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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?
How to take a non-descript vehicle and give it some personality.
This is the most well executed art car we've seen yet.
Strategy
Donavan Group assists our clients create and execute effective vital methods by considering present capabilities and liabilities, economic forces and institutional requirements. We closely monitor potential wealth-building options and create plans to increase value, minimize risks and distribute assets. Our company is as equally adept at working in the board room dispensing top-level management advice as at the tactical level providing day-to-day financial guidance. We assist clients devise, assess, fine-tune and implement approaches to impel growth and liquidity.
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Our company offers wealth-building advice on value and financial enhancement. The company helps our clients on such areas as treasury, financial analysis, valuation, capital structure and capital-raising.
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Through combining management-level strategizing with our direct experience in the industry, the company guides our clients from assessment to execution of operating methods that eliminate obstacles and smooth out operations. Our track record allows us to apply adjustments that bring viable outcomes. Donavan Group, therefore, guide our clients attain growth and revenues more rapidly through customized approaches. The results we provide have enduring benefits because of our deliberate and efficient integration of planning and implementation.
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Donavan Group also aid clients attain growth through the creation of programs that allow them to enter new markets and sales avenues, as well as to impact buyer choices. The company advises them on how to adjust to the economic environment to explore ways to improve marketability and desirability of their services and products.
Risk Management
Donavan Group can help you manage risk firstly by conducting a full risk-profile analysis to determine inherent strengths and weaknesses inside and outside your company in relation to your competitors.
Millions and millions of people have flocked through the doors of Madame Tussauds since they first opened over 200 years ago and it remains just as popular as it ever was. There are many reasons for this enduring success, but at the heart of it all is good, old-fashioned curiosity. Today’s visitors are sent on a unique, emotionally-charged journey through the realms of the powerful and famous. The museum-style ropes and poles have gone so guests can truly get up, close and personal with A-list celebrities, sporting legends, political heavyweights and historical icons, reliving the times, events and moments that made the world talk about them...
The attraction’s history is a rich and fascinating one, with roots dating back to the Paris of 1770. It was here that Madame Tussaud learnt to model wax likenesses under the tutelage of her mentor, Dr Philippe Curtius. At the age of 17, she became art tutor to King Louis XVI’s sister at the Palace Of Versailles and then, during the French Revolution, was hastily forced to prove her allegiance to the feudalistic nobles by making the death masks of executed aristocrats. Madame Tussaud came to Britain in the early 19th century alongside a travelling exhibition of revolutionary relics and effigies of public heroes and rogues.
The room in which prisoners would have their hair cut off before they were executed.
"The Conciergerie is a building in Paris, France, located on the west of the Île de la Cité (literally "Island of the City"), formerly a prison but presently used mostly for law courts. It was part of the former royal palace, the Palais de la Cité, which consisted of the Conciergerie, Palais de Justice and the Sainte-Chapelle. Hundreds of prisoners during the French Revolution were taken from the Conciergerie to be executed by guillotine at a number of locations around Paris.
"The west part of the island was originally the site of a Merovingian palace, and was known initially as the Palais de la Cité. From the 10th to the 14th centuries it was the main palace of the medieval Kings of France. During the reigns of Louis IX (Saint Louis) (1214–1270) and Philippe IV (Philip the Fair) (1284–1314) the Merovingian palace was extended and fortified more extensively.
"Despite lasting only ten months, the Reign of Terror (September 1793-July 1794) had a profound effect on France. More than 40,000 people died from execution and imprisonment, and France would not be a republic again for nearly half a century.
"The National Convention enacted the Law of Suspects on September 17, 1793. This act declared that anyone considered a counterrevolutionary or enemy of the republic was guilty of treason and, thus, condemned to death. The Revolutionary Tribunal was set up in the Palace of Justice. The two fates for those sent before the tribunal were acquittal or death, with no possibility of appeal. Antoine Quentin Fouquier-Tinville, a radical, was named public prosecutor. The Tribunal sat in the Great Hall between 2 April 1793 and 31 May 1795 and sent nearly 2,600 prisoners to the guillotine.
