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Oggi il VSOE ha effettuato il suo ultimo viaggio del 2010 su Roma. Eccolo in sosta a Roma Ostiense, giunto da Venezia Santa Lucia al traino della E656.289. Il tempo, purtroppo, non era dei migliori...
Today the VSOE has executed its last journey to Roma. Here it is standing in Roma Ostiense, coming from Venezia Santa Lucia hauled by the E656.289. Unfortunately, the weather wasn't so good...
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.
Following the capture of Matamoros by the Constitutionalists, several of the Federalist prisoners were executed. This photograph shows the execution of 23-year-old Antonio Echazaretta, a volunteer colonel who led other volunteers in defending Matamoros against the Constitutionalists attack.
Circa 1913
Forms part of:
Robert Runyon Photograph Collection
Subjects:
Matamoros (Coahuila, Mexico)--Photographs.
Mexico--History--Revolution, 1910-1920--Photographs.
Rights info:
The Dolph Briscoe Center for American History possesses physical and copyright ownership of the original materials reproduced here. The Center is providing access to the images solely for educational and research purposes. Any other use beyond that allowed by fair use or other statutory exemptions, including but not limited to commercial or scholarly reproductions, redistribution, publication or transmission whether by electronic means or otherwise, is prohibited. For information about ordering image reproductions or obtaining permission for publication, see Copyright Information.
Credit Line:
The required citation for material used, with written permission, in a publication, display, or any presentation should be as follows:
The Robert Runyon Photograph Collection, RUN00261, The Dolph Briscoe Center for American History, The University of Texas at Austin.
Repository:
Dolph Briscoe Center for American History, University of Texas at Austin
Item numbers:
RUN00261, CN07560, VN00261
See:
The South Texas Border, 1900-1920 at The Library of Congress
Robert Runyon photographs on the Briscoe Center's Digital Media Repository
For more information about Robert Runyon and the U. S. - Mexico border conflict see The Handbook of Texas Online: Robert Runyon and Mexican Revolution
For more information about the Briscoe Center's online collections, see: Briscoe Center Online Reference Tools
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:-
Lot 14
Sophie English (b. 1968)
Dress for a duchess
black 1940's style dress and jacket, Italian crepe; duchess satin insert and cuffs with beading and hand embroidery.
size 12
Executed in 2001.
Estimate: 1000 - 1200
Provenance: Acquired directly from the artist
Sophie English has made an outfit which could have been worn by the Duchess of Manchester to the 1949 sale. Detailing on the elaborate jacket refers to annotations marked in the original sales catalogue belonging to the Duchess, now held in the County Record Office in Huntingdon.
After graduating from the London College of Fashion in 1992, Sophie English worked for Nicole Farhi and Edina Ronay before starting her own couture business in 1994. In 1995, she produced her first bridal wear collection and is now stocked in many major outlets in the UK and USA. In 1996 she opened her showroom in Pimlico for couture clothing.
PRIMORDIAL LANDSCAPES
Even our parks are manicured. Everything is designed and executed by humans. They resemble exhibitions, rather than Nature. More concrete than greenery.
Talking of concrete; what do we see when we walk down a road? Buildings, roads, bridges, passages, pavements, billboards, shop windows, vehicles of every size and type. When we look up, airplanes passing over. Concrete, metal, glass, etc.
When was the last time we wetted our feet and hands on a natural beach? I do not mean the fake beaches of holiday villages, nor the concrete docks alongside the piers, but beaches in the real sense. Where beaches are shaped by waves, where moss dance slowly, where the sound of the sea tingle our ears?
When was the last time we climbed on a real rock? When was the last time we sat on real earth?
The stars are obscured by the city lights, we cannot see them. We erased them all.
But there were mountains, seas, rivers, deserts, even before we existed on this planet. Who knows how it looked? Now we have to search for primordial landscapes in other planets.
Perhaps we can see their traces if we look carefully at trees. Perhaps barks of the remaining trees contain records of the past. We may see them if we look carefully and close enough.
Now let us look a little more carefully, a little closer; can we spot ourselves in those primordial landscapes?
Dream Garden is an enormous glass mosaic designed by artist Maxfield Parrish (1870-1966), and executed by Louis Comfort Tiffany and Tiffany Studios, for the lobby of the Curtis Publishing Building in Philadelphia — home of the successful magazines The Ladies' Home Journal and The Saturday Evening Post. The work was commissioned by Edward Bok, Senior Editor of the Curtis Publishing Company. Over a one-month period, prior to being installed in the Curtis Building, the work was exhibited at Tiffany Studios in New York City, attracting more than 7,000 admirers and garnering widespread critical acclaim. The Dream Garden took six months to install into its home in Philadelphia.
