View allAll Photos Tagged Executed
Well executed bargain priced model, only let down by the paint, whilst not bad is not as good as the rest. Good wheels too. 1/18.
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 work was executed for Philip the Bold (Philippe le Hardi) in a style combining the elegance of International Gothic with a northern realism, but with a monumental quality unusual in either. It was carved from stone quarried in Asnières, near Dijon, and consisted of a large crucifixion scene or "Calvary", with a tall slender cross surmounting a hexagonal base which was surrounded by the figures of the six prophets who had foreseen the death of Christ on the Cross (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah). Standing on slender colonnettes on the corners between these prophets are six weeping angels. All the figures, including the lost Calvary group, were painted and gilded by Jean Malouel, and some of this paint remains.
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:-
Protesters urging clemency for the Rosenbergs step up their protests in front of the White House June 19, 1953 after the U.S. Supreme Court set aside a stay of execution.
The Rosenbergs were executed later that day.
Picket lines in front of the White House were continuous in the months leading up to their execution.
The Rosenbergs and a third man, Morton Sobell, were tried together for passing classified information to the Soviet Union related to an atomic bomb.
Part of the prosecution strategy was to emphasize their ties to the Communist Party at a time when hysteria over communists in the U.S. was at an all time high during the Cold War and with U.S. troops battling in Korea against forces aided by both the Soviet Union and the People’s Republic of China.
The Rosenbergs were convicted, sentenced to death and then executed June 19, 1953 despite an international outcry for clemency. Sobell served 17 ½ years of a 30-year sentence.
For more information and related images, see flic.kr/s/aHskkQha2c
The photographer is unknown. The image is an auction find
Six dead revolutionaries after being executed by governmental forces during the second stage of the German Revolution, Berlin, March 1919. In the context of the revolutionary struggles in Germany, after the execution of Rosa Luxemburg and the creation of the Bremen Soviet Republic, the German government sent the Freikorps units to invade the city, causing 400 casualties. The uprisings exploded around Germany which escalated to a general strike that started on 4 March and, eventually, to street fighting in Berlin. By the end of the fighting on 16 March, the Republic had killed approximately 1,200 people, many of them unarmed and uninvolved.
Original picture from by Alfred Groß, Bundesarchiv Bild 102-00539. I excuse for the quality of this one, the resolution was dreadful.
#historiansunion #colorizersunion #colored #colorized #colourised #colorization #colourisation #color #history #ww1 #wwi #thegreatwar #greatwar #germany #revolution
Beautifully executed Tomica Nissan GT-R in what I can only assume to be an accurately represented Japanese unmarked Police Car. They've taken their original standard casting and gone to the effort of cutting a hole in the roof to accommodate a proper light, something Mattel would just never do!
Part of an unmarked Police four vehicle set found at a Tokyo branch of Kiddy Land.
Mint and boxed.
The Revenge
Guttila was written by Uddaka Tennekoon. Music composed and executed by Kalasuri Diliup Gabadamudalige. It was successfully staged at the Bishops College Auditorium in May 2004. The Revenge is the continuation of the Guttila Story (which is the creation of the writer). Musila who was a student of Guttila having lost the Violin dual with his master goes back to his home town Udeni. He seeks revenge and kidnaps Guttila's wife Anoopama with the aid of an evil man. For her release he challenges the old master once more for a dual.
Date: Thursday, June 19, 2008 to Tuesday, June 24, 2008
Time: 7:00pm - 10:00pm
Location: Lionel Wendt Theatre, Colombo 7
Concept and Lyrics by: Uddaka Tennekoon
Music Composed, Arranged and Performed by: Diliup Gabadamudalige
Directed by: Jerome de Silva
Lights, Sound Engineering and Stage Management: The Workshop Players
KIRBY MUXLOE CASTLE, KNOWN ALSO AS KIRBY CASTLE IS AN UNFINISHED 15TH CENTURY FORTIFIED MANOR HOUSE IN KIRBY MUXLOE, LEICESTERSHIRE. THE MANSION WAS LEFT UNFINISHED WHEN ITS OWNER WAS EXECUTED FOR TREASON. THE OWNER WAS WILLIAM, LORD HASTINGS, WHO BEGAN WORK ON KIRBY MUXLOE CASTLE IN 1480, CREATING A FORTIFIED HOUSE OF RED BRICK SURROUNDED BY A WIDE MOAT. THERE WAS ALREADY A 14TH CENTURY HOUSE ON THE SITE, BUILT BY THE PAKEMAN FAMILY, WHEN HASTINGS BEGAN HIS CASTLE. FOUNDATIONS OF THAT FIRST HOUSE CAN BE SEEN WITHIN THE CASTLE ENCLOSURE. THE HASTINGS FAMILY GAINED OWNERSHIP OF THE KIRBY MUXLOE ESTATE IN 1460, AND LORD HASTINGS DEMOLISHED MUCH OF THE EARLIER HOUSE IN ORDER TO USE THE STONE TO BUILD HIS NEW CASTLE.
