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Rachel Wriothesley, Lady Russell (c.1636- 29 September 1723)[1], was an English noblewoman, heiress, and author. Her second husband was William Russell, Lord Russell, who was implicated in the Rye House Plot and later executed. A collection of the many letters she wrote to her husband and other distinguished men was published in 1773.
Lady Rachel was born in about 1636 at Titchfield, Hampshire, the second eldest daughter and co-heiress of Thomas Wriothesley, 4th Earl of Southampton, by his first wife, Rachel de Massue, daughter of Daniel de Massue, Seigneur de Ruvigny and Madeleine de Pinot des Fontaines.
She had an older sister, Elizabeth (c.1635- 1679), who in 1661 would marry Edward Noel, 4th Viscount Campden, by whom she had issue. Elizabeth and Rachel's mother, a member of the noble French Huguenot de Ruvigny family, died on 16 February 1640 when Rachel was about four years old.[2]
Rachel's maternal cousin was Henri de Massue, Marquis de Ruvigny, 1st Earl of Galway, who would later serve King William III in Ireland.
In 1642, when Rachel was about six years of age, her father married Lady Elizabeth Leigh, by whom he had a daughter, Elizabeth. The latter would later marry the 11th Earl of Northumberland. Rachel's father would take a third wife, Frances Seymour in 1659, although that union did not produce any children.
Rachel received a religious upbringing, and remained throughout her life, a conscientous member of the Church of England.[3]
In her youth, she was described as having been remarkable for her elegance of form, personal beauty, and graceful manners.
In 1653, Rachel married her first huband, Francis Vaughan, Lord Vaughan, the eldest son of Richard Vaughan, 2nd Earl of Carbery. Upon their marriage, Rachel went to live with her father-in-law at Golden Grove in Carmarthen, Wales. In 1655 she gave birth to a child, whose sex and name was not recorded as it died shortly after its birth. She became a widow in 1667, which was the same year her father died. He left his entire fortune to Rachel and her older sister, Elizabeth, Viscountess Campden. The latter received the family seat of Titchfield, while the share which Rachel inherited was the domain of Stratton, also in Hampshire. Rachel remained with the Viscountess Campden at Titchfield for some time after their father's death. In 1669, Rachel married her second husband, William Russell, MP for Tavistock, a son of William Russell, 5th Earl of Bedford and Lady Anne Carr, who was three years her junior. They obtained a marriage licence at Titchfield on 31 July 1669. The marriage was described as having been happy, and Lord Russell appreciated his wife's intelligence, virtue, affection and religious piety.[5]In 1678, upon the death of his childless brother, Francis, William succeeded to the title of Lord Russell, and Rachel was thereafter styled as Lady Russell.
Together William and Rachel had three children:
* Rachel Russell (January 1674- 28 December 1725), married William Cavendish, 2nd Duke of Devonshire, by whom she had five children.
* Catherine Russell (23 August 1676- 30 October 1711), married John Manners, 2nd Duke of Rutland, by whom she had nine children.
* Wriothesley Russell, 2nd Duke of Bedford (1 November 1680- 26 May 1711), married Elizabeth Howland, by whom he had six children.
In 1653, Rachel married her first huband, Francis Vaughan, Lord Vaughan, the eldest son of Richard Vaughan, 2nd Earl of Carbery. Upon their marriage, Rachel went to live with her father-in-law at Golden Grove in Carmarthen, Wales. In 1655 she gave birth to a child, whose sex and name was not recorded as it died shortly after its birth. She became a widow in 1667, which was the same year her father died. He left his entire fortune to Rachel and her older sister, Elizabeth, Viscountess Campden. The latter received the family seat of Titchfield, while the share which Rachel inherited was the domain of Stratton, also in Hampshire. Rachel remained with the Viscountess Campden at Titchfield for some time after their father's death. In 1669, Rachel married her second husband, William Russell, MP for Tavistock, a son of William Russell, 5th Earl of Bedford and Lady Anne Carr, who was three years her junior. They obtained a marriage licence at Titchfield on 31 July 1669. The marriage was described as having been happy, and Lord Russell appreciated his wife's intelligence, virtue, affection and religious piety.[5]In 1678, upon the death of his childless brother, Francis, William succeeded to the title of Lord Russell, and Rachel was thereafter styled as Lady Russell.
