before the Council during a five hour interrogation. The Council — his uncle William Knollys included — took a quarter of an hour to compile a report, which declared that his truce with O'Neill was indefensible and his flight from Ireland tantamount to a desertion of duty. He was committed to custody in his own York House on 1 October, and he blamed Cecil and Raleigh for the queen's hostility. Raleigh advised Cecil to see to it that Essex did not recover power, and Essex appeared to heed advice to retire from public life, despite his popularity with the public.
During his confinement at York House, Essex probably communicated with King James VI of Scotland through Lord Mountjoy, although any plans he may have had at that time to help the Scots king capture the English throne came to nothing. In October, Mountjoy was appointed to replace him in Ireland, and matters seemed to look up for the Earl. In November, the queen was reported to have said that the truce with O'Neill was "so seasonably made… as great good… has grown by it." Others in the Council were willing to justify Essex's return to Ireland, on the grounds of the urgent necessity of a briefing by the commander-in-chief.
Cecil kept up the pressure and, on 5 June 1600, Essex was tried before a commission of 18 men. He had to hear the charges and evidence on his knees. Essex was convicted, was deprived of public office, and was returned to virtual confinement.
In August, his freedom was granted, but the source of his basic income—the sweet wines monopoly—was not renewed. His situation had become desperate,and he shifted "from sorrow and repentance to rage and rebellion." In early 1601, he began to fortify York House and gather his followers. On the morning of 8 February, he marched out of York House with a party of nobles and gentlemen (some later involved in the 1605 Gunpowder Plot) and entered the city of London in an attempt to force an audience with the Queen. Cecil immediately had him proclaimed a traitor. Finding no support among the Londoners, Essex retreated from the city, and surrendered after the Crown forces besieged York House.
On 19 February 1601, Essex was tried before his peers on charges of treason. Part of the evidence showed that he was in favour of toleration of religious dissent. In his own evidence, he countered the charge of dealing with Catholics, swearing that "papists have been hired and suborned to witness against me." Essex also asserted that Cecil had stated that none in the world but the Infanta of Spain had right to the Crown of England, whereupon Cecil (who had been following the trial at a doorway concealed behind some tapestry) stepped out to make a dramatic denial, going down on his knees to give thanks to God for the opportunity. The witness whom Essex expected to confirm this allegation, his uncle William Knollys, was called and admitted there had once been read in Cecil's presence a book treating such matters (possibly either The book of succession supposedly by an otherwise unknown R. Doleman but probably really by Robert Persons or A Conference about the Next Succession to the Crown of England explicitly mentioned to be by Parsons, in which a Catholic successor friendly to Spain was favored). Essex, however, denied he had heard Cecil make the statement. Thanking God again, Cecil expressed his gratitude that Essex was exposed as a traitor while he himself was found an honest man.
Essex was found guilty and, on 25 February 1601, was beheaded on Tower Green, becoming the last person to be beheaded in the Tower of London. (It was reported to have taken three strokes by the executioner to complete the beheading.) At Sir Walter Raleigh's own treason trial later on, in 1603, it was alleged that Raleigh had said to a co-conspirator, "Do not, as my Lord Essex did, take heed of a preacher. By his persuasion he confessed, and made himself guilty." In that same trial, Raleigh also denied that he had stood at a window during the execution of Essex's sentence, disdainfully puffing out tobacco smoke in sight of the condemned man.
Some days before the execution, Captain Thomas Lee was apprehended as he kept watch on the door to the Queen's chambers. His plan had been to confine her until she signed a warrant for the release of Essex. Capt. Lee, who had served in Ireland with the Earl, and who acted as go-between with the Ulster rebels, was tried and put to death the next day.
Devereux's conviction for treason meant that the earldom of Essex was forfeit, and his son did not inherit the title. However, after the Queen's death, King James I reinstated the earldom in favour of the disinherited son, Robert Devereux, 3rd Earl of Essex.
K / 1/13 dead mask
Death mask of the robber Johann Voboryl, who was executed on 11 August 1902.
An hour after the execution of the delinquent, the dead man was taken from the gallows and a mask of death was taken before the autopsy. The cast should supplement the anthropometric measurement of the later macerated skull. Only in a few cases from executed people dead masks were taken.
K/1/13 Totenmaske
Totenmaske des am 11. August 1902 hingerichteten Raubmörders Johann Voboryl.
Eine Stunde nach der Hinrichtung des Delinquenten wurde der Tote vom Galgen genommen und noch vor der Obduktion eine Totenmaske abgenommen. Der Abguss sollte die anthropometrische Vermessung des später mazerierten Schädels ergänzen. Nur in wenigen Fällen wurden von Hingerichteten Totenmasken abgenommen.
The Vienna Crime Museum is a museum in the 2nd district of Vienna, the Leopoldstadt, in the district of the same name.
Location
The museum, emerging at the end of 1991 at the current location from the Criminal Police Museum of the Federal Police Office Vienna (founded in 1984), successor of the former Imperial-Royal Police Museum (founded in 1899), is situated in the Soap Boiler's house, one of the oldest houses in the second district, in Great Sperl alley 24 (until 1862: Street of the Lords 297). It stands at that place where previously the community hall of the (displaced) Jewish Community had been located and it was built in 1685 (designated on the arch brick of the portal). The name of the house is based on the fact that it was purchased in 1794 by a soap boiler. Today, the museum is located between Karmeliter market and the church of Saint Leopold.
In the courtyard of the building is a café.
Exhibition
Burglar tools of the legendary "Burglar King" Breitwieser
The museum consists of 20 rooms, where the history of the judiciary, the police system and the criminality from the Middle Ages to the new era are presented. Represented there are medieval penal system and the last public executions in Vienna. Furthermore, some interesting criminal cases such as those of the poison-murderer Hofrichter or the case of Josefine Luner from the inter-war period are shown.
The exhibits include numerous original documents and reproductions on criminal cases, crime scene photos and court documents as well as body parts of executed criminals, including the heads of Juliana Hummel and Franz Hebenstreit. After protests, Hebenstreits head 2012 was removed from the collection.