WORK HAD ONLY BEEN GOING ON FOR THREE YEARS WHEN LORD HASTINGS WAS CAUGHT UP IN THE TRANSITION OF POWER FROM EDWARD IV TO RICHARD III. HASTINGS HAD BEEN A FIRM A FAVOURITE OF EDWARD, AND ACTUALLY SUPPORTED RICHARD'S CLAIM TO THE THRONE. SO IT CAME AS SOME SURPRISE WHEN, IN JUNE 1483, RICHARD HAD HASTINGS SUDDENLY SEIZED, CHARGED WITH TREASON, AND SUMMARILY EXECUTED. ONE THEORY IS THAT HASTINGS REFUSED TO SUPPORT RICHARD'S PLANS TO KILL HIS YOUNG NEPHEWS, THE SO-CALLED PRINCES IN THE TOWER. WHILE WE WILL PROBABLY NEVER KNOW THE TRUE REASONS FOR HASTING'S EXECUTION, THE EFFECT ON KIRBY MUXLOE CASTLE WAS DRAMATIC. WORK DID NOT CEASE IMMEDIATELY, FOR LADY HASTINGS CONTINUED CONSTRUCTION FOR A BRIEF TIME, BUT ACTIVITY PETERED OUT AFTER 1484 AND ONLY SPORADIC WORK WAS EVER DONE AFTER THAT POINT, AND EVENTUALLY THE SITE WAS ABANDONED.
THE CASTLE SITE IS ENTERED BY WAY OF AN IMPOSING GATEHOUSE, AND A STRONG THREE STORY TOWER STANDS SILENT WATCH OVER THE MOAT. THE MOAT ENCLOSES A SITE 110 METRES LONG AND 90 METRES WIDE, WHILE THE ISLAND UPON WHICH THE CASTLE STANDS IS 80 METRES BY 60 METRES. THE GATEHOUSE AND WEST TOWER ARE IN RED BRICK DRESSED WITH STONE, MAKING THIS ONE OF THE FIRST GROUPS OF BRICK BUILDINGS IN THE MIDLANDS. HARDER WEARING STONE IS USED FOR BOTH DOOR AND WINDOW SURROUNDS, HOWEVER.
THE GATEHOUSE IS VERY STRIKING; IT IS ONE OF THE FIRST IN ENGLAND TO HAVE GUNPORTS FOR FIRING AT ATTACKERS. SEVERAL OF THE GUNPORTS ARE BELOW THE WATERLINE, OUT OF SIGHT TO MODERN VISITORS. WHAT IS THE POINT OF HAVING GUNPORTS UNDER WATER? PRESUMABLY THEY WERE INTENDED FOR USE WHEN WATER LEVELS IN THE MOAT WERE LOW. THERE IS A LARGE, EMPTY PANEL OVER THE ENTRANCE ARCHWAY, PREPARED FOR LORD HASTINGS COAT OF ARMS, BUT THE CARVINGS WERE NEVER ADDED BEFORE THE OWNER'S DEATH LED TO BUILDING WORK BEING ABANDONED. THE GATEHOUSE IS REACHED BY A DRAWBRIDGE OVER THE MOAT, AND THE GATEWAY PASSAGE IS FURTHER DEFENDED BY A PORTCULLIS AND TWO SETS OF GATES.
THE SITE IS A ROUGH OBLONG, RATHER THAN A SQUARE PLAN LIKE ASHBY CASTLE. ONE PART OF THE CASTLE THAT WAS COMPLETE IS THE LOVELY CORNER TOWER, STANDING THREE STOREYS HIGH, WITH A SPIRAL STAIR RISING TO A CRENELLATED PARAPET WALK. THE STAIR IS MADE OF BRICK; ONE OF THE EARLIEST AND MOST IMPRESSIVE USE OF BRICK FOR A STAIRCASE IN ENGLAND.
Nurse Edith Cavell was executed by German forces during WWI as she had aided British POWs to escape.
There was great diplomatic efforts to have her death sentence commuted or delayed, but to no avail.
