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The stained glass windows, executed by the Innsbruck Glassmakers in the Austrian Tyrol, were installed in the Cathedral around 1904.
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.
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).
A look around The Quarry in Shrewsbury.
Part of the park is known as The Dingle.
The park was first created in 1719.
The part of the park that runs alongside the River Severn.
A statue of Hercules.
The labours of Hercules
The statue of Hercules - a lead copy of the famous Farnese Hercules - dates from the early 18th Century and is attributed to Jan Van Nost. The statue was moved to the entrance of The Quarry in 1851 with his back to the town so as not to offend womenfolk!
He assumed his present position in 1881.
The statue is Grade II listed.
Statue of the Farnese Hercules, Shrewsbury
SHREWSBURY
SJ4812SE THE QUARRY
653-1/14/656 Statue of the Farnese Hercules
30/05/69
(Formerly Listed as:
THE QUARRY (OR THE DINGLE)
Statue of the Farnese Hercules on a
pedestal)
GV II
Statue. Early C18. Possibly by John Nost. Lead figure leaning
on club raised on stone plinth. Inscription on plinth reads
"Copy of the statue executed by the Athenian Sculptor Glycon
and known as the Farnese Hercules". Originally at Condover
Hall.
Listing NGR: SJ4850912384
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Pallikaridis was the last Cypriot EOKA fighter to be executed by the British authorities. He was hanged at Nicosia central prison on March 14th 1957.
The unveiling took place on March 11th 1990 at the initially suggested (by his co-fighters) location opposite Nikolaidio high school.
Pallikaridis’ slightly modified words are written on the statue’s low pedestal:
“I will follow an uphill; I will follow paths; I will find the stairs that lead to freedom”. (Θα πάρω μια ανηφοριά, θα πάρω μονοπάτια, θα βρω τα σκαλοπάτια που παν στη λευτεριά).
Paphos is a city on the southwest coast of the Mediterranean island of Cyprus.
By displaying photos of memorials to fighters on both sides of the border, it is not my intention to show any preference, judgement or bias regarding the intentions, ethics or morals of the protagonists involved. Whilst comments on the photos are welcome, I will not enter into any political argument about how they are perceived by anyone viewing them.
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:-
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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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.
Air Force cadets enrolled at Southern Nash High school execute a mobilization exercise at Camp Charles in Bailey, N.C. on Nov. 22, 2013. Cadets received training from North Carolina National Guardsmen Sgt 1st Class John Setera, Mobilization Readiness Non-Commissioned Officer at Joint Force Headquarters and Staff Sgt. Sofia Phillips, Aide to the Chief of Joint Staff at Joint Force Headquarters, on how to administer basic first aid, how to maintain a security element, searching a detainee, concepts for traffic control points, and proper patrolling movements. This program is headed by retired Air Force service members Lt. Col. John Coulter and Chief Master Sgt. Scott Wedding, who have cadets complete this exercise to become more familiar with military training and gain insight on military perspective.
(U.S. Army National Guard Photo by Sgt. Leticia Samuels, North Carolina National Guard Public Affairs/Released)
This morning (Friday 23 August) police in Rochdale executed two warrants in the Freehold neighbourhood as they continue their relentless pursuit of those intent on causing harm to the local community.
Three men aged 14 – 54, have been arrested on suspicion of conspiracy to supply class A and B drugs. They remain in police custody for questioning.
Following a thorough search of the addresses, significant quantities of class A and B drugs were found, with an estimated street sale value of £51,000. We also seized several weapons, including two samurai swords, and several items consistent with a significant drugs operation.
This is the latest activity which comes under the district’s Operation Affect, the force’s latest Clear, Hold, Build initiative. Police are systematically dismantling and disrupting organised crime in the area, by pursuing gang members and criminals to clear the area, holding the location to prevent criminals exploiting the vacuum created by the original disruption, and working with partners and Rochdale Boroughwide Housing (RBH) to build a prosperous and resilient community.