Measuring 15 by 49 feet, Dream Garden was produced by the Tiffany Studios in 1916, using over 100,000 pieces of favrile glass, each hand-fired to achieve perfection in each of the 260 colors. The partnership of Tiffany and Parrish had been called "one of the major artistic collaborations in early 20th Century America."
My mother makes fabulous quilts that are both creative and carefully executed in modern and classical designs. They are made with love and attention to detail, from her home in Kingman, Arizona. Contact her with your requests or comments via email at jmiller at 141 dot com. She would love to hear from you.
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 spandrels beneath the dome contain dramatic mosaic compositions depicting the Four Evangelists and four major prophets. These were some of the first mosaics installed in St Paul's during the Victorian period, beginning in the 1860s (though the eighth panel was only finished in 1892). The work was executed by Salviati & Co mainly to the designs of George Frederick Watts (the Evangelists) and Alfred Stevens (the Prophets).
Sir Christopher Wren's masterpiece, St Paul's Cathedral dominates the heart of the City of London as it has always done (if a little overshadowed by more recent developments these days). The only English cathedral to require total building, Wren embraced the opportunity for a fresh start after the Great Fire of London destroyed its predecessor in 1666. The present building was completed in 1715 when Wren's vision of a major dome (something he had proposed adding to the medieval building before the fire) was finally realised.
England's only purpose built Baroque cathedral, it is built on an impressive scale, one of the very largest churches in the country (echoing the impressive scale of its predecessor, which was an even longer building).
The interior is vast and richly adorned (especially the choir which was adorned with glittering mosaics in the late 19th century) and contains many monuments (many to military heroes) with yet more to be found in the sprawling crypt beneath.
St Paul's always arouses mixed emotions in me, it is beyond doubt a magnificent building, a true spectacle that cannot fail to impress within and without. Wren was a genius, pure and simple, though it should be added this wasn't the design he wanted to build which is closer in plan to a medieval cruciform church; his original proposals deviated from the traditional layout more dramatically and failed to win the support of a more conservative elite.
My appreciation of the present building is always tainted by a sense of loss, of what the great medieval St Paul's might have been had it survived, leaving a permanent gap in our legacy of great medieval cathedrals. We know the appearance of Old St Paul's from engravings and it was a remarkable building, the longest in the country, with a solid Romanesque nave and transepts (crowned by a gothic tower and formerly a soaring spire too) and a splendid Gothic choir culminating in a huge rose-window, and the home of many important tombs and monuments which have almost all been lost. However owing to Civil War damage and neglect, the building was in very bad shape in the years immediately before the Great Fire and had already undergone major alterations in classical/Baroque style with Wren proposing far more radical changes, so had there been no Great Fire we still likely would not have had the complete medieval church but some sort of strange Baroque/Gothic hybrid, and Wren would still have had his dome crowning it.
Like many major London attractions the cathedral now charges fees which discourage lower income visitors and bans photography within its walls. Happily however some evening events have been held during August 2017 where photographers were allowed free reign (full access to cathedral and crypt though not the dome galleries), thus I bought a ticket and had my first look around inside for many years......
1882 Extract of 8th March 1841 Trust Settlement of Robert Smith of Barshaw, Renfrewshire, Scotland.
Trust set up by Robert Smith in 1841 to settle his affairs during his life and prevent arguments after his death. Named the following to execute his Trust: John Scott, Cashier, Paisley Union Bank; William Walker Agent in Glasgow of Paisley Union Bank; Robert Moodie, Manufacturer in Glasgow; Alexander Carlisle, Manufacturer in Paisley, Alexander Campbell, Sheriff Substitute of Renfrewshire in Paisley; Robert Smith, his son; George Carswell Junior Manufacturer in Paisley and James Gerard of Whitehaugh.
Gives details of Trust and share of Trust to go to his wife and Children. Also names his Grandchildren Margaret Smith and Alexander Smith, children of his deceased eldest Son, Alexander Smith and Grace, nee Campbell, Smith. Names his other children: Janet, nee Smith, Kirk, Sophia, nee Smith, Lang, John Smith, Robert Smith, Walter Smith.