Together William and Rachel had three children:
* Rachel Russell (January 1674- 28 December 1725), married William Cavendish, 2nd Duke of Devonshire, by whom she had five children.
* Catherine Russell (23 August 1676- 30 October 1711), married John Manners, 2nd Duke of Rutland, by whom she had nine children.
* Wriothesley Russell, 2nd Duke of Bedford (1 November 1680- 26 May 1711), married Elizabeth Howland, by whom he had six children.
In 1683, Rachel's husband was one of the conspirators in the Rye House Plot, which was a plan to ambush King Charles II of England and his brother, James, Duke of York on their way back to London from the Newmarket races. The plot was disclosed to the government. William, unlike his co-conspirators refused to escape to Holland. He was accused of promising his assistance in an insurrection and bringing about the death of the King and the Duke of York. On 26 June 1683, he was sent to the Tower of London, and shortly afterwards, tried and convicted of treason. She had acted as his secretary during his trial where he was sentenced to death by beheading. Upon his condemnation, Rachel laboured diligently to save her husband's life; she was aided by her father-in-law, Lord Bedford, who offered a sum of between £50,000 to £100,000 for a pardon to his son. Rachel even threw herself at the King's feet, pleading for him to grant clemency to her husband; however, the King was unmoved by her tearful pleas, and refused to abrogate the death sentence.[6]
On the day before her William's execution, Rachel visited him in the Tower and they embraced one last time. The following morning, on 21 July 1683, he was beheaded at Lincoln's Inn Fields. Several days later, she wrote King Charles a letter.[7]
The attainder against her husband was reversed by a bill which was passed in Parliament and received the royal signature in the reign of William and Mary.
Throughout her long life, Rachel was an avid letter-writer of high quality as well as an author.[9] Her numerous letters, mainly to her husband but also to many distinguished men such as John Tillotson, Archbishop of Canterbury, were published in 1773. Her correspondence offers a keen insight into 17th-century English domestic life. In addition to her letters, Rachel also wrote diaries, essays, a catechism, and Instructions for Children.
Seven engraved portraits of Rachel Wriothesley are displayed in the National Portrait Gallery in London.
Rachel died at Southampton House, Bloomsbury, London on 29 September 1723, the anniversary of her late husband's birth; she was about 87 years old. Rachel was buried beside her husband on 8 October 1723 in the Bedford Chapel at the Parish Church of Chenies, Buckinghamshire.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Finally! This project was simple to execute, but it took forever to get all the pieces in order. I bought a basic Mattel Merida very cheaply in a local discount shop last year, and really liked the stylised head, but disliked her stiff, awkward body. Given how pale she is, I thought she would be a good match for Apple White's awesome Ever After High body (not such a fan of the heads in the main, but such is life). However, being a total miser, I was unprepared to shell out for her when she first came out, but she was recently marked down to nearly £10 on Amazon, so I ordered one at last (and was roundly mocked by my colleagues when I had her delivered to work...).
Anyway, here's my Merida/Apple White mashup, who is named Brigitte (in tribute to her 'The Most Popular Girls in School' relative). I went with brown eyes, because I've always had a soft spot for red hair/brown eyes.
I also have a Disney Store Merida waiting to be messed with at some point, but I think she's going to be a repaint in character.
A permanent memorial in memory of murdered Preston cotton workers was unveiled on Lune Street in 1992 - the 150th anniversary of the shooting. The memorial was designed by the British artist and sculptor Gordon Young. It was inspired by Goya's painting The Third of May 1808 picturing Spanish civilians being executed in 1808 for resisting Napoleon’s troops.