The director of the museum is Harald Seyrl, who has been working on the matter since 1984, suggested the location of the museum and is heading the house since 1991.
Das Wiener Kriminalmuseum ist ein Museum im 2. Wiener Gemeindebezirk, der Leopoldstadt, im gleichnamigen Bezirksteil.
Standort
Das Ende 1991 aus dem Kriminalpolizeilichen Museum der Bundespolizeidirektion Wien (gegründet 1984), Nachfolger des ehem. k.k. Polizeimuseums (gegründet 1899), am heutigen Standort hervorgegangene Museum befindet sich im Seifensiederhaus, einem der ältesten Häuser im 2. Bezirk, in der Großen Sperlgasse 24 (bis 1862: Herrengasse 297). Es steht dort, wo sich zuvor in der (vertriebenen) Judengemeinde das Gemeindehaus befunden hatte, und wurde (bezeichnet am Keilstein des Portals) 1685 errichtet. Der Name des Hauses beruht darauf, dass es 1794 von einem Seifensieder gekauft wurde. Heute liegt das Museum etwa zwischen Karmelitermarkt und Leopoldskirche.
Im Innenhof des Gebäudes befindet sich ein Kaffeehaus.
Ausstellung
Einbruchswerkzeuge des legendären „Einbrecherkönigs“ Breitwieser
Das Museum besteht aus 20 Räumen, in denen die Geschichte der Justiz, des Polizeiwesens und auch die Kriminalität vom Mittelalter bis in die neue Zeit präsentiert wird. Es werden mittelalterlicher Strafvollzug und die letzten öffentlichen Hinrichtungen in Wien dargestellt. Weiters werden einzelne interessante Kriminalfälle wie der des Giftmörders Hofrichter oder der Fall Josefine Luner aus der Zwischenkriegszeit gezeigt.
Zu den Exponaten zählen zahlreiche Originaldokumente und Reproduktionen zu Kriminalfällen, Tatortfotos und Gerichtstexte sowie Körperteile von Hingerichteten Verbrecher, u. a. die Köpfe von Juliana Hummel und von Franz Hebenstreit. Nach Protesten wurde Hebenstreits Kopf 2012 aus der Sammlung entfernt.
Direktor des Museums ist Harald Seyrl, der seit 1984 mit der Materie befasst war, den Standort des Museums vorschlug und das Haus seit 1991 leitet.
A look around The Quarry in Shrewsbury.
Part of the park is known as The Dingle.
The park was first created in 1719.
The part of the park that runs alongside the River Severn.
A statue of Hercules.
The labours of Hercules
The statue of Hercules - a lead copy of the famous Farnese Hercules - dates from the early 18th Century and is attributed to Jan Van Nost. The statue was moved to the entrance of The Quarry in 1851 with his back to the town so as not to offend womenfolk!
He assumed his present position in 1881.
The statue is Grade II listed.
Statue of the Farnese Hercules, Shrewsbury
SHREWSBURY
SJ4812SE THE QUARRY
653-1/14/656 Statue of the Farnese Hercules
30/05/69
(Formerly Listed as:
THE QUARRY (OR THE DINGLE)
Statue of the Farnese Hercules on a
pedestal)
GV II
Statue. Early C18. Possibly by John Nost. Lead figure leaning
on club raised on stone plinth. Inscription on plinth reads
"Copy of the statue executed by the Athenian Sculptor Glycon
and known as the Farnese Hercules". Originally at Condover
Hall.
Listing NGR: SJ4850912384
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Tomb of Henry Howard (d.1547, the monument was erected posthumously about 70 years later. Henry was the younger brother of the 4th Duke of Norfolk and was executed under the orders of Henry VIII.
en.wikipedia.org/wiki/Henry_Howard,_Earl_of_Surrey#:~:tex....
Framlingham was perhaps my most anticipated target of the day, one of the 'big three' of my itinerary that I knew I'd require more time for, and getting later in the afternoon I was increasingly anxious about not arriving here too late. St Michael's is justly renowned for its fine tombs, really special and quite unique, and is an impressive building in its own right. I was fortunately here a while until closing time, and the ladies on duty I met kindly checked I'd got all I wanted before locking up and even gave me access to the organ gallery for some great final views of the interior.
The church announces its presence with its handsome 15th century west tower, poking proudly above the rooftops in the oldest part of the town. The churchyard is set back from the streets and reveals a grand, fairly sprawling building, all apparently late medieval but some of it later still. What strikes the observer most is the way the chancel with its aisles has spread outwards, being of far greater width than the nave, which though of good proportions itself appears rather slim by comparison. The reason for this discrepancy becomes clear within.
Entry is by the south porch and it is immediately clear what an impressive space this is, very much the large town church. The nave is light and crowned by a fine medieval roof and opposite the entrance the eye is drawn to a 15th century mural of the Trinity. At the west end in the gallery is the handsome Baroque organ case of the precious 17th century Thamar organ, its pipes painted with swirling foliate designs. In the north aisle is the medieval font following the classic East Anglian design but less well preserved than some.
Stepping beyond the nave the chancel seems like a separate building, with its aisle split into three vessels of equal height like some great pillared hall. It is light and spacious and at first sight appears a little austere until one notices the cluster of tombs at the east end on either side, which are the reason for this part of the building's existence which was finished only in 1554 in order to house them. The Tudor tombs belong to the family of the Dukes of Norfolk who at the time owned nearby Framlingham Castle and made this church a family mausoleum as a direct consequence of losing their previous chosen resting place, Thetford Priory, to the Dissolution and thus the earlier tombs were transferred from there shortly after they were originally erected.