"The Conciergerie prison became the main penitentiary of a network of prisons throughout Paris, and was the last place of housing for more than 2,700 people, who were summarily executed by guillotine. The dank dungeons were a stark contrast to the beautiful architecture of the palace above. The quality of life of the prisoners was based mainly on their personal wealth and the whims of the jailers. The revolutionary period continued the prison's tradition of interning prisoners based on wealth, such that wealthier prisoners could rent a bed for 27 livres 12 sous for the first month, 22 livres 10 sous for subsequent months. Even when the price was decreased to 15 livres, the commanders of the prison made a fortune: as the Terror escalated, a prisoner could pay for a bed and be executed a few days later, freeing the bed for a new inmate who would then pay as well. One memoirist termed the Conciergerie 'the most lucrative furnished lodgings in Paris'. Only celebrity prisoners were assigned cells to themselves. Most of the pistole inmates were stuffed into a single room that abutted a local hospital, making disease an inevitability. The cramped cells were infested with rats, and the stench of urine permeated every room."
Source: Wikipedia
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:-
It is not known when the other works were executed exactly, but in 1617 the Rubens family occupied the house in any case. All the works - which must have cost a fortune - must have been completed before 1621, because they appear in a painting from Isabella Brandt, painted by Anthony Van Dijck. The house consists of 3 linked buildings in traditional brick- and sandstone style with slate roofs. The pump with lion heads is from the 17th century.
View of the rear facade of the house from the courtyard
Website of the Rubenshuis: www.rubenshuis.be/en
The story of Rubens and his house, starts here: www.flickr.com/photos/38700906@N02/51081491587/in/datepos...
Wanneer de overige werken exact zijn uitgevoerd is niet bekend, maar in 1617 nam het gezin Rubens het woonhuis alleszins in gebruik. Alle werken - die een fortuin moeten hebben gekost - moeten evenwel voor 1621 beëindigt zijn, omdat zij dan voorkomen op een schilderij van Isabella Brandt, geschilderd door Anthony Van Dijck. Het woonhuis bestaat uit 3 aan elkaar geschakelde gebouwen in traditionele bak- en zandsteenstijl en daken van leien. De pomp met leeuwenkoppen is van de 17de eeuw.
Zicht op de achtergevel van het woonhuis vanaf de binnenkoer
Website van het Rubenshuis: www.rubenshuis.be/nl
Het verhaal over Rubens en zijn huis, begint hier: www.flickr.com/photos/38700906@N02/51081491587/in/datepos...
On ne sait pas exactement quand les autres travaux ont été exécutés, mais en 1617, la famille Rubens a de toute façon occupé la maison. Toutes les œuvres - qui ont dû coûter une fortune - doivent avoir été achevées avant 1621, car elles figurent dans un tableau d'Isabella Brandt, peint par Anthony Van Dijck. La maison se compose de 3 bâtiments reliés entre eux, de style traditionnel en brique et en grès, avec des toits en ardoise. La pompe à têtes de lion date du 17e siècle.
Vue de la façade arrière de la maison depuis la cour
Site web du Rubenshuis: www.rubenshuis.be/fr
L'histoire sur Rubens et sa maison, commençe ici: www.flickr.com/photos/38700906@N02/51081491587/in/datepos...
82nd CAB executes a simulated Chemical, Biological, Radiological and Nuclear training event during a Leadership Professional Development course on Simmons Army Airfield, Fort Bragg, N.C., March 2.
The objective of this training exercise is to ensure leaders of all facets have a baseline understanding of potential CBRN threats and how to maneuver their forces in the event of a chemical attack against personnel and aircraft.
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:-
Officers forced entry into an abattoir on Higher Bury Street in Stockport on Thursday 30th January 2025, while a second warrant was executed simultaneously at a residential property on Merlin Road in Blackburn, Lancashire.
A man and a woman – both in their thirties – were arrested on suspicion of human trafficking and an offence of slavery, servitude and forced or compulsory labour, contrary to S1 and s2 of The Modern Slavery Act.
A man also in his thirties was arrested at the abattoir after he tried to evaded police, fleeing from the site and hiding on a nearby roof. We discovered he was an Albanian national living and working illegally in the UK. He is now being processed by Immigration Enforcement.
This operation took place after we received disclosure alleging a man who previously worked at the abattoir was a victim of modern day slavery. The claims are that he was forced to live in the abattoir and work around the clock to pay off extortionate debts that were said to be associated with a sponsorship visa and travel expenses.