© 2013 Tony Worrall
The Three Shades by Auguste Rodin
As a variation of 'Adam' with a less distorted attitude, Rodin executed 'The Shades': a triple representation of the same figure, mounted at the top of the 'Gates of Hell'. With their left hands they point down and direct the eyes of the viewer to 'The Thinker', who is located immediately beneath 'The Shades'.
This threefold repetition of gesture, focussing in the same point, underlines the inevitability of fate, echoing mythological tales like that of the Greek Moirae (Clotho, Lachesis and Atropos).
The figures originally pointed to the phrase "Lasciate ogne speranza, voi ch'intrate" ("Abandon all hope, ye who enter here") from Canto 3 of the Inferno.
The Musée Rodin in Paris, France, is a museum that was opened in 1919 in the Hôtel Biron and surrounding grounds. It displays works by the French sculptor Auguste Rodin.
While living in the Villa des Brillants (in Meudon, suburb of Paris), Rodin used the Hôtel Biron as his workshop from 1908, and subsequently donated his entire collection of sculptures (along with paintings by Vincent van Gogh and Pierre-Auguste Renoir that he had acquired) to the French State on the condition that they turn the building into a museum dedicated to his works.
The Musée Rodin contains most of Rodin's significant creations, including The Thinker, The Kiss, Monument to Victor Hugo, The Burghers of Calais, La Cathedrale, Monument to Balzac, Study for the Naked Muse, without Arms and The Gates of Hell. Many of his sculptures are displayed in the museum's extensive garden.
The museum is one of the most accessible museums in Paris. The gardens around the museum building contain many of the famous sculptures in natural settings.
Behind the museum building is a small lake and casual restaurant.
The Musée Rodin collections are very diverse, as Rodin used to collect besides being an artist, some paintings by Monet, Renoir and Van Gogh which were in Rodin's personal collections are also presented. The museum has also a room dedicated to works of Camille Claudel.
Wikipedia
141023-M-WM612-001
CAMP SCHWAB, OKINAWA, Japan – Marines execute rappelling and fast-roping techniques Oct. 23 during the 5th Air Naval Gunfire Liaison Company Basic Course at the Camp Schwab rappel tower. All of the Marines began the training by rappelling down the tower twice and ended the event by fast-roping twice. The training familiarizes the Marines with some of the insertion techniques that 5th ANGLICO uses. The Marines are with 5th ANGLICO, III Marine Expeditionary Force Headquarters Group, III MEF. (U.S. Marine Corps photo by Lance Cpl. Ryan C. Mains/Released)
Designed by Hildreth Meière and executed by the R. Guastavino Co. of New York City, the walls and ceilings of the Nebraska State Capitol have many tile murals depicting historical and Native American scenes. For more photos visit sites.google.com/site/historictileinstallationsn/ne_linco....
This work, executed in ink and watercolor on a laid paper, depicts various printed works, nails, a key, a pair of lunettes. What look like plate marks were created with watercolor on a brush. Since its a little hard to tell what's real and what isn't in this work, we took a closer look.
Maker unknown
Trompe-l'oeil map
Collection of Shelburne Museum 27.18-6
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 photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
Specular reflection with a shift character. Multicomposition in one frame. Some body parts are painted light in being fixed, and then the bulk of female flesh shifted, creating a warm ball of smoke in the frame.
We submit the sample photos in this series in three-nine-square.
Photos is possible to look here:
A U.S. Marine Corps CH-53E Super Stallion to delivers cargo attached by Marines with Landing Support Platoon, 3d Landing Support Battalion, Combat Logistics Regiment 3, 3d Marine Logistics Group, during a helicopter support team operation on Camp Gonsalves, Okinawa, Japan, Dec. 3, 2021. Marines with 3d LSB and Marine Medium Tiltrotor Squadron 265, 1st Marine Aircraft Wing, executed external lifts in support of 9th Engineer Support Battalion, 3d MLG, to supply and transport materials for reconstructing cinderblock structures previously destroyed in a typhoon. 3d MLG, based out of Okinawa, Japan, is a forward deployed combat unit that serves as III MEF’s comprehensive logistics and combat service support backbone for operations throughout the Indo-Pacific area of responsibility. (U.S. Marine Corps photo by Sgt. Hailey D. Clay)
During the First World War 306 British and Commonwealth soldiers were shot for for various offences. Most were sentenced after a short trial where no real opportunity for defence was allowed. Today it is recognised that several of those shot were underage and many were suffering form Post Traumatic Stress Syndrome.