The tombs are a remarkable expression of English Renaissance design on the cusp of the Reformation and thus still informed as much by medieval precedents as the more standard forms of the following decades. The oldest is that of Henry Fitzroy, Duke of Richmond and illegitimate son of Henry VIII who married in to the Norfolk family. His tomb has no effigy but is adorned with some fetching small-scale reliefs. Much grander is the tomb of the wives of the 4th Duke nearby with recumbent effigies, but for me the most significant tomb here artistically is that of 3rd Duke Thomas Howard to the south of the altar. This remarkable monument is the best example we have of how English Renaissance church art might have blossomed without the Reformation, for the tomb chest is adorned with with a series of carved apostles in the medieval format but in detail wholly Renaissance, the figures in a still familiar on the continent but extremely rare over here. Award for the most colourful tomb however goes to that of Henry Howard on the north side (erected several decades after his execution under Henry VIII) and adorned with richly painted effigies, heraldic beasts and kneeling progeny.
Framlingham church would be worth a visit even without its fine tombs but these monuments make it unmissable, especially as they capture such a snapshot of one of the most turbulent periods of English history. I was duly relieved to have got here before they closed, but the church is generally kept open and welcoming in normal times so those getting less distracted than me en route here shouldn't have to worry so much about getting in.
For more on this fine church see its entry on the Suffolk Churches site below:-
Marines with 3rd Battalion, 1st Marine Regiment, tread through snow covered terrain Feb. 24 at the Sekiyama Training Area in Niigata prefecture, Japan, during Exercise Forest Light 14-2. Snow patrol training was executed to familiarize the Marines on how to build patrol bases in the snow. The Marines are with 3rd Bn., 1st Marines, currently assigned to 4th Marine Regiment, 3rd Marine Division, III Marine Expeditionary Force, under the unit deployment program.
An oil painting of the last meal of Ruben Cantu, believed to be wrongfully convicted and executed in Texas, as painted by death penalty artist Kate MacDonald. 24 x 20", oil on canvas. © Kate MacDonald, All Rights Reserved.
Lisa and Darius execute a bo technique together in class
Created on the 7:35 AM train to work, Monday, November 30. Developed further over breakfast and coffee underground (at Corner Bakery), over lunch at Brightwok, to Chuck Mangione and Herb Alpert ("Route 101"), in the employee break room before my day shifts at work, and on the morning train in the snow in a period of three days. Finished at the end of the midnight hour.
Prismacolor Premier watercolor colored pencils, Prismacolor Ebony graphite drawing pencil, Prismacolor illustration markers, Prismacolor double-ended art marker, Prismacolor Artgum eraser, Prismacolor Premier pencil sharpener
Moleskine red Art Plus sketchbook
5 x 8
2015
ift.tt/1Tm5Kw5 Belgian civilians executed by members of Joachim Peiper's troops of the 1st SS Panzer Division within a day of their murdering 84 Americans captured at Malmedy during the Battle of the Bulge. The civilians were suspected of aiding American troops. Near Stavelot, Belgium, 28 December 1944. [1184x894] #HistoryPorn #history #retro ift.tt/1X8ufTx via Histolines
Hugh Mortimer executed after the Battle of Wakefield 1460. He wears the yorkist collar. He was the son of John Mortimer d1415 Lord of the Manor of Kyre & Martley: and grandson of Roger Mortimer. The manors passed to his elder brother John who died a minor in 1420. Hugh inherited aged 7 and was under the guardianship of Roland Lenthall until his majority. He is thought to have been the builder of the church tower c1450.
Aged 41 he m Eleanor d1520 daughter of Sir Edmund Cornwall of Burford d1435 www.flickr.com/photos/52219527@N00/8544972201/ by Elizabeth Barre,
Children
1 John dsp 1505 m Margaret daughter of John Nevile, Marquess of Montagu,
2. Elizabeth m Sir Thomas West 3rd Lord De la Warr (son Thomas sold the Kyre estates in 1520 to the half-brother of his mother John Croft) (daughter Dorothy m Harry son of David Owen son of Owen Tudor www.flickr.com/photos/52219527@N00/685123040/ )
The alabaster side of the table tomb, with angels holding shields, on which the effigy rested is now over the fireplace of the rectory great hall !
His widow Eleanor m2 Sir John Croft d1509 of Croft www.flickr.com/photos/52219527@N00/8980286632/ having 6 more children
Eleanor outlived both her children by Hugh. She died aged nearly 90 in 1520 and is buried in Croft church in a double effigy with her second husband, who died in 1509.
Rawlins White was burnt at the stake for Heresy for daring to preach a religion other than the catholic faith, during the reign of Mary Tudor. He was burnt at the Old Bethany Chapel in Cardiff (Wales) on 30th March 1555. The plaque and part of the chapel wall still survives today, but bizarrely in the men's clothing section of Howell's Department Store in Cardiff's City Centre.
Justinian Panel -
Showing Emperor Justinian
executed in 547 standing next to court officials, Bishop Maximian, palatinae guards and deacons.
The halo around his head gives him the same aspect as Christ in the dome of the apse and his position emphasises that Justinian is the leader of both church and state of his empire and the mosaic is one of the most famous images of political authority from the middle ages
The mosaic program can also be seen to give visual testament to the two major ambitions of Justinian's reign: as heir to the tradition of Roman Emperors, Justinian sought to restore the territorial boundaries of the Empire. As the Christian Emperor, he saw himself as the defender of the faith. As such it was his duty to establish religious uniformity or Orthodoxy throughout the Empire.
This mosaic thus establishes the central position of the Emperor between the power of the church and the power of the imperial administration and military.
Like the Roman Emperors of the past, Justinian has religious, administrative, and military authority.
Justinian's gesture of carrying the bowl with the bread of the Eucharist can be seen as an act of homage to the True King of Christ
Closer examination of the Justinian mosaic reveals an ambiguity in the positioning of the figures of Justinian and the Bishop Maximianus.
Overlapping suggests that Justinian is the closest figure to the viewer, but when the positioning of the figures on the picture plane is considered, it is evident that Maximianus's feet are lower on the picture plane which suggests that he is closer to the viewer. This can perhaps be seen as an indication of the tension between the authority of the Emperor and the church.
Gérôme exécutant Les Gladiateurs, Monument à Gérôme by (Gérôme Executing The Gladiators, Monument to Gérôme), a bronze sculptural group, by Jean-Léon Gérôme and Aimé Morot, and founded by Eugène Gonon and Adrien-Aurélien Hébrard, was done in two pieces, respectively in 1878 and 1909.
