View allAll Photos Tagged Executed
There were a TON of these heads in the window walking around somewhere in NYC. All quite morbid. Very interesting.
This morning (Thursday 29 May 2025), our Challenger Team in Bolton executed four simultaneous warrants as the crackdown on drugs and anti-social behaviour continues.
Officers from our Specialist Operation department such as the Tactical Aid Unit, Drone Unit and the Stolen Vehicle Examination Unit joined district Neighbourhood officers as they descended on addresses in the New Bury area.
Strikes were conducted at properties on Fairfield Road, Moorside Avenue, Parkfield Avenue and St Gregory’s, with three people – two men in their 50s and 30s, and a female in her 40s - being arrested on suspicion of drugs offences.
While searching these locations, we recovered a quantity of Class A, B and C drugs, a number of stolen vehicles and multiple electronic bikes.
Challenger is Greater Manchester’s partnership response to serious and organised crime. It is made up of a variety of agencies that work together to disrupt and dismantle individuals and networks from committing serious crime.
This includes those who run drug lines, exploit people for financial gain, those who buy and use firearms, and launder money they make from their criminality.
PC Gregory from the Bolton Challenger Team said: “This morning our officers executed four warrants at separate addresses across Bolton as part of our ongoing commitment to tackling drugs and anti-social behaviour in our communities. These coordinated operations demonstrate our continued determination to disrupt criminal activity and send a clear message to those involved in the drug trade.
“We take drug dealing extremely seriously because we see firsthand the devastating effects these substances have - not only on individual users and their families, but on the wider Bolton community and Greater Manchester as a whole.
“We will pursue every line of enquiry vigorously and relentlessly, our message to drug dealers and those involved in related criminal activity is clear: we will not stop until we get these offenders off our streets and into our custody cells where they belong."
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Copie romaine en marbre, exécutée vers 130-140 après Jésus-Christ, de la statue en bronze créée par Léocharès entre 330 et 320 avant Jésus-Christ. L’attribution de l’original à Léocharès repose sur un passage de l’Histoire naturelle de Pline l’Ancien évoquant un « Apollon au diadème » (XXXIV, 79) et sur la mention par Pausanias d’une statue d’Apollon située devant le temple d’Apollon Alexikakos à Athènes (I, 3, 4). Elle est donc assez fragile, d’autant que les sandales d’Apollon renverraient plutôt au IIIe, voire au IIe s. av. JC : mais il s’agit là peut-être d’une simple retouche du copiste romain.
On ne sait pas exactement quand ni où cette statue a été découverte. Une première copie en aurait été faite en 1498 (Venise, Ca’ d’Oro). Elle est ensuite dessinée dans les jardins du cardinal Giuliano della Rovere, futur pape Jules II, dans un recueil de croquis antérieur à 1509.
3. Winckelmann évoque la statue dès 1755 et en propose une description enthousiaste dans son Histoire de l’Art chez les Anciens (1776).
The Obelisk
According to the traditional story, Peter was executed in the year 64 A.D. during the reign of the Roman Emperor Nero. His execution was one of the many martyrdoms of Christians following the Great Fire of Rome. He was said to have been crucified head downwards, by his own request, near the obelisk in the Circus of Nero. This obelisk now stands in Saint Peter's Square and is revered as a "witness" to Peter's death. It is one of several ancient Obelisks of Rome.
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The Basilica of Saint Peter, officially known in Italian as the Basilica di San Pietro in Vaticano and commonly known as St. Peter's Basilica, is located within the Vatican City. It occupies a "unique position" as one of the holiest sites and as "the greatest of all churches of Christendom". In Catholic tradition, it is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to tradition, was the first Bishop of Antioch, and later first Bishop of Rome and therefore first in the line of the papal succession. While St. Peter's is the most famous of Rome's many churches, it is not the first in rank, an honour held by the Pope's cathedral church, the Basilica of St. John Lateran.
Catholic tradition holds that Saint Peter's tomb is below the altar of the basilica. For this reason, many Popes, starting with the first ones, have been buried there. There has been a church on this site since the 4th century. Construction on the present basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed in 1626.
St. Peter's is famous as a place of pilgrimage, for its liturgical functions and for its historical associations. It is associated with the papacy, with the Counter-reformation and with numerous artists, most significantly Michelangelo. As a work of architecture, it is regarded as the greatest building of its age. Contrary to popular misconception, Saint Peter's is not a cathedral, as it is not the seat of a bishop. It is properly termed a basilica. Like all the earliest churches in Rome, it has the entrance to the east and the apse at the west end of the building.
From Wikipedia, the free encyclopedia
Nurse Edith Cavell was executed by German forces during WWI as she had aided British POWs to escape.
There was great diplomatic efforts to have her death sentence commuted or delayed, but to no avail.
She was shot by eight soldiers, and in time, her body was repatriated, the wagon her body was carried from Dover is the same used for the body of the Unknown Soldier.
The luggage wagon usually rests at Bodiham on the Kent and East Sussex Railway, but for November it has been brought back to the former Dover Marine station.
