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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
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
The central focus of FDR’s second term was developing and executing the New Deal to bring the country out of economic turmoil. In this room, there are three scenes depicting the state of American citizens in the United States during the Great Depression. In front of you, against the large central wall, a rural family is depicted suffering from the effects of drought, dust bowls, and poverty. Inscribed above the sculpture is the following quote from FDR’s second inaugural address: “I see one-third of a nation ill-housed, ill-clad, ill-nourished.”
Turning away from this historic scene, visitors encounter two more sculptural vignettes by George Segal which exemplify the overwhelming issue of poverty. One scene, Appalachian Couple, captures a farm couple caught in what appears to be an unending cycle of despair. They appear in front of their barn, their only obvious possession a wooden chair.
George Segal
George Segal was born in the Bronx, New York City, in 1924. His parents had immigrated from eastern Europe. George exhibited an interest in art early and won honors for his work while still in high school. George was raised in New Jersey, where his family settled, and he helped his parents with their chicken-raising business throughout his teens. Later, he took over the farm and still lives there with his wife Helen. Today, the old chicken coops house his art studio.
Everyday life and everyday happenings form the basis of George Segal’s sculptures. His pieces are cast directly from live models, mostly friends and relatives. George’s method of sculpting is unique. It depends heavily on real-life events and people said within environments which he constructs from real elements and furnishings. Segal’s work is therefore figurative but it does not romanticize or idealize the people whom he casts.
As the critic Phyllis Tuckman explains in the book, George Segal: Recent Painted Sculpture, “Segal’s figures radiate an aura of the familiar. They look like the kind of people with whom you come in daily contact…. These slices of life’s scenarios belie or masked other aspects of this haunting art.” Segal’s environments express more than what is visible on the surface. They dig deeply and say much about the universal elements of life through their focus on simple tasks.
It was for these reasons that George Segal was chosen to work within the themes of the Memorial. George has strong feelings and deep empathy for the Roosevelt era. He quickly selected three everyday images that were descriptive of the essence of the Depression years in our country, which had such a deep influence on the character and quality of our culture. Within these depictions the message is one of inherent individual dignity in the face of overwhelming odds.
George Segal developed his very personal casting technique in the early 1960s. He starts by dipping cloth bandages in wet plaster and then applying them directly to a body or to an object. He spends time working with his models before casting, describing the gestures he is trying to achieve and choreographing the positioning of their bodies in space within the constructed environment. Artist and model work together to finalize the pose before wrapping begins. Once the format has been fixed, the bandages are fitted around the various parts of the body. Hardening takes only minutes and then the bandages are removed by splitting them into sections. Later, they are reassembled to form the final figures or, as was the case for figures in the Memorial, they become molds for the final bronze sculptures.
Some of the space team try on their glad rags and execute a few dance moves. Check out www.sinewave.space for more information.
He was the first mayor of Paris, but in 1793 he was executed by guillotine during the Terror. Read more about him here: en.wikipedia.org/wiki/Jean_Sylvain_Bailly
Bandaloop dancers executed graceful flips and turns in a duo on the Hopkins Center at their performance on September 16, 2016.
Bandaloop's aerial dancers visited Dartmouth from September 13-17, 2016, where they led student and community workshops and gave three free performances on the sides of the Black Family Visual Arts Center and the Hopkins Center.
Copyright 2016 Rob Strong
MSC Sinfonia executing a right-angled manouevre to depart Ibiza town port. For timetables for cruise ships visiting Ibiza see www.cruisetimetables.com/cruisesvisitingibizaspain.html. MSC Sinfonia and larger ships utilize this outer pier, whereas as small ships such as the Louis Coral dock in the inner harbor, for more convenient access to the popular quayside bars, restaurants, boutique shops, and stallls area under the old town.