Detectives acted quickly, following lines of enquiry, gathering potential evidence, and coordinating a joint response with national agencies: the Gangmasters and Labour Abuse Authority (GLAA) and Home Office Border Security and Asylum. This included the Salvation Army and Crime and Justice charity.
The team involved in the late-night raid interviewed 30 employees onsite with a keen eye for spotting signs of exploitation. We also seized mobile phones, computer equipment and documentation as our investigations continue.
Detective Sergeant Lee Attenborough from GMP’s Stockport Challenger Team said: “We hope this robust and coordinated action taken in response a concerning report instils confidence in our approach to tackling modern slavery head on.
“Officers spoke with every employee working within the abattoir last night, they were receptive to our presence, and we engaged in good discussions around their working conditions, payment, and terms of employment.
“It’s so important we do this diligence and thankfully there were no further claims of exploitation. We have communicated the support that is available and how to access it should anyone choose to come forward.
“This activity forms one of several active modern slavery investigations within the force. In 2024 we supported more victims of modern slavery and held more offenders accountable for the misery they caused as 80 charges were laid – 40% more than the previous year – and 19 convicted were secured, up from seven, with several cases continuing to progress through the criminal justice system.
“Modern slavery is happening across Greater Manchester, and we encourage anyone who is a victim of this crime, or suspect someone they know could be, to report it. You will always be taken seriously, and protection and support is available.
“You can report modern slavery to us using our online crime reporting service."
Debi Lloyd, Head of UK Counter Trafficking Operations at Justice and Care, said: “Our Victim Navigators were deployed alongside police and other agencies on Thursday and it was fantastic to see a collaborative and multidisciplinary approach to tackling alleged modern slavery.
‘Navigators are embedded in police forces across the UK and help survivors to rebuild their lives and secure justice against exploiters. We are supporting the survivor in this case and commend their bravery in coming forward.
‘If you are experiencing exploitation, please know you are not alone, and support is available.
‘Every person out there can play a part in fighting modern slavery by learning to spot the signs and reporting any concerns to police or the Modern Slavery Helpline on 0800 0121 700.”
Gangmasters & Labour Abuse Authority (GLAA) Investigations Manager Michael Heyes said: “The GLAA works to stop the exploitation of workers in the UK and ensure that they are treated fairly. We have powers to investigate modern slavery offences and work with law enforcement and other partners to achieve this end.
“The GLAA has been involved in at least seven modern slavery and human trafficking investigations in Greater Manchester between April 2024 and January 2025.
“The GLAA is an intelligence-led organisation. Anyone with information or concerns about workers being exploited for their labour should email contact@gla.gov.uk or use the online reporting form which can be found at www.gla.gov.uk.”
Director of Anti Trafficking and Modern Slavery for The Salvation Army, Major Kathy Betteridge said: "The Salvation Army was on site today with Greater Manchester Police to make available specialist support for any potential victims of modern slavery identified. It is vital that victims’ needs are assessed, and they receive immediate access to protective care and specialised support, available through a Government contract operated by The Salvation Army.
“We work with survivors as they begin the long journey to rebuild their lives and their trust in humanity. Support provided by The Salvation Army can include intensive 24/7 support for people with high-level needs as well as safe accommodation, counselling and help with returning home, finances and finding employment.
"If you suspect that you, or someone you have come into contact with may be a victim of modern slavery and in need of help, please call The Salvation Army’s 24-hour confidential referral helpline on 0800 808 3733."
Minister for Border Security and Asylum, Dame Angela Eagle MP, said: “Modern slavery is an abhorrent crime that dehumanises people for profit. We are committed to tackling it in all its forms and giving survivors the support and certainty they need to rebuild their lives.
“We know that many people are sold lies about their ability to live and work in the UK and are often subjected to squalid conditions and illegal working hours for little to no pay.
“That’s why, as well as playing a critical safeguarding role, our immigration officers are also ramping up enforcement activity across the country to clamp down on illegal working and the exploitation of illegal workers to put a stop to the abuse of our immigration system and ensure those involved face the full consequences.”
Deputy Mayor of Greater Manchester, Kate Green, said: "Modern slavery is an appalling crime that has no place in our communities. Exploiting vulnerable people for profit is utterly unacceptable, and I fully support the efforts of our teams in bringing those responsible to justice.