This memorial is on the National Memorial Arboretum at its most easterly point, which means it is the first place to be touched by the dawn light.
The statue is modelled on Private Herbert Bureden, of the 1st Bataliion Northumberland Fisiliers, who was shot at Ypres in 1915 aged 17. His name and those of the other 305 soldiers are listed on the steaks arranged around the statue.
A mass pardon of the 306 executed was given in 2006.
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.
have retained all the poignant scratchings on the walls of the cells.Hostages taken in reprisals by the SS were either executed here (849) or forwarded to concentration camps.Over 12000 passed through this location situated in the most idyllic mountain setting.
U.S. Army Soldiers from Alpha Battery, 2nd Battalion 29th Field Artillery Regiment at the National Training Center in Fort Irwin, Calif., execute calibration on the Paladin Vehicle to prepare for Decisive Action Rotation 14-10, Sept. 11, 2014. At the NTC, decisive action exercises provide a comprehensive approach to training Brigade Combat Teams in a joint, interagency, intergovernmental and multinational environment. (U.S. Army photo by Sgt. Charles Probst)
Wonderful concept executed by Shibshankar Das & Sanatan Dinda. Devi rises from 'pralay jaladhi'- cataclysmic ocean, standing on the 'jiban taranee' , she defeats 'Madhu-Kaitava'-like demons . ''Maner Manush' - soul of mankind - lies stretched in front of Devi with a lotus in his folded hands. Lotus adorns Durga's being, her crown - wonderful !
The pandal is decorated in a very restrained manner - never outdoes the 'protima'- yet enhances the over-all impact of the presentation . Strong mythological concept - much beyond the oft-repeated 'Naba Durga' or 'DashaMahavidya' or ' Sapta Matrika'. Made a strong impact on me - 'naa dekhle jaantaam na eto unique hotey paarey' .
Arbour Hill Prison is a prison and military cemetery located in the Arbour Hill area near Heuston Station.
The military cemetery is the burial place of 14 of the executed leaders of the 1916 Easter Rising. Among those buried there are Patrick Pearse, James Connolly and Major John MacBride. The leaders were executed in Kilmainham Gaol and their bodies were transported to Arbour Hill for burial.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The grave site is surrounded by a limestone wall on which the names are inscribed in Irish and English. On the prison wall opposite the grave site is a plaque with the names of other people who were killed in 1916.
The prison was designed by Sir Joshua Jebb and Frederick Clarendon and opened on its present site in 1848, to house military prisoners.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
The church has an unusual entrance porch with stairs leading to twin galleries for visitors in the nave and transept.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans' Association house and memorial garden.
He lands this one almost every time. This is a mechanical ski line in Deerfield Beach, FL, where skiers can perfect their many different skills.
"Henry was a supreme egotist. He advanced personal desires under the guise of public policy or moral right, forced his ministers to pay extreme penalties for his own mistakes, and summarily executed many with little excuse. In his later years he became grossly fat, paranoid, and unpredictable. Nonetheless he possessed considerable political insight, and he provided England with a visible and active national leader.
Although Henry seemed to dominate his Parliaments, the importance of that institution increased significantly during his reign. Other advances made during his reign were the institution of an effective navy and the beginnings of social and religious reform. The navy was organized for the first time as a permanent force. Wales was officially incorporated into England in 1536 with a great improvement in government administration there." - Info Please
The Katyń massacre ("zbrodnia katyńska" in Polish) was the mass murder of approximately 22000 Polish nationals carried out by the Soviet secret police (NKVD) in April and May 1940. The massacre was prompted by a proposal (dated 5th March 1940) from Lavrentiy Beria, Minister of Internal Affairs of the Soviet Union, to execute all members of the Polish Officer Corps who had been captured and imprisoned by the USSR during the Nazi-Soviet invasion of Poland in 1939. This official document was approved and signed by the Soviet Politburo, including its leader Joseph Stalin.