The centre piece is a red and gold relief of the Coronation of Our Lady. This is surrounded by 8 statue niches occupied by representations of "Yorkshire Saints" such as St. Hilda and St. Wilfred, and of St. Joachim and the Blessed Virgin. The baldachino is surmounted by a frieze with five motifs depicting various seed-bearing plants symbolic of the Ressurection. The mosaics surrounding the reredos are by Cesare Formilli (1860 -1942) and show the Ascension and St. Francis on the left and the Assumption and St. Patrick on the right. The Cathedral was consecrated on 18th July 1924, when relics of St Tranquillinus and St Victoria, brought from the Catacombs in Rome, were sealed within the high altar.
"The reredos was designed by Greenslade and executed by Flint Bros. of Clapham in 1904. The centrepiece is a gilded relief of the Coronation of Our Lady. This is surrounded by 8 statue niches occupied by representations of ’Yorkshire Saints’ such as St Hilda and St Wilfrid, and of St Joachim and the Blessed Virgin. The baldachino is surmounted by a frieze with 5 motifs depicting various seed-bearing plants symbolic of the Resurrection. The mosaics surrounding the reredos are Venetian and were designed by Formilli in 1928. They show the Ascension and St Francis on the left, and the Assumption and St Patrick on the right. The new arrangement of the Sanctuary has been designed by the Cathedral Architect, Richard Williams. The Cathedra and High Altar, both made of sandstone, are located on the central axis of the cathedral and are now clearly visible to the majority of the congregation. Behind the Cathedra, and an integral part of the composition, is an oak screen incorporating decorative and symbolic elements from the original Bishop’s Throne, designed by Eastwood. Behind the screen are the choir stalls. The altar and ambo sit within a new sanctuary area that is oval in plan, with the altar at its centre, and responds to the form of the original Eastwood Sanctuary and choir layout, which was removed in the 1963 reordering." Cathedral website
Students from the Military Intelligence Basic Officer Course – Africa planned and executed a community relations project for Chamazi Orphanage in Dar Es Salaam, Tanzania, March 15. The event was part of the U.S. Marine Corps Forces Europe and Africa-led MIBOC-A program and brought together partner-nation military professionals from Tanzania, Kenya, Uganda, Djibouti, and Burundi for eight-weeks to build multilateral interoperability within the intelligence community of participating nations. (Photo by Courtesy photo)
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This painting was executed for the hall of the Scuola Grande di San Marco with three other canvases (now in the Gallerie dell'Accademia, Venice).
A masterpiece of Tintoretto's full maturity, this painting is a profound expression of his originality. It creates a lyric spectacle out of extreme disquietude. In fact, it expresses a visionary notion that borders on the hallucination, and in this way the scene of the stealing of the body becomes a meteoric display. A memorable image is created that has the impact of a clap of thunder at a witches' ritual.
It has recently been shown that this picture does not, as was long assumed, show the rediscovery of the body of Saint Mark on June 25, 1094, but various miracles of healing worked by the Patron Saint of Venice: he is depicted raising a man from the dead, restoring a blind man's sight, and casting out devils. As in The Miracle of the Slave, which he painted for the same location, Tintoretto illustrates the power of Saint Mark by placing the invisible guidelines of his construction of the perspective in the Saint's outstretched hand. The donor Tommaso Rangone, who claimed great healing powers for himself, thereby making large sums of money, had his own figure painted kneeling humbly, but none the less wearing the magnificent golden robe of a cavalier aurato. Doge Girolamo Priuli had only recently bestowed the title of "Golden Knight" on him.
Tintoretto has adopted here and carried further the expressive means of Tuscan and Roman Mannerism. There is the explosive perspective (note how the peak of the visual pyramid coincides with the raised hand of the saint performing the miracle). There are the dynamic crossing of the compositional diagonals, the nervous contortion and the bold foreshortening of the figures. Then there is the light from various sources that erupts from the tombs or spreads from the mouth of the Long Hall, like a nocturne in the porticoes of Saint Mark's. It prints rainbow along the bays, leaving an impression of instability and obsession. Finally there is the macabre element of the tomb-robbing scene and the anxiety of the jumble of figures in the foreground. Unreality reaches a peak in the pictorial rendering. The disintegration of the color, an inheritance from Titian's late work, is seen in the dissociation of the brushstrokes from the material and their flickering, like a multitude of flames, against a somber and blurred surface.
