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Finally! This project was simple to execute, but it took forever to get all the pieces in order. I bought a basic Mattel Merida very cheaply in a local discount shop last year, and really liked the stylised head, but disliked her stiff, awkward body. Given how pale she is, I thought she would be a good match for Apple White's awesome Ever After High body (not such a fan of the heads in the main, but such is life). However, being a total miser, I was unprepared to shell out for her when she first came out, but she was recently marked down to nearly £10 on Amazon, so I ordered one at last (and was roundly mocked by my colleagues when I had her delivered to work...).
Anyway, here's my Merida/Apple White mashup, who is named Brigitte (in tribute to her 'The Most Popular Girls in School' relative). I went with brown eyes, because I've always had a soft spot for red hair/brown eyes.
I also have a Disney Store Merida waiting to be messed with at some point, but I think she's going to be a repaint in character.
museumPASSmusees 2021 - Mima - Double Bill
'DRAMA', The Art Of Laurent Durieux
'Laurent Durieux's magnificent work elevates poster art to a high level. The stunningly executed images express the ideas and themes of the films he has chosen in new terms. They communicate a lot without words and are part of the wonderful tradition of illustrative art. '
Francis Ford Coppola
The exhibition presents around a hundred original posters of the Belgian artist, internationally acclaimed by moviegoers.
THE ABC OF PORN CINEMA
(Prohibited under 18 year old)
In 2013, the ABC, Brussels' last old-school adult cinema still showing 35mm films, was shut down. Its archive, meticulously built over the forty years of its existence, was salvaged by Cinema Nova, allowing the veil of a bygone era devoured by the digital revolution to be lifted.
The exhibition 'The ABC of Porn Cinema' spans four decades of activity by the aforementioned theatre, and in doing so recalls the world that surrounded it. Through numerous documents, posters, hand-painted billboards, engraved press plates and censored photos retrieved from the ABC, plus an accompanying art installation, an obscure part of our culture destined to be buried in the annals of history can once again be rediscovered and reappraised. Indeed, these historical archives are exceptional and unique, unafraid to indulge in humour or to drum up reflection and controversy.
An exhibition created by the Nova cinema and the MIMA with the participation of the Gogolplex collective
( 200 musees
Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !
297 expositions
Vous pouvez egalement visiter les expositions temporaires des musees participants gratuitement ou a un tarif fortement reduit.
1 pass musees
Tout ceci avec seulement 1 pass.
ift.tt/2gCEsuj #Mass grave of massacre executed by the Salvadoran army in 1932. El Salvador, 1992 [1567x912] #history #retro #vintage #dh #HistoryPorn ift.tt/2fT4p7D via Histolines
ift.tt/2h5oGp1 #Charlie Brooks Jr. – the first inmate to be executed by lethal injection (1982) [1452 x 1860] #history #retro #vintage #dh #HistoryPorn ift.tt/2g9LUIx via Histolines
Marines and sailors execute advanced live-fire training with the M16A4 service rifle and M4 carbine June 11 at Combined Arms Training Center Camp Fuji as part of Exercise Fuji Warrior. The training better prepares the service members to rapidly react to hostile contact should they deploy to a regional contingency or crisis. The Marines and sailors are with Combat Logistics Regiments 35 and 37, 3rd Marine Logistics Group, III Marine Expeditionary Force. (U.S. Marine Corps photo by Lance Cpl. Wes J. Lucko/Released)
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.
The text from the previous photo.
One of the sections at the Zoku Zentrum in Nuremberg dealt with the trials and executions of those Nazi war leaders. A powerful section of this new attraction.
My appologies if you are offended by reading this.
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.
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:-
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.
The crucifixion of Jesus and his ensuing death is an event that occurred during the 1st century AD. Jesus, who Christians believe is the Son of God as well as the Messiah, was arrested, tried, and sentenced by Pontius Pilate to be scourged, and finally executed on a cross. Collectively referred to as the Passion, Jesus' redemptive suffering and death by crucifixion represent the central aspects of Christian theology, including the doctrines of salvation and atonement.
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.
141023-M-WM612-005
CAMP SCHWAB, OKINAWA, Japan – Marines execute rappelling and fast-roping techniques Oct. 23 as a part of the 5th Air Naval Gunfire Liaison Company Basic Course at the Camp Schwab rappel tower. The Marines started the training by rappelling down the tower twice. To end the training, each Marine fast-roped down the tower twice. The Marines are with 5th ANGLICO, III Marine Expeditionary Force Headquarters Group, III MEF. (U.S. Marine Corps photo by Lance Cpl. Ryan C. Mains/Released)
Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
This week saw officers from the dedicated Operation Vulcan team executed two warrants at addresses believed to be stash houses for local crime groups in Derker.
Police seized class B and C drugs, a large knife, and two mobile phones.
These recoveries will contribute crucial evidence to several ongoing investigations into drug dealing and anti-social behaviour in the area.
This is the latest activity in the relentless neighbourhood pursuit to tackle the crimes which matter the most to residents: anti-social behaviour, drug dealing, vehicle crime and off-road bikes, and serious violence.
The warrants came as a result of community intelligence and information gathered during officer’s proactive patrols, which sees officers dedicated to the area day and night.
The team have been based in Derker since March this year, and are already seeing positive results, and are making themselves seen and heard by the criminals; sending a message that this criminality will not be tolerated in the community.
