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The Martyrdom of the Ten Thousand, c.1508-09
Workship of Hans Leu the Elder
From The Renaissance Nude
(March to June 2019)
Trace the development of the nude through some of the great masters of the Renaissance. Bringing together works by artists such as Titian, Raphael, Michelangelo, Leonardo, Dürer and Cranach, we shed light on a visual tradition at its most vital moment.
The 15th and 16th centuries were a pivotal time for the nude in Western art. A renewed interested in ancient Greek and Roman art brought the human body to the forefront of artistic innovation. Artists on both sides of the Alps – Perugino, Pollaiuolo and Gossaert among others – were copying from classical models, experimenting with naturalistic approaches, as well as exploring new, non-religious subject matter.
At the same time, the nude was transforming Christian art, encouraging modern and dynamic representations of age-old themes, from the story of Adam and Eve to the crucifixion.
This spectacular exhibition explores these important changes in a selection of exquisite works. From full-scale paintings to jewel-like illustrations, bronze statuettes to anatomical studies, they contrast idealised beauty with the ageing body, and public images with more intimate, private works.
[Royal Academy]
Very well executed miniature from Norev, perfectly scalled, exellent detail. Only slight gripe is the metallic paint, not up to their usual standard. 1/18.
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)
Lookout Tower, executed by American sculptor Jim Dine in 1990, is part of the Hakone Open-Air Museum Collection and displayed on the streets of Marunouchi, as organized by Mitsbushi Estate Co. Ltd.
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"
What a gadget to execute your covert operation! This sunglasses will allow you to film things that you cannot practically look at and this is where our sci-fi spy sunglasses with bilateral cameras come into action. The cameras are built into the arms of the glasses filming your peripheral vision - sideways in other words. You can record either the left side or the right side, and change with one button push on the frame of the glasses. The Video recording is done one the included Wireless Digital Video Recorder. The device also records the audio at the same time. The glasses are attractive but discreet to minimize attention.
MP4 Receiver Specifications
Memory: 128MB
External Memory: Up to 2GB (SD card, NOT included)
Display: 2.4 Inch LCD
Video Capture Format: ASF
Video Capture Resolution: 320x240
FPS (Frames per Second): 25fps
Audio Record Format: 4bit WMA
Viewing Format: AVI, MPEG1, MPEG2, MPEG4, VOB, DAT, ASF
Music Format: MP3, WMA, OGG, AC3
Bit rate: 32~320Kbps
Picture Format: JPEG
Earphone Jack: 3.5mm-10mW+10mW
Output of Built In Speaker: 20mW
Receiving Frequency: 2.414GHz, 2.432GHz, 2.450GHz, 2.468GHz
Frequency Stabilization: +/-100Khz
Receiving Sensitivity: <-85dBm
Channels Available: 4
Channel Scan and Channel Skip for multiple Cameras
AV OUT/IN (NTSC/PAL)
SNR(Signal to Noise Ratio): 85dB
Languages: English, Russian, Italian, Spanish, Chinese, French, German
USB: 2.0
Power Source: 3.6 V 1300mAh Battery, 5 VDC Mains Connection
Dimensions: 102x71x25
Camera Specifications
Image Device: 2 Colour CMOS Sensors
TV system: PAL [Note: PAL is the color system for Europe but since the spy sunglasses work with the supplied (PAL) receiver it will not cause any problem for US users unless attempting to record onto an NTSC format recorder.
Angular Field of View: 60 Degrees
Synchronization System: Internal
Backlight Compensation: Auto
White Balance: Auto
Transmission Frequencies (4 Channels): 2.414GHz, 2.432GHz, 2.450GHz, 2.468GHz
Locked Frequencies
Output Power: 10mW
Power Adapter: Internal 60mAh Battery (Approx 50 mins Operating Time
Transmission Range: 15 meters Line of Sight
Built In Microphone: Max Audio Range 4 Meters
Dimension: 141mm front width, 40mm eyepiece height, 124mm arm length
Other Features:
Stylish Glasses
Built In Calendar on Receiver
Accessories:
Solar Charger with Cables
User Manual
Earphones
USB Cord
AV Out Cord (3x RCA to 3.5mm )
Power Adapter
Mini CD with Driver and Conversion Software
Storage Wallet for Receiver
Click here for more info www.spyforge.com/Spy-Sunglasses-with-Bilateral-Lenses--Rs...