(•) – The-Lockheed-Martin-HC-130-P-Hercules-The-Combat-K.I.N.G-1-I-is an extended-range version of the C-130 Hercules transport. HC-130 crews provide expeditionary, all weather personnel recovery capabilities to our Combatant Commanders and Joint/Coalitions partners worldwide.
Mission
The mission of the HC-130P/N "King" is to rapidly deploy to austere airfields and denied territory in order to execute , all weather personnel recovery operations anytime...anywhere. King crews routinely perform high and low altitude personnel & equipment airdrops, infiltration/exfiltration of personnel, helicopter air-to-air refueling, and forward area refueling point missions.
When tasked, the aircraft also conducts humanitarian assistance operations, disaster response, security cooperation/aviation advisory, emergency aeromedical evacuation, casualty evacuation, noncombatant evacuation operations, and, during the Space Shuttle program, space flight support for NASA.
Features
Modifications to the HC-130P/N are improved navigation, threat detection and countermeasures systems. The aircraft fleet has a fully-integrated inertial navigation and global positioning systems, and night vision goggle, or NVG, compatible interior and exterior lighting. It also has forward-looking infrared, radar and missile warning receivers, chaff and flare dispensers, satellite and data-burst communications.
The HC-130 can fly in the day; however, crews normally fly night at low to medium altitude levels in contested or sensitive environments, both over land or overwater. Crews use NVGs for tactical flight profiles to avoid detection to accomplish covert infiltration/exfiltration and transload operations. To enhance the probability of mission success and survivability near populated areas, crews employ tactics that include incorporating no external lighting or communications, and avoiding radar and weapons detection.
Drop zone objectives are done via personnel drops and equipment drops. Rescue bundles include illumination flares, marker smokes and rescue kits. Helicopter air-to-air refueling can be conducted at night, with blacked out communication with up to two simultaneous helicopters. Additionally, forward area refueling point operations can be executed to support a variety of joint and coalition partners.
Background
The HC-130P/N is the only dedicated fixed-wing combat search and rescue platform in the Air Force inventory. The 71st and 79th Rescue Squadrons in Air Combat Command, the 550th Special Operations Squadron in Air Education and Training Command, the 920th Rescue Group in Air Force Reserve Command and the 106th Rescue Wing, 129th RQW and 176th Wing in the Air National Guard operate the aircraft.
First flown in 1964, the aircraft has served many roles and missions. It was initially modified to conduct search and rescue missions, provide a command and control platform, in-flight-refuel helicopters and carry supplemental fuel for extending range and increasing loiter time during search operations.
In April 2006, the continental U.S. search and rescue mission was transferred back to Air Combat Command at Langley AFB, Va. From 2003 to 2006, the mission was under the Air Force Special Operations Command at Hurlburt Field, Fla. Previously, HC-130s were assigned to ACC from 1992 to 2003. They were first assigned to the Air Rescue Service as part of Military Airlift Command.
They have been deployed to Italy, Kyrgyzstan, Kuwait, Pakistan, Saudi Arabia, and Turkey in support of operations Southern and Northern Watch, Allied Force, Iraqi Freedom and Enduring Freedom. HC-130s also support continuous alert commitments in Alaska and the Horn of Africa.
General Characteristics
Primary function: Rescue platform
Contractor: Lockheed Aircraft Corp.
