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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)
Those executed for taking part in the revolt against Charles V, Holy Roman Emperor.
Some beheaded ("onthoofd") in 1540 and one burned alive ("verbrand") in 1545.
This piece is entitled "self portrait of ones entire life". I executed this piece with the a theory I developed that is called Dimensionalism . This theory has its inspiration form my experiences with pre-seizure events for I have epilepsy. In this state I become detached from reality and see time in a different construct,that of a hyper intensity. A hyper awareness of a moment and everything that constructs it from sounds,thoughts,things tactile . While in these pre seizure states, some instances time is slowed down/speed up or frozen. While in other instances I am forced away form all comprehension of what is in my present environment and reality takes on a totally foreign existence where all has to be re learned.
For the viewers of my piece all of life is in dimensions and how one moves through these dimensions of either large dimensional constructs such as ones life or to the minute dimensional construct of a simple word. Thus giving the viewer this new perspective of time and space. The suspended animation of the piece is only dynamic as the viewer views the piece from the narrower sides form either end where a visible play of time sequencing exists and ones eye is drawn into the piece...
A perspective of a Dimesionalist where one has a view of a moment with a gods eye/time traveler or a pure energy source . From looking at a simple word to a memory one has. All is captured in dimensions. There are other branches of my theory that further portray my experiences. Demensionalising and facitile dimensionalism. These ideas also play with the constructs of how one sees time/moment.I hope to execute these ideas in the future...........
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
All these ideas/theories have a direct correlation with present day society...from the over abundance of information that is transferred by different technologies to the ways these technologies directly affect our existence and how it adds other dimensions of time to our lives.
I will be placing more info online in the future. and creating a temp website that fully explains all the details and shows examples of these theories as well as go into more details..
If you are interested in more info please feel free to contact ...efj@sbcglobal.net
Best best
Efj.
the iliveisl sim, Enercity Park, goes away shortly after these pics were taken. it was one of only 100 or so remaining openspace sims.
it had been 3750 prims but when Linden Lab poorly executed their change in policy and pricing and went from $75 to $95 per month and from 3750 prims to 750 prims, this became the most expensive type of land isl
but i promised my residents that Enercity would have a park so kept it until the estate was transferred to the very best residents in all of second life
the park was the closest to a home that Ener Hax had. two sparse fallout shelters would become Ener's homes
one just a bare mattress and cardboard boxes to reduce drafts from broken windows and had and old turret slowly rotating that stood as a silent sentinel to bygone eras when we humans could have taken a lesson from our own avatars and the other a small emergency shelter for the bus stop
the lake in the park was called Butterfly Lake from its shape when viewed from the air and had a swan and ducklings swimming and a nice bench for friends to sit and visit under a weeping willow. near that spot was an old underground shelter to park military vehicles. that spot became an underground skatepark and was connected to the city's catacombs. these catacombs, like in Paris, ran below the city streets
zombies lived in one section near a small graveyard. no one knew why zombies were there, some suspect it was related to the war time bunkers. the manhole cover near the zombies was opened and the catacombs tagged with "i <3 ener hax" and "subQuark sux"
the most favourite spot for Ener Hax was near the bus stop and the 1950's era rotating and steaming coffee billboard (hmm, maybe the chemical smoke from that big coffee cup is to blame for the zombies? after all, the "steam" does drift over the grave yard
the fave spot looked over the smaller lake west of the bus stop and was in view of one of the parks two waterfalls. that spot was made very special because of Mr. Bunny. Ener loved to sit on the ground and just watch Mr. Bunny hop around and doze occasionally. what a cute bunny =) he even had his own carrots planted by Ener
high above the eastern part of the park was the huge zebra striped zeppelin. a bit of a trademark of the iliveisl estate
it was a lovely spot, even had tai chi on the big bunker and a zip line from the water tower
ooh, the water tower! as a surprise gift, DreamWalker scripted the water tower and turned it int a funky hang out spot. there was an abandoned pool inside the tower (???) and place to sit and talk. even a cute ladybug called it home. the water tower's top would slide up and down and also turn invisible. for romance, a moon beam came through the towers top port and could even have its brightness changed
even though the park was outrageously expensive, it was Ener Hax and Mr. Bunnies home and will be sincerely missed
namas te
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.
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
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:-
dressage rider and background here with thanks
www.flickr.com/photos/snapeverything/3069713555/
www.flickr.com/groups/photoshopcontest/discuss/7215763005...
start image thanks to jaci XIII
At St Aldegundis, Emmerich am Rhein; a statue of St Christopher executed around 1500 by someone in the artistic circle of famous local woodworker Dries Holthuys.