Les Gladiateurs by the painter Gérôme, long believed to be lost, was used by the artist's son-in-law, Aimé Morot, himself a painter and sculptor.
Morot portrayed his father-in-law in the process of sculpting The Gladiators, and so included the original group in his own composition. The group was installed in the gardens of the Louvre as a memorial in 1909.
The portrait of Gérôme gives us a realistic picture of his working conditions: the smock, the tools he is holding, and his surprised glance at the spectator all suggest that he was interrupted in his work and caught in action as if by a snapshot. The gladiators themselves, a helmeted myrmillo and a retiary with his net, sculpted by Gérôme in 1878, are life-sized versions of the two gladiators he had painted six years before. Gérôme was famous for his Neo-Grec tastes and his Orientalism. A stickler for archaeological precision, he arranged for casts of antique gladiators' equipment to be sent from Naples and invested large sums in properties for his Parisian model.
The Musée d'Orsay (The Orsay Museum), housed in the former railway station, the Gare d'Orsay, holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography, and is probably best known for its extensive collection of impressionist masterpieces by popular painters such as Monet and Renoir. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986.
Picture resized for copy-right.
See my selected pic here: www.500px.com/alcuinlai
Statue of the 20th President of the United States located at the Vine Street end of Piatt Park in Cincinnati, which was executed by Charles Niehaus, a local sculptor. Since 1915 the bronze figure has stood here, on a low pedestal. Previously it had been in the center of the street crossing, on a high pedestal, where it annoyed drivers of both buggies and motor cars. The James A. Garfield statue was moved during the renovation of Piatt Park in 1988 and now stands at the Vine Street entrance to the park.
Garfield (1831-81), an Ohio man, was elected President in 1880 and died in the following September, the victim of an assassin's bullet. Garfield Place was named in his honor in 1882. Money raised by popular subscription paid for this statue, with was unveiled in 1887.
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Piatt Park, Cincinnati's first park, was given to the city by brothers John M. and Benjamin M. Piatt in 1817 "for a market space." In 1868, the park was dedicated as Eighth Street Park, and later became known for a period as Garfield Park, because of the statue of James A. Garfield, twentieth President of the United States, which stands in the park area.
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James Abram Garfield (November 19, 1831 – September 19, 1881) served as the 20th President of the United States, after completing nine consecutive terms in the U.S. House of Representatives. Garfield's accomplishments as President included a controversial resurgence of Presidential authority above Senatorial courtesy in executive appointments; energizing U.S. naval power; and purging corruption in the Post Office Department. Garfield made notable diplomatic and judiciary appointments, including a U.S. Supreme Court justice. Garfield appointed several African Americans to prominent federal positions.
Garfield was a self-made man who came from a modest background, having been raised in obscurity on an Ohio farm by his widowed mother and brothers. To finance his education Garfield worked as a carpenter, and in 1856 he graduated from Williams College, Massachusetts. A year later, Garfield entered politics as a Republican, after campaigning for the party's antislavery platform in Ohio. He married Lucretia Rudolph in 1858, and in 1860 was admitted to practice law while serving as an Ohio State Senator (1859–1861). Garfield opposed Confederate secession, served as a Major General in the Union Army during the American Civil War, and fought in the battles of Middle Creek, Shiloh and Chickamauga. He was first elected to Congress in 1863 as Representative of the 19th District of Ohio.
Garfield's presidency lasted just 200 days—from March 4, 1881, until his death on September 19, 1881, as a result of being shot by assassin Charles J. Guiteau on July 2, 1881. Only William Henry Harrison's presidency, of 32 days, was shorter. Garfield was the second of four United States Presidents who were assassinated.
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:-
One of many absurdities executed in our country with the historical heritage: the long promised but never opened railway museum in the place of El Clot del Moro. The lack of political commitment, and personnel mismanagement on the part of its director, was for many years preserved vehicles were abandoned in the open and subject to the effects of the harsh climate of the pre-Pyrenees.
In this picture you can see several abandoned vehicles in the open in the middle of a mountain landscape. (Photo scanned from an original paper).
___________________________________________________________________________
Uno de tantos despropósitos ejecutados en nuestro país con el patrimonio histórico: el siempre prometido, pero nunca abierto, museo del ferrocarril en el paraje del Clot del Moro. La falta de compromiso político, y una pésima gestión personal por parte de su director, llevó a que durante muchos años los vehículos preservados fueran abandonados a la intemperie y sometidos a los efectos del duro clima del pre-Pirineo.
En esta foto se pueden ver varios vehículos abandonados a la intemperie en medio de un paisaje de alta montaña. (Foto escaneada de un original de papel).
700 Uighurs executed, 16.000 imprisoned... who stands up for language, culture and religion of the Uighures gets marked as "Terrorist" by the Chinese government. Alone since March 23, at least 760 Uighures were arrested.
Occupied in 1949, East Turkestan is just one of the countries - besides Tibet and Inner Mongolia - that has been overrun by the Chinese Army more than half a century ago...
In 1949 only five percent of the population of East Turkestan was Chinese.. By official Chinese statistics, Xinjiang (as East Turkestan got named by the Chinese) now has 8.7 million Uighurs and 7.5 million Chinese. In reality the number of Chinese is supposed to be even larger than of the Uighurs.
Chinese authorities had effectively deported hundreds of thousands of Uyghur women between the ages of 15 and 25 to other parts of China under the pretext of providing jobs for them. (But it's actually supposed to recuce the Uighur community to a minimum...)
Many Chinese had been brought to the region to take their places with the aim of eradicating Uyghur culture.
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.
State and New Haven city officials, community organizers and immigration and human rights activists rally in support of the immigrant community in response to U.S. President Donald Trump’s Executive Order on Border Security and Immigration Enforcement, New Haven City Hall, 165 Church Street, New Haven, Connecticut, Thursday, January 26, 2017.
Text of Executive Order of January 25, 2017.