"I’d like to welcome the way different agencies are working in partnership to tackle this disgusting crime. Through Programme Challenger, our partnership with GMP and a broad range of partners from across the public, private and voluntary sectors to tackle serious and organised crime, we are making a real difference, ensuring victims are protected and offenders face the consequences of their actions.
"We all have a part to play in spotting the signs of modern slavery. If something doesn't feel right, take action and report it. And I ask businesses specifically, please consider your supply chains and whether there may be a risk that modern slavery is happening where you access goods and services.
"Greater Manchester will not tolerate such exploitation, and we remain committed to rooting it out wherever it occurs."
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
At the Quintesson's judgement, the Doctor springs immediately to action!
Doctor: 'You had your chance!'
The Doctor reaches into his trenchcoat pocket and withdraws his sonic screwdriver and immediately activates it toward the hinge of the metal plank that the three are standing upon! it locks into position as the Quintesson bailiff flails his tentacles in a panicked attempt to regain control of the situation!
Bailiff: 'Execute them!'
The Alligatacons spring into action either transforming or thrusting their laser staffs toward the humanoids as the three evacuate the locked plank! Again the Doctor reaches into his pocket and pulls out a canister of energon treat! He hurls it at an Alligatacon that tries to catch the treat in its metal jaws. The canister shatters and the putrid smell of its contents quickly spreads. The lone Alligatacon is soon mauled by his snarling comrades, all eager to devour the irresistible goody!
Bailiff: 'Execute them! Execute them!'
Seeing the grandiose failure of the attempts from his Bailiff to regain control of the Court, the Quintesson Judge seizes the moment.
Judge: 'Quickly, eliminate the Guards before the smell reaches the Sharkticons!'
But the order comes too late as the Sharkticons swarm in their pool of mech fluid with gnashing teeth and shredding claws. The ravenous Sharkticons climb up over each other to escape the pool in anticipation of devouring the delicious smelling energon treat! The Judge looks down from his balcony and sees his Bailiff freeze in fear, trapped between the vicious Sharkticons and the battling Alligatacon Guards! As the Judge begins a retreat, he stops momentarily at the sight of the ladder of clamoring Sharkticons tumbles due to explosions beneath the surface of the mech fluid! With his confidence built from witnessing the collapsing Sharkticons, the Judge's curiosity keeps him from withdrawing. He sees the mech fluid bubble from below and with it, Sharkticons explode! The Judge comes closer to the edge of his balcony, intrigued at the spectacle of Sharkticons exploding in a symphony of destruction until the unknown attacker crests the edge of the pit! The Judge suddenly find himself paralyzed with fear is the attacker is revealed and elevates!
Crown Fountain is an interactive work of public art and video sculpture featured in Chicago's Millennium Park, which is located in the Loop community area. Designed by Catalan artist Jaume Plensa and executed by Krueck and Sexton Architects, it opened in July 2004. The fountain is composed of a black granite reflecting pool placed between a pair of glass brick towers. The towers are 50 feet (15.2 m) tall, and they use light-emitting diodes (LEDs) to display digital videos on their inward faces. Construction and design of the Crown Fountain cost $17 million. Weather permitting, the water operates from May to October, intermittently cascading down the two towers and spouting through a nozzle on each tower's front face.
Residents and critics have praised the fountain for its artistic and entertainment features. It highlights Plensa's themes of dualism, light, and water, extending the use of video technology from his prior works. Its use of water is unique among Chicago's many fountains, in that it promotes physical interaction between the public and the water. Both the fountain and Millennium Park are highly accessible because of their universal design.
Crown Fountain has been one of the most controversial of all the Millennium Park features. Before it was even built, some were concerned that the sculpture's height violated the aesthetic tradition of the park. After construction, surveillance cameras were installed atop the fountain, which led to a public outcry (and their quick removal).