She was shot by eight soldiers, and in time, her body was repatriated, the wagon her body was carried from Dover is the same used for the body of the Unknown Soldier.
The luggage wagon usually rests at Bodiham on the Kent and East Sussex Railway, but for November it has been brought back to the former Dover Marine station.
I got tickets, so after lunch we would visit, not just to see the wagon and pay our respects, but the station is now a cruise terminal, and is rarely open to the public, and it had been a decade or so since my last visit.
I slept late, late enough so that Jools driving off to yoga woke me up at ten past six. Outside rain was bouncing down, and there was the bins to do.
I got up and put them out, dodging the raindrops, and back inside to make a coffee.
With rain expected all day, other than doing to the station after lunch, not much else planned, whilst Jools had her craft and gossip morning at the village library.
Jools came back from yoga as I was finishing my coffee, so I made breakfast giving her an hour before she had to leave again.
I listened to podcasts and watched videos for the morning, not much else to do, really.
Sadly, we had what we thought was the plumber coming to fix the overflow, but instead Craig came to touch up some paint in the toilet.
So Jools stayed home and I drove down to the Western Docks, over the flyover, past the former Lord Warden Hotel, then round to where lines from London entered Dover Marine, forming a large flat crossing in a tangle of lines.
You can still see how the lines used to curve west to join the main line to Folkestone, but is now concreted over, as are the tracks between the platforms, so to create a large flat parking area for cruisers.
I showed my ticket, and walked up through the central arch along what was the path of platforms 2 and three, past the former station buildings and under the footbridge.
At the far end there was the wagon, so I walked up, showed my ticket again, had my name ticked off, and went to look inside.
Inside there is a coffin, a replica of the one that brought the body of the unknown soldier back from France, and on the walls there were information boards on the only three bodies to be brought back from the war.
I exited it, took shots all around it, then walked to the war memorial, which is a splendid thing, and should be more accessible.
And I was done.
I thanked the volunteers and walked out, getting shots of the walkway linking the former hotel with the station and the Admiralty pier before taking shelter from the rain in the car and driving home.
I had been gone all of 40 minutes.
Once back I began to cook dinner/lunch: chicken pie, roast potatoes, steamed leeks, sprouts and spring greens, gravy and shop bought Yorkshire puddings.
It was all done by four, by which time Craig had done two coats of paint and had left.
I poured a beer and a cider, then dished up, the potatoes lovely and crunchy, without being burnt.
I won the music quiz at six, which was nice, then after washing up I settled down to watch Northern Ireland play in Slovakia.
A poor game, ended 1-0 to the home side, but Northern Ireland go to the play-offs anyway.
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Edith Louisa Cavell (/ˈkævəl/ KAV-əl; 4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for treating wounded soldiers from both sides without discrimination during the First World War and for helping some 200 Allied soldiers escape from German-occupied Belgium. Cavell was arrested, court-martialled under German military law and sentenced to death by firing squad. Despite international pressure for mercy, the German government refused to commute her sentence, and she was shot. The execution received worldwide condemnation and extensive press coverage.
The night before her execution, she said, "Patriotism is not enough. I must have no hatred or bitterness towards anyone". These words were inscribed on the Edith Cavell Memorial[1] opposite the entrance to the National Portrait Gallery near Trafalgar Square. Her strong Anglican beliefs propelled her to help all those who needed it, including both German and Allied soldiers. She was quoted as saying, "I can't stop while there are lives to be saved."[2] The Church of England commemorates her in its Calendar of Saints on 12 October.
Cavell, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium.
In November 1914, after the German occupation of Brussels, Cavell began sheltering British soldiers and funnelling them out of occupied Belgium to the neutral Netherlands. Wounded British and French soldiers as well as Belgian and French civilians of military age were hidden from the Germans and provided with false papers by Prince Réginald de Croÿ at his château of Bellignies near Mons. From there, they were conducted by various guides to the houses of Cavell, Louis Séverin, and others in Brussels, where their hosts would furnish them with money to reach the Dutch frontier, and provide them with guides obtained through Philippe Baucq.[18] This placed Cavell in violation of German military law.[4][19] German authorities became increasingly suspicious of the nurse's actions, which were further fuelled by her outspokenness.