Power Plant: Four Allison T56-A-15 turboprop engines
Thrust: 4,910 shaft horsepower, each engine
Wingspan: 132 feet, 7 inches (40.4 meters)
Length: 98 feet, 9 inches (30.09 meters)
Height: 38 feet, 6 inches (11.7 meters)
Weight: 83,000 pounds (37,648 kilograms)
Maximum Takeoff Weight: 155,000 pounds (69,750 kilograms)
Fuel Capacity: 73,000 pounds (10,724 gallons)
Payload: 30,000 pounds (13,608 kilograms)
Speed: 289 miles per hour (464 kilometers per hour) at sea level
Range: beyond 4,000 miles (3,478 nautical miles)
Ceiling: 33,000 feet (10,000 meters)
Armament: countermeasures/flares, chaff
Crew: Three officers (pilot, co-pilot, navigator) and four enlisted (flight engineer, airborne communications specialist, two loadmasters). Additional crewmembers include a Guardian Angel team consisting of one combat rescue officer and three pararescuemen
Unit Cost: $77 million (fiscal 2008 replacement cost)
Initial operating capability: 1964
Inventory: Active force, 13; ANG, 13; Reserve, 10
Pirates were executed here and their bodies left until three tides washed over them. Then the bodies were tarred and hung on gibbets. Captain Kidd was executed here in 1701.
Photographed in the 1980's before development ruined the area
U.S. Marines assigned to the 273rd Marine Wing Support Squadron, Air Operations Company, Fuels Platoon at Marine Corps Air Station Beaufort, S.C., execute a forward air refueling point operation with the South Carolina National Guard at McEntire Joint National Guard Base, S.C. on May 14. Elements of the South Carolina Air and Army National Guard and the U.S. Marines conduct joint operations which are crucial to the ongoing success of operational readiness and deployments around the world. (U.S. Air National Guard photo by Airman 1st Class Ashleigh S. Pavelek/Released)
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:-
Paratroopers with 1st Brigade, 82nd Airborne Division (Advise and Assist Brigade), stationed at Camp Ramadi, Iraq, execute parachute landing falls from a wooden platform as part of a basic airborne refresher course being taught by instructors visiting from Fort Bragg’s Advanced Airborne School, Feb. 5, 2010. The PLF, executed with the feet and knees together and arms to the chest, allows a parachutist to dissipate the kinetic energy of landing in a controlled rolling motion, thus, avoiding injury. (U.S. Army photo by Spc. Michael J. MacLeod, 1/82 AAB, USD-C)
The Postcard
A postally unused postcard that was published prior to June 1918 on behalf of the National Portrait Gallery in London. It was printed specially for Samuels of Regent Street and Strand, London.
On the divided back of the card the following has been printed:
'Duke of Monmouth, 1640 - 1685.
Natural son of Charles II.
Defeated at Sedgemoor in his attempt
to attain the Crown of England.
Executed on Tower Hill.
This picture was discovered many years
ago in a farmhouse near Sevenoaks, in
Kent.
Upon the removal of a thick coat of dirt
at the back, the following inscription
could be made out, written in an old-
fashioned hand:
"From Miss Wray and to her father,
Sir William Ultethorne Wray, the son
of Sir Cecil Wray, of Lincolnshire, in
whose possession it was originally."
- Monmouth.'
The Execution of the Duke
Monmouth was beheaded by Jack Ketch on the 15th. July 1685. Shortly beforehand, Bishops Turner of Ely and Ken of Bath and Wells visited the Duke to prepare him for eternity, but withheld the Eucharist, for the condemned man refused to acknowledge that either his rebellion or his relationship with Lady Wentworth had been sinful.
It is said that before laying his head on the block, Monmouth specifically bade Ketch to finish him with one blow, saying he had mauled others before.
Disconcerted, Ketch did indeed inflict multiple blows with his axe, the prisoner rising up reproachfully the while – a ghastly sight that shocked the witnesses, drawing forth execrations and groans.
Some say a knife was at last employed to sever the head from the twitching body. Sources vary; some claim eight blows, the official Tower of London fact sheet says it took five blows. Charles Spencer, in his book Blenheim, puts it at seven.
Monmouth's execution was alluded to in the film Kind Hearts and Coronets, where the executioner says:
"The last execution of a duke in this
country was very badly botched.
But that was in the days of the axe."