The White House
Office of the Press Secretary
For Immediate Release
January 25, 2017
Executive Order: Border Security and Immigration Enforcement Improvements
EXECUTIVE ORDER
- - - - - - -
BORDER SECURITY AND IMMIGRATION ENFORCEMENT IMPROVEMENTS
By the authority vested in me as President by the Constitution and the laws of the United States of America, including the Immigration and Nationality Act (8 U.S.C. 1101 et seq.) (INA), the Secure Fence Act of 2006 (Public Law 109 367) (Secure Fence Act), and the Illegal Immigration Reform and Immigrant Responsibility Act of 1996 (Public Law 104 208 Div. C) (IIRIRA), and in order to ensure the safety and territorial integrity of the United States as well as to ensure that the Nation's immigration laws are faithfully executed, I hereby order as follows:
Section 1. Purpose. Border security is critically important to the national security of the United States. Aliens who illegally enter the United States without inspection or admission present a significant threat to national security and public safety. Such aliens have not been identified or inspected by Federal immigration officers to determine their admissibility to the United States. The recent surge of illegal immigration at the southern border with Mexico has placed a significant strain on Federal resources and overwhelmed agencies charged with border security and immigration enforcement, as well as the local communities into which many of the aliens are placed.
Transnational criminal organizations operate sophisticated drug- and human-trafficking networks and smuggling operations on both sides of the southern border, contributing to a significant increase in violent crime and United States deaths from dangerous drugs. Among those who illegally enter are those who seek to harm Americans through acts of terror or criminal conduct. Continued illegal immigration presents a clear and present danger to the interests of the United States.
Federal immigration law both imposes the responsibility and provides the means for the Federal Government, in cooperation with border States, to secure the Nation's southern border. Although Federal immigration law provides a robust framework for Federal-State partnership in enforcing our immigration laws and the Congress has authorized and provided appropriations to secure our borders the Federal Government has failed to discharge this basic sovereign responsibility. The purpose of this order is to direct executive departments and agencies (agencies) to deploy all lawful means to secure the Nation's southern border, to prevent further illegal immigration into the United States, and to repatriate illegal aliens swiftly, consistently, and humanely.
Sec. 2. Policy. It is the policy of the executive branch to:
(a) secure the southern border of the United States through the immediate construction of a physical wall on the southern border, monitored and supported by adequate personnel so as to prevent illegal immigration, drug and human trafficking, and acts of terrorism;
(b) detain individuals apprehended on suspicion of violating Federal or State law, including Federal immigration law, pending further proceedings regarding those violations;
(c) expedite determinations of apprehended individuals' claims of eligibility to remain in the United States;
(d) remove promptly those individuals whose legal claims to remain in the United States have been lawfully rejected, after any appropriate civil or criminal sanctions have been imposed; and
(e) cooperate fully with States and local law enforcement in enacting Federal-State partnerships to enforce Federal immigration priorities, as well as State monitoring and detention programs that are consistent with Federal law and do not undermine Federal immigration priorities.
Sec. 3. Definitions. (a) "Asylum officer" has the meaning given the term in section 235(b)(1)(E) of the INA (8 U.S.C. 1225(b)(1)).
(b) "Southern border" shall mean the contiguous land border between the United States and Mexico, including all points of entry.
(c) "Border States" shall mean the States of the United States immediately adjacent to the contiguous land border between the United States and Mexico.
(d) Except as otherwise noted, "the Secretary" shall refer to the Secretary of Homeland Security.
(e) "Wall" shall mean a contiguous, physical wall or other similarly secure, contiguous, and impassable physical barrier.
(f) "Executive department" shall have the meaning given in section 101 of title 5, United States Code.
(g) "Regulations" shall mean any and all Federal rules, regulations, and directives lawfully promulgated by agencies.
(h) "Operational control" shall mean the prevention of all unlawful entries into the United States, including entries by terrorists, other unlawful aliens, instruments of terrorism, narcotics, and other contraband.
Sec. 4. Physical Security of the Southern Border of the United States. The Secretary shall immediately take the following steps to obtain complete operational control, as determined by the Secretary, of the southern border:
(a) In accordance with existing law, including the Secure Fence Act and IIRIRA, take all appropriate steps to immediately plan, design, and construct a physical wall along the southern border, using appropriate materials and technology to most effectively achieve complete operational control of the southern border;
(b) Identify and, to the extent permitted by law, allocate all sources of Federal funds for the planning, designing, and constructing of a physical wall along the southern border;
(c) Project and develop long-term funding requirements for the wall, including preparing Congressional budget requests for the current and upcoming fiscal years; and
(d) Produce a comprehensive study of the security of the southern border, to be completed within 180 days of this order, that shall include the current state of southern border security, all geophysical and topographical aspects of the southern border, the availability of Federal and State resources necessary to achieve complete operational control of the southern border, and a strategy to obtain and maintain complete operational control of the southern border.
Sec. 5. Detention Facilities. (a) The Secretary shall take all appropriate action and allocate all legally available resources to immediately construct, operate, control, or establish contracts to construct, operate, or control facilities to detain aliens at or near the land border with Mexico.
(b) The Secretary shall take all appropriate action and allocate all legally available resources to immediately assign asylum officers to immigration detention facilities for the purpose of accepting asylum referrals and conducting credible fear determinations pursuant to section 235(b)(1) of the INA (8 U.S.C. 1225(b)(1)) and applicable regulations and reasonable fear determinations pursuant to applicable regulations.
(c) The Attorney General shall take all appropriate action and allocate all legally available resources to immediately assign immigration judges to immigration detention facilities operated or controlled by the Secretary, or operated or controlled pursuant to contract by the Secretary, for the purpose of conducting proceedings authorized under title 8, chapter 12, subchapter II, United States Code.
Sec. 6. Detention for Illegal Entry. The Secretary shall immediately take all appropriate actions to ensure the detention of aliens apprehended for violations of immigration law pending the outcome of their removal proceedings or their removal from the country to the extent permitted by law. The Secretary shall issue new policy guidance to all Department of Homeland Security personnel regarding the appropriate and consistent use of lawful detention authority under the INA, including the termination of the practice commonly known as "catch and release," whereby aliens are routinely released in the United States shortly after their apprehension for violations of immigration law.