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:-
Boldly executed Neo-Gothic Barge Boards and Stonework decorate Glazebrook Station. It was the same at other C.L.C Stations on this line, along with the original station at Partington on the Stockport (Tiviot Dale) line. Partington Station was replaced with an almost identical building, along with Irlam Station, when the Manchester Ship Canal was built in the 1890s.
I made a black hole with some fitters the pen tool and i just got the symbol and the scissors and put them together.
Washington, executed by Donald De Lue and Bryant Baker in 1959, was dedicated adjacent to the New Orleans Public Library on February 2, 1960 to mark the Lousiana Grand Lodge, Free and Accepted Order of Masons' sesquicentennial. The monument features a full length heroic figure of George Washingtn, striding forward, in a Masonic apron.
ift.tt/1UcwcJA General Hideki Tojo Receiving Treatment after He Attempted Suicide with a Pistol (He was Executed Three Months Later) Japan, 1945 [802 × 619] #HistoryPorn #history #retro ift.tt/1P2Vd8r via Histolines
This morning (Thursday 15 January 2026), officers executed an arrest warrant at an address on Brooklands Avenue, Chadderton, resulting in three arrests.
A 26-year-old man was arrested on suspicion of possession with intent to supply Class A, B, and C drugs, as well as possession of offensive weapons. A man aged 62, and a woman aged 61, were also arrested on suspicion of being concerned in the supply of drugs.
The warrant was the culmination of a thorough investigation by Chadderton’s Neighbourhood Team, who remain committed to tackling drug supply and misuse across the borough.
Acting on intelligence provided by the local community, officers identified the address as a suspected hub for drug activity. Police Sergeant Tom Layton and PC Aleks Gornisiewicz led the investigation, securing sufficient evidence to obtain today’s warrant.
Upon entry, officers located a man in an attic bedroom. Officers were able to seize drugs located in the bedroom.
Inside the property, officers discovered a variety of Class A, B, and C drugs, including suspected cocaine, nitrous oxide, and cannabis. Several bladed weapons—such as axes, machetes, and zombie knives were also seized, along with multiple mobile phones and luxury items.
The three suspects currently remain in custody for further questioning and all seized drugs will be transported to our labs for testing.
PS Tom Layton from the Chadderton Neighbourhood team said: "Today’s warrant was a great success, made possible thanks to vital intelligence from our community.
“I want residents to know that we are here to listen and act on your concerns. As a Neighbourhood Sergeant, my priority is keeping our community safe.
“Greater Manchester Police is relentless in tackling the supply and use of drugs across the force, and I am deeply committed to that mission here in Oldham.
“We have zero tolerance for offensive weapons and removing them from our streets remains an absolute priority.
“I urge anyone with information about criminal activity to come forward. Today’s warrant demonstrates just how crucial community intelligence is and how we act on it to protect you."
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
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)
Huntsville, Texas.
At the Captain Joe Byrd Cemetery in Huntsville, Texas, inmates of state prisons are buried whenever no one claims their bodies.
The Huntsville Unit, also called the Walls Unit, is the oldest state prison in Texas. It is the prison where the State of Texas kills the prisoners sentenced to death. Since the death penalty was reinstated in 1982 more than 500 people have been executed at the Huntsville Unit.
The court appointment of Velázquez gave him few opportunities for religious painting, and only occasionally did he execute subject pictures, except during his Italian journeys. He was little influenced by other artists, though he profited from the Titians in the Spanish Royal Collection, and the visit of Rubens in 1628, which was his first contact with a great living painter, who was also a court painter. Whether or not it was Rubens who inspired him to visit Italy, it was due to Rubens's influence that he obtained permission to go. He left in August 1629, visited Genoa, Venice, Rome and Naples (where he met Ribera) and returned to Madrid in 1631. The Joseph's Bloody Coat Brought to Jacob shows his preoccupation with the male nude.