Monmouth was buried in the Church of St. Peter ad Vincula in the Tower of London. His Dukedom was forfeited, but his subsidiary titles, Earl of Doncaster and Baron Scott of Tindale, were restored by King George II on the 23rd. March 1743 to his grandson Francis Scott.
Popular Legends
According to legend, a portrait was painted of Monmouth after his execution. The tradition states that it was realised after the execution that there was no official portrait of the Duke, so his body was exhumed, the head stitched back on, and it was sat for its portrait to be painted.
However, there are at least two formal portraits of Monmouth tentatively dated to before his death currently in the National Portrait Gallery in London, and another painting once identified with Monmouth that shows a sleeping or dead man that could have given rise to the story.
Texas has executed almost 500 people since 1976 (when a temporary federal moratorium was lifted). It's the highest in the US, but 2nd to Alabama when measured per head of population. The US is alone amongst modern western democracies in maintaining the death penalty, but is in the same club as states such as Iran, Saudi Arabia and North Korea. These protesters sit outside the state capitol building whenever there is an execution - which is always at 6:10pm. There was one yesterday (Feb 21st 2013).
Officers forced entry into an abattoir on Higher Bury Street in Stockport on Thursday 30th January 2025, while a second warrant was executed simultaneously at a residential property on Merlin Road in Blackburn, Lancashire.
A man and a woman – both in their thirties – were arrested on suspicion of human trafficking and an offence of slavery, servitude and forced or compulsory labour, contrary to S1 and s2 of The Modern Slavery Act.
A man also in his thirties was arrested at the abattoir after he tried to evaded police, fleeing from the site and hiding on a nearby roof. We discovered he was an Albanian national living and working illegally in the UK. He is now being processed by Immigration Enforcement.
This operation took place after we received disclosure alleging a man who previously worked at the abattoir was a victim of modern day slavery. The claims are that he was forced to live in the abattoir and work around the clock to pay off extortionate debts that were said to be associated with a sponsorship visa and travel expenses.
Detectives acted quickly, following lines of enquiry, gathering potential evidence, and coordinating a joint response with national agencies: the Gangmasters and Labour Abuse Authority (GLAA) and Home Office Border Security and Asylum. This included the Salvation Army and Crime and Justice charity.
The team involved in the late-night raid interviewed 30 employees onsite with a keen eye for spotting signs of exploitation. We also seized mobile phones, computer equipment and documentation as our investigations continue.
Detective Sergeant Lee Attenborough from GMP’s Stockport Challenger Team said: “We hope this robust and coordinated action taken in response a concerning report instils confidence in our approach to tackling modern slavery head on.
“Officers spoke with every employee working within the abattoir last night, they were receptive to our presence, and we engaged in good discussions around their working conditions, payment, and terms of employment.
“It’s so important we do this diligence and thankfully there were no further claims of exploitation. We have communicated the support that is available and how to access it should anyone choose to come forward.
“This activity forms one of several active modern slavery investigations within the force. In 2024 we supported more victims of modern slavery and held more offenders accountable for the misery they caused as 80 charges were laid – 40% more than the previous year – and 19 convicted were secured, up from seven, with several cases continuing to progress through the criminal justice system.
“Modern slavery is happening across Greater Manchester, and we encourage anyone who is a victim of this crime, or suspect someone they know could be, to report it. You will always be taken seriously, and protection and support is available.
“You can report modern slavery to us using our online crime reporting service."
Debi Lloyd, Head of UK Counter Trafficking Operations at Justice and Care, said: “Our Victim Navigators were deployed alongside police and other agencies on Thursday and it was fantastic to see a collaborative and multidisciplinary approach to tackling alleged modern slavery.
‘Navigators are embedded in police forces across the UK and help survivors to rebuild their lives and secure justice against exploiters. We are supporting the survivor in this case and commend their bravery in coming forward.
‘If you are experiencing exploitation, please know you are not alone, and support is available.
‘Every person out there can play a part in fighting modern slavery by learning to spot the signs and reporting any concerns to police or the Modern Slavery Helpline on 0800 0121 700.”
