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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:-
Swiss Air Ambulance Augusta A109K2 Rega (HB-XWM) REGA helicopter executing a mountain rescue demo during the 2007 Axalp (Switzerland) fire power event.
In Curwen Park, Mary Queen of Scots stayed overnight before being taken to Carlisle for protection. After capture she was taken to Fotheringay Castle where she was eventually executed.
Wall memorial: "A tribute offered to the memory of Mr Richard Williams in acknowledgement of his faithful services, by Caroline Anne the daughter of the late Richard Donovan esq of Tibberton Court, In whose service he lived many years, valued and esteemed for the rectitude of his mind and the goodness of his heart. He executed with unswerving integrity the duties of an important mission in a far distant land; And returned to claim the undying affection and respect of every member of the family. He died at Gloster, the 5th day of June 1832 at the age of 56 years"
Caroline Anne b1798 m Admiral Sir James Scott 1790 - 1872 son of Thomas Scott & Elizabeth Smythe
children
1. Honeywood Dobyns Yate Scott 1821 - 1908;
2. Richard Donovan Yate Scott 1823 - 1824
3. Haywood Scott 1826 -
4. Caroline Anne Yate Scott 1827 - 1907;
Caroline inherited Tibberton Court estate from her father Richard who had bought it in 1807
Caroline's grandfather was James Donovan 1811 of No. 22 Somers Place, East New Road, Somers Town London & Vaughans estate in St Georges, Antigua which he had bought from Rowland Otto Baijer / Bayer of Hurst Berks in 1785
Caroline's uncle Francis died aged 29 in 1811 www.flickr.com/gp/52219527@N00/0hkb4c on his way to Antigua 'in the service of affection.' (probably going out to aid his father James who died the same year )
Also her father Richard www.flickr.com/gp/52219527@N00/M1Wa88 had made the journey , when "the imperious command of parental duty urged him to visit Antigua " afterwards falling ill and dying aged 43 in 1816 of Yellow Fever , being buried "on his own estate in that island".
Both her father and uncle having died in pursuit of overseeing the Antiguan estate , Caroline then turned to Richard Williams for his help.
Her grandfather James had left the estate in Antigua to his natural children by Isett Hancock, in entail to her father Richard Donovan d1816 and his male heirs, then to his second son Francis Donovan d1611 and his male heirs, and then to his son James Hancock Donovan d1834 +++ his natural child by Isett Hancock, who in fact inherited after the deaths of Richard and Francis) and then to his 5 natural daughters.
Her father Richard Donovan by his will, bequeathed the Tibberton estate to Caroline for life, with the remainder to her first and other sons entail. Caroline's heir was her son Honeywood Scott , rector of Tibberton 1851 to 1908 to whom the east window is dedicated www.flickr.com/gp/52219527@N00/5vH3Un
Administration of the wills were granted to Caroline in 1829
Meanwhile the Scotts had sold Tibberton estate in 1822 to Thomas Wallis
On the death of Richard Donovan in 1816 a suit was instituted in the island court of chancery on behalf of James Hancock Donovan +++ (then an infant) However since 1816 the estate had been under receivership since Richard's death , and Messrs Shand was owed debts exceeding £10,000;
The estate was sold to Shands for £1500 who sold it along with another for £10,000.
After slavery was abolished in 1834 Donovans estate award 346 was £2474.16s 10p for granting freedom to 162 slaves, but perhaps not paid directly to the Donovans , and by 1837 the estate was managed by a negro Mr Watkins, with the sugar works in active operation
www.ucl.ac.uk/lbs/person/view/2146630585
- Church of Holy Trinity, Tibberton, Gloucestershire
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
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:-
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.
Unmistakably strong, yet subtly executed, the shoulder lines pay homage to the Chrysler 300 series design heritage and define the correlation between front and rear wheel arches. Tire-to-sheet metal openings have been closed a full 8 mm, bringing a more planted, stable appearance as well as improved aerodynamics. And with available 20-inch polished face and painted pocket-aluminum wheels, the all-new Chrysler 300 series sedans feature an even more planted and road-holding look.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
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...
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.
I don't think Bruce is gonna fall for that old trick.
--
This one's from the archives. Photo was taken on Hong Kong Island in February of 2008.
(Comments have been disabled for this photo.)
Click here for a larger view.
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.
Israeli authorities overnight Wednesday and during the day Thursday executed punitive measures against the families of Palestinians accused of carrying out attacks against Israel, giving four families 72 hours to evacuate their homes before demolition, and raiding the homes of three others. In the Ramallah area of Silwad, Israeli forces on Thursday delivered demolition orders to two houses after alleging their sons belonged to a military cell responsible for carrying out an attack near Nablus. The family of prisoner Abdullah Munir Hammad was given 72 hours to either evacuate their home or file an objection to the military order. The family told Ma'an that they don't actually own the home, and have started legal procedures to reject the order issued on the rental. Israeli forces also delivered an order to the family of Muath Hamed, who is being held in jail by the Palestinian Authority, also giving them 72 hours to evacuate or object to the order. Read more: ift.tt/1X8kiUI - ift.tt/1ZHpcKD
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:-
Nine people have been arrested following a series of coordinated warrants executed across Salford this morning (31 July), as part of a forcewide operation targeting the importation and distribution of cannabis into Greater Manchester.