Inspired by his study of Titian, but never lapsing into mere imitation, Velázquez has softened his line in this painting, which was completed in Rome in the year 1630. These influences are clearly illustrated by the detail of the little dog in the foreground of the picture, a feature often found in Tintoretto.
The composition of this picture portrays the dramatic climax of the Biblical story, when the garments of Joseph, sold into slavery by his brothers, are dipped in the blood of a goat and shown to his old father Jacob, to make him believe that his favorite son is dead. The physical reactions of the participants in this grim story are very forcefully depicted. The setting is a large hall with its floor tiled in a chessboard pattern, a frequent element in the works of both Titian and Tintoretto. In the background, there is a view of a beautifully painted landscape.
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.
Daniel 2:24-33 (NLT)
24 Then Daniel went in to see Arioch, whom the king had ordered to execute the wise men of Babylon. Daniel said to him, “Don’t kill the wise men. Take me to the king, and I will tell him the meaning of his dream.”
25 Arioch quickly took Daniel to the king and said, “I have found one of the captives from Judah who will tell the king the meaning of his dream!”
26 The king said to Daniel (also known as Belteshazzar), “Is this true? Can you tell me what my dream was and what it means?”
27 Daniel replied, “There are no wise men, enchanters, magicians, or fortune-tellers who can reveal the king’s secret. 28 But there is a God in heaven who reveals secrets, and he has shown King Nebuchadnezzar what will happen in the future. Now I will tell you your dream and the visions you saw as you lay on your bed.
29 “While Your Majesty was sleeping, you dreamed about coming events. He who reveals secrets has shown you what is going to happen. 30 And it is not because I am wiser than anyone else that I know the secret of your dream, but because God wants you to understand what was in your heart.
31 “In your vision, Your Majesty, you saw standing before you a huge, shining statue of a man. It was a frightening sight. 32 The head of the statue was made of fine gold. Its chest and arms were silver, its belly and thighs were bronze, 33 its legs were iron, and its feet were a combination of iron and baked clay.
DRAWING NOTES:
TIME OF DAY:
Unspecified in the Bible narrative.
LIGHTING NOTES:
Simple lighting from above left illuminates this scene.
CHARACTERS PRESENT:
From left to right: The statue in the king’s dream, king Nebuchadnezzar and Daniel.
RESEARCH/ADDITIONAL NOTES:
There are two versions of this scene:
01) (This page) Daniel 02 - Daniel interprets the dream - Scene 01 - Statue (Green version). In which the dream image background is green in colour.
02) (Next page) Daniel 02 - Daniel interprets the dream - Scene 01 - Statue (Blue version). This is the same picture, except that the dream image has a dark blue background, with stars in the sky.
I have seen a few illustrations of the statue in king Nebuchadnezzar’s dream which usually show it from the front or side and they don’t look particularly awe inspiring or frightening to me! Daniel 2 verse 1 states that the king was disturbed by the dream, so I thought I’d draw a vastly foreshortened statue, as if we (the viewer) were before it, and have the thing towering over us, looking down and reaching down towards the viewer. I think that would be a lot more disturbing!
If you look at the king’s expression I think I’ve managed to show him looking disturbed!
I enjoyed drawing the various different elements of the statue: the shiny gold head, the highly reflective silver chest and arms, the bronze belly and thighs. I decided to draw the iron of the legs as pitted, rough iron, but not rusted. Similarly the feet have the same look, with the baked clay appearing as random pieces interspersed in them.
Although I drew king Nebuchadnezzar in early 2010, the scenes in which he appears are heavily influenced by the colours from the fiery furnace, and so his clothing, skin and hair colours were not properly established at that time. I have now created a character sheet, with his clothing, skin and hair colour noted, so that I can create matching colour schemes in all future scenes, which greatly aids continuity of design, regardless of how long it is between drawings.