The night before her execution, Cavell told the Reverend H. Stirling Gahan, the Anglican chaplain of Christ Church Brussels, who had been allowed to see her and to give her Holy Communion, "I am thankful to have had these ten weeks of quiet to get ready. Now I have had them and have been kindly treated here. I expected my sentence and I believe it was just. Standing as I do in view of God and Eternity, I realise that patriotism is not enough, I must have no hatred or bitterness towards anyone."[30][31] These words are inscribed on her statues in London and in Melbourne, Australia.[32][33] Cavell's final words to the German Lutheran prison chaplain, Paul Le Seur, were recorded as, "Ask Father Gahan to tell my loved ones later on that my soul, as I believe, is safe, and that I am glad to die for my country.
en.wikipedia.org/wiki/Edith_Cavell
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Situated on Admiralty Pier for connection to ships, this was constructed on an expanded pier by SECR, finished in 1914, began to be used on 2 February 1915 but was not available for public use until 18 January 1919; in the meantime it had been renamed Dover Marine on 5 December 1918. It was a large terminus with four platforms covered by a full roof. Platforms were extended to take 12-car trains in February 1959.[6] It was renamed again to Dover Western Docks on 14 May 1979, and was closed by British Rail on 26 September 1994[1] with the demise of boat trains and the opening of the Channel Tunnel. It has since been turned into a cruise-liner terminal.[7]
Work on the new train ferry pier at the station suffered damage worth £300,000 during the Great storm of 1987.[8]
Regie voor Maritiem Transport used to run ferries until 1994 from here to Oostende railway station which connected into Belgian railway line 50A run by NMBS. There was a fast ferry service using the Jetfoil as well as conventional ferries.
The Southern Railway opened a large locomotive depot at the site in 1928. This was closed in 1961 and demolished.
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
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.
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?
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.
Series photos are possible to look here:
Nurse Edith Cavell was executed by German forces during WWI as she had aided British POWs to escape.
There was great diplomatic efforts to have her death sentence commuted or delayed, but to no avail.
She was shot by eight soldiers, and in time, her body was repatriated, the wagon her body was carried from Dover is the same used for the body of the Unknown Soldier.
The luggage wagon usually rests at Bodiham on the Kent and East Sussex Railway, but for November it has been brought back to the former Dover Marine station.
I got tickets, so after lunch we would visit, not just to see the wagon and pay our respects, but the station is now a cruise terminal, and is rarely open to the public, and it had been a decade or so since my last visit.
I slept late, late enough so that Jools driving off to yoga woke me up at ten past six. Outside rain was bouncing down, and there was the bins to do.
I got up and put them out, dodging the raindrops, and back inside to make a coffee.
With rain expected all day, other than doing to the station after lunch, not much else planned, whilst Jools had her craft and gossip morning at the village library.
Jools came back from yoga as I was finishing my coffee, so I made breakfast giving her an hour before she had to leave again.
I listened to podcasts and watched videos for the morning, not much else to do, really.
Sadly, we had what we thought was the plumber coming to fix the overflow, but instead Craig came to touch up some paint in the toilet.
So Jools stayed home and I drove down to the Western Docks, over the flyover, past the former Lord Warden Hotel, then round to where lines from London entered Dover Marine, forming a large flat crossing in a tangle of lines.
You can still see how the lines used to curve west to join the main line to Folkestone, but is now concreted over, as are the tracks between the platforms, so to create a large flat parking area for cruisers.
I showed my ticket, and walked up through the central arch along what was the path of platforms 2 and three, past the former station buildings and under the footbridge.
At the far end there was the wagon, so I walked up, showed my ticket again, had my name ticked off, and went to look inside.
Inside there is a coffin, a replica of the one that brought the body of the unknown soldier back from France, and on the walls there were information boards on the only three bodies to be brought back from the war.
I exited it, took shots all around it, then walked to the war memorial, which is a splendid thing, and should be more accessible.
And I was done.
I thanked the volunteers and walked out, getting shots of the walkway linking the former hotel with the station and the Admiralty pier before taking shelter from the rain in the car and driving home.
I had been gone all of 40 minutes.
Once back I began to cook dinner/lunch: chicken pie, roast potatoes, steamed leeks, sprouts and spring greens, gravy and shop bought Yorkshire puddings.
It was all done by four, by which time Craig had done two coats of paint and had left.
I poured a beer and a cider, then dished up, the potatoes lovely and crunchy, without being burnt.
I won the music quiz at six, which was nice, then after washing up I settled down to watch Northern Ireland play in Slovakia.
A poor game, ended 1-0 to the home side, but Northern Ireland go to the play-offs anyway.
----------------------------------------------------------------------------------------
Edith Louisa Cavell (/ˈkævəl/ KAV-əl; 4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for treating wounded soldiers from both sides without discrimination during the First World War and for helping some 200 Allied soldiers escape from German-occupied Belgium. Cavell was arrested, court-martialled under German military law and sentenced to death by firing squad. Despite international pressure for mercy, the German government refused to commute her sentence, and she was shot. The execution received worldwide condemnation and extensive press coverage.