So far, the team have made 36 arrests, secured three full closure orders on nuisance properties linked to criminality, and seized large quantities of cash, drugs, and weapons.
Building on a successful community event held earlier this year, Rochdale Boroughwide Housing (RBH) are working with local residents and partners to design out crime in Freehold and rebuild a stronger community.
The overall investment is anticipated to be around £5M and will keep residents safer and improve the overall look of the local area, including providing higher quality common areas and improving the condition of the buildings.
Inspector Meena Yasin, who is leading Operation Affect, said: “Since launching this operation we’ve seen a real concerted effort to disrupt illegal drug supply in the Freehold area of Rochdale.
"From speaking with residents, we know that drug dealing, and anti-social behaviour has been a particular area of concern for them.
“The seizures this morning means we have been able to take tens of thousands of pounds worth of illicit and harmful products off our streets and dismantle a significant drugs operation which has been blighting our residents.
“Our officers remain in the area to provide a visible reassurance for residents. If you have any concerns or want to share information about suspicious behaviour in the area, please speak to them, they are there to help you.
“You know your community best, and your intelligence often forms a large and crucial park of our criminal investigations, helping us to remove criminals from the streets.”
Hayley Stockham, RBH Director of Neighbourhoods, said: "We have zero tolerance for anti-social behaviour and criminal activity in our neighbourhoods. We're very grateful to the local community for supporting our joint efforts to stamp out this behaviour.
“We will continue to work closely with our partners in the Police and at the Council, and we know that this is making a significant difference to the lives of local people. We encourage members of the community to continue to report crime and anti-social behaviour to RBH and to the Police.”
If you have any concerns about drugs in your area, let us know via our Live Chat function on our website, or by calling 101, so that we can take action.
Always dial 999 in an emergency.
Alternatively, you can report it to Crimestoppers, anonymously, on 0800 555 111.
Soldiers assigned to the U.S. Army Caisson Platoon, 1st Battalion, 3d U.S. Infantry Regiment (The Old Guard) continue their solemn duty of rendering final honors to fallen military members at Arlington National Cemetery, Va., March 21, 2018. The U.S. Army Caisson Platoon continued to execute their duty despite harsh inclement weather. (U.S. Army photos by Spc. Gabriel Silva)
Beautifully executed in ceramic tiles, N15 class No 30453! Was this a one-off or were there any similar exhibited outside any other "Railway Hotels" throughout Southern England ?
More than 250 people (the exact number is unknown) were executed by firing squad on the Waalsdorpervlakte during the Second World War. A place at the dunes of Meijendel, situated near The Hague, The Netherlands. This site has become one of the main memorial sites of the Dutch remembrance day.
On the 4th of May a silent remembrance procession is held. For this occasion the Dutch flag is formed with painted pine cones (in earlier years this was done with flowers). On both sides of the monument torches are placed and there is an honor guard of six persons. The big Bourdon Bell rings just a couple of moments before 20.00 hours. After the trumpet signal Taptoe, there's a two minutes silence. This is followed by the Dutch national anthem. Participants of the procession then walk past the monument to lay flowers and wreaths. The Bourdon Bell will sound again until the last interested party has passed the monument. The commemoration of 2014 attracted 3.416 visitors. The last one passed the monument at 22.57. The numbers for this year's commemoration aren't in yet.
Compared to the remembrance ceremony at the Dam Square in Amsterdam, this ceremony is rather low profile with regard to protocol and small media attention. There are no rules for participants to follow or to disobey. This makes it in my view a more intense, personal and very powerful gathering. Except for the crew of RTL and some photographers, like yours truly, there's more than enough room for 'clean' compositions...
The organization of this commemoration is held by the members of the Association Erepeloton Waalsdorp.
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
executed by tiffany studios in 1923-24, the design of this multi-panel window is attributed to agnes northrop; "autumn landscape" is now in the american wing of the metropolitan museum of art in new york city.
ift.tt/1UcwcJA General Hideki Tojo Receiving Treatment after He Attempted Suicide with a Pistol (He was Executed Three Months Later) Japan, 1945 [802 × 619] #HistoryPorn #history #retro ift.tt/1P2Vd8r via Histolines
That Old Serpent is the sort of fellow who doesn't like a fuss made.