See this & many more cartoon illustrations on my website: www.biblecartoons.co.uk
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:-
Nurse Edith Cavell was executed by German forces during WWI as she had aided British POWs to escape.
There was great diplomatic efforts to have her death sentence commuted or delayed, but to no avail.
She was shot by eight soldiers, and in time, her body was repatriated, the wagon her body was carried from Dover is the same used for the body of the Unknown Soldier.
The luggage wagon usually rests at Bodiham on the Kent and East Sussex Railway, but for November it has been brought back to the former Dover Marine station.
I got tickets, so after lunch we would visit, not just to see the wagon and pay our respects, but the station is now a cruise terminal, and is rarely open to the public, and it had been a decade or so since my last visit.
I slept late, late enough so that Jools driving off to yoga woke me up at ten past six. Outside rain was bouncing down, and there was the bins to do.
I got up and put them out, dodging the raindrops, and back inside to make a coffee.
With rain expected all day, other than doing to the station after lunch, not much else planned, whilst Jools had her craft and gossip morning at the village library.
Jools came back from yoga as I was finishing my coffee, so I made breakfast giving her an hour before she had to leave again.
I listened to podcasts and watched videos for the morning, not much else to do, really.
Sadly, we had what we thought was the plumber coming to fix the overflow, but instead Craig came to touch up some paint in the toilet.
So Jools stayed home and I drove down to the Western Docks, over the flyover, past the former Lord Warden Hotel, then round to where lines from London entered Dover Marine, forming a large flat crossing in a tangle of lines.
You can still see how the lines used to curve west to join the main line to Folkestone, but is now concreted over, as are the tracks between the platforms, so to create a large flat parking area for cruisers.
I showed my ticket, and walked up through the central arch along what was the path of platforms 2 and three, past the former station buildings and under the footbridge.
At the far end there was the wagon, so I walked up, showed my ticket again, had my name ticked off, and went to look inside.
Inside there is a coffin, a replica of the one that brought the body of the unknown soldier back from France, and on the walls there were information boards on the only three bodies to be brought back from the war.
I exited it, took shots all around it, then walked to the war memorial, which is a splendid thing, and should be more accessible.
And I was done.
I thanked the volunteers and walked out, getting shots of the walkway linking the former hotel with the station and the Admiralty pier before taking shelter from the rain in the car and driving home.
I had been gone all of 40 minutes.
Once back I began to cook dinner/lunch: chicken pie, roast potatoes, steamed leeks, sprouts and spring greens, gravy and shop bought Yorkshire puddings.
It was all done by four, by which time Craig had done two coats of paint and had left.
I poured a beer and a cider, then dished up, the potatoes lovely and crunchy, without being burnt.
I won the music quiz at six, which was nice, then after washing up I settled down to watch Northern Ireland play in Slovakia.
A poor game, ended 1-0 to the home side, but Northern Ireland go to the play-offs anyway.
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Edith Louisa Cavell (/ˈkævəl/ KAV-əl; 4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for treating wounded soldiers from both sides without discrimination during the First World War and for helping some 200 Allied soldiers escape from German-occupied Belgium. Cavell was arrested, court-martialled under German military law and sentenced to death by firing squad. Despite international pressure for mercy, the German government refused to commute her sentence, and she was shot. The execution received worldwide condemnation and extensive press coverage.
The night before her execution, she said, "Patriotism is not enough. I must have no hatred or bitterness towards anyone". These words were inscribed on the Edith Cavell Memorial[1] opposite the entrance to the National Portrait Gallery near Trafalgar Square. Her strong Anglican beliefs propelled her to help all those who needed it, including both German and Allied soldiers. She was quoted as saying, "I can't stop while there are lives to be saved."[2] The Church of England commemorates her in its Calendar of Saints on 12 October.
Cavell, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium.