Gangmasters & Labour Abuse Authority (GLAA) Investigations Manager Michael Heyes said: “The GLAA works to stop the exploitation of workers in the UK and ensure that they are treated fairly. We have powers to investigate modern slavery offences and work with law enforcement and other partners to achieve this end.
“The GLAA has been involved in at least seven modern slavery and human trafficking investigations in Greater Manchester between April 2024 and January 2025.
“The GLAA is an intelligence-led organisation. Anyone with information or concerns about workers being exploited for their labour should email contact@gla.gov.uk or use the online reporting form which can be found at www.gla.gov.uk.”
Director of Anti Trafficking and Modern Slavery for The Salvation Army, Major Kathy Betteridge said: "The Salvation Army was on site today with Greater Manchester Police to make available specialist support for any potential victims of modern slavery identified. It is vital that victims’ needs are assessed, and they receive immediate access to protective care and specialised support, available through a Government contract operated by The Salvation Army.
“We work with survivors as they begin the long journey to rebuild their lives and their trust in humanity. Support provided by The Salvation Army can include intensive 24/7 support for people with high-level needs as well as safe accommodation, counselling and help with returning home, finances and finding employment.
"If you suspect that you, or someone you have come into contact with may be a victim of modern slavery and in need of help, please call The Salvation Army’s 24-hour confidential referral helpline on 0800 808 3733."
Minister for Border Security and Asylum, Dame Angela Eagle MP, said: “Modern slavery is an abhorrent crime that dehumanises people for profit. We are committed to tackling it in all its forms and giving survivors the support and certainty they need to rebuild their lives.
“We know that many people are sold lies about their ability to live and work in the UK and are often subjected to squalid conditions and illegal working hours for little to no pay.
“That’s why, as well as playing a critical safeguarding role, our immigration officers are also ramping up enforcement activity across the country to clamp down on illegal working and the exploitation of illegal workers to put a stop to the abuse of our immigration system and ensure those involved face the full consequences.”
Deputy Mayor of Greater Manchester, Kate Green, said: "Modern slavery is an appalling crime that has no place in our communities. Exploiting vulnerable people for profit is utterly unacceptable, and I fully support the efforts of our teams in bringing those responsible to justice.
"I’d like to welcome the way different agencies are working in partnership to tackle this disgusting crime. Through Programme Challenger, our partnership with GMP and a broad range of partners from across the public, private and voluntary sectors to tackle serious and organised crime, we are making a real difference, ensuring victims are protected and offenders face the consequences of their actions.
"We all have a part to play in spotting the signs of modern slavery. If something doesn't feel right, take action and report it. And I ask businesses specifically, please consider your supply chains and whether there may be a risk that modern slavery is happening where you access goods and services.
"Greater Manchester will not tolerate such exploitation, and we remain committed to rooting it out wherever it occurs."
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
This painting was executed at Patrick Adam's studio-home Ardilea, at North Berwick. His surroundings at home and in the immediate vicinity were a favourite topic of the artist.
This is a framed oil painting, 'Afternoon Light', signed 'PW Adam 1922' in bottom right. It shows a view from an interior, with a mandolin on a sofa, through open French windows to a garden with a sundial surrounded by green plants.
Patrick William Adam (1854-1929) was born in Edinburgh but settled at North Berwick. He travelled abroad extensively, working in Italy and Russia. Of his varied output, interiors painted at his North Berwick studio are amongst his best works, although he also produced East Lothian landscapes in a variety of media.
Accession number - 10735
Preparatory sketch for Woman's Advocates Mural, executed in 1982 in St. Paul, Minnesota. Please see the description of this project under my set Women's Advocates Mural.