Some say that St Aldegundis is on the site of the original mission church in what later became Emmerich am Rhein, founded by St Wilibrord around 700. That is debatable, but what is certain was there was a collegiate foundation in the town by 914 and that a church on this site burnt down in the early 15th Century. The current building was built to replace it between 1449 and 1514.
The tower was originally built, integral to the nave, between 1483 and 1513. It was destroyed in a 1651 fire and not rebuilt until 1719; the church was bombed out in the RAF bombing of 7 October 1944 in which 91% of the buildings in the town were destroyed. Restoration of the nave and choir were finished by 1955 with the tower, whose upper section was substantially lost, following between 1959-67, with the figures on today’s tower carved by Waldemar Kuhn. New stained glass was also commissioned to replace what was damaged in the war.
The church has long been the principal parish church of Emmerich although perhaps inevitably these days it has now been merged with three others in the town (including St Martini) into a single parish.
As for St Aldegundis, usually known in English as St Aldegonde, she was a Frankish Benedictine abbess at Maubeuge who lived ~639-684 and is still venerated in northern France. She was known for feeding the destitute, and for dying of breast cancer, of whose sufferers she is the patron saint.
Opened on March 1st 1848, this pier, at New Holland on the banks of the Humber Estuary in Lincolnshire was originally planned by the Great Grimsby & Sheffield Junction Railway, but actually executed by the Manchester, Sheffield and Lincolnshire Railway. The builder was John Fowler (1817-1898), who later was one of the two engineers for the Forth Rail Bridge, and also built other structures under contract to the MS&LR, including one of the World's first tubular girder bridges at Torksey.
The purpose of the 1375 foot long pier was to reach sufficient depth of water for the ferries to carry traffic across the water (about 1 mile wide) to the City of Hull. The idea was that this would be a part of the MS&LRs route to the North from London via the East Lincolnshire Railway. However, this scheme did not have long to flourish, as rival company, The Great Northern Railway opened it's direct line to Doncaster from London (now the East Coast Main Line) in 1852, and took much of the traffic away from the ferry route.
However, the ferries continued to operate, saving a 60 mile round trip by road from Lincolnshire to Hull. In fact, the last trains to New Holland Pier Station - the railway station built on the end of the pier - ran on June 24th 1981 when the station, the pier and the ferries were rendered obsolete overnight by the opening of the Humber Bridge.
The pier is now not accessible to the public, and is operated as a grain terminal - hence the overhead conveyors - but the station buildings and signal box are still there, and can be made out on this picture. All the trackwork & signals, however, were removed shortly after closure, and the pier is no longer linked to the rail network.
Nikon F5, 70-300mm Nikkor Lens, Kodak Professional BW400CN Film
Today, Thursday 16 November 2017, police executed warrants at eight addresses across the Moss Side and Hulme areas of Manchester.
The warrants were executed as the latest phase of Operation Malham, targeting the supply of drugs in South Manchester.
This follows previous raids last week, which means more than 14 properties have been searched and eight people arrested in total as part of the operation.
Detective Chief Inspector Paul Walker, of GMP’s City of Manchester team, said: “We are dedicated to rooting out those who seek to make profits from putting drugs on our streets.
“Today’s raids have resulted in the arrests of five people which have only been made possible through the support of partner agencies and community intelligence.
“We are grateful for all your support and help and I would urge you to continue to report anything suspicious to help us stop people who are benefitting from crime and remove drugs from our city.”
Anyone with information should contact police on 101 or Crimestoppers, anonymously, on 0800 555 111.
To find out more about Greater Manchester Police please visit
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.
Few racing yachts from the 1970s are as iconic as the Nicholson ("Nic" 55). EAGER started life in 1970 as the first Nic 55 built for Lloyds of London. All Nic 55s raced in their days and won regular podium finishes.
In the 90s Lloyds sold the yacht. She was named ACCLAIM by her new owner and continued her life as a successful racing yacht. In 2007, a yachting aficionado purchased the yacht. She was taken to Rutherfords Boat Shop in California, USA for a complete overhaul. This refit included stripping her to a bare hull, fitting her with a new deck and interior and fitting a new carbon rig and rudder. EAGER’s reconstruction aimed to recreate the yacht with modern technology and engineering without losing her essential character.
EAGER is an excellent opportunity to own part of the racing glory of the 1970s with a head turning, fast, go-anywhere performance yacht.