The night before her execution, she said, "Patriotism is not enough. I must have no hatred or bitterness towards anyone". These words were inscribed on the Edith Cavell Memorial[1] opposite the entrance to the National Portrait Gallery near Trafalgar Square. Her strong Anglican beliefs propelled her to help all those who needed it, including both German and Allied soldiers. She was quoted as saying, "I can't stop while there are lives to be saved."[2] The Church of England commemorates her in its Calendar of Saints on 12 October.
Cavell, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium.
In November 1914, after the German occupation of Brussels, Cavell began sheltering British soldiers and funnelling them out of occupied Belgium to the neutral Netherlands. Wounded British and French soldiers as well as Belgian and French civilians of military age were hidden from the Germans and provided with false papers by Prince Réginald de Croÿ at his château of Bellignies near Mons. From there, they were conducted by various guides to the houses of Cavell, Louis Séverin, and others in Brussels, where their hosts would furnish them with money to reach the Dutch frontier, and provide them with guides obtained through Philippe Baucq.[18] This placed Cavell in violation of German military law.[4][19] German authorities became increasingly suspicious of the nurse's actions, which were further fuelled by her outspokenness.
The night before her execution, Cavell told the Reverend H. Stirling Gahan, the Anglican chaplain of Christ Church Brussels, who had been allowed to see her and to give her Holy Communion, "I am thankful to have had these ten weeks of quiet to get ready. Now I have had them and have been kindly treated here. I expected my sentence and I believe it was just. Standing as I do in view of God and Eternity, I realise that patriotism is not enough, I must have no hatred or bitterness towards anyone."[30][31] These words are inscribed on her statues in London and in Melbourne, Australia.[32][33] Cavell's final words to the German Lutheran prison chaplain, Paul Le Seur, were recorded as, "Ask Father Gahan to tell my loved ones later on that my soul, as I believe, is safe, and that I am glad to die for my country.
Catching up on some back shots from the beginning of the year.
Little Akaloa....Out and about with my Flickr and blip friend on Banks Peninsula. February 20, 2016, New Zealand.
It was warm and wonderful so we packed up a lunch and headed for the hills and bays around the banks peninsula. It reached will over 30c today.. a bit too hot at times and there was no wind at all.
The historic gem of Little Akaloa is a church hidden away among old trees, commanding a fine view down the bay. The present St Luke's replaced an earlier wooden church and was completed in November 1906. It has an "old world" English-looking exterior, with walls of pebble dash on concrete, a slate roof and a small well-proportioned bell tower.
The surprise is the interior, which is embellished with carvings of predominantly Maori motifs, many delicately executed on white stone. The rafters are decorated with Maori patterns and support an imitation raupo rush ceiling. The windows have stylised Maori designs in coloured glass.
The church was built (and partly paid for) by a local resident, J.H. Menzies, who was "an amateur carver of the very highest order". It is one of the country's early examples of the incorporation of Maori decorative motifs in a European building.
For More Info: dayout.co.nz/attractions/attraction.aspx?attractionId=2216
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 Wonders of the Invisible World: Observations as Well Historical as Theological, upon the Nature, the Number, and the Operations of the Devils [1693] by Cotton Mather
"Accompany‘d with, I. Some Accounts of the Grievous Molestations, by DÆ-
MONS and WITCHCR AFTS, which have lately
annoy’d the Countrey; and the Trials of some eminent
Malefactors Executed upon occasion thereof; with several
Remarkable Curiosities therein occurring.
II. Some Counsils, Directing a due Improvement of the ter- rible things, lately done, by the Unusual & Amazing Range of EVIL SPIRITS, in Our Neighbourhood: & the methods to prevent the Wrongs which those Evil Angels may intend against all sorts of people among us; especially in Accusations of the Innocent.
III. Some Conjectures upon the great EVENTS, likely to befall, the WOR LD in General, and NEW-ENGLAND
in Particular; as also upon the Advances of the TIME, when we shall see BETTER DAYES.
IV. A short Narrative of a late Outrage committed by a
knot of WITCHES in Swedeland, very much Resembling,
and so far Explaining, That under which our parts
of America have laboured!
V. THE DEVIL DISCOVERED: In a Brief Discourse upon the TEMPTATIONS, which are the more Ordinary Devices
of the Wicked One.
by Cotton Mather
Boston Printed, and sold by Benjamin Harris. 1693."