Sec. 7. Return to Territory. The Secretary shall take appropriate action, consistent with the requirements of section 1232 of title 8, United States Code, to ensure that aliens described in section 235(b)(2)(C) of the INA (8 U.S.C. 1225(b)(2)(C)) are returned to the territory from which they came pending a formal removal proceeding.
Sec. 8. Additional Border Patrol Agents. Subject to available appropriations, the Secretary, through the Commissioner of U.S. Customs and Border Protection, shall take all appropriate action to hire 5,000 additional Border Patrol agents, and all appropriate action to ensure that such agents enter on duty and are assigned to duty stations as soon as is practicable.
Sec. 9. Foreign Aid Reporting Requirements. The head of each executive department and agency shall identify and quantify all sources of direct and indirect Federal aid or assistance to the Government of Mexico on an annual basis over the past five years, including all bilateral and multilateral development aid, economic assistance, humanitarian aid, and military aid. Within 30 days of the date of this order, the head of each executive department and agency shall submit this information to the Secretary of State. Within 60 days of the date of this order, the Secretary shall submit to the President a consolidated report reflecting the levels of such aid and assistance that has been provided annually, over each of the past five years.
Sec. 10. Federal-State Agreements. It is the policy of the executive branch to empower State and local law enforcement agencies across the country to perform the functions of an immigration officer in the interior of the United States to the maximum extent permitted by law.
(a) In furtherance of this policy, the Secretary shall immediately take appropriate action to engage with the Governors of the States, as well as local officials, for the purpose of preparing to enter into agreements under section 287(g) of the INA (8 U.S.C. 1357(g)).
(b) To the extent permitted by law, and with the consent of State or local officials, as appropriate, the Secretary shall take appropriate action, through agreements under section 287(g) of the INA, or otherwise, to authorize State and local law enforcement officials, as the Secretary determines are qualified and appropriate, to perform the functions of immigration officers in relation to the investigation, apprehension, or detention of aliens in the United States under the direction and the supervision of the Secretary. Such authorization shall be in addition to, rather than in place of, Federal performance of these duties.
(c) To the extent permitted by law, the Secretary may structure each agreement under section 287(g) of the INA in the manner that provides the most effective model for enforcing Federal immigration laws and obtaining operational control over the border for that jurisdiction.
Sec. 11. Parole, Asylum, and Removal. It is the policy of the executive branch to end the abuse of parole and asylum provisions currently used to prevent the lawful removal of removable aliens.
(a) The Secretary shall immediately take all appropriate action to ensure that the parole and asylum provisions of Federal immigration law are not illegally exploited to prevent the removal of otherwise removable aliens.
(b) The Secretary shall take all appropriate action, including by promulgating any appropriate regulations, to ensure that asylum referrals and credible fear determinations pursuant to section 235(b)(1) of the INA (8 U.S.C. 1125(b)(1)) and 8 CFR 208.30, and reasonable fear determinations pursuant to 8 CFR 208.31, are conducted in a manner consistent with the plain language of those provisions.
(c) Pursuant to section 235(b)(1)(A)(iii)(I) of the INA, the Secretary shall take appropriate action to apply, in his sole and unreviewable discretion, the provisions of section 235(b)(1)(A)(i) and (ii) of the INA to the aliens designated under section 235(b)(1)(A)(iii)(II).
(d) The Secretary shall take appropriate action to ensure that parole authority under section 212(d)(5) of the INA (8 U.S.C. 1182(d)(5)) is exercised only on a case-by-case basis in accordance with the plain language of the statute, and in all circumstances only when an individual demonstrates urgent humanitarian reasons or a significant public benefit derived from such parole.
(e) The Secretary shall take appropriate action to require that all Department of Homeland Security personnel are properly trained on the proper application of section 235 of the William Wilberforce Trafficking Victims Protection Reauthorization Act of 2008 (8 U.S.C. 1232) and section 462(g)(2) of the Homeland Security Act of 2002 (6 U.S.C. 279(g)(2)), to ensure that unaccompanied alien children are properly processed, receive appropriate care and placement while in the custody of the Department of Homeland Security, and, when appropriate, are safely repatriated in accordance with law.
Sec. 12. Authorization to Enter Federal Lands. The Secretary, in conjunction with the Secretary of the Interior and any other heads of agencies as necessary, shall take all appropriate action to:
(a) permit all officers and employees of the United States, as well as all State and local officers as authorized by the Secretary, to have access to all Federal lands as necessary and appropriate to implement this order; and
(b) enable those officers and employees of the United States, as well as all State and local officers as authorized by the Secretary, to perform such actions on Federal lands as the Secretary deems necessary and appropriate to implement this order.
Sec. 13. Priority Enforcement. The Attorney General shall take all appropriate steps to establish prosecution guidelines and allocate appropriate resources to ensure that Federal prosecutors accord a high priority to prosecutions of offenses having a nexus to the southern border.
Sec. 14. Government Transparency. The Secretary shall, on a monthly basis and in a publicly available way, report statistical data on aliens apprehended at or near the southern border using a uniform method of reporting by all Department of Homeland Security components, in a format that is easily understandable by the public.
Sec. 15. Reporting. Except as otherwise provided in this order, the Secretary, within 90 days of the date of this order, and the Attorney General, within 180 days, shall each submit to the President a report on the progress of the directives contained in this order.
Sec. 16. Hiring. The Office of Personnel Management shall take appropriate action as may be necessary to facilitate hiring personnel to implement this order.
Sec. 17. General Provisions. (a) Nothing in this order shall be construed to impair or otherwise affect:
(i) the authority granted by law to an executive department or agency, or the head thereof; or
(ii) the functions of the Director of the Office of Management and Budget relating to budgetary, administrative, or legislative proposals.
(b) This order shall be implemented consistent with applicable law and subject to the availability of appropriations.
(c) This order is not intended to, and does not, create any right or benefit, substantive or procedural, enforceable at law or in equity by any party against the United States, its departments, agencies, or entities, its officers, employees, or agents, or any other person.