The inviting and practical interior of EAGER is in period styling and is finished to a very high level. The interior of EAGER has been executed in selected teak veneers with teak trim and doorframes. The exposed hull sides are finished in yellow cedar and the sole is teak. The forepeak accommodates a chain locker, a sail storage area and access to the windlass motor. EAGER has three staterooms, including a master with queen-size bed and two guest cabins.
The main salon incorporates the galley area. The galley is fully equipped with a U-shaped Corian counter top, double sinks, refrigeration with top and front door access and more. Opposite the galley is a large comfortable seating area around a teak table with access to a pop up TV unit.
EAGER is a stylish family yacht suitable for weekend sailing or blue water cruising.
SPECIFICATION
Length16.41m
Beam4.4m
Draft2.54m
Built1970 | 2009
ConstructionGRP
Engines1 x Yanmar
BuilderCamper & Nicholsons
Exterior designerCamper & Nicholsons
Interior designerCamper & Nicholsons
ASKING PRICE
$750,000 USD
This work of art was originally executed and installed in the famous Mirror Steakhouse at 981 Louisiana in July 1943. It was moved to its present location when Interstate 20 right of way was obtained. The original owner was Charles Rinaudo and he commissioned PPG Industries to furnish the entire unit complete with all engineering and lighting as well as the the framing and design. Elmer E. Taflinger of Indianapolis prepared the full size artist's sketches for sculptor Ivan Pouge, also of Indianapolis, who spent over 200 man hours in the sandblasting of the figures. The overall dimensions are 118" wide and 60" high. The total weight of the 3/4" thick polished plate glass and the 3/8" thick polished black structural glass background is 675 pounds It hangs on the the wall in Don's Seafood Shreveport, LA.
St Albans claims to be the earliest site of Christian pilgrimage in England, being named after our first martyr, who was executed at some point in the 3rd century AD (when the city was still known by its Roman name, Verulanium) having sheltered a persecuted Christian priest, St Amphibalus, and been impressed by his faith, offering himself for arrest in his place. Both men were buried here and Alban's tomb was venerated and marked in some form long before the present cathedral was built.
The cathedral is nonetheless one of the most ancient of our major churches, though its cathedral status dates only to 1877 when the new diocese of St Albans was formed. The church was originally founded as St Alban's Abbey, and built close to the presumed site of Alban's martyrdom. Founded in 793 by King Offa, the abbey was rebuilt several times with the earliest parts of the present cathedral dating back to the late 11th century. Much use was made of recycled material from the abandoned Roman city of Verulanium, and the handsome Romanesque tower appears to be entirely constructed of reused Roman bricks. The Abbey was built on an impressive scale, and must have once been a very wealthy institution owing to pilgrimages to the shrine of St Alban behind the high altar. However its fortunes had begun to decline even before the Reformation swept medieval monastic life away.
The abbey church miraculously survived the Dissolution in its entirety and was sold to the town for use as their parish church. The monastic buildings however were completely erased aside from the splendid Abbey Gatehouse near the west end, and only the weathered remains of arcading on the south side of the nave remains of the former cloisters. Upkeep thereafter seems to have been a serious challenge and the huge church spent much of the following centuries in poor repair, thus much work was done by a succession of architects in the Victorian period prior to the abbey church being raised to the status of cathedral. The most obvious interventions are those made by Edmund Beckett / Lord Grimthorpe, an amateur architect who paid for much of the work in the 1870s in return for a free hand in redesigning parts of the building. His are the strange turrets on ends of the transepts, along with their facade windows below and the west front, which is clearly a Victorian confection, though the medieval facade it replaced had been left in a rather bare, unfinished state.
The cathedral we see today is thus a rather surprising mixture of styles and materials, everything from Roman brick, flint and rubble to fine white limestone., which gives it a rather patchy appearance. Its great length however is remarkable, being the second longest medieval church in the country (only Winchester is longer, but St Albans has a longer nave). The oldest parts are the towers and transepts from the end of the 11th century, along with much of the north side of the nave, all fine examples of early Romanesque architecture. Most of the rest was rebuilt in the Gothic style in various phases throughout the 14th century, including the greater part of the nave and all of the choir and Lady Chapel (though the east end was heavily renewed externally in the Victorian restoration).