I got tickets, so after lunch we would visit, not just to see the wagon and pay our respects, but the station is now a cruise terminal, and is rarely open to the public, and it had been a decade or so since my last visit.
I slept late, late enough so that Jools driving off to yoga woke me up at ten past six. Outside rain was bouncing down, and there was the bins to do.
I got up and put them out, dodging the raindrops, and back inside to make a coffee.
With rain expected all day, other than doing to the station after lunch, not much else planned, whilst Jools had her craft and gossip morning at the village library.
Jools came back from yoga as I was finishing my coffee, so I made breakfast giving her an hour before she had to leave again.
I listened to podcasts and watched videos for the morning, not much else to do, really.
Sadly, we had what we thought was the plumber coming to fix the overflow, but instead Craig came to touch up some paint in the toilet.
So Jools stayed home and I drove down to the Western Docks, over the flyover, past the former Lord Warden Hotel, then round to where lines from London entered Dover Marine, forming a large flat crossing in a tangle of lines.
You can still see how the lines used to curve west to join the main line to Folkestone, but is now concreted over, as are the tracks between the platforms, so to create a large flat parking area for cruisers.
I showed my ticket, and walked up through the central arch along what was the path of platforms 2 and three, past the former station buildings and under the footbridge.
At the far end there was the wagon, so I walked up, showed my ticket again, had my name ticked off, and went to look inside.
Inside there is a coffin, a replica of the one that brought the body of the unknown soldier back from France, and on the walls there were information boards on the only three bodies to be brought back from the war.
I exited it, took shots all around it, then walked to the war memorial, which is a splendid thing, and should be more accessible.
And I was done.
I thanked the volunteers and walked out, getting shots of the walkway linking the former hotel with the station and the Admiralty pier before taking shelter from the rain in the car and driving home.
I had been gone all of 40 minutes.
Once back I began to cook dinner/lunch: chicken pie, roast potatoes, steamed leeks, sprouts and spring greens, gravy and shop bought Yorkshire puddings.
It was all done by four, by which time Craig had done two coats of paint and had left.
I poured a beer and a cider, then dished up, the potatoes lovely and crunchy, without being burnt.
I won the music quiz at six, which was nice, then after washing up I settled down to watch Northern Ireland play in Slovakia.
A poor game, ended 1-0 to the home side, but Northern Ireland go to the play-offs anyway.
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Edith Louisa Cavell (/ˈkævəl/ KAV-əl; 4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for treating wounded soldiers from both sides without discrimination during the First World War and for helping some 200 Allied soldiers escape from German-occupied Belgium. Cavell was arrested, court-martialled under German military law and sentenced to death by firing squad. Despite international pressure for mercy, the German government refused to commute her sentence, and she was shot. The execution received worldwide condemnation and extensive press coverage.
The night before her execution, she said, "Patriotism is not enough. I must have no hatred or bitterness towards anyone". These words were inscribed on the Edith Cavell Memorial[1] opposite the entrance to the National Portrait Gallery near Trafalgar Square. Her strong Anglican beliefs propelled her to help all those who needed it, including both German and Allied soldiers. She was quoted as saying, "I can't stop while there are lives to be saved."[2] The Church of England commemorates her in its Calendar of Saints on 12 October.
Cavell, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium.
In November 1914, after the German occupation of Brussels, Cavell began sheltering British soldiers and funnelling them out of occupied Belgium to the neutral Netherlands. Wounded British and French soldiers as well as Belgian and French civilians of military age were hidden from the Germans and provided with false papers by Prince Réginald de Croÿ at his château of Bellignies near Mons. From there, they were conducted by various guides to the houses of Cavell, Louis Séverin, and others in Brussels, where their hosts would furnish them with money to reach the Dutch frontier, and provide them with guides obtained through Philippe Baucq.[18] This placed Cavell in violation of German military law.[4][19] German authorities became increasingly suspicious of the nurse's actions, which were further fuelled by her outspokenness.
The night before her execution, Cavell told the Reverend H. Stirling Gahan, the Anglican chaplain of Christ Church Brussels, who had been allowed to see her and to give her Holy Communion, "I am thankful to have had these ten weeks of quiet to get ready. Now I have had them and have been kindly treated here. I expected my sentence and I believe it was just. Standing as I do in view of God and Eternity, I realise that patriotism is not enough, I must have no hatred or bitterness towards anyone."[30][31] These words are inscribed on her statues in London and in Melbourne, Australia.[32][33] Cavell's final words to the German Lutheran prison chaplain, Paul Le Seur, were recorded as, "Ask Father Gahan to tell my loved ones later on that my soul, as I believe, is safe, and that I am glad to die for my country.
en.wikipedia.org/wiki/Edith_Cavell
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Situated on Admiralty Pier for connection to ships, this was constructed on an expanded pier by SECR, finished in 1914, began to be used on 2 February 1915 but was not available for public use until 18 January 1919; in the meantime it had been renamed Dover Marine on 5 December 1918. It was a large terminus with four platforms covered by a full roof. Platforms were extended to take 12-car trains in February 1959.[6] It was renamed again to Dover Western Docks on 14 May 1979, and was closed by British Rail on 26 September 1994[1] with the demise of boat trains and the opening of the Channel Tunnel. It has since been turned into a cruise-liner terminal.[7]
Work on the new train ferry pier at the station suffered damage worth £300,000 during the Great storm of 1987.[8]
Regie voor Maritiem Transport used to run ferries until 1994 from here to Oostende railway station which connected into Belgian railway line 50A run by NMBS. There was a fast ferry service using the Jetfoil as well as conventional ferries.