As well as approximately 8000 officers of the Polish army, the victims of the Katyń massacre included 6000 police officers and thousands of university lecturers, teachers, doctors, lawyers, civic leaders, politicians, government officials, priests and other members of the "bourgeoisie" who had been targeted for arrest following the Soviet occupation of eastern Poland.
By physically eliminating Poland’s military and civilian elites, Stalin wanted to decapitate the Polish nation and ensure it was less able to resist the enforced Sovietisation of the occupied Polish territories.
The victims were all citizens of Poland, but not all were ethnically Polish - for example, the murdered army officers included Ukrainians, Belarusians and several hundred Jews, among them Baruch Steinberg, the Chief Rabbi of the Polish army. The majority were interned at three Soviet camps (Kozielsk, Starobielsk and Ostaszków) before being taken to NKVD mass murder sites, where they were executed and buried in mass graves.
en.wikipedia.org/wiki/Baruch_Steinberg
Although the killings took place at several different locations in Soviet Russia, Ukraine and Belarus, the massacre is named after the Katyń forest in the Smolensk Oblast of western Russia where the graves of the Kozielsk prisoners were discovered in 1943. The exact fate of the other victims and the location of their graves was not confirmed until five decades later. After the discovery of the Katyń burial site the USSR denied responsibility for the massacre and tried to blame it on the Germans, and continued to lie about the killings for 50 years until finally admitting Soviet guilt in 1990 and revealing where the remaining victims were buried.
It eventually became possible to exhume and identify the bodies from the mass murder sites at Charków (Kharkiv), where the NKVD murdered the prisoners who were interned at Starobielsk, and Miednoje (Mednoye), where the NKVD murdered the prisoners who were interned at Ostaszków - as well as other locations such as Bykownia (Bykivnia).
Most of the Ostaszków prisoners were killed by Beria's chief executioner Vasily Blokhin, who was awarded the Order of the Red Banner by Stalin at the end of April 1940 for demonstrating "skill and organisation in the effective carrying out of special tasks".
en.wikipedia.org/wiki/Vasily_Blokhin
Although several other ex-members of the NKVD eventually confessed to participating in the Katyń massacre, none of the perpetrators were ever brought to justice, and neither the Soviet government nor successive governments of Russia have ever permitted a full investigation of this war crime.
There's also no shortage of vatniks, tankies and other useful idiots out there who are still in denial about it, even though claims that the murders were carried out by the Germans have zero credibility and have been comprehensively debunked (it's actually impossible for the Polish prisoners interned at Ostaszków - who disappeared without trace in 1940 and whose bodies were found in Miednoje in 1991 - to have been captured, killed and buried by the Germans, who never reached either of these locations in Russia at any time during World War 2)....
holocaustcontroversies.blogspot.com/2023/02/debunking-gro...
press to execute
a kiss, or a hanshake, for the person that can tell me what Casio model this one is!
Finally! This project was simple to execute, but it took forever to get all the pieces in order. I bought a basic Mattel Merida very cheaply in a local discount shop last year, and really liked the stylised head, but disliked her stiff, awkward body. Given how pale she is, I thought she would be a good match for Apple White's awesome Ever After High body (not such a fan of the heads in the main, but such is life). However, being a total miser, I was unprepared to shell out for her when she first came out, but she was recently marked down to nearly £10 on Amazon, so I ordered one at last (and was roundly mocked by my colleagues when I had her delivered to work...).
Anyway, here's my Merida/Apple White mashup, who is named Brigitte (in tribute to her 'The Most Popular Girls in School' relative). I went with brown eyes, because I've always had a soft spot for red hair/brown eyes.