Entering the cathedral one cannot fail to be impressed by the enormous length of the nave,, mostly of late 13th and early 14th century date aside from the strikingly austere north arcade in the more easterly section, where the raw unadorned early Norman architecture contrasts dramatically with the more ornate Gothic arcade opposite. The Norman columns have the added appeal of retaining substantial remains of medieval mural decoration, with a succession of Crucifixion scenes that may have originally served as reredos to long vanished side altars. The medieval pulpitum screen remains and separates the eastern bays for use as the choir beyond it. This area also retains its flat late medieval wooden ceiling complete with painted panels of angels holding shields.
The transepts and crossing beneath the tower form an especially memorable interior space, again the architecture is of the more raw, auster Norman variety, but the tower arches are enlivened with painted decoration simulating brickwork and much Roman and Saxon material is incorporated in to the transepts. Beyond is the fully Gothic eastern limb with the presbytery covered by a handsome medieval wooden vault, again replete it medieval painted decoration, and the striking altar reredos, a towering late medieval screen populated with elaborate niches and statuary (the latter being Victorian replacements for originals long lost). Behind this is the re-assembled shrine of St Alban (along with that of St Amphibalus in the south choir aisle nearby). The Lady Chapel beyond is a handsome example of 14th century Decorated Gothic, though much restored following centuries of use as a schoolroom separated from the rest of the church.
There is much of interest to see in the cathedral, though most of the furnishings are Victorian (the originals having long vanished) and there are few monuments of note aside from the two late medieval chantry chapels of Abbot Ramryge and Humphrey Duke of Gloucester, the latter overlooking the shrine of St Alban and balanced by a 15th century wooden watching loft on the opposite side (a rare survival). There is a mixture of glass, the most notable pieces being the most recent additions in the south aisle and north transept rose window. The best features are the unusually extensive remnants of medieval mural painting in various parts of the church, a quite remarkable survival, making a thorough exploration of this cathedral all the more rewarding.
This was my third visit, and longest one, though my attempt at a fuller photographic record was severely compromised by accidents with my camera, which at one point fell from my tripod onto the stone floor in one of the chantry chapels. I was lucky it survived at all given the dreadful crash it made, but it was seriously affected and my photos were very hit and miss from that point onwards. My day however ended on a happier note, returning in the evening to attend a lovely performance of Mozart's Requiem, and the acoustics in there are indeed impressive.
For more about the cathedral see below.
Public Domain. Suggested credit: Library of Congress via pingnews. Additional information from source:
TITLE: The Law vindicated, - four of the Chicago anarchists pay the penalty of their crime ... / from sketches by Will E. Chapin.
CALL NUMBER: Illus. in AP2.L52 Case Y [P&P]
REPRODUCTION NUMBER: LC-USZ62-109367 (b&w film copy neg.)
SUMMARY: Two scenes in the Cook County jail showing anarchist Parsons singing in his cell, and march of four Chicago anarchists to the scaffold before the moment of execution.
MEDIUM: 1 print : wood engraving.
CREATED/PUBLISHED: 1887.
NOTES:
Illus. in: Frank Leslie's illustrated newspaper, 1887 Nov. 19, p. 217.
SUBJECTS:
Executions--Illinois--1880-1890.
Jails--Illinois--1880-1890.
Anarchists--1880-1890.
FORMAT:
Periodical illustrations 1880-1890.
Wood engravings 1880-1890.
DIGITAL ID: (b&w film copy neg.) cph 3c09367 hdl.loc.gov/loc.pnp/cph.3c09367
CARD #: 93517729
A partial renovation project in Italy, executed on scale 1:200.
A for European standards relatively large model at nearly 3 meters long.
A lot of green and height differences in this model made it look really lively.
Presented on the Second Home Fair in Utrecht in March 2009.
Model by AMOD China
South chancel window c1980 unusually executed using fused layers of glass to create the designs. Possibly the work of Birmingham stained glass artist Claude Price who often used this medium.
The church of All Saints in Thorpe Acre (a north western suburb of Loughborough) was built in 1845 to replace a ruined medieval building at nearby DIshley. This small church was designed by WIlliam Railton and consisted of a single space nave and chancel in one crowned by a bellcote at the west end. The situation changed dramatically in 1968 when the building was greatly enlarged by extensions at the west end and on the south side were a large transept was created, transforming the building into the T-shaped worship space we see today, with the focal point at the crossing point rather than the old chancel. Outside the bellcote remains but the new additions dominate the view from the west and south, leaving the former chancel as the only part of the building still substantially in its Victorian form.
The interior is a light and pleasant space thanks to the white-washed walls and the light flooding in from the modern sections. The former chancel is relatively unaltered and retains some fine glass by Kempe along with a good Arts & Crafts window and a more recent piece alongside it.