The Southern Railway opened a large locomotive depot at the site in 1928. This was closed in 1961 and demolished.
The City of D organized and executed a spectacular pep rally to close out spirit week. De Disco was the theme and featured the De La Salle marching band, student Meteor Grow groups, clubs, and athletic teams, including a Harley Davidson grand marshal leading the parade.
30 BC – After the successful invasion of Egypt, Octavian executes Marcus Antonius Antyllus, eldest son of Marc Antony, and Caesarion, the last king of the Ptolemaic dynasty of Egypt and only child of Caesar and Cleopatra.
20 BC – Ludi Volcanalici are held within the temple precinct of Vulcan, and used by Augustus to mark the treaty with Parthia and the return of the legionary standards that had been lost at the Battle of Carrhae in 53 BC.
79 – Mount Vesuvius begins stirring, on the feast day of Vulcan, the Roman god of fire.
406 – Gothic king Radagaisus is executed after he is defeated by Roman general Stilicho and 12,000 "barbarians" are incorporated into the Roman army or sold as slaves.
476 – Odoacer, chieftain of the Germanic tribes (Herulic - Scirian foederati), is proclaimed rex Italiae ("King of Italy") by his troops.
634 Abu Bakr dies at Medina and is succeeded by Umar I who becomes the second caliph of the Rashidun Caliphate.
1244 – Siege of Jerusalem: The city's citadel, the Tower of David, surrenders to Khwarezmian Empire.
1268 – Battle of Tagliacozzo: The army of Charles of Anjou defeats the Ghibellines supporters of Conradin of Hohenstaufen marking the fall of the Hohenstaufen family from the Imperial and Sicilian thrones, and leading to the new chapter of Angevin domination in Southern Italy.
1305 – Sir William Wallace is executed for high treason at Smithfield in London.
1328 – Battle of Cassel: French CLICK HERE TO CONTINUE READING: laht.com/article.asp?ArticleId=2394948&CategoryId=13003
This humble abode is yet another fine example of the Craftsman style, and one of the best executed examples in my hometown of Sylva, North Carolina. The one-story Craftsman-Style bungalow on West Main Street was constructed sometime in the 1920s or 1930s, and was converted into a commercial structure sometime in the late 20th Century, serving variously as the offices of several real estate firms and other small local businesses. In the last decade, the house became home to Visage Salon, and was renovated with a new Asian-style tile roof that compliments the building’s Asian-inspired design elements, and was painted cream and white, subduing the formerly bold color scheme and making the building appear more peaceful and in harmony with the surrounding landscape. However, the owners also planted a fast and aggressive strain of English Ivy on one corner of the building, which has taken over and obscured the front, and is slowly damaging the stone chimney, front entry porch, and siding, a poor landscaping choice that should be removed for the sake of aesthetics, maintenance concerns, and damage to the historic building. Though it was a mistake, it is a common one, as English Ivy is often perceived to be more harmless than it really is, and is often used to dress up facades, later leading to damage and expensive repairs. May this be a learning moment for those who have used it in the past and those who are considering using it in the future, but even members of my own family have fallen victim to the allure of the aesthetics of various strains of invasive and non-Native Ivy, only to later find out the damage it causes through its aggressive, rapid, and invasive growth.
Executed by Manasi, all the curves are complex curves.
The nine-square problem is a pedagocial exercise devised by the late John Hejduk to instruct young architecture students in the ways of spatial and architectonic design.
The outside world appeals not to pursue plans were in vain Indonesia has executed seven foreign nationals and Indonesians convicted of drug smuggling. While distraught family members visited their relatives one last time preparing Indonesian authorities on Tuesday, firing squad cars. – I...
www.broadleak.com/2015/04/28/foreigners-executed-in-indon...
A well executed LEGO replica of the former train station in the town of Chelsea, Michigan. The station, built for the Michigan Central Railroad in 1880 to the design of architectural firm Mason and Rice, served its purpose for 101 years until being closed in 1981 by Amtrak. In recent years an association of Chelsea citizens formed to maintain the building and use it for special events.
The LEGO model is built in 1:38 scale.
Troy Anthony Davis was scheduled to be executed by the State of Georgia on Oct. 27, 2008. He was granted a stay of execution by the federal appeals court just three days before he was slated to be put to death.