I also have a Disney Store Merida waiting to be messed with at some point, but I think she's going to be a repaint in character.
Mugabe ‘executed’ outside Embassy – 1st March 2011
Written by Virgil Diary
Tuesday, 01 March 2011 16:15
President Mugabe was strung up from a tree outside the Zimbabwe Embassy in London today at a Vigil in support of an attempt to stage an anti-Mugabe demonstration in Harare.
Security forces were beefed up to deter protesters from gathering at Harare gardens but in London some 50 people attended our mock execution of the aging tyrant.
We were joined by a Reuters news team, apart from other journalists, and passers-by stopped to take photos with their mobile phones. Bus drivers hooted in solidarity as Terence Mafuva in our Mugabe mask and a white shroud dangled from the branch of a maple tree (discreetly supported by a small stool).
Vigi supporters wore yellow bandanas saying ‘Robert Mugabe for the sake of Zimbabwe: Please hang’ and displayed posters reading ‘Mugabe must go!’ and ‘87 years old – 31 years in power’ while singing songs mocking the despot, to the accompaniment of drumming.
There were passionate speeches denouncing him. Martin Chinyanga of the Zimbabwe Diaspora Focus Group said to applause that Mugabe’s time was coming to an end. For his part, Takwana Jonga of the Zimbabwe Action Group said Zanu PF was the enemy of the people of Zimbabwe responsible for the death of more than 5 million Zimbabweans since 1980 (by violence, neglect and poverty.
The Vigil was pleased to get a message of encouragement from Passop, the Zimbabwe support group in South Africa, who were holding a solidarity demonstration outside Parliament in Cape Town.
Posted by
Foundation of Reason & Justice
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Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Other title: St. Paul's Cathedral (London, England)
Creator: Wren, Christopher, Sir, 1632-1723
Date: 1675-1710
Current location: London, Greater London, England, United Kingdom
Description of work: Floor plan nearly as executed. "On the top of Ludgate Hill, Saint Paul's is the cathedral of the Bishop of London. Built from 1675 to 1710, it is considered Christopher Wren's masterpiece. Wren's cathedral replaced an earlier version that burned in the Great Fire of 1666. It is built of Portland stone and is dominated by its famous dome carrying its cross 365 feet above the City. The cupola of the dome was decorated by Sir James Thornhill with painted monochrome scenes from the life of St. Paul (finished 1720). The cathedral has an area of 87400 square feet (half that of St. Peter's in Rome). Its edifice is built in a Renaissance style but the interior, though classical in detail, has the general ground plan of a Gothic church. Many of the monuments and chapels in the cathedral represent aspects of the nation's history. The east end and north transept were damaged in 1941 by bombings." (http://www.getty.edu/vow/TGNFullDisplay?find=St.+Paul%27s+Cathedral&place=&nation=&english=Y&subjectid=1100093)
Work type: Architecture and Landscape
Style of work: Renaissance: late Renaissance
Culture: English
Materials/Techniques: masonry
Source: Blomfield, Reginald. A history of Renaissance Architecture in England, 1500-1800. 2 vols. London: G. Bell and sons, ltd, 1897. (Vol. 1)
Resource type: image
File format: JPG
Image size: 2250 x 1302 pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2006-814 St Paul Cathedral Plan, nearly as executed.jpg
Record ID: WB2006-814
Sub collection: churches
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"
R/V Nansen executed 62 days long survey along the coast of Northwest Africa, from Conakry in Guinea up to the Gibraltar strait in north. The survey was an ecosystem survey and different survey techniques were used to provide a holistic overview of the ecosystem. In addition to the Norwegian staff, 32 persons from 8 different countries participated on this cruise.
Photo Courtesy of IMR
In November 2013 the first survey after more than 30 years was executed by the R/V Dr. Fridtjof Nansen.