This church is something a bit different, a fusion of old and new, and I rather liked it. I imagine it is normally only open for services but the people we met here were friendly and welcoming.
www.lboro-history-heritage.org.uk/all-saints-church-thorp...
Arbour Hill Prison is a prison and military cemetery located in the Arbour Hill area near Heuston Station.
The military cemetery is the burial place of 14 of the executed leaders of the 1916 Easter Rising. Among those buried there are Patrick Pearse, James Connolly and Major John MacBride. The leaders were executed in Kilmainham Gaol and their bodies were transported to Arbour Hill for burial.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The grave site is surrounded by a limestone wall on which the names are inscribed in Irish and English. On the prison wall opposite the grave site is a plaque with the names of other people who were killed in 1916.
The prison was designed by Sir Joshua Jebb and Frederick Clarendon and opened on its present site in 1848, to house military prisoners.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
The church has an unusual entrance porch with stairs leading to twin galleries for visitors in the nave and transept.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans' Association house and memorial garden.
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:-
Violin belonging to cat burglar, Charles Peace, executed for killing a police officer in a burglary gone wrong in 1878. Peace was a musician serenading households by day; returning robber by night. © Museum of London / object courtesy the Metropolitan Police’s Crime Museum
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
One of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
For more see below:-
Two important signatories of the National Covenant were James Graham, Marquess of Montrose, and Archibald Campbell, Marquess of Argyll. Both men professed loyalty to King Charles, but when the covenanters began to force people to sign the National Covenant, Montrose broke with what he perceived to be the excesses of Argyll's reforming party, and led a royalist army in Scotland against Argyll.
Montrose was executed outside St Giles' at the Mercat Cross in 1650, and his head placed on a spike outside the church. After the Restoration of King Charles II in 1660, Montrose's head and body were exhumed and reinterred in St Giles' with full honours. His memorial stands in the Chepman Aisle
The Origins of St Giles'
There is record of a parish church in Edinburgh by the year 854, served by a vicar from a monastic house, probably in England. It is possible that the first church, a modest affair, was in use for several centuries before it was formally dedicated by the bishop of St Andrews on 6 October 1243. The parish church of Edinburgh was subsequently reconsecrated and named in honour of the patron saint of the town, St Giles, whose feast day is celebrated on 1 September.
The Covenanters
In 1638, those opposed to King Charles’ plans to reintroduce episcopacy in Scotland signed the National Covenant. In 1643, following a split amongst those who disagreed with the king, the Solemn League and Covenant was drawn up and then ratified by the General Assembly of the Church of Scotland, then meeting in the Preston Aisle of St Giles’. The National Covenant may still be seen today in the Preston Aisle.
That St Giles, a 7th century hermit (and, later, abbot) who lived in France, became the patron of both town and church was probably due to the ancient ties between Scotland and France.
According to legend, Giles was accidentally wounded by a huntsman in pursuit of a hind and, after his death in the early 8th century, there were dedicated to him hospitals and safe houses for cripples, beggars and lepers were established throughout England and Scotland within easy reach of the impoverished and the infirm. St Giles is usually depicted protecting a hind from an arrow, which had pierced his own body, a fine relief of which rests in the tympanum over the west (main) doors of the Cathedral.
St Giles' in the Middle Ages
St Giles' was founded in the 1120s when the Scottish royal family, the sons of Queen (Saint) Margaret and King Malcolm Canmore, especially David I (1124-1153) made strenuous efforts to spread Catholic Christian worship throughout the Scottish lowlands.
This church was probably quite small, Norman (i.e. Romanesque, with rounded arches and elaborate carving) in style, like others built at the same time. Few traces of it survive in the present building.
In 1385, a much larger church (early Gothic, pointed arches and simple octagonal pillars) was partially burned. No record has been found of the building of this second church. It was quickly repaired.
Over the next 150 years many chapels were added. These included chapels set up by the craftsmen's guilds of Edinburgh, chapels endowed by prominent merchants and nobles, and a chapel for a relic of St Giles. By the middle of the 16th century, there were around fifty altars in the church.
The Church becomes a Cathedral
For more than a century after the Reformation, worship in St Giles’ was disrupted by the disagreements about church government. In 1633, King Charles I appointed Scottish Episcopal bishops in Scotland and in 1635 William Forbes became the first bishop of the new diocese of Edinburgh, with St Giles’ as its cathedral, which it remained until 1638 and again from 1661-1689. That St Giles’ is commonly called a cathedral dates from this period.