"PUblished by the Special Command of His EX- CELLENCY, the Governour
of the Province of
the Massachusetts-Bay in
New-England.
The Authors Defence.
‘TIs as I Remember, the Learned Scribonius, who Reports, that One of his Acquaintance, devoutly
making his Prayers on the behalf of a Person molested by
Evil Spirits, received from those Evil Spirits an horrible blow
over the Face: And I may my self Expect not few or small
Buffetings from Evil Spirits, for the Endeavours wherewith I
am now going to Encounter them. I am far from Insensible,
That at this Extraordinary Time of the Devils Coming down in
Great Wrath upon us, there are too many Tongues and Hearts
thereby Set on Fire of Hell; that the various Opinions about
the Witchcrafts which of Later Time have Troubled us, are
maintained by some with so much Cloudy Fury, as if they
could never be sufficiently Stated, unless written in the Liquor
wherewith Witches use to write their Covenants; and
that he who becomes an Author at such a Time, had need
be, Fenced with Iron, and the Staff of a Spear. The unaccountable
Frowardness, Asperity, Untreatableness, and Inconsistency
of many persons, every Day gives a Visible Exposition
of that passage, An Evil Spirit from the Lord came upon Saul;
and Illustration of that Story, There met him two Possessed with
Devils, exceeding Fierce, so that no man might pass by that way. To
send abroad a Book, among such Readers, were a very unadvised
Thing if a man had not such Reasons to give as I can
bring, for such a Undertaking. Briefly, I hope it cannot be
said, They are all so: No, I hope the Body of this People, are
yet in such a Temper, as to be capable of Applying their
Thoughts, to make a Right Use, of the Stupendous and prodigious
Things that are happening among us: and because I
was concern’d, when I saw that no Abler Hand Emitted any
Essayes to Engage the Minds of this People in such Holy, Pious,
Fruitful Improvements, as God would have to be made
of His Amazing Dispensations now upon us, THEREFORE
it is that One of the Least among the Children of
New-England, has here done, what is done. None, but, The
Father who sees in Secret, knows the Heart-breaking Exercises,
wherewith I have Composed what is now going to be
Exposed; Lest I should in any One Thing, miss of Doing my
Designed Service for His Glory, and for His People; But
I
am now somewhat comfortably Assured of His favourable
Acceptance; and, I will not Fear; what can a Satan do unto me !
Having Performed, Something of what God Required, in labouring
to suit His Words unto his Works, at this Day among
us, and therewithal handled a Theme that has been sometimes
counted not unworthy the Pen, even of a King, it will easily
be perceived, that some, subordinate Ends have been considered
in these Endeavours.
I have indeed set my self to Countermine the whole
PLOT of the Devil, against New-England, in every Branch of
it, as far as one of my Darkness, can comprehend such a Work of
Darkness. I may add, that I have herein also aimed at the Information
and Satisfaction of Good men in another Country,
a Thousand Leagues off, where I have, it may be, More,
or however, more Considerable, Friends, than in My Own; And
I do what I can to have that Countrey, now, as well as alwayes,
in the best Terms with, My Own. But while I am doing
these things, I have been driven a little to do something likewise,
for My self; I mean, by taking off the false Reports and
hard Censures about my Opinion in these matters, the Par-
ters Portion, which my pursuit of Peace, has procured me among the Keen. My hitherto Unvaried Thoughts are here Published; and I believe, they will be owned by most, of the Ministers of God in these Colonies: nor can amends be well made me, for the wrong done me, by other sorts of Representations. In fine, For the Dogmatical part of my Discourse, I want no Defence; for the Historical part of it, I have a very Great One. The Lievtenant Governour of New-England, having pe- rused it, has done me the Honour of giving me a Shield under the Umbrage whereof I now dare to walk Abroad."
...
"A
Discourse:
O N
The Wonders of the Invisible World.
Uttered ( in part ) on Aug. 4. 1692.
E Cclesiastical History has Reported it unto us, That a Renowned Martyr at the Stake, seeing the Book of
THE R EVELATION thrown by his no less Profane than
Bloody Persecutors, to be Burn’d in the same Fire with himself,
he cry’d out, O Beata Apocalypsis; quam bene mecum agitur,
qui tecum Comburar ! BLESSED R EVELATION! Said he;
How blessed am I in this Fire, while I have Thee to bear me Company.
As for our selves this Day, ‘tis a Fire of sore Affliction and
Confusion, wherein we are Embroiled; but it is no Inconsiderable
Advantage unto us, that we have the Company of this
Glorious and Sacred Book, THE REVELATION, to assist
us in our Exercises. From that Book, there is one Text, which
I would single out, at this Time, to lay before you; ‘tis that in
Rev. XII. 12.