U.S. Marines with 26th Marine Expeditionary Unit’s (MEU) Logistics Combat Element observe a CH-53E Super Stallion land during Helicopter Support Team (HST) training on Marine Corps Air Station New River, North Carolina, Jan. 10, 2023. HST training is conducted to increase proficiency in logistics tasks and enhance the ability to execute potential contingency missions carried out by the 26th MEU. (U.S. Marine Corps photo by Lance Cpl. Aziza Kamuhanda)
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:-
Eddie Adams, fotógrafo de guerra, fue el autor de esta instantánea. En ella se muestra el asesinato, el 1 de febrero de 1968, por parte del jefe de policía de Saigon de un guerrillero del Vietcong, que tenía las manos atadas a la espalda, justo en el mismo instante en que le dispara a quemarropa. Adams, que había sido corresponsal en 13 guerras, obtuvo por esta fotografía un premio Pulitzer, pero le afectó tanto emocionalmente que se reconvirtió en fotógrafo del mundo rosa.
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 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.
This morning, officers executed four arrest warrants at addresses on Derbyshire Avenue in Stretford, resulting in five arrests.
At the first address, a 16‑year‑old boy was arrested on suspicion of possession with intent to supply Class B drugs, as well as an unrelated robbery offence.
At the second address, a 39‑year‑old man was arrested on suspicion of possession with intent to supply Class B drugs.
At the third address, two men, aged 28 and 61and a 59‑year‑old woman were arrested on suspicion of possession with intent to supply Class A and Class B drugs.
No drugs were located at the fourth address; however, a mobile phone was seized as part of the ongoing investigation.
These warrants were executed following a proactive investigation led by Trafford North’s Neighbourhood Team into drug supply linked to Derbyshire Avenue.
The team remains committed to tackling drug dealing and associated criminality across the Trafford area.
Intelligence from the local community played a vital role. Based on this information, officers believed the four addresses were connected to the supply of controlled substances.
Collaboration was key to the success of this operation. The Neighbourhood Team worked alongside the Tactical Dog Unit, the Drone Unit, our Challenger Team, and the Regional Organised Crime Unit, ensuring a coordinated and robust approach.
upon entry, officers recovered cannabis at three properties, secured multiple arrests, and seized a quantity of white powder - believed to be cocaine - which has been sent for forensic testing.
All five suspects remain in custody for further questioning.
Inspector Jamie Jeffries, from the Trafford North Neighbourhood Team said: “Executing four warrants at the same time on the same street is a significant undertaking and reflects the seriousness of the intelligence we received.
“This level of coordinated action demands careful planning and considerable resources, and it shows our determination to disrupt drug networks operating in Trafford.
“Thanks to crucial information from the public, our Trafford North Neighbourhood Team was able to act decisively against addresses suspected of working together in drug supply.
“Conducting multiple warrants in one operation sends a clear message: if you choose to deal drugs, we will gather the evidence and take robust, swift action.
“We remain firmly committed to keeping Trafford safe, and I encourage anyone with concerns to keep coming forward — community intelligence directly drives operations like today’s.
Anyone with information about criminal activity is urged to contact police on 101, Live Chat or report anonymously via Crimestoppers on 0800 555 111.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Italian sculptor Donatello executed his David, the first nude statue of the Renaissance, about 1430-1435. This nearly life-size bronze image of the biblical hero was also the first statue since classical antiquity to be cast in the round. Its realism marked a departure from the conventions of Gothic sculpture, which mostly produced rigid, columnar figures.
Sgt. David Rider executes a series of drill movements in front of a panel of Command Sgts. Majors during the 2010 Dept. of the Army Best Warrior Competition at Fort Lee, Va. on Monday, Oct. 18, 2010. The Army Best Warrior Competition is the premier event to determine the top NCO and junior enlisted Soldier in the Army. Rider, a native of Strongsville, Ohio, is the Army Reserve NCO of the Year. (Timothy L. Hale/Army Reserve Command Public Affairs)
A shot executed with a tripod 3 inches from the ground between the North and the South tower of the Highlight Towers in Munich at 1:00 am.
The towers are connected by three glass bridges and are the second highest buildings in Munich and welcome all visitors coming from the airport.
The Towers have been built in an axis with the Odeonsplatz, Siegestor and the Ludwigstrasse and can bee seen from there.
Northern Tower has an altitude of 123m, the southern tower 113 m.
Beautifully executed seat cluster...This is my favourite part of this frame...IT is just a pity that Ron did not use more imagination with the fork crown..something internal and aero would have been fantastic..and seamless.
This was actually the first shot of this spider. I was on our garden bench enjoying a beer and could hear a faint clickety sound, it was this specimen walking across the rotten wooden fence behind me. If you listen carefully next you meet one of these, especially when on dry rotten wood or those crap 70,s ceiling tiles you can hear the 'hooks' of their feet clicking when they move. Look at it in large if you dare!
This is an old photograph from some years ago. I was checking through my archives and found this and just loved the reaction I got when I originally posted it.
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Executed in Rome in 1858, Pandora is generally recognized as Chauncey Bradley Ives' greatest work for its grace and classical purity as well as for its emotional expressiveness.
Pandora, a figure of Greek mythology, was sent to earth to punish Prometheus for stealing fire from the gods. Stirred by curiosity, she removed the top of a box she was forbidden to open, thereby releasing all the evils previously unknown to the world; only hope remained inside. She is shown here on the verge of opening the box.