Myanmar is probably among the countries in Southeast Asia with the most intact marine environment, but our findings in 2013 indicate that fish stocks have been reduced and fish communities changed structure since the surveys in 1980. This has serious consequences for the availability of fish for food, jobs and income for coastal population in Myanmar.
Based on the findings the Department of Fisheries in Myanmar asked FAO and CDCF to conduct a follow-up study to confirm the results and also to identify any seasonality in the ecosystem. This survey will be conducted from April 28 to June 2 this year. We will repeat the survey made in 2013 and try to verify results. In addition, we will map the biodiversity and the marine environment. Among the participants there is Merete Kvalsund that will provide a glimpse of work and life on board. The work is part of the EAF-Nansen Project.
Photo credits IMR, Bergen, Norway
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:-
BALTIC SEA (June 09, 2020) USS Donald Cook (DDG75) observers NATO allies and partner nation ships execute multinational surface warfare division tactics during BALTOPS 2020. BALTOPS is the premier annual maritime-focused exercise in the Baltic region, enhancing flexibility and interoperability. (U.S. Navy Photo by Lt.j.g. Sarah Claudy/Released)
ift.tt/1qjpo4A Political prisoners and peasants lay dead together after being executed by the South Korean army in 1952, a Korean War photo LIFE magazine chose not to publish. At least 100,000 South Koreans were executed without trial on suspicion of supporting communism during the war. [NSFW][1200x800] #HistoryPorn #history #retro ift.tt/1qjpklB via Histolines
141023-M-WM612-003
CAMP SCHWAB, OKINAWA, Japan – A Marine’s harness is secured by a helicopter rope suspension techniques master Oct. 23 at the Camp Schwab rappel tower. Marines executed rappelling and fast-rope techniques during the 5th Air Naval Gunfire Liaison Company Basic Course. Safety remained paramount throughout the training event. The Marines are with 5th ANGLICO, III Marine Expeditionary Force Headquarters Group, III MEF. (U.S. Marine Corps photo by Lance Cpl. Ryan C. Mains/Released)
Behnoud Shojaee was executed early this morning in Tehran’s Evin prison.
He was convicted of murdering another boy by the name Ehsan 4 years ago. At that time he was 17 years old.
Last night, hundreds of people had gathered outside the Evin prison, in hope of being able to make authorities to postpone the execution once again.
However, after more than four years prison, Behnood Shojaee was hanged early this morning.
~He was a child when he accidentally killed his friend.. happy children day behnood. I'm afraid no one has ever said this to you~ 1/365
Lot 14
Sophie English (b. 1968)
Dress for a duchess
black 1940's style dress and jacket, Italian crepe; duchess satin insert and cuffs with beading and hand embroidery.
size 12
Executed in 2001.
Estimate: 1000 - 1200
Provenance: Acquired directly from the artist
Sophie English has made an outfit which could have been worn by the Duchess of Manchester to the 1949 sale. Detailing on the elaborate jacket refers to annotations marked in the original sales catalogue belonging to the Duchess, now held in the County Record Office in Huntingdon.
After graduating from the London College of Fashion in 1992, Sophie English worked for Nicole Farhi and Edina Ronay before starting her own couture business in 1994. In 1995, she produced her first bridal wear collection and is now stocked in many major outlets in the UK and USA. In 1996 she opened her showroom in Pimlico for couture clothing.
We are executing smaller and broad scale rail track projects, in both private and government sections. We offer the wide extent of rail track directing services that fuses Railway Track Linking Consultancy in our country with associating, bolster, arrange, avenues, ranges, connections, pit, and pipes work, Level crossing point structures, and undertaking services. For more Info - www.yolaxinfra.com/railway-consultancy.php
Adelaide Gaol is one of the two oldest buildings in Adelaide. It housed around 300,000 prisoners up until it closed in 1988. 45 of these were executed at the gaol.
For the full story visit alexandrabonephotography.blogspot.com/2011/04/adelaide-ga...
Not to be used without prior written permission.
© Alexandra Bone 2011 www.alexandrabone.co.uk
Cory executing a toe spike aka Toe Jam
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"