St Giles' in the 20th and 21st Centuries
In 1911 the Thistle Chapel (architect: Sir Robert Lorimer) was completed, to be used by the Knights of the Thistle, Scotland's order of chivalry. Though small, it is in 15th century high Gothic style and full of elaborate carvings in wood and stone and of colourful heraldry.
Over the last hundred years or more, St Giles' has hosted important events including state occasions and services of national thanksgiving.
A new restoration programme began in 1977. In addition to essential repairs to roof, stone and glass, the interior has been lightened, the focus of worship moved from the east end to a new sanctuary in the middle of the church ("the crossing") and a magnificent new organ installed. Space has been converted from old cellars and crypts for meeting and eating. Much remains to be done
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.
My 3rd Cousin, Captain L C Matthews GC, MC, 8th Division Signals, 2nd AIF. Captain
Matthews was executed by the Japanese on 2 March 1944 for his part in
the secret intelligence organisation run between Sandakan POW Camp
and Sandakan town during 1942 and 1943. Matthews was posthumously awarded a George Cross for gallant and distinguished service whilst a POW at Sandakan.
Below is an excerpt which I believe describes Captian Lionel Matthews well...
There must have been many stories of the heroism of East Adelaide old scholars during the war, but that of Captain Lionel Matthews was singled out to be published in "The Children's Hour" in 1948.
"This is a story of supreme courage and unswerving devotion to duty. It is the story of a soldier who was a prisoner of war with the Japanese during the last war. He was determined fight for his country even though a prisoner. He knew only too well the price of his resistance, yet he was resolved to resist, and did resist, unto death.
His way not one impulsive act. It was a series of acts deliberately planned. The certain penalty of' discovery was execution following torture. For the sake of Australia and the security of 'you and me he accepted that risk.
He was betrayed. He was tortured. He was put to death by the Japanese.
He died as he had lived, a loyal and gallant soldier, with a smile on his lips in the face of the firing squad.
Lionel Matthews was born on the 15th August, 1912, at Stepney. He was educated at the public school s of East Adelaide and Magill, and the Norwood High School. His main hobby was Scouting. As a Sea scout he played a distinguished part in a sea tragedy at Henley in 1930. Subsequently he was a Scoutmaster and in Victoria did social work for the Scout rescue movement at Pentridge Gaol.
As Captain L. Matthews, he served with the 8th Australian Division in Malaya. I saw him at Gemas, after three days of strenuous work establishing communication in the thick of battle. He was thrilled at the thought that he was doing his job well. Later, on Singapore Island, he received the Military Cross for gallantry in action.
Then Singapore fell, and the dark and depressing curtain of' captivity cut us off from Australia. But Japanese restraint did not deter nor depress Lionel Matthews. He had made up his mind that, come what may, he would do his best for Australia. Such was his cheerful assurance to me as he left Changi Gaol in July, 1942, for an unknown destination. We now know that it was Sandakan in British North Borneo; a locality associated with one of the worst tragedies (a death rnarch) and one of the most gallant deeds of the war.
Shortly afterwards I was moved to Formosa and to us, late in 1943, came Governor Smith of the British North Borneo Company. He told us of an Australian, one Captain Matthews, who had supplied them through miles of jungles and across a stretch of' water with continuous news of' the outside world. This entailed not only the risky business of operating a listening set, but the organisation of a chain of native carriers through the Japanese controlled areas. These natives had been the North Borneo Constabulary until taken into captivity; but they remained loyal. Governor Smith made Matthews the Chief' of Police. To these natives he became Tuan Matthews.
We heard no more until we were more in contact with the civilised world. Then we heard that Matthews was dead, that his work had been betrayed to his captors, and that he had paid the supreme penalty.
Sandakan is a port in British North Borneo, now Sabah. It is surrounded by jungle which concealed malaria and other tropical diseases fatal to the white man. Its inhabitants consisted of Chinese, Malays, Sikhs, and Dusuns, any of' which would be capable of' the highest loyalty or the deepest treachery. The whole area was guarded and patrolled by Japanese soldiers. It took a very stout heart even to think of resistance in such conditions.
Matthews was Intelligence Officer of the prisoners. As such he did the most extraordinary things. He established contact with Europeans outside the gaol and had medical supplies smuggled in. He procured parts for a wireless receiver and established a listening post. This news he distributed throughout the camp and as far afield as Berhale Island. He made contact with Philippine guerillas and arranged escape parties and through them he had arms and ammunition secreted near the camp. He carefully laid plans for an insurrection when help from the outside world became available. These were extraordinary things for two reasons. Firstly, they could only be done with the greatest secrecy and at the gravest risk to himself. Secondly, and this is the most marvellous point of the story, he could have escaped himself but elected to stay and continue his dangerous task.