DONALD J. TRUMP
THE WHITE HOUSE,
January 25, 2017.
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.
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.
.photo executed with the reversed lens technique.
.e eu lembrei taaanto do 'macroboy' e da 'dona do minimundo' ,
enquanto fotografava o meu jardim do silêncio. (^.^)
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.
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, when all it's stained glass had 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).
For more see below:-
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.
What Do I See? (What They Do To Me?)©
Execute my fears, kill them, blow them all away with relief
Have a blast, have a say, let this moment have it's way
Fine weather, a pretty face, flirty eyes opening the door of passionate belief
A name, a redefined mood for disposable concoction of utter dismay
And here we are presiding over burning formulae for icy morning
The blue sky has an Anglian sunrise for it's blessed crowning
Song two fills my head, seeking and destroying the webs of waste
Not yet fully awake my sleepy thoughts exorcise toxins conceit
Something inside so sulphuric, spiteful and slighted by taste
Disharmonious with the Zen of flow before the tri-coloured repeat
An undeclared war of zones one and two, the spell of present ages
Fanatical powers fire our hatred, for imagination to repel the facing pages
Torn, burnt, damaged and lost from a fingertip switch of chi-annal
This unfinished story of indigestible med to pacify the docs of admin
Creating the other me from a science that heaves to political throe of channel
No cure for the broken spine that must take it all on the chin
Weak yet keeping a distance the touch of pain seems such a conspiracy
Where apathy retains youth, health grows old and out of sight from deliracy
However, every feeling is labelled meticulously, dated methodically
And hurt medically...vigour poisoned by every medic looking out for himself
My Soul is fractured left right and central to spinal sensations lost analogically
Walk away if it could my anger is blue like my breath numbing itself
Designing hygiene for the senses acquiescent, my severed nerves cut off from reality
They increase the prescription! I wish to avenge sevenfold their hospitality
Change tack! it really is nice out, the sunbeams pole-dance the trees with ease
Light is the greatest dancer, the erotic benefice of anguished posterity
One morning after She looks as sexy as ever, this pneumatic heartbeat tease
With a withy whipped-up enthusiasm She is the Gloria of salvation and temerity
No more do I wish to see the twibilled surgical topping
For my sensual natural lover is atop my senses for the pain She is a heart stopping.
by anglia24
09h35: 09/12/2008
©2008anglia24
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:-
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)
The Postcards
These two postcards cards don't bear a publisher's name, although they obviously share the same publisher as they have the same reference number (PT6425) on the back. Both cards were printed in Great Britain.
Both photographs were taken from exactly the same postion.
A really ugly building has appeared in the upper photograph in the location which is just an empty plot of land in the lower photograph.
Both cards were posted in Bristol, and both were sent to:
Mrs. McLean,
71, Falcon Avenue,
Edinburgh 10.
The upper card was posted on Sunday the 1st. September 1968. The message on the divided back was as follows:
"Enjoying my holiday and
having lovely weather.
Hope you got my letter.
I'm travelling home on
Sunday. Margaret and
Malcolm are fine. Margaret
started work this morning
after 8 weeks' holiday.
Your letter arrived.
Hope to see you soon,
Jean xx"
The lower card was posted on Saturday the 2nd. August 1969, paradoxically nearly a year later than the other card with the ugly building. The message on the divided back was as follows:
"Having a nice holiday with
Margaret and Malcolm.
I have bought a house and
it is in a very quiet place.
Big garden so I'm really
busy.
Will drop you a line sometime.
Jean xxx"
Mohamed Atta and the World Trade Center
So what else happened on the day that Jean posted the upper card?
Well, on the 1st. September 1968, Mohamed Atta was born in Egypt. He was the terrorist who led the hijacking of American Airlines Flight 11 and destroyed the World Trade Center North Tower during the 9/11 attacks.
In piloting Flight 11 into the North Tower, Atta killed himself and 1,493 people in a single day.
Richard Nixon and Nicolae Ceausescu
And what else happened on the day that Jean posted the lower card?
Well, on the 2nd. August 1969, Richard Nixon became the first incumbent U.S. president to visit the capital of a Communist nation. He arrived in Bucharest, Romania, as the guest of Romanian President Nicolae Ceaușescu.
Twenty years later, during the Romanian Revolution of 1989, Ceaușescu and his wife Elena fled the capital in a helicopter, but were captured by the armed forces after they changed their loyalty.
On the 25th. December 1989, after being tried and convicted of economic sabotage and genocide, they were immediately executed by firing squad.
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...
Monument to Queen Victoria. 1906. Executed by Herbert Hampton and presented by Lord Ashton. Portland stone ashlar with bronze reliefs and statuary. The principal elements are a large square plinth, surrounded by bas-relief panels, and a tall pedestal on which stands a statue. The plinth, approx 7m square and mounted on 2 steps, is hollow-sided with rounded corners; its base is shaped as a seat with a hollowed back-rest. Beneath a prominent cornice, its sides are filled with large bas-reliefs portraying groups of eminent Victorians, framed by bronze pilasters, and its corners are occupied by exuberantly executed high-relief representations of Wisdom, Truth, Liberty and Justice, each with a seated woman surrounded by angels and putti. On top of the plinth, seated lions at the corners guard a tall tapered pedestal, on which stands the statue of the Queen, elderly but sternly regal; she is bearing a mace and facing the Town Hall (qv) on the south side of the Square. The south side of the pedestal bears an inscription in bronze lettering - 'VICTORIA 1837-1901' - beneath a roundel carved with the Royal Arms, and the north side has an inscription in similar lettering: 'GIVEN TO HIS NATIVE TOWN BY LORD ASHTON A.D. 1906'. EH Listing
Hugh Mortimer executed after the Battle of Wakefield 1460. He wears the yorkist collar. He was the son of John Mortimer d1415 Lord of the Manor of Kyre & Martley: and grandson of Roger Mortimer. The manors passed to his elder brother John who died a minor in 1420. Hugh inherited aged 7 and was under the guardianship of Roland Lenthall until his majority. He is thought to have been the builder of the church tower c1450.