However, the fountain has survived its somewhat contentious beginnings to find its way into Chicago pop culture. It is a popular subject for photographers and a common gathering place. While some of the videos displayed are of scenery, most attention has focused on its video clips of local residents; hundreds of Chicagoans visit the fountain hoping to see themselves appearing on one of the fountain's two screens. The fountain is a public play area and offers people an escape from summer heat, allowing children to frolic in the fountain's water.
en.wikipedia.org/wiki/Crown_Fountain
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
120604-M-CS947-001 SOUTH CHINA SEA (June 4, 2012)- A Landing Signalman Enlisted (LSE) executes Deck Landing Qualifications (DLQ) with an SH-60B assigned to the “Easy Riders” of Helicopter Anti-Submarine Squadron Light (HSL 37) aboard the dock landing ship USS Germantown (LSD 42). The "Easy Riders" and Germantown are participating in the underway phase of Cooperation Afloat Readiness and Training (CARAT) Indonesia 2012. CARAT is a series of bilateral military exercises between the U.S. Navy and the armed forces of Bangladesh, Brunei, Cambodia, Indonesia, Malaysia, the Philippines, Singapore and Thailand. Timor Leste joins CARAT for the first time in 2012. (U.S. Marine Corps photo by Cpl. Jacob D. Barber)
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:-
Brass in the north choir aisle to Bishop James Henry Monk (d.1856), designed by G.G.Scott and executed by Hardman's.
www.westminster-abbey.org/abbey-commemorations/commemorat...
Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.
The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.
The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.
The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!
For further details (and restrictions) 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:-
BALTIC SEA (June 09, 2020) USS Donald Cook (DDG75) observers NATO allies and partner nation ships execute multinational surface warfare division tactics during BALTOPS 2020. BALTOPS is the premier annual maritime-focused exercise in the Baltic region, enhancing flexibility and interoperability. (U.S. Navy Photo by Lt.j.g. Sarah Claudy/Released)
Wewurukannala Vihara
15 miles east of Matara is the town of Dikwella, where there is one of the most extraordinary Buddhist temples in Sri Lanka. The Wewurukannala Vihara temple is dominated by an image of a seated Buddha. It is 160ft high, the largest statue in all of Sri Lanka and dates back to the time of King Rajadhi (1782 – 1798). The temple has three parts, the oldest being about 250 years old; however this is of no particular interest.
The next part has life size models of demons and sinners shown in graphic detail. If you don’t follow the path to enlightenment this is what happens to you. Punishments include being drunken in boiling cauldrons, swan in half, disemboweled and so on. Finally there is the enormous seated Buddha that is as high as an eight storey building. To prove that that it really is as high as an eight story building, what should be right behind it but – yes, an eight story building! You can climb up inside and gaze right into the Buddha’s head.
The temple walls show you the path towards enlightenment by depicting hundreds of comic strip representations of events in the Buddha’s lives. Among one of the episodes is the Chulla Dhammapala Jataka. It tells the story of how King Maha Prathapa of Varanasi on entering the palace found the queen cuddling her seven month old child. After ignoring him the King was left insulted so ordered that the prince be executed and the body be thrown into the air. Several Jataka Stories are also amid the paintings, which where selected for Vesak stamps in 1991. One depicts The Kattahari Jataka showing Prince Kastavahana, son of King Brahmadatta resting with his entourage.
Finally! This project was simple to execute, but it took forever to get all the pieces in order. I bought a basic Mattel Merida very cheaply in a local discount shop last year, and really liked the stylised head, but disliked her stiff, awkward body. Given how pale she is, I thought she would be a good match for Apple White's awesome Ever After High body (not such a fan of the heads in the main, but such is life). However, being a total miser, I was unprepared to shell out for her when she first came out, but she was recently marked down to nearly £10 on Amazon, so I ordered one at last (and was roundly mocked by my colleagues when I had her delivered to work...).
Anyway, here's my Merida/Apple White mashup, who is named Brigitte (in tribute to her 'The Most Popular Girls in School' relative). I went with brown eyes, because I've always had a soft spot for red hair/brown eyes.
I also have a Disney Store Merida waiting to be messed with at some point, but I think she's going to be a repaint in character.
The central focus of FDR’s second term was developing and executing the New Deal to bring the country out of economic turmoil. In this room, there are three scenes depicting the state of American citizens in the United States during the Great Depression. In front of you, a bread line is shown, representing the poverty and desperation of the working class during the Great Depression. Inscribed above the sculptures is the following quote from FDR’s second inaugural address: “I see one-third of a nation ill-housed, ill-clad, ill-nourished.”