His end was brought about by the treachery of a coloured foreman. This man betrayed to the Japanese his coloured companions who were working for Matthews. Under torture Matthews work was revealed by the foreman to the Japanese. The terrible sequel was then inevitable.
We all revere brave men. The contemplation of their actions is a spur to us. We derive from them an inspiration to serve our country as nobly as we are able.
Australia has been blessed with many brave and noble men. Among the greatest of these is Captain Lionel Matthews. He was awarded posthumously the George Cross for his bravery.
The glory that is his shines through the melancholy tragedy of' Sandakan. If we can sense that glory and its inspiration, his work will not have been in vain."
.
Detroit Industry Murals - 1932-1933
Diego M. Rivera - (Mexican, 1886 - 1957)
"Between 1932 and 1933, artist Diego Rivera, a premier leader in the 1920s Mexican Mural Movement, executed one of the country's finest, modern monumental artworks devoted to industry. Often considered to be the most complex artworks devoted to American Industry, the Detroit Industry mural cycle depicts the city's manufacturing base and labor force on all four walls of the Detroit Institute of Arts Garden Court, since renamed the Diego Court. Rivera's technique for painting frescoes, his portrayal of American life on public buildings, and the 1920s Mexican Mural Movement itself directly led to and influenced the New Deal mural programs of the 1930s and 1940s.
The Mexican Mural Movement came into being in 1920s at the end of the Mexican Revolution. Mexico's new president wanted to promote a Mexican culture. He appointed a new Minister of Education, Jose Vasconcelos, who envisioned a comprehensive program of popular education to teach Mexican peasants what it meant to be Mexican. Vasconcelos' plan was to adorn public buildings with murals to promote a national identity. One of the more prominent painters of this program was Diego Rivera. Rivera studied at the San Carlos Academy of Fine Arts. He won a scholarship to study art in Europe, where he learned about Italy’s 13th and 14th century murals. This study helped him develop a philosophy of public art that would support the mural movement in post-revolutionary Mexico.
The Detroit Industry Murals consist of 27 panels spanning four walls. These panels depict industry and technology as the indigenous culture of Detroit. They emphasize a relationship between man and machine. Technology is portrayed in both its constructive and destructive uses, to illustrate the give-and-take relationships between North and South Americans, management and labor, and the cosmic and technological. The east and west walls depict the development of technology and the north and south walls show a representation of the four races, the automobile industry, and the secondary industries of Detroit-medicine, drugs, gas bomb production, and commercial chemicals."
www.nps.gov/places/detroit-industry-murals-detroit-instit...
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The Detroit Institute of Arts has one of the largest and most significant art collections in the United States. With more than 65,000 artworks that date from the earliest civilizations to the present, the museum offers visitors an encounter with human creativity from all over the world.
www.youtube.com/watch?v=M2E8t-aPwo4
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The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self-Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range, and depth. The DIA’s mission is to create opportunities for all visitors to find personal meaning in art.
www.michigan.org/property/detroit-institute-arts
Detroit Institute of Arts, art museum in Detroit, Michigan, U.S., noted for its collection of American paintings from the 19th century and its Dutch, Flemish, and Italian paintings from the Renaissance through the Baroque period. It is also known for a large collection of arts of antiquity and of the Islamic world, based on works acquired by pharmaceutical magnate Frederick Stearns. The Greek, Roman, Egyptian, and ancient Persian holdings have been augmented by artifacts from western Europe, Mesopotamia, and ancient Arabia. The museum also houses traditional Asian, African, Oceanian, and Native American works and contemporary art from around the world.
The museum was founded in 1885 by a group of Detroit citizens. It was given to the city in 1919 and moved into its present Neoclassical-style structure in 1927. It was enlarged by additions completed in 1966 and 1971. The museum’s central courtyard is decorated with a series of 27 murals by the Mexican painter Diego Rivera that depict the automobile industry. In 2001 the museum created a new department, the General Motors Center for African American Art, and in 2010 it opened a gallery dedicated to Islamic art.
www.britannica.com/topic/Detroit-Institute-of-Arts
...