He's a quiet bloke, plays his cards close to his chest and keeps himself to himself.
Which is why I'm publicly congratulating him on reaching his fortieth year.
I expect he'll kill me later but social etiquette insists it was either this or a poorly made, badly spelled home-made sign (possibly made from an old bed-sheet) tied between too saplings on a round-a-bout.
Such is our way in Britain.
Anyway, happy birthday cuz, may Mr Wood bestow lovely 1/6 goregeousness on you all your live-long days.
Now, who's for cake and jelly?
The Shot at Dawn Memorial is a monument at the National Memorial Arboretum near Alrewas, in Staffordshire, UK. It is a memorial to the 306 British Army and Commonwealth soldiers executed after courts-martial for desertion and other capital offences during World War I.
As with most of the memorials in this arboretum, this is very thought provoking and to me emotive.
en.wikipedia.org/wiki/Shot_at_Dawn_Memorial
123 Pictures in 2023, theme # 116 Wide Angle
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)
The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.
Building
Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688
Canaletto: View of Palais Liechtenstein
1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.
The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.
For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.
A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .
Sala terrene of the Palais
1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.
After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.
Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.
Garden
Liechtenstein Palace from the garden
The new summer palace of Henry of Ferstel from the garden
The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.
Use as a museum
Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.
From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .
On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.
de.wikipedia.org/wiki/Palais_Liechtenstein_(F%C3%BCrstengasse)
The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.
Building
Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688
Canaletto: View of Palais Liechtenstein
1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.
The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.
For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.
A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .
Sala terrene of the Palais
1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.
After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.
Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.
Garden
Liechtenstein Palace from the garden
The new summer palace of Henry of Ferstel from the garden
The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.
Use as a museum
Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.
From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .
On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.
de.wikipedia.org/wiki/Palais_Liechtenstein_%28F%C3%BCrste...
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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:-
Operation “Texas Aggie Ring Smoked Jalapeños” was executed successfully this afternoon.
Aggie Ring browned a pound of Italian sausage and mixed it with a brick of cream cheese and a half cup of shredded Italian cheese.
The Aggie Ring most carefully cut his jalapeños horizontally and using his special jalapeño tool, removed the seeds and the ribs from inside the jalapeños.
Then, with great care, Aggie Ring placed an ample portion of the stuffing in each jalapeño “boat.”
Once all of the magical jalapeños were stuffed, Aggie Ring put some cherry wood into his electrical smoker and let it “go to town.” It only took about 40 minutes for them to finish. One wants the jalapeño to still have some texture to it when you bite into it. No one wants an overcooked, soggy jalapeño in their mouth.
“Just look at that beautiful patina the cherrywood smoke imparted on that filling.” I told Aggie Ring. “You’re awesome.”
“No.” said Aggie Ring. “You’re the one who is awesome.
Aggie Ring had me throw some into a tray and drive the incredibly long two miles down the road to the brewery for some fresh beer. When you’re eating cherrywood smoked jalapeños, beer from a bottle or can just doesn’t cut it. It must be fresh and brewed within the last five days.
We enjoyed some of those deliciously smoked jalapeños with a new beer that just came out of the finishing tank Friday. They were surprisingly hot (tastebud wise). I mean, really hot. My lips were burning! My lips were hot. I had hot lips. You can never tell about jalapeños. Sometimes they are mild and other times they are fire hot. Even if you remove the seeds and the ribs where most of the heat comes from. Damnit, I’m an engineer. Not a writer. I don’t have the writing skills to describe how good those smoked jalapeños were. I’m not sure if Mark Twain would have been able to describe them in writing.
We… (That would be Aggie Ring and I) enjoyed them with a fresh “Texas” style beer which I’ll describe in another post. We didn’t have microbrew when I was living in Texas. We only had Shiner Bock or beer that sucked.