The urban companions to the rural couple are represented by a five-man portion of an urban breadline shuffling its way alongside a brick building. These lines, which formed outside food kitchens offering bread, soup, or groceries, often extended for many city blocks.
George Segal
George Segal was born in the Bronx, New York City, in 1924. His parents had immigrated from eastern Europe. George exhibited an interest in art early and won honors for his work while still in high school. George was raised in New Jersey, where his family settled, and he helped his parents with their chicken-raising business throughout his teens. Later, he took over the farm and still lives there with his wife Helen. Today, the old chicken coops house his art studio.
Everyday life and everyday happenings form the basis of George Segal’s sculptures. His pieces are cast directly from live models, mostly friends and relatives. George’s method of sculpting is unique. It depends heavily on real-life events and people said within environments which he constructs from real elements and furnishings. Segal’s work is therefore figurative but it does not romanticize or idealize the people whom he casts.
As the critic Phyllis Tuckman explains in the book, George Segal: Recent Painted Sculpture, “Segal’s figures radiate an aura of the familiar. They look like the kind of people with whom you come in daily contact…. These slices of life’s scenarios belie or masked other aspects of this haunting art.” Segal’s environments express more than what is visible on the surface. They dig deeply and say much about the universal elements of life through their focus on simple tasks.
It was for these reasons that George Segal was chosen to work within the themes of the Memorial. George has strong feelings and deep empathy for the Roosevelt era. He quickly selected three everyday images that were descriptive of the essence of the Depression years in our country, which had such a deep influence on the character and quality of our culture. Within these depictions the message is one of inherent individual dignity in the face of overwhelming odds.
George Segal developed his very personal casting technique in the early 1960s. He starts by dipping cloth bandages in wet plaster and then applying them directly to a body or to an object. He spends time working with his models before casting, describing the gestures he is trying to achieve and choreographing the positioning of their bodies in space within the constructed environment. Artist and model work together to finalize the pose before wrapping begins. Once the format has been fixed, the bandages are fitted around the various parts of the body. Hardening takes only minutes and then the bandages are removed by splitting them into sections. Later, they are reassembled to form the final figures or, as was the case for figures in the Memorial, they become molds for the final bronze sculptures.
Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.
"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"
Frescoes from the House of the Dioscuri (Casa dei Dioscuri) in Pompeii. The paintings date from the first century AD (between 62 and 79 AD) and are executed in the so-called Fourth Pompeian Style.
The three panels depict the following mythological scenes:
Left: Medea contemplates infanticide – This fresco shows the tragic figure Medea contemplating the killing of her children. Center: The Slaughter of the Niobids – A large vertical panel depicting the slaughter of Niobe’s daughters.
Right: Perseus Frees Andromeda – This shows the hero Perseus freeing Andromeda from her chains after killing the sea monster. Perseus holds Medusa’s severed head and helps Andromeda off the cliff.
Museo Archeologico Nazionale di Napoli (MANN), or National Archaeological Museum, is one of the most important archaeological museums in the world.
The building was put into use in 1612 for the University of Naples. In 1615, it was officially inaugurated as the ‘Palace of Royal Studies’ (Palazzo dei Regi Studi). When the university moved into the vacated buildings of the Jesuit order in 1773, King Ferdinand IV had it converted into a royal library and museum in 1777. In 1816, it was given the name ‘Royal Museum of the Bourbons’ (Real Museo Bourbonico). Finds from Pompeii, Herculaneum, and Stabiae, which had previously been collected mainly in the palace at Portici, were transferred to Naples in 1822. In 1860, upon the unification of Italy, it was declared a National Museum.
Boucher executed this painting for Madame de Pompadour, the powerful, official mistress of Louis XV and Boucher’s most significant patron from 1747 until her death in 1764. It originally decorated the bathing apartments (a luxurious suite of three rooms) in Pompadour’s Château de Bellevue. The construction of her château prompted many of the most important commissions of Rococo painting and sculpture. For a subject that became synonymous with both Boucher and Pompadour, the artist devised a summary of the movement’s key features: overt theatricality, voluptuous flesh, and an asymmetrical unfurling of luxurious furniture, fabric, flowers, and pearls.