Wo to the Inhabitants of the Earth, and of the Sea; for the Devil is come down unto you, having great Wrath; because he knoweth, that he hath but a short time."
The decorations shown were executed by the Venetian artist Antonio Pellegrini between 1709 and 1712. The picture in the centre is on the dome which rises 70 feet into the air. Due to a fire in 1940, in which the central dome fell, canadian artist Scott Medd was commissioned to recreate the scene in 1960.
As seen on Brideshead revisited
Executing a missed approach on runway 20 Center at Nashville. This heavy caught a scary downdraft/crosswind just prior to touching down and had to immediatly pull up and execute a go-around. Quite a scary moment to watch, but she returned back into the pattern and landed safely.
Honestly the Omega 8005 Juicer is really a single-gear masticating juicer and blender which has many features, such as having the ability to execute more than just juicing. A lot of people has come to understand the importance of juicing as being the primary origin of nutrients and vitamins for a wholesome life but has failed with their search for the right juicer to complete the task. And as such, this complete juicer and blender is specially designed for people looking for better assortment in how and what they're juicing.
The juicer could easily produce mince, could make infant meals and fine chop, and also create many sorts of nut butters. Additionally, it's capable of juicing and blending all sorts of things from wheat grass to vegetables and fruits, as well as possesses the capability to function as an extruder. Having the capacity to execute in various capacities helps make this particular juicer a much better option far beyond the majority of its competitors.
The Omega 8005 is really a slow juicer. The auger (the thing that crushes the vegetables) only spin at 80 RPM. There's no heat produced in that process. And because there's extremely small air within the juicing chamber, you aren't going to have a lot of oxidation either. After you're done juicing, it is very simple to disassemble to clean. In lowest speed, the juicer can help you in cleanup by making a foaming action from the soap as it runs. After that it could be easily put back together. As you have seen, even for a total novice, it is really simple to use, clean and put together.
Furthermore, the producers of the Omega 8005 Juicer stands behind their products as being among the most versatile and effective juicer you will get in the market nowadays. This well built juicer comes with a 10 year warrantee on all of its components and labor. Like i stated before, due to its revolutionary style, it works with a wide selection of juice extruding machines.
In the event you truly require a high quality all around juicing appliance that is going to last for a long time, it is the one you need to opt for. It's also the very best one that you should think about if you're planning to change your old juicer. Since it's produced with melamine plastic rather than metal, the Omega 8005 Juicer removes any type of cross-contamination in the foods you juice. Creating nutritious drinks for yourself and your family members has by no means been this simple with Omega juice machines. omegajuicerreviews.net/omega-j8005-nutrition-center-juice...
U.S. Marines with 26th Marine Expeditionary Unit’s (MEU) Logistics Combat Element observe a CH-53E Super Stallion land during Helicopter Support Team (HST) training on Marine Corps Air Station New River, North Carolina, Jan. 10, 2023. HST training is conducted to increase proficiency in logistics tasks and enhance the ability to execute potential contingency missions carried out by the 26th MEU. (U.S. Marine Corps photo by Lance Cpl. Aziza Kamuhanda)
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Random Picture of African Development Bank President Akinwumi Adesina and Grace Adesina during Africa Investment Forum 2018 - The Business of Sports - Executing for Success in November 2018, at Sandton Convention Centre, Johannesburg, South Africa.
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:-
This is a cross monument commemorating the spot where many leaders of Ireland's "Easter Rising" were executed. The cross is only about 2 feet tall. I took the shot by sitting with my back against the execution wall and putting the camera low to the ground to look through the cross out onto the jail yard. The day was gray, so the flag of Ireland and the leaf at the base of the cross were the only breaks to the bleakness. The leaf was already there (not planted!). I noticed it as I approached and was moved by it's symolism. Best viewed large.
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:-
Agents with the Cullman Narcotics Enforcement Team (CNET) and deputies with the Cullman County Sheriff’s Office (CCSO) arrested nine individuals for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia.