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:-
Go to Page with image in the Internet Archive
Title: The horse in motion as shown by instantaneous photography, with a study on animal mechanics founded on anatomy and the revelations of the camera, in which is demonstrated the theory of quadrupedal locomotion. Executed and published under the auspices of Leland Stanford
Creator: Stillman, Jacob Davis Babcock, 1819-1888
Publisher: Boston J.R. Osgood
Sponsor: University of Toronto
Contributor: Gerstein - University of Toronto
Date: 1882
Language: eng
14
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
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)
Cadets from 1st Platoon execute a hot load onto the helicopters that will transport them to the Situational Training Exercise (STX) lanes where they will spend four days in the field. Part of U.S. Army Cadet Command's Operation Agile Leader, the Task Force Boston/Maine Field Training Exercise (FTX) was held on Camp Edwards, Mass. from August 22 - August 31, 2020. | Photo by Brenadine C. Humphrey, U.S. Army Cadet Command Public Affairs
Designed by the architect of the church, THOMAS RALPH SPENCE (1845-1918); executed in Pavonazza marble by Messrs. EMLEY & SONS, marblers and ship-outfitters of Wetsgate Road, Newcastle. The final design was probably realised late in 1886, and completed by May 1887, when the piece was shown on Messrs. EMLEY'S stand at Newcastle's Royal Jubilee exhibition. Installed in the church (along with the marble floors of the sanctuary) in time for the consecration ceremony, October 1888. The altarpiece's dimensions are 16 feet 11 inches by 9 feet 5 inches; the mensa alone is 119 inches long by 25 inches deep (34 inches if the gradine is included), standing 44 inches above the footpace (the top of the latter is 30 inches deep).
The accompanying decorative work was also designed by T.R. SPENCE; dado frieze of painted and over-glaze lustre tiles (on 4 1/4 inch blanks, probably supplied by Messrs CRAVEN DUNHILL), painted by GEORGE WOOLISCROFT RHEAD; glass mosaic of lower dado (replacing the original rouge marble revetment), second half of 1891; high level mosaics, executed in Messrs. RUST's (of Lambeth and Battersea) patent 'vitreous' mosaic, second half of 1889.
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.
Brian Davis executes a quick burnout to spin back around, after getting the exit of turn 3 a little bit wrong. Qualifying race, Late Models, Sunset Speedway in Innisfil, Ontario, Canada.
Nikon D5000
AF-S DX Nikkor 55-300mm f/4.5-5.6G ED VR
Exposure 0.006 sec (1/160)
Aperture f/10.0
Focal Length 170 mm
ISO Speed 200
Exposure Bias +2/3 EV
ift.tt/2gCEsuj #Mass grave of massacre executed by the Salvadoran army in 1932. El Salvador, 1992 [1567x912] #history #retro #vintage #dh #HistoryPorn ift.tt/2fT4p7D via Histolines
ift.tt/2h5oGp1 #Charlie Brooks Jr. – the first inmate to be executed by lethal injection (1982) [1452 x 1860] #history #retro #vintage #dh #HistoryPorn ift.tt/2g9LUIx via Histolines
Marines and sailors execute advanced live-fire training with the M16A4 service rifle and M4 carbine June 11 at Combined Arms Training Center Camp Fuji as part of Exercise Fuji Warrior. The training better prepares the service members to rapidly react to hostile contact should they deploy to a regional contingency or crisis. The Marines and sailors are with Combat Logistics Regiments 35 and 37, 3rd Marine Logistics Group, III Marine Expeditionary Force. (U.S. Marine Corps photo by Lance Cpl. Wes J. Lucko/Released)
CEA Project Logistics recently executed a project for the Nissan Motor Company which involved the transportation of factory parts with a total weight of 5,200 tons.
The factory parts arrived by ship at Laem Chabang Port and were unloaded by the vessel onto the dock below. Two CEA 50 ton cranes were then used to lift the parts on to three different types of trailer Flatbed, Lowbed and Multi Axle, this was due to the cargo being oversized and varying in weight. All cargo was secured with ratchet straps and transported to the CEA yard in Laem Chabang for two weeks storage until delivery date.
Upon delivery date the same configuration of trailers made the 82km journey to the Nissan facility in Samut Prakan. As these parts were oversized cargo CEA employed the services of the local Highway Police for a full escort to ensure safety to all road users.
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:-
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.