In November 1914, after the German occupation of Brussels, Cavell began sheltering British soldiers and funnelling them out of occupied Belgium to the neutral Netherlands. Wounded British and French soldiers as well as Belgian and French civilians of military age were hidden from the Germans and provided with false papers by Prince Réginald de Croÿ at his château of Bellignies near Mons. From there, they were conducted by various guides to the houses of Cavell, Louis Séverin, and others in Brussels, where their hosts would furnish them with money to reach the Dutch frontier, and provide them with guides obtained through Philippe Baucq.[18] This placed Cavell in violation of German military law.[4][19] German authorities became increasingly suspicious of the nurse's actions, which were further fuelled by her outspokenness.
The night before her execution, Cavell told the Reverend H. Stirling Gahan, the Anglican chaplain of Christ Church Brussels, who had been allowed to see her and to give her Holy Communion, "I am thankful to have had these ten weeks of quiet to get ready. Now I have had them and have been kindly treated here. I expected my sentence and I believe it was just. Standing as I do in view of God and Eternity, I realise that patriotism is not enough, I must have no hatred or bitterness towards anyone."[30][31] These words are inscribed on her statues in London and in Melbourne, Australia.[32][33] Cavell's final words to the German Lutheran prison chaplain, Paul Le Seur, were recorded as, "Ask Father Gahan to tell my loved ones later on that my soul, as I believe, is safe, and that I am glad to die for my country.
en.wikipedia.org/wiki/Edith_Cavell
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Situated on Admiralty Pier for connection to ships, this was constructed on an expanded pier by SECR, finished in 1914, began to be used on 2 February 1915 but was not available for public use until 18 January 1919; in the meantime it had been renamed Dover Marine on 5 December 1918. It was a large terminus with four platforms covered by a full roof. Platforms were extended to take 12-car trains in February 1959.[6] It was renamed again to Dover Western Docks on 14 May 1979, and was closed by British Rail on 26 September 1994[1] with the demise of boat trains and the opening of the Channel Tunnel. It has since been turned into a cruise-liner terminal.[7]
Work on the new train ferry pier at the station suffered damage worth £300,000 during the Great storm of 1987.[8]
Regie voor Maritiem Transport used to run ferries until 1994 from here to Oostende railway station which connected into Belgian railway line 50A run by NMBS. There was a fast ferry service using the Jetfoil as well as conventional ferries.
The Southern Railway opened a large locomotive depot at the site in 1928. This was closed in 1961 and demolished.
Maitre D’ Hotel Butter, Fresh Yukon Fries, Truffle Aioli
Executed quite decently. Although the hanger steak is more chewy than tender, it is packed full of great beefy flavour. The Maitre D’ Hotel Butter - an unctuous butter-mounted veal stock jus - was fabulous; it bound to every moist fiber of the steak yet had the miraculous ability to accentuate the protein-rich flavours. Tender crisp broccolini provided both colour contrast and a palate cleansing component to the plate while tender yukon gold fries (that had a barely there crust and fluffy moist core) acted as the plate's starch. The most impressive item on the platter, however, was the cornichon-studded truffle aioli: a perfect balance of earthy aromas, bright tartness with rich creamy luxury.
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.
In the 1820s Burney executed four large water-colour paintings satirising contemporary musical and social life: The Waltz (Victoria and Albert Museum, London), The Elegant Establishment for Young Ladies (Victoria and Albert Museum), Amateurs of Tye-Wig Music (Yale Center for British Art, New Haven, Connecticut) and The Glee Club; or, The Triumph of Music (Yale Center for British Art). Burney may have intended to publish prints of the paintings and to sell both originals and prints, in the manner of Hogarth's 'Progresses'. There was a substantial market for satirical prints during this period. The four pictures were, however, never published.
This is a version of the third-named painting, the only one, apparently, which Burney reworked as an oil painting. Its theme is the battle between 'modern' and 'traditional' taste in the music world. The modern is represented by references to Beethoven, Mozart and others in the foreground, while traditional taste is epitomised by Handel, whose bust looks down upon a group of musicians, appropriately dressed, who are playing (discordantly) music by his great contemporary Arcangelo Corelli. The concert takes place in a room whose decorations are predominantly Gothick in style, a further indication of the revival of ancient tastes. Burney includes many apparent and traditional amusing details such as the howling dog, noisy children, striking clocks, a careless servant, and a sneezing, coughing, snoring and throat-clearing audience.