Sergeant Joseph Dunne from Operation Vulcan said: “The ability for criminals to make vast profits from the drugs trade is a key driver for organised crime, and we have specialist officers working tirelessly to eliminate key players and resolve the issues the community are facing.
“We will continue to employ every possible tactic to target and disrupt organised crime in Derker and ensure those who have been harming the community are brought to justice.”
We urge anyone in the Derker area and who has any issues to please come forward and talk to us. We are determined to help you in any was possible.
Officers can be contacted via 101, by using our LiveChat function online, or anonymously through the independent charity Crimestoppers, on 0800 555 111.
From WRAL:
Protesters Expected To Flock To N.C. For Boyd's Scheduled Execution
Kenneth Boyd Could Be 1,000th Execution In U.S.
RALEIGH, N.C. -- An inmate at Central Prison may make history on Friday. If it happens as scheduled, Kenneth Boyd will be the 1,000th person executed in the United States since capital punishment was reinstated in 1976.
Yolaxinfra executing small and large-scale railway track projects, in both private and gov sections. We offer the wide extent of rail track directing services that fuses Railway Track Linking Consultancy all over in India with associating, bolster, arrange, avenues, ranges, connections, pit, and pipes work, Level crossing point structures, and undertaking services. For more info www.yolaxinfra.com/railway-consultancy.php
The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
We submit the sample photos in this series in three-nine-square.
Photos is possible to look here:
Mugabe ‘executed’ outside Embassy – 1st March 2011
Written by Virgil Diary
Tuesday, 01 March 2011 16:15
President Mugabe was strung up from a tree outside the Zimbabwe Embassy in London today at a Vigil in support of an attempt to stage an anti-Mugabe demonstration in Harare.
Security forces were beefed up to deter protesters from gathering at Harare gardens but in London some 50 people attended our mock execution of the aging tyrant.
We were joined by a Reuters news team, apart from other journalists, and passers-by stopped to take photos with their mobile phones. Bus drivers hooted in solidarity as Terence Mafuva in our Mugabe mask and a white shroud dangled from the branch of a maple tree (discreetly supported by a small stool).
Vigi supporters wore yellow bandanas saying ‘Robert Mugabe for the sake of Zimbabwe: Please hang’ and displayed posters reading ‘Mugabe must go!’ and ‘87 years old – 31 years in power’ while singing songs mocking the despot, to the accompaniment of drumming.
There were passionate speeches denouncing him. Martin Chinyanga of the Zimbabwe Diaspora Focus Group said to applause that Mugabe’s time was coming to an end. For his part, Takwana Jonga of the Zimbabwe Action Group said Zanu PF was the enemy of the people of Zimbabwe responsible for the death of more than 5 million Zimbabweans since 1980 (by violence, neglect and poverty).
The Vigil was pleased to get a message of encouragement from Passop, the Zimbabwe support group in South Africa, who were holding a solidarity demonstration outside Parliament in Cape Town.
Posted by
Foundation of Reason & Justice
Fax 0027 86 5585 405
eMAIL:foundationof@gmail.com
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.
Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
I am in love with my new D50. It is when I can think of a shot and then execute it exactly as I imagine it without any undue protest from the camera that makes my heart sing. La-la-la-la-la... sorry.
Tootsie Toy issued a set of die-cast toy ships in the late 1930s and early 1940s, one ship they cast was a bad rendition of the French transatlantic liner Normandie. The Normandie is one of my pet interests and a Google search can bring up some information on the ship and its unfortunately short, but interesting history. It was the pinnacle of Art Deco design at sea, only some say it came ten years too late for the concepts that its interiors were conceived. It entered service in 1935, but it is said to have been the ultimate ship of 1925, only missing the illuminated dance floor.
Critics, and the opinions of good friends alike (a friend and I had gotten into an e-mail discussion about whether the ship dated itself once.) the Normandie was, in my opinion, the most beautiful ship ever to sail, hands down. No question about it. It was only rivaled on the interiors by an earlier predecessor on the southern atlantic route: The Sud-Atlantique company's L'Atlantique, which had an exterior that left things to be desired, but an interior that was to die for.
Unfortunately, both ships came to an untimely end. L'Atlantique burned at sea within two years of entering service, while on a crossing to be refurbished, and Normandie, after fighting with the Queen Mary for the Blue Riband and losing it to her in 1937, sailed only two more years until it was held up in its New York pier, and seized by the United States for conversion to a Troop Transport carrier at the onset of World War Two. During the refurbishment, the interiors were stripped bare of their Glass paneling (some reverse painted in real gold, palladium, platinum and silver) and placed in storage. A stray spark from a welding torch caught some Kapok lifejackets on fire and the fire spread faster than anyone imagined, engulfing the ship within a very short time. Firefighters panicked, and reacted without thought, dumping tons upon tons of water into the upper decks, and causing the ship to capsize within its berth. The ship took years to right, and once it had been righted, World War Two was over, and the ship was declared surplus by the Navy, and scrapped in a New Jersey shipbreaker's yard - Her elegant superstructure becoming land fill for Riker's Island in New York. Her interior features were scattered to the wind, many items now are in museums but the majority of her interiors were lost to time, floating around out there in the world, somewhere.
So, that's the little story behind a die-cast toy.
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:-
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