The Detroit Institute of Arts has one of the largest and most significant art collections in the United States. With more than 65,000 artworks that date from the earliest civilizations to the present, the museum offers visitors an encounter with human creativity from all over the world.
www.youtube.com/watch?v=M2E8t-aPwo4
________________________________________________
The Detroit Institute of Arts (DIA), one of the premier art museums in the United States, is home to more than 60,000 works that comprise a multicultural survey of human creativity from ancient times through the 21st century. From the first van Gogh painting to enter a U.S. museum (Self-Portrait, 1887), to Diego Rivera's world-renowned Detroit Industry murals (1932–33), the DIA's collection is known for its quality, range, and depth. The DIA’s mission is to create opportunities for all visitors to find personal meaning in art.
www.michigan.org/property/detroit-institute-arts
Detroit Institute of Arts, art museum in Detroit, Michigan, U.S., noted for its collection of American paintings from the 19th century and its Dutch, Flemish, and Italian paintings from the Renaissance through the Baroque period. It is also known for a large collection of arts of antiquity and of the Islamic world, based on works acquired by pharmaceutical magnate Frederick Stearns. The Greek, Roman, Egyptian, and ancient Persian holdings have been augmented by artifacts from western Europe, Mesopotamia, and ancient Arabia. The museum also houses traditional Asian, African, Oceanian, and Native American works and contemporary art from around the world.
The museum was founded in 1885 by a group of Detroit citizens. It was given to the city in 1919 and moved into its present Neoclassical-style structure in 1927. It was enlarged by additions completed in 1966 and 1971. The museum’s central courtyard is decorated with a series of 27 murals by the Mexican painter Diego Rivera that depict the automobile industry. In 2001 the museum created a new department, the General Motors Center for African American Art, and in 2010 it opened a gallery dedicated to Islamic art.
www.britannica.com/topic/Detroit-Institute-of-Arts
...
Oeuvre exécutée vers 1860, par Jean-Baptiste Leloup, menuisier à Orval.
Classée au titre objet en 1975 (base Palissy).
#Vector #illustration of #old #fashioned #scooter, executed in two variants of color.
You can buy this item here:
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:-
A crowd forms on Market Street outside the courthouse in Snow Hill, Maryland November 6, 1931 after information leaked out that Euel Lee was to appear in court the following day.
Lee did not make an appearance on November 7th, but his attorney Bernard Ades and a female companion showed up for a court appearance and were attacked and beaten outside the courthouse.
Green Davis and his wife Ivy and two children were murdered in 1931 in their Berlin, Maryland home purportedly over a wage dispute, setting off a two-year sensational prosecution and defense of Euel Lee who was also known as Orphan Jones.
Lee’s case was taken up by the Maryland Communist Party and they waged a public campaign with demonstrations, letters and telegrams while his attorney Bernard Ades fought tenaciously in the courts. Ades succeeded in obtaining several changes of venue that thwarted lynch mobs and overturned Maryland’s longstanding practice of barring African Americans from juries.
Despite the efforts, Lee was executed October 28, 1933 and the state refused to hand the body over to Ades despite Lee’s written wishes. Lee was then buried in an unmarked grave.
Disbarment proceedings were brought against Ades and he was defended in Maryland courts by Charles Hamilton Houston and Thurgood Marshall—the first white man in Maryland defended by black lawyers. Ades escaped disbarment with a reprimand.
For more information and related images, see flic.kr/s/aHsk3cXm2f
The photographer is unknown. The image is an auction find.
BALTIC SEA (June 09, 2020) USS Donald Cook (DDG75) observers NATO allies and partner nation ships execute multinational surface warfare division tactics during BALTOPS 2020. BALTOPS is the premier annual maritime-focused exercise in the Baltic region, enhancing flexibility and interoperability. (U.S. Navy Photo by Lt.j.g. Sarah Claudy/Released)
Terribly executed photo on my count, a quick sly walk by shot. Rather battered and bruised but I'd imagine its fairly low mileage as is the case with most EP91s. Must be quite easy to learn to drive in.
A hook up team from Bravo Battery, 3rd Battalion, 17th Field Artillery Reg, 5th Stryker Brigade Combat Team, 2nd Infantry Division sets in place as a CH-47F Chinook helicopter from 3rd Battalion, 82nd Aviation Regiment, 82nd Combat Aviation Brigade approaches and prepares to sling load an M777 Lightweight Towed Howitzer in southern Afghanistan. Sling loading cargo and personnel is one of many missions the CH-47F executes in support of Troop expansion and US Force presence in southern Afghanistan. The Stryker brigade is one of a number of US Force ground elements called in support of the build up in southern Afghanistan. The M777 is the latest Howitzer used by the US Army.