Burney's picture is full of clever and subtle allusions to the battle between the Ancients and Moderns at a time when a revival of interest in the work of old composers such as Handel was beginning to challenge the accepted supremacy of contemporaries such as Beethoven. Burney came from a family prominent in the arts. His uncle, Dr Charles Burney, was a noted musicologist who was at the centre of a lively debate about the respective merits of 'old' and 'new' music, and his writings undoubtedly provided Edward with much of the inspiration for this picture. An intense rivalry existed between Dr Burney and Sir John Hawkins, a traditionalist, and Hawkins was inevitably the target of satirisation by Burney's many friends. Dr Burney wrote a long satiric poem about Hawkins in 1777, entitled The Trial of Midas the Second, naming numerous musicians associated with Hawkins and Burney. Edward must have been familiar with the work, for the same musicians appear in his painting, and a statuary group on the mantelpiece depicts the 'Judgement' with Midas (Hawkins's alter-ego in the poem) wearing a tye-wig, symbol of old-fashioned music.
Further reading:
Patricia Crown, 'Visual Music: E.F. Burney and a Hogarth Revival', Bulletin of Research in the Humanities, vol.83, no.4, winter 1980, pp.435-72
Terry Riggs
December 1997
Source: Tate
www.tate.org.uk/art/artworks/burney-amateurs-of-tye-wig-m...
Tuscany Florence Basilica di Santa Croce Nativity executed by the Masters of glass Murano Veneto Italy
U.S. Army National Guard Soldiers of the 59th Aviation Troop Command (ATC), South Carolina National Guard, attend an aviation-safety day on Sept. 13, 2020, at McEntire Joint National Guard Base, South Carolina. The event included the presentation of several safety awards, to include the Broken Wing, an award reserved to aviators and aircrew members who managed to save lives or aircrafts during a midair emergency. The Broken Wing award was given to Chief Warrant Officer Jeffrey R. Hodish for actions performed during a successful emergency landing executed in 2014. During the ceremony, each member of the crew received the Meritorious Service Medal. Attending the event, U.S. Army Brig. Gen. Jeffrey Jones, Deputy Adjutant General for the South Carolina Military Department. (U.S. Army National Guard photo Sgt. 1st Class Roby Di Giovine, South Carolina National Guard)
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.
Homenaje a Henry Moore, executed by Mexican sculptor Sebastian (Enrique Carbajal) in 1987, is part of the Hakone Open-Air Museum Collection and displayed on the streets of Marunouchi, as organized by Mitsbushi Estate Co. Ltd.
I must admit that I did not that there was a garrison school at this location.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
The prison was designed by Sir Joshua Jebb and Frederick Clarendon and opened on its present site in 1848, to house military prisoners. The church has an unusual entrance porch with stairs leading to twin galleries for visitors in the nave and transept. Another unusual feature is the Celtic round tower which erupts from a rectangular base. It opened as a civilian prison in 1975.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
An interesting feature is the tunnel which runs from St Bricans Military Hospital, via the Prison to the former Collins Barracks.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans' Association house and memorial garden.
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.
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 old Barcelona trams and several industrial railway vehicles. (Photo scanned from an original paper).
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Uno de tantos despropósitos ejecutados en nuestro país con el patrimonio histórico: el siempre prometido, pero nunca abierto, museo del ferrocarril en el paraje del Clot del Moro. La falta de compromiso político, y una pésima gestión personal por parte de su director, llevó a que durante muchos años los vehículos preservados fueran abandonados a la intemperie y sometidos a los efectos del duro clima del pre-Pirineo.
En esta foto se pueden ver antiguos tranvías de Barcelona y varios vehículos de ferrocarriles industriales. (Foto escaneada de un original de papel).
Well executed sign, commemorating 44 and 207 sqns, which were based at nearby RAF Spilsby. The airfield is now known as 'Steeping', but has a shadow over it, as have a number of airfields, around the country. Photo from 2000.
Me you can erase but not the fire!