This photo in the originial is a pretty gory picture of a Vietnam war prisoner being executed.
In the true spirit of peace, brotherhood and poking fun of even the most controversial of things, this painting has been cutely modified, like so.
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:-
Verrière exécutée en 1534 pour Nicolas Quelain et sa femme. On observe sur ce détail de la verrière, le Baptême du Christ et sur la lancette de droite la décollation de St Jean-Baptiste.
Idiris, a Somali Christian, was publicly executed in a stadium in front of many people, including school children, for saying that Muhammad is not a prophet of God.
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:-
In November 2013 the first survey after more than 30 years was executed by the R/V Dr. Fridtjof Nansen.
Myanmar is probably among the countries in Southeast Asia with the most intact marine environment, but our findings in 2013 indicate that fish stocks have been reduced and fish communities changed structure since the surveys in 1980. This has serious consequences for the availability of fish for food, jobs and income for coastal population in Myanmar.
Based on the findings the Department of Fisheries in Myanmar asked FAO and CDCF to conduct a follow-up study to confirm the results and also to identify any seasonality in the ecosystem. This survey will be conducted from April 28 to June 2 this year. We will repeat the survey made in 2013 and try to verify results. In addition, we will map the biodiversity and the marine environment. Among the participants there is Merete Kvalsund that will provide a glimpse of work and life on board. The work is part of the EAF-Nansen Project.
Photo credits to Peter Psomadakis
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:-
St Mary's Church is located prominently on the Lenten Pool roundabout, set back slightly behind low curving forecourt walls.
A large stone-built aisled church with tower in an eclectic Victorian Gothic style, intended as a replacement for the medieval St Hillary's, near the castle, the foundation stone laid in 1871. It was was designed by Lloyd Williams and Underwood, architects of Denbigh, and completed in 1874 when it was opened for service though consecration did not take place until December 1875. The delay was caused by a law suit over the reredos, designed by Lloyd Williams and executed by Earp of Lambeth, which was considered by many (including the bishop) as 'too Catholic in taste' and caused considerable controversy until it was (grudgingly) modified.
The ground plan comprises chancel, choir with aisles (the north for organ chamber and vestry, the south appropriated for scholars of Howell's School), nave with north and south aisles of five bays, a cloistered porch at the west end , and a lofty tower at the south transept. The material is light coloured local limestone, irregularly pointed, with dressings from the Minera quarries. The parapet of the tower is set off with rich crocketts and finials, and within it a peal of eight bells. Internally, the chancel which is raised above the the level of the nave and divided into choir and sacrarium, is handsomely furnished with carved oak seats, rich altar rails and standards, and is paved with encaustic tiles. The reredos, carved in Caen stone, is divided by marble shafts into three compartments, surmounted by rich ornamentation of finials, crockets and angel figures.
Denbigh is a market town and a community in Denbighshire, Wales. Formerly the county town of the historic county of Denbighshire until 1888, Denbigh's Welsh name (Dinbych) translates to "Little Fortress"; a reference to its historic castle. Denbigh lies near the Clwydian Hills.
Denbigh Castle, together with its town walls, was built in 1282 (742 years ago) by order of King Edward I. The Burgess Gate, whose twin towers adorn the symbol on Denbigh's civic seal, was once the main entrance into the town. The first borough charter was granted to Denbigh in 1290, when the town was still contained within the old town walls. It was the centre of the Marcher Lordship of Denbigh. The town was involved in the revolt of Madog ap Llywelyn in 1294–1295; the castle was captured in the autumn and, on 11 November 1294, a relieving force was defeated by the Welsh rebels. The town was recaptured by Edward I in December. Denbigh was also burnt in 1400 during the revolt of Owain Glyndŵr.
During the Wars of the Roses (1455–1487), the town was largely destroyed, subsequently moving from the hilltop to the area of the present town market.
Leicester's Church is an unfinished church. In 1579, Robert Dudley, 1st Earl of Leicester, who was also Baron of Denbigh, planned for there to be a cathedral. His intention was to move the status of city from neighbouring St Asaph. The project ran out of money and, when Robert Dudley died, it was left as ruins; it is now in the care of Cadw.
In 1643, during the English Civil War, Denbigh became a refuge for a Royalist garrison. Surrendering in 1646, the castle and town walls eventually fell into ruin.
The town grew around the textile industry in the 1600s, hosting specialist glovers, weavers, smiths, shoemakers, saddlers, furriers and tanners. Denbigh has been an important location for the agricultural industry throughout its history.
Denbigh railway station once served the town on the former London and North Western Railway, later part of the London, Midland and Scottish Railway.
It was a junction for the Vale of Clwyd Railway line, which lead north to St Asaph and Rhyl, and the Mold and Denbigh Junction Railway. The former was closed in 1955, leaving Denbigh on a lengthy branch running from Chester to Ruthin, via Mold, which subsequently closed in 1962. A southern continuation beyond Ruthin, linking up with the Great Western Railway at Corwen, had closed in 1952.