Arrested for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia were:
• Santos Lynn Thomas (25 - Hispanic) Cleveland, AL - $5000 Bond
• Sarah Marie Milligan (23 -White) Cullman, AL - $5000 Bond
• Omar Rivera Loyola (24 - Hispanic) Oneonta, AL - $5000 Bond
• Tonya Lynn Wagner (35 -White) Crane Hill, AL - $5000 Bond
• Brian Keith Bagwell (32 -White) Holly Pond, AL - $5000 Bond
• Ricky Charles Mewbourn (50 - White) Cullman, AL - $5000 Bond
(also had a warrant for Unlawful Possession of Drug Paraphernalia)
• Hugo Contreaus-Cenantes (33 - Hispanic) Altoona, AL - $5000 Bond
• Angela Denise Stewart (44 - White) Hayden, AL - $5,000 Bond
Arrested for Unlawful Possession of Drug Paraphernalia and also had warrants for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia:
• Santanna Marie Barnett (25 - White) Cullman, AL - $13,000 Bond
The operation that led to the arrest of the nine suspects was executed in the 800 block of County Road 1319, also known as Basch Road, on Thursday February 4, 2016.
CNET and CCSO deputies made entry into the residence and arrested those suspects who had warrants. While inside, CNET agents and deputies located multiple suspects inside the residence were methamphetamine, other drugs and drug paraphernalia were located.
CCSO seized approximately 10 grams of meth, syringes, glass meth pipes, straws and Marijuana.
Following the arrest Cullman County Sheriff Matt Gentry had these remarks:
“I believe anytime you can arrest a large number of drug pushers and several of them are not from our community it sends the message we don’t want your drugs in Cullman County and if you come here you will go to jail. I would also like to thank CNET and our deputies for the great job they did on this arrest."
For the full story including images of those arrested and example of items seized. please so here:
cullmantoday.com/2016/02/04/cnet-executes-far-reaching-cu...
The Byrd Park Pump House, also called the New Pump-House, is a wonderfully executed late 19th-century example of the Gothic Revival style, applied to a municipal industrial building whose purpose was to house the Richmond city waterworks. The building, which served as the city’s waterworks from 1883 until 1924, is conveniently situated to draw water from the James River and Kanawha Canal as well as its own smaller canal. The facility pumped water uphill from the canals to the Byrd Park Reservoir, the city’s main water supply. Far from being entirely utilitarian, however, the pump house was also a popular gathering place in the late 19th and early 20th centuries. The pump house is in a scenic location at the Three-Mile Locks of the canal system. The site inspired Colonel Wilfred Emory Cutshaw, Richmond’s City Engineer from 1874 until 1907, to design the building as a social venue as well as a waterworks. He included an open-air dance hall, or pavilion, on the second floor above the equipment room. The pump house had the reputation of being one of the only buildings in the country designed and used as both a public utilities building and a social hall.
The solid and impressive pump house is made of local granite. It has Gothic features such as pointed arches, lancet windows, and steep gables. The high level of craftsmanship and refinement of the design make the pump house a fine example of the Gothic Revival style and belie its primary purpose as a municipal water-pumping facility.
Wilfred Emory Cutshaw, who oversaw the building's design and construction, was a grand figure in the development of Richmond. During his 34-year tenure as City Engineer, Cutshaw's endeavors included roads, sidewalks, schools, armories, parks, markets, and the construction of Old City Hall, one of the city’s most magnificent buildings. He was an advocate for tree planting along streets, and oversaw the creation of a tree nursery at the Byrd Park Reservoir. In 1907, a reporter for the Richmond Times-Dispatch wrote that "Cutshaw's greatest ambition was to turn every available foot of space into recreation resorts for the public." Cutshaw received some criticism for the cost that the pump house pavilion added to the city-funded project, but the pavilion would become wildly popular.
During the late 19th century, the pump house pavilion was a favorite destination for parties. Well-dressed Richmonders could board a flat-bottomed boat at Seventh Street and take a leisurely ride up the canal to the pump house and its festive ballroom overlooking the woods and water below. Sadly, the building closed in 1924, and had its machinery sold off for scrap metal before the outbreak of World War II. The city slated the pump house for demolition in the 1950s but sold it to First Presbyterian Church for one dollar instead. The city has regained ownership and is currently looking to rehabilitate the building for use as offices and a headquarters and interpretive center for the James River Park System.
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:-
I don't think Bruce is gonna fall for that old trick.
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This one's from the archives. Photo was taken on Hong Kong Island in February of 2008.
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Click here for a larger view.
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:-
MSC Sinfonia executing a right-angled manouevre to depart Ibiza town port. For timetables for cruise ships visiting Ibiza see www.cruisetimetables.com/cruisesvisitingibizaspain.html. MSC Sinfonia and larger ships utilize this outer pier, whereas as small ships such as the Louis Coral dock in the inner harbor, for more convenient access to the popular quayside bars, restaurants, boutique shops, and stallls area under the old town.
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.