Never forget - be watchful!
Memorial plaques with names of 536 executed
The following names of the on the plaques under the heading "They died for freedom of Austria" cited victims - ident or corrected - are complemented with date of birth, occupation, date of execution and grave address. These indicates, unless stated otherwise, row and grave in the shaft graves complex of group 40 of the Vienna Central Cemetery. The vast majority of the executed were convicted "for preparing a high treason". For those who have been convicted of another offense, this one is indicated.
The data are based on the following sources:
The guillotined. List of names by the guillotine in Vienna Regional Court of the Nazi executioners murdered Edit.: Communist Party of Austria, Vienna undated.
Sentenced to death. Edit.: Federal Association of Austrian Resistance Fighters and Victims of Fascism (Concentration Camp Association), Vienna undated.
List of people executed, Vienna undated (presumably created by Regional Court Vienna and 1964 under the archive signing DOeW 1512 recorded).
Database of Municipal Department 43 - Urban cemeteries.
The Documentation Centre of Austrian Resistance intends to issue a documentation that provides information on the Regional Court of Vienna under Nazi rule, includes biographies of those executed and depicts the origin of the consecration site.
Gedenktafeln mit Namen von 536 Hingerichteten
Die folgenden Namen der auf den Tafeln unter dem Titel „Sie starben für Österreichs Freiheit“ angeführten Opfer — ident bzw. richtiggestellt — sind ergänzt mit Geburtsdatum, Beruf, Datum der Hinrichtung und Grabadresse. Diese gibt, wenn nicht anders ausgewiesen, Reihe und Grab in der Schachtgräberanlage der Gruppe 40 des Wiener Zentralfriedhofes an. Die überwiegende Mehrzahl der Hingerichteten wurde wegen „Vorbereitung zum Hochverrat“ verurteilt. Bei jenen, die wegen eines anderen Delikts verurteilt wurden, ist dieses angegeben.
Die Daten stützen sich auf folgende Quellen:
Die Guillotinierten. Namensliste der durch das Fallbeil im Wiener Landesgericht durch die Nazihenker Ermordeten. Hrsg.: Kommunistische Partei Österreichs, Wien o. J.
Zum Tode verurteilt. Hrsg.: Bundesverband Österreichischer Widerstandskämpfer und Opfer des Faschismus (KZ-Verband), Wien o. J.
Liste der Hingerichteten, Wien o. J. (erstellt vermutlich vom LG Wien und 1964 unter der Archiv-Signatur DÖW 1512 aufgenommen).
Datenbank der Magistratsabteilung 43 – Städtische Friedhöfe.
Das Dokumentationsarchiv des österreichischen Widerstandes beabsichtigt, eine Dokumentation herauszugeben, die über das Landesgericht Wien unter der NS-Herrschaft informiert, Kurzbiographien der Hingerichteten beinhaltet und die Entstehung der Weihestätte darstellt.
www.nachkriegsjustiz.at/vgew/1080_landesgerichtweihestaet...