The station site has been redeveloped since into a small retail park; however, remains of a platform can still be seen beside the road leading to the Home Bargains store, Aldi Supermarket and two charity shops.
At one time, the majority of the population sought employment at the North Wales Hospital, which, dating back to the 1840s, cared for people with psychiatric illnesses. The hospital closed in 1995 and has since fallen into disrepair. In October 2008, a special series of episodes of Most Haunted, titled Village of the Damned, was broadcast from the North Wales Hospital over 7 days. As of October 2018, the derelict building has passed into the ownership of Denbighshire County Council.
Denbigh had a town cinema on Love Lane. It opened as the Scala in 1928, before being re-branded as the Wedgwood Cinema in the late 1970s. It closed in October 1980, then reopened by Lewis Colwell in 1982 and renamed the Futura Cinema. The cinema closed again in the 1990s, but the building remained open as a video rental store. In 1995, Peter Moore reopened the cinema for a short period before being arrested and convicted of the murder of four men. The video rental store closed and the building is now in ruin awaiting redevelopment. Denbigh has no permanent cinema, though Denbigh Film Club regularly operates in Theatr Twm o'r Nant.
The population at the 2001 Census was 8,783,[10] increasing to 8,986 in the 2011 census., reducing in the 2021 census to 8,669.
Attractions in the town include Denbigh Library, Denbigh Castle and the castle walls, Cae Dai 1950s museum, Theatr Twm o'r Nant, medieval parish church St Marcella's, and a small shopping complex. Denbigh Boxing Club is located on Middle Lane. Denbigh Community Hospital was established in 1807. Denbigh Town Hall is a Grade II* listed building.
Denbigh Cricket Club is one of the oldest cricket clubs in Wales having been established in 1844. The club plays at the Ystrad Road ground and plays in the North Wales Cricket League. The 1st XI play in the Premier Division having won the Division 1 championship in 2010 with the 2nd XI in Division 3.
For over 50 years, a barrel rolling competition has been held on Boxing Day in the town square.
There are a number of places to stay in Denbigh, including Tyn Yr Eithin, a caravan, camping, and glamping site based on the edge of the town which has been hosting tourists since 1986.
There are three secondary schools located in Denbigh. Denbigh High School is the larger of the two, consisting of nearly 600 pupils and approximately 60 staff. The current headmaster is Glen Williams.
St Brigid's is a Catholic voluntary aided school on Mold Road on the outskirts of the town which caters for pupils between the ages of 3 – 19. There is a strict admissions policy and until 2009 the school only accepted girls. The schools current headteacher is Leah Crimes.
Myddleton College is the former Howell's Preparatory School and is an independent co-educational day and boarding school.
All 3 of these High Schools in Denbigh, along with Ysgol Brynhyfryd (Ruthin), Ysgol Glan Clwyd (St Asaph), Denbigh College, and Llysfasi College (Deeside) have joined to offer a combined 6th form under the title 'The Dyffryn Clwyd Consortium'.
Crest Mawr Wood (alt. - Crêst) is a Site of Special Scientific Interest to the north west, adjoining Denbigh Golf Club and the Tarmac Quarry, an historic and ancient deciduous woodland. This woodland is endangered due to environmental pressure and competing land use in the area.
Denbigh hosted the National Eisteddfod of Wales in 1882, 1939, 2001 and 2013.
Notable people
Rhoda Broughton (1840–1920), novelist
Elizabeth Casson (1881–1954) doctor and occupational therapy pioneer.
Shefali Chowdhury (born 1988), actor, notably in the Harry Potter films
CDawgVA (born 1996), YouTuber and podcaster, presenter of Trash Taste
Robert Dudley, 1st Earl of Leicester (1532–1588), also known as Baron of Denbigh
Thomas Gee (1815–1898), a Welsh Nonconformist preacher, journalist and publisher.
David Griffith (1800–1894), known as "Clwydfardd" a Welsh poet and Archdruid of the National Eisteddfod of Wales.
Dr Samuel Johnson (1709–1784), visited friends and relation in Denbigh many times and has an urn memorial in his honour in the woods nearby.
Professor Edward Taylor Jones FRSE (1872–1961), physicist
Eirian Llwyd (1951–2014), printmaker and wife of former Plaid Cymru leader Ieuan Wyn Jones
Humphrey Llwyd (1527–1568), a Welsh cartographer, author, antiquary and MP.
Sir Hugh Myddleton (1560–1631), royal jeweller, goldsmith and entrepreneur.
Thomas Myddelton (1550–1631) a Welsh merchant, Lord Mayor of London & MP
Twm o'r Nant (1739–1810), playwright, real name Thomas Edwards
Beatrix Potter (1866–1943), spent summers with her aunt and uncle at Gwaenynog Hall between 1895 and 1913 and used their large garden as inspiration for The Tale of Peter Rabbit
Susan Reynolds (1929–2021) a medieval historian
Kate Roberts (1891–1985), Welsh language writer.
Several members of the Salusbury Family, who represented Denbigh over the years.