Aged 41 he m Eleanor d1520 daughter of Sir Edmund Cornwall of Burford d1435 www.flickr.com/photos/52219527@N00/8544972201/ by Elizabeth daughter of Sir Thomas Barre by Alice daughter of Richard , 4th Baron Talbot d1396 and Ankaret le Strange, 7th Baroness Strange of Blackmere. (Sister of John Talbot Earl of Shrewsbury www.flickr.com/photos/52219527@N00/7361308108/ )
Children
1 John dsp 1505 m Margaret daughter of John Nevile, Marquess of Montagu,
2. Elizabeth m Sir Thomas West 3rd Lord De la Warr
Thomas son of Elizabeth & Thomas sold the Kyre estates in 1520 to the half-brother of his mother John Croft,
The alabaster side of the table tomb, with angels holding shields, on which the effigy rested is now over the fireplace of the rectory great hall !
His widow Eleanor m2 Sir John Croft d1509 of Croft www.flickr.com/photos/52219527@N00/8980286632/ having 6 more children
Eleanor outlived both her children by Hugh. She died aged nearly 90 in 1520 and is buried in Croft church in a double effigy with her second husband, who died in 1509.
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.
- From the 1798 rebellion, to the 1916 Easter Rising, the Anglo Irish War (1919-21), to the devastation of the Irish Civil War (1922-23) all these important events have a chapter in the story of Kilmainham Gaol .. ' James Connelly was Executed Here .. 12th May 1916 ' - 4 -
Hugh Mortimer executed after the Battle of Wakefield 1460. He wears the yorkist collar. He was the son of John Mortimer d1415 Lord of the Manor of Kyre & Martley: and grandson of Roger Mortimer. The manors passed to his elder brother John who died a minor in 1420. Hugh inherited aged 7 and was under the guardianship of Roland Lenthall until his majority. He is thought to have been the builder of the church tower c1450.
Aged 41 he m Eleanor d1520 daughter of Sir Edmund Cornwall of Burford d1435 www.flickr.com/photos/52219527@N00/8544972201/ by Elizabeth Barre,
Children
1 John dsp 1505 m Margaret daughter of John Nevile, Marquess of Montagu,
2. Elizabeth m Sir Thomas West 3rd Lord De la Warr (son Thomas sold the Kyre estates in 1520 to the half-brother of his mother John Croft) (daughter Dorothy m Harry son of David Owen son of Owen Tudor www.flickr.com/photos/52219527@N00/685123040/ )
The alabaster side of the table tomb, with angels holding shields, on which the effigy rested is now over the fireplace of the rectory great hall !
His widow Eleanor m2 Sir John Croft d1509 of Croft www.flickr.com/photos/52219527@N00/8980286632/ having 6 more children
Eleanor outlived both her children by Hugh. She died aged nearly 90 in 1520 and is buried in Croft church in a double effigy with her second husband, who died in 1509.
Mighty Eighth Air Force Museum
On 1 August 1943 a force consisting of five groups flying B-24D Liberators, totaling 178 aircraft, was launched from airfields around Benghazi, Libya. Their mission was to execute a low-level attack on the German-held oil refinery complex at Ploesti, Rumania. The Ploesti complex was supplying one third of the oil requirements of the Nazi war machine. The mission was code named TIDAL WAVE. Precise timing and navigation were essential to the success of this long, arduous, and extremely hazardous mission.
Difficulties began when the force encountered foul weather over Albania and Yugoslavia. The two lead groups, the 376th with mission commander Brigadier General Uzal Ent and the 93rd, became separated from the 98th, 44th, and 389th Bomb Groups that followed. This precarious gap in the bomber stream became critical when the 376th's lead aircraft misidentified the Initial Point of the bomb run and turned too early. The leading bombers were on a course that took them toward Bucharest, the Rumanian capitol, and away from Ploesti. Discovering their mistake as they approached Bucharest, they made a turn back toward Ploesti. The confused, unplanned turns threw the formation integrity and attack plans for the two lead groups into disarray. General Ent broke radio silence and ordered the two groups to bomb any target at will.
The 93rd Bomb Group's formation broke up. Part of the unit flew to the north of Ploesti, while the remainder turned southwest. This portion of the 93rd headed for the Columbia Aquila refinery, known as Target White V in the TIDAL WAVE plan. This was the target assigned to the 44th Bomb Group, known as the Flying Eight Balls, but the 93rd bore in on the refinery on a course nearly perpendicular to the 44th's attack route. The 93rd's B-24s arrived over White V just ahead of the 44th and released their loads of short-fused 1000 lb. bombs.
The diorama before you depicts the arrival of the 44th Bomb Group's first four B-24s over Target White Five. In the lead is "Suzy- Q." flown by Major William Brandon with group commander Colonel Leon Johnson flying in the co-pilot's position. Off the left wing is "Bewitching Witch," borrowed from the 376th for the Ploesti raid and flown by 1st Lieutenant Reginald Carpenter. On the right flank is 1st Lieutenant Edward R. Mitchell's "Horse Fly." Bringing up the rear is the lead ship of the 44th's second element, "Buzzin Bear," flown by Captain William R. Cameron.
The Flying Eight Balls, leading the last wave of the attack force, arrived on time and on course to their assigned target. Colonel Johnson led his group into the inferno to deliver its bombs as planned, miraculously avoiding collisions with the 93rd aircraft coming off of the target ahead of the 44th.
All of the thirty-seven aircraft launched by the 44th reached the target. Seven were lost to anti-aircraft fire in the target area or to enemy fighters during the flight out. Four more were lost on the flight home, ditching or bailing out due to battle damage. The 44th claimed 13 enemy aircraft destroyed. It was estimated that the refinery lost 100% of its production capacity for six months after the raid. For his intrepidity and courage in leading the 44th Bomb Group in its determined attack in the face of the unknown dangers of a refinery already afire and exploding, Colonel Leon W. Johnson was awarded our nation's highest decoration, the Medal of Honor.
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
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:-