I offered some jalapeños to my three friends who work at the brewery. They looked at them and slowly backed away shaking their heads. Jalapeños and spicy food in general is like Kryptonite to people in New Jersey.
The jalapeños were fairly good sized, so Aggie Ring and I only consumed about 5 pieces. We took the rest home and froze most of them. We did refrigerate about 8 pieces to enjoy in the toaster oven with some bourbon the next day or three.
Aggie Ring was laughing at me a couple of hours later. I had completely forgotten something that they teach you in Texas 101 in seventh grade. “Thou shall not touch an eye after working with and/or eating jalapeños. Even if thou has washed one’s hands with hot soapy water several times.”
I’m sure I made a pathetic site as I was standing there in the kitchen, holding a bourbon with tears streaming down my face. Aggie Ring laughed and laughed at me. Aggie Ring don’t give a sh%t. He’s like a honey badger. He said, “Well, let that be a lesson to you. I don’t think you’ll make that mistake again. Will you?”
The road goes on forever and the party never ends.
José Antonio Primo de Rivera was the oldest son of General Miguel Primo de Rivera, who was prime minister and dictator during the reign of King Alfonso XIII of Spain from 1923 until 1930.
Boadicea, executed in 1989 by British sculptor Tony Cragg, is one of the many sculptures collected in the Clos Pegase sculpture garden. The 6-foot long bronze with green patina sculpture is a cluster of bronze spheres laying across a log which is on the ground.
Clos Pegase is a 450-acre estate winery, founded by Japanese publishing mogul Jan Shrem, nestled in the volcanic hills outside of Calistoga at 100 Dunaweal Lane. The "temple to wine and art" was designed by Michael Graves in 1987 in an architectural competition juried by the San Francisco Museum of Modern Art. The winery became a monument to both wine and art, with a 20,000 feet of aging caves, and landscaped sculpture garden featuring pieces from Shrem's collection.
In the early hours of Thursday 19 March 2026 eight warrants were executed simultaneously across Tameside, Oldham and Rochdale to tackle a suspected criminal network involved in the distribution of class A drugs and firearms.
Officers from Tameside Programme Challenger team, the District Intelligence Unit (DIU), and our Tactical Aid Unit (TAU) were deployed to each of the addresses where a total of
11 people aged between 24 and 77 were arrested on suspicion of drug related offences following weeks of intelligence gathering and preparation.
A firearms strike was also carried out at one of the addresses.
Eight men and three women were arrested on suspicion of a range of offences including conspiracy to supply class A and B drugs, being part of an organised crime group, possession with intent to supply, money laundering, and possession of an offensive weapon.
During searches of the addresses, class A, B and C drugs including crack cocaine, heroin, cannabis and nitrous oxide were seized. Further recoveries of £70,000 in cash, a zombie knife, a BB gun and four vehicles were also made.
Chief Superintendent Shan Nasim, District Commander for Tameside, said: “Today’s operation has been a powerful example of our continued, determined effort to dismantle organised crime in our district and Greater Manchester.
“We have 11 people in custody being questioned by our investigation teams in relation to an organised crime group (OCG) that have been causing widespread harm across our communities.
“Today's action caused significant disruption of an organised crime group (OCG) and has prevented drugs and weapons from reaching the streets, as well as the associated harms that come hand in hand with organised crime.
“Organised criminals exploit vulnerable people and blight our communities; we will take robust action to catch offenders, keep our communities safe, and protect vulnerable people across Greater Manchester.”
Programme Challenger brings agencies across Greater Manchester together to protect vulnerable people, dismantle criminal networks and prevent exploitation in all its forms.
Members of the public are encouraged to share intelligence, which remains vital in disrupting criminal networks. GMP and partner agencies are committed to safeguarding vulnerable people who are victims of crime or at risk of committing offences.
If you are concerned about criminal activity in your area, contact police on 101, or call Crimestoppers, anonymously, via 0800 555 111.
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