Gives details and location of his land and premises e.g. Barshaw Mansion, farms such as Braehead Farm and Altown Farm, also names the previous holders. Also details of Indenture dated 15th July 1799 between himself and William McDowall of Garthland and of Indenture between them dated 27th December 1799 and 16th December 1803.
From on top a balance beam, cadets execute a tuck and roll before continuing to the next obstacle. Cadets completed the Army Physical Fitness Test before moving inside Arvin Cadet Physical Development Center to take on the Indoor Obstacle Course Test Oct. 20 during the daylong MIAD selection process. In order to compete for slots in one of several Military Individual Advanced Development programs, roughly 300 cadets had to successfully complete a series of physical and mental challenges. Photo by Mike Strasser/USMA PAO
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.
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.
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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:
The Sanctury of the St Kilda Presbyterian Church features three beautiful 1880s Ferguson and Urie stained glass windows; Faith on the left, Charity in the middle and Hope on the right. All are executed in iridescent reds, yellows, greens and blues, to reflect the colour palate used in other Ferguson and Urie windows elsewhere around the church.
Built on the crest of a hill in a prominent position overlooking St Kilda and the bay is the grand St Kilda Presbyterian Church.
The St Kilda Presbyterian Church's interior is cool, spacious and lofty, with high ceilings of tongue and groove boards laid diagonally, and a large apse whose ceiling was once painted with golden star stenciling. The bluestone walls are so thick that the sounds of the busy intersection of Barkley Street and Alma Road barely permeate the church's interior, and it is easy to forget that you are in such a noisy inner Melbourne suburb. The cedar pews of the church are divided by two grand aisles which feature tall cast iron columns with Corinthian capitals. At the rear of the building towards Alma Road there are twin porches and a narthex with a staircase that leads to the rear gallery where the choir sang from. It apparently once housed an organ by William Anderson, but the space today is used as an office and Bible study area. The current impressive Fincham and Hobday organ from 1892 sits in the north-east corner of the church. It cost £1030.00 to acquire and install. The church is flooded with light, even on an overcast day with a powerful thunder storm brewing (as the weather was on my visit). The reason for such light is because of the very large Gothic windows, many of which are filled with quarry glass by Ferguson and Urie featuring geometric tracery with coloured borders. The church also features stained glass windows designed by Ferguson and Urie, including the impressive rose window, British stained glass artist Ernest Richard Suffling, Brooks, Robinson and Company Glass Merchants, Mathieson and Gibson of Melbourne and one by Australian stained glass artist Napier Waller.
Opened in 1886, the St Kilda Presbyterian church was designed by the architects firm of Wilson and Beswicke, a business founded in 1881 by Ralph Wilson and John Beswicke (1847 - 1925) when they became partners for a short period. The church is constructed of bluestone with freestone dressings and designed in typical Victorian Gothic style. The foundation stone, which may be found on the Alma Road facade, was laid by the Governor of Victoria Sir Henry Barkly on 27 January. When it was built, the St Kilda Presbyterian Church was surrounded by large properties with grand mansions built upon them, so the congregation were largely very affluent and wished for a place of worship that reflected its stature not only in location atop a hill, but in size and grandeur.
The exterior facades of the church on Barkley Street and Alma Road are dominated by a magnificent tower topped by an imposing tower. The location of the church and the height of the tower made the spire a landmark for mariners sailing into Melbourne's port. The tower features corner pinnacles and round spaces for the insertion of a clock, which never took place. Common Victorian Gothic architectural features of the St Kilda Presbyterian Church include complex bar tracery over the windows, wall buttresses which identify structural bays, gabled roof vents, parapeted gables and excellent stone masonry across the entire structure.
I am very grateful to the Reverend Paul Lee for allowing me the opportunity to photograph the interior of the St Kilda Presbyterian Church so extensively.
The architects Wilson and Beswicke were also responsible for the Brighton, Dandenong, Essendon, Hawthorn and Malvern Town Halls and the Brisbane Wesleyan Church on the corner of Albert and Ann Streets. They also designed shops in the inner Melbourne suburbs of Auburn and Fitzroy. They also designed several individual houses, including "Tudor House" in Williamstown, "Tudor Lodge" in Hawthorn and "Rotha" in Hawthorn, the latter of which is where John Beswicke lived.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.
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.
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José Antonio Primo de Rivera was the oldest son of General Miguel Primo de Rivera, who was prime minister and dictator during the reign of King Alfonso XIII of Spain from 1923 until 1930.
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.