Sir Henry Morton Stanley (1841–1904), a journalist and explorer
Mark Webster (born 1983) Welsh darts international, winner of the BDO World Darts Championship 2008
Bryn Williams (born 1977), TV chef who won the Great British Menu BBC TV programme.
Denbighshire is a county in the north-east of Wales. It borders the Irish Sea to the north, Flintshire to the east, Wrexham to the southeast, Powys to the south, and Gwynedd and Conwy to the west. Rhyl is the largest town, and Ruthin is the administrative centre. Its borders differ from the historic county of the same name.
Denbighshire has an area of 326 square miles (840 km2) and a population of 95,800, making it sparsely populated. The most populous area is the coast, where Rhyl (25,149) and Prestatyn (19,085) form a single built-up area with a population of 46,267. The next-largest towns are Denbigh (8,986), Ruthin (5,461), and Rhuddlan (3,709). St Asaph (3,355) is a city. All of these settlements are in the northern half of the county; the south is even less densely populated, and the only towns are Corwen (2,325) and Llangollen (3,658).
The geography of Denbighshire is defined by the broad valley of the River Clwyd, which is surrounded by rolling hills on all sides except the north, where it reaches the coast. The Vale of Clwyd, the lower valley, is given over to crops, while cattle and sheep graze the uplands. The Clwydian Range in the east is part of the Clwydian Range and Dee Valley Area of Outstanding Natural Beauty.
This part of Wales contains the country's oldest known evidence of habitation – Pontnewydd (Bontnewydd-Llanelwy) Palaeolithic site has Neanderthal remains of some 225,000 years ago. The county is also home to several medieval castles, including Castell Dinas Brân, Denbigh, and Rhuddlan, as well as St Asaph Cathedral. Llangollen International Musical Eisteddfod takes place in the town each July.
The main area was formed on 1 April 1996 under the Local Government (Wales) Act 1994, from various parts of the county of Clwyd. It includes the district of Rhuddlan (formed in 1974 entirely from Flintshire), the communities of Trefnant and Cefn Meiriadog from the district of Colwyn (entirely Denbighshire) and most of the Glyndŵr district. The last includes the former Edeyrnion Rural District, part of the administrative county of Merionethshire before 1974, covering the parishes of Betws Gwerfil Goch, Corwen, Gwyddelwern, Llangar, Llandrillo yn Edeirnion and Llansanffraid.
Other principal areas including part of historical Denbighshire are Conwy, which picked up the remainder of 1974–1996 Colwyn, the Denbighshire parts of 1974–1996 Aberconwy, and Wrexham, which corresponds to the pre-1974 borough of Wrexham along with most of Wrexham Rural District and several parishes of Glyndŵr. Post-1996 Powys includes the historically Denbighshire parishes of Llanrhaeadr-ym-Mochnant, Llansilin and Llangedwyn, which formed part of Glyndŵr district.
Researchers have found signs that Denbighshire was inhabited at least 225,000 years ago. Bontnewydd Palaeolithic site is one of the most significant in Britain. Hominid remains of probable Neanderthals have been found, along with stone tools from the later Middle Pleistocene.
In 2021 February, archaeologists from Aeon Archaeology announced a discovery of over 300 Stone Age tools and artifacts in Rhuddlan. They revealed scrapers, microliths, flakes of chert (a hard, fine-grained, sedimentary rock composed of microcrystalline or cryptocrystalline quartz), flints and other rudimentary tools. An expert, Richard Cooke, believes the lithic remains belonged to ancient peoples, who while passing through the area, made camp by the river more than 9,000 years ago.
The eastern edge of Denbighshire follows the ridge of the Clwydian Range, with a steep escarpment to the west and a high point at Moel Famau (1,820 ft (555 m)), which with the upper Dee Valley forms an Area of Outstanding Natural Beauty, the Clwydian Range and Dee Valley – one of just five in the Wales. The Denbigh Moors (Mynydd Hiraethog) are in the west of the county and the Berwyn Range adjacent to the southern edge. The River Clwyd has a broad fertile Vale running from south–north in the centre of the county. There is a narrow coastal plain in the north which much residential and holiday-trade development. The highest point in the historic county was Cadair Berwyn at 832 m or 2,730 ft), but the boundary changes since 1974 make Cadair Berwyn North Top the highest point. Denbighshire borders the present-day principal areas of Gwynedd, Conwy County Borough, Flintshire, Wrexham County Borough, and Powys.
Rhyl and Prestatyn form a single built-up area in the north of the county, with a population of 46,267. They are immediately adjacent to the Kinmel Bay and Abergele built-up area in neighbouring Conwy, and at the eastern end of series of coastal resorts which that also includes Colwyn Bay and Llandudno further west.
According to the 2021 United Kingdom census, Denbighshire's population was approximately 95,800. According to previous censuses, the population of Denbighshire was 93,734 in 2011 and 93,065 in 2001. The largest towns on the coast are Rhyl (2001 population c. 25,000) and Prestatyn (2001 population c. 18,000). According to the 2011 Census returns, 24.6 per cent stated they could speak Welsh.