April 1865. "Washington Navy Yard, David. E. Herold, Lincoln assassination conspirator." This 22-year-old accomplice of John Wilkes Booth was executed by hanging on July 7, 1865. Glass negative by Alexander Gardner.
From www.shorpy.com
During the evening hours of Friday March 14th, 2008 and the early morning hours of Saturday March 15th, 2008 officers stopped several vehicles and seized a quantity of drugs and cash which resulted in the execution of warrants on residents within Haldimand and Norfolk Counties. At three separate residents warrants were executed resulting in the seizure of 57 lbs of cannabis marihuana with an estimated street value of $114,000.00 (one hundred and fourteen thousand dollars) along with $15,500.00 (fifteen thousand five hundred dollars) in Canadian currency.
The soldiers therefore brought Jose to be executed, and as they did so they began to strike him with the machetes they carried. Even worse, they chopped off the soles of Jose’s feet, and they forced him to walk along the rocky unpaved road to the cemetery. Instead of complaining, he shouted, “Long live Christ the King!” Witnesses said that the stones where Jose had trodden were all soaked in his blood, and although he moaned from the pain, he never weakened in his resolve. When they got to the cemetery, Jose was already covered in his own blood. The soldiers showed him the grave, and said, “This is where we are going to bury you.” The boy responded, “That is good. I forgive all of you since we are all Christians.” He offered them his hand and said, “We’ll see each other in Heaven. I want you all to repent.”
Between June 14 and July 27, 1794, during the height of the Terror, 1,306 people were executed in the Place du Trône Renversé (Square of the Overturned Throne). This location is now called Place de la Nation.
The condemned were nearly all accused of petty, absurd or imaginary crimes. The only reason the massacre stopped was that Maximilien de Robespierre was executed on July 27,1794.
Grave Number 1, in the rear of the photo, holds 1,000 bodies. Grave Number 2, in the front of the photo, holds 304 bodies.
Among those who were killed were 16 Carmelite nuns from Compiegne. They offered themselves willingly to the guillotine, singing the Salve Regina as they mounted the scaffold, in the hopes that their deaths would bring an end to the executions. They were, unfortunately, unsuccessful.
Other victims of those executions included the poet André de Chénier; the grandmother, mother and sister of Adrienne de Noailles, the wife of the Marquis de Lafayette; the Vicomte de Beauharnais, the first husband of the Empress Josephine; and the Duc de Noailles-Mouchy, Marshal of France. One victim - the Abbess Louise de Montmorency-Laval - was deaf and blind. She was accused of having plotted "deafly and blindly."
Picpus Cemetery was established by the families of the 1,306 people who were executed during the French Revolution and buried in two mass graves here. The only people who can be buried in Picpus Cemetery are descendants of those victims of the Revolution guillotine.
Picpus Cemetery is the only private cemetery in Paris. It is on the grounds of the Chapel of Our Lady of Peace.
Wewurukannala Vihara
15 miles east of Matara is the town of Dikwella, where there is one of the most extraordinary Buddhist temples in Sri Lanka. The Wewurukannala Vihara temple is dominated by an image of a seated Buddha. It is 160ft high, the largest statue in all of Sri Lanka and dates back to the time of King Rajadhi (1782 – 1798). The temple has three parts, the oldest being about 250 years old; however this is of no particular interest.
The next part has life size models of demons and sinners shown in graphic detail. If you don’t follow the path to enlightenment this is what happens to you. Punishments include being drunken in boiling cauldrons, swan in half, disemboweled and so on. Finally there is the enormous seated Buddha that is as high as an eight storey building. To prove that that it really is as high as an eight story building, what should be right behind it but – yes, an eight story building! You can climb up inside and gaze right into the Buddha’s head.
The temple walls show you the path towards enlightenment by depicting hundreds of comic strip representations of events in the Buddha’s lives. Among one of the episodes is the Chulla Dhammapala Jataka. It tells the story of how King Maha Prathapa of Varanasi on entering the palace found the queen cuddling her seven month old child. After ignoring him the King was left insulted so ordered that the prince be executed and the body be thrown into the air. Several Jataka Stories are also amid the paintings, which where selected for Vesak stamps in 1991. One depicts The Kattahari Jataka showing Prince Kastavahana, son of King Brahmadatta resting with his entourage.
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Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-