A paratrooper prepares to execute a parachute landing fall after a personnel drop during Large Package Week in conjunction with Joint Operational Access Exercise 13-01, Oct. 11, 2012. LPW is an exercise that uses several Air Force aircraft to strategically airdrop troops and cargo. (U.S. Air Force photo by Staff Sgt. Elizabeth Rissmiller/1st Combat Camera Squadron)
If I had to choose my favorite feature of Windows, I'd name it the Run command dialog. This tiny component of Microsoft's operating system lets you painlessly launch files and programs without much effort. Furthermore, it's fairly easy to access too -- a quick hotkey combination of Win + R on your keyboard does the job; could it get any better? Dare I say, yes -- it definitely could! Especially after using Add2Run -- a tiny portable utility that makes the Run command all the more intuitive, interactive and functional. This barebones application lets you swiftly open frequently accessed items on your computer by assigning them aliases, which means instead of having to type the full command to access a utility, tool, file or application, you can simply type its alias and it will be executed or opened instantly. Add2Run sports a simple interface, carrying a few buttons, a target file field for the destination item, and an input space to specify the alias. There's no installation required; the portable program executes straight from its small 220KB EXE file. Here's how it works in this video demonstration. Don't forget to Like & Share this video. Regards Sridhar Nallamothu Editor Computer Era Telugu Magazine ift.tt/H9ppjR ift.tt/RedUYg ift.tt/19xZiil మీ పిసిలోని ఏ ప్రోగ్రామ్ అయినా ఇలా ఈజీగా రన్ చేసుకోండి!! Must Watch & Share వీడియో లింక్ ఇది: ift.tt/1jypGzV మీరు వెచ్చించవలసిన సమయం: 2.21 Secs Firefox, Chrome, Word వంటి కావలసిన ప్రోగ్రాముల కోసం Start మెనూలో ప్రతీసారీ వెదకడం కొద్దిగా చిరాగ్గా ఉంటుంది కదా.. దాని బదులు విండోస్లోని Run బాక్స్ ద్వారా కొన్ని ప్రోగ్రాముల్ని చాలా వేగంగా, ఈజీగా ఓపెన్ చేసుకోవచ్చని కూడా మీకు తెలిసే ఉంటుంది. అయితే ఇలా అన్ని ప్రోగ్రాములకూ సాధ్యం కాదు. ఈ వీడియోలో నేను చూపించిన టెక్నిక్ ఫాలో అవడం ద్వారా మీరు రెగ్యులర్గా వాడే అన్ని ప్రోగ్రాములకూ మీకు బాగా గుర్తుండే పేర్లతో Run కమాండ్లు తయారు చేసుకుని ఇకపై వేగంగా వాటిని ఓపెన్ చేసుకోవచ్చు. గమనిక: కంప్యూటర్ వాడే ప్రతీ ఒక్కరికీ ఉపయోగపడే ఈ వీడియోని మీ ఫ్రెండ్స్తోనూ పంచుకోగలరు. వీడియో లింక్ ఇది: ift.tt/1jypGzV ధన్యవాదాలు - నల్లమోతు శ్రీధర్ ఎడిటర్ కంప్యూటర్ ఎరా తెలుగు మేగజైన్ ift.tt/H9ppjR ift.tt/RedUYg ift.tt/19xZiil #computerera #telugu windows tips, windows tricks, microsoft, windows 7, windows 8, windows 8.1, how to execute programs from run box, howto, nallamothusridhar, computerera, nallamothu sridhar, computer era, telugu, telugu channel, తెలుగు, కంప్యూటర్, విండోస్, ఆండ్రాయిడ్, పిసి, కొత్త, పిసి, నల్లమోతు, Tutorial, telugu videos, telugu tutorial, nallamothu sridhar videos, nallamothu sridhar latest videos, computer era videos ift.tt/1jypGzV
F-35 Integrated Test Facility pilot Dan Canin executes an intentional departure from controlled flight in F-35C carrier variant CF-5 aircraft during a test Nov. 19, 2013, in the Atlantic Test Ranges at Patuxent River, Md. (Photo courtesy of Lockheed Martin)
(From left) 1st Lt. Kassandra Prusko and Staff Sgt. Joseph Shank depart the flight line after executing their duties as the official greeting party upon the arrival of a U.S. Official, Aug. 5, 2018 at Joint Base Andrews, Md. The 89th Airlift Wing provides global Special Air Mission airlift, logistics, aerial port and communications for the president, vice president, cabinet members, combatant commanders and other senior military and elected leaders as tasked by the White House, Air Force chief of staff and Air Mobility Command. (U.S. Air Force Photo/Staff Sgt. Kenny Holston)
The Shot at Dawn Memorial is a monument at the National Memorial Arboretum near Alrewas, in Staffordshire, UK. It is a memorial to the 306 British Army and Commonwealth soldiers executed after courts-martial for desertion and other capital offences during World War I.
As with most of the memorials in this arboretum, this is very thought provoking and to me emotive.
en.wikipedia.org/wiki/Shot_at_Dawn_Memorial
123 Pictures in 2023, theme # 116 Wide Angle