Since the 20th-century demise of the coal and steel industries in the Wrexham area, there is no heavy industry in the county. Although most towns have small industrial parks or estates for light industry, the economy is based on agriculture and tourism. Much of the working population is employed in the service sector. The uplands support sheep and beef cattle rearing, while in the Vale of Clwyd dairy farming and wheat and barley crops predominate. Many towns have livestock markets and farming supports farm machinery merchants, vets, feed merchants, contractors and other ancillaries. With their incomes on the decline, farmers have found opportunities in tourism, rural crafts, specialist food shops, farmers' markets and value-added food products.
The upland areas with their sheep farms and small, stone-walled fields are attractive to visitors. Redundant farm buildings are often converted into self-catering accommodation, while many farmhouses supply bed and breakfast. The travel trade began with the arrival of the coast railway in the mid-19th century, opening up the area to Merseyside. This led to a boom in seaside guest houses. More recently, caravan sites and holiday villages have thrived and ownership of holiday homes increased. Initiatives to boost the economy of North Wales continue, including redevelopment of the Rhyl seafront and funfair.
The North Wales Coast Line running from Crewe to Holyhead is served by Transport for Wales and Avanti West Coast services. Trains leaving Crewe to pass through Chester, cross the River Dee into Wales, and continue through Flint, Shotton, Holywell Junction (closed in 1966), Prestatyn, Rhyl, and stations to Bangor and Holyhead, which has a ferry service to Ireland.
There are no motorways in Denbighshire. The A55 dual carriageway runs from Chester through St Asaph to the North Wales coast at Abergele, then parallel to the railway through Conwy and Bangor to Holyhead. The A548 run from Chester to Abergele through Deeside and along the coast, before leaving the coast and terminating at Llanrwst. The main road from London, the A5, passes north-westwards through Llangollen, Corwen and Betws-y-Coed to join the A55 and terminate at Bangor. The A543 crosses the Denbigh Moors from south-east to north-west, and the A525 links Ruthin with St Asaph.
There are local bus services between the main towns. Several services by Arriva Buses Wales run along the main coast road between Chester and Holyhead, linking the coastal resorts. Another route links Rhyl to Denbigh.
Denbighshire is represented in the House of Commons by three MPs. The Welsh Labour Party lost to the Welsh Conservatives in the 2019 general election for the first time.
The following MPs were elected from Denbighshire in 2019:
Simon Baynes (Welsh Conservatives) in Clwyd South, first elected in 2019.
David Jones (Welsh Conservatives) in Clwyd West, first elected in 2005.
James Davies (Welsh Conservatives) in Vale of Clwyd, first elected in 2019.
Denbighshire is also represented in the Senedd by three members elected in 2021:
Ken Skates (Welsh Labour) in Clwyd South, first elected in 2011
Darren Millar (Welsh Conservatives) in Clwyd West, first elected in 2007
Gareth Davies (Welsh Conservatives) in Vale of Clwyd, first elected in 2021.
In 2019, research by UnHerd in association with the pollster FocalData showed that most people across the county support the British monarchy.
BAGHDAD – Spc. Carlos Castillo (left, on top), a cannon crewmember and level three combatives instructor with 1st Battalion, 41st Field Artillery Regiment, 1st Advise and Assist Brigade, 3rd Infantry Division, United States Division – Center, and a Dalton, Ga., native, demonstrates how to execute a grappling technique properly to 1st Iraqi National Police Division officers Oct. 4 during early morning combatives training at Joint Security Station Loyalty. The units have been working together throughout the deployment and combatives is one of many skills Soldiers with 1st Bn., 41st FA Regt. are teaching the 1st Iraqi NP Div. (U.S. Army photo by Pfc. Emily Knitter, 1st AAB, 3rd Inf. Div., USD-C)
Back in 2005, Stanley "Tookie" Williams was executed by the State of California. In 1971 he co-founded the Crips street gang and by 1979, he was found guilty of multiple murders. While in prison, Tookie changed his ways. He became an anti-gang activist and apologized for founding the Crips. He also met a journalist named Barbara Becnel and asked her to help him write children's books. Tookie's work gained attention and praise from around the world. He was nominated for the Nobel Peace Prize four times. In 2004 a movie was made about him called 'Redemption.' A year later, efforts to stop his execution grew. Celebrities like Jamie Foxx, Danny Glover, and Sean Penn appealed to governor Arnold Schwarzenegger to spare Tookie's life. The governor refused. Williams' execution went ahead in December 2005. Barbara Becnel was there and she's made a documentary about his life. Barbara is on a mission to vindicate Tookie, end the death penalty and reform the criminal justice system.
Check out her interview with George here - www.cbc.ca/thehour/videos.html?id=1009520413
MSC Sinfonia executing a right-angled manouevre to depart Ibiza town port. For timetables for cruise ships visiting Ibiza see www.cruisetimetables.com/cruisesvisitingibizaspain.html. MSC Sinfonia and larger ships utilize this outer pier, whereas as small ships such as the Louis Coral dock in the inner harbor, for more convenient access to the popular quayside bars, restaurants, boutique shops, and stallls area under the old town.