The arrests are the result of months of planning and intelligence gathering, led by GMP’s Salford Challenger team and supported by other specialist units across the force.
The operation focused on disrupting an organised crime group (OCG) operating in the Irlam area, which is believed to be responsible for importing significant quantities of cannabis into the UK via ‘fast parcel’ services.
Fast parcels refer to packages sent into the UK from abroad. They typically contain illegal drugs or weapons and can travel through express delivery companies.
A total of ten warrants were executed, with nine individuals – men and x women – taken into custody. The work follows an investigation into the gang’s local criminality, from importation, to organisation, and distribution of illicit goods.
The operation follows the seizure of over 185kg of cannabis intercepted at UK borders by GMP officers, with a further 27kg successfully delivered prior to interception.
Today’s warrants have uncovered £14,000 in cash, a cannabis farm, and a further 7kg of the class B drug among the addresses.
Among those arrested were six men aged between 35 – 59 years old, and three women aged between 34 – 38 years old. All were arrested under suspicion of conspiracy to import and supply class B drugs.
Detective Inspector Rebecca McGuigan, who was the SIO on the operation, said: “Today’s warrants are the result of a complex and intelligence-led investigation involving 75 officers from across GMP, including our Salford Challenger team and specialist units. We are confident that this has significantly disrupted the operations of criminality in the area.
“Drugs like these wreak havoc on communities and individuals. The mental health impact, the added strain on the NHS, and the exploitation of vulnerable people are all consequences of the importation, supply, and use of drugs.
“I’m incredibly proud of the team and the work that’s gone into this operation. We’re committed to stemming the flow of drugs in Greater Manchester, reducing harm, and bringing those responsible to justice.”
We continue to urge the public to share intelligence, which remains vital in disrupting criminal networks. We are also committed to safeguarding any vulnerable people who are victims of crime.
Anyone with information is encouraged to contact police directly, or Crimestoppers anonymously, via 0800 555 111.
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.
CEA Project Logistics recently executed a project for the Nissan Motor Company which involved the transportation of factory parts with a total weight of 5,200 tons.
The factory parts arrived by ship at Laem Chabang Port and were unloaded by the vessel onto the dock below. Two CEA 50 ton cranes were then used to lift the parts on to three different types of trailer Flatbed, Lowbed and Multi Axle, this was due to the cargo being oversized and varying in weight. All cargo was secured with ratchet straps and transported to the CEA yard in Laem Chabang for two weeks storage until delivery date.
Upon delivery date the same configuration of trailers made the 82km journey to the Nissan facility in Samut Prakan. As these parts were oversized cargo CEA employed the services of the local Highway Police for a full escort to ensure safety to all road users.
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:-
Gappsi Outdoor Patio Furniture Showroom
deckandpationaturalstones.com/outdoor-living-furniture-de...
The newly designed and completed outdoor showroom here at Gappsi is a small sample size of all the things Gappsi has to offer. From start to finish we can accommodate your outdoor living space from concept to completion. Combining our line of outdoor furniture options and our expert design team, Gappsi can plan, build and execute the perfect backyard setting to fit any customer’s needs. Here we see a few natural stone patio spaces to showcase the multitude of settings that can be accomplished, from rounded seating area around a portable gas fire pit to an outdoor sectional sofa area. Many options are available in seating like rocking/swinging chairs, love seats, full size couch, and individual seats in an array of materials not limited to but including composite wicker, natural wood, and classic wrought iron. Different sized tables from Dining to coffee and bar help create exactly what the consumer wishes to accomplish. These plethoras of options benefit not only the customer but also the design team. In conjunction with the wants and needs a customer has, Gappsi's design team can create and shape the perfect balance of patio space for individual areas. Joining multiple areas within one cohesive patio creates harmony within each location, from people enjoying a warm fire on couches to others finishing a meal at the dining area these zones will not feel cramped or too distant because they are situated perfectly with the furniture in mind, designing such patios create backyard oasis' that is inviting for all to enjoy. Bringing the whole project together is the Natural Stone selection that Gappsi imports directly. Travertine’s and Limestone add beauty and old world charm to any project. Setting our designs apart from competition is the type of materials we can offer. With many years of experience under our belts we have acquired the best quality of Natural Stones at the most competitive prices. Our build team not only deals in basic masonry work but also with construction of Alfresco Dinning and Built-in Grilling station. L-shaped BBQ-Bar combination with customizable grilling options pairs function with style for the avid griller. Customize your BBQ with different configurations to suit your needs. Rounding out the services that we at Gappsi provide is the Synthetic turf. Our turf looks feels and preforms similar to real grass or sod without any of the maintenance. No sprinklers no grass clippings and no dead spots; our turf can be used in a multitude of ways. Dog runs, putting greens, areas around pools help keep cost down and maintenance minimal. No more clippings in the pool or on the patio, no lawn service bills, or worrying that the pet will kill the lawn. The benefits are numerous with our Synthetic Turf. Gappsi is truly your one stop shop when it comes to full backyard renovations and designs. deckandpationaturalstones.com/outdoor-living-furniture-de...
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.
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.
(•) – The-Lockheed-Martin-HC-130-P-Hercules-The-Combat-K.I.N.G-1-I-is an extended-range version of the C-130 Hercules transport. HC-130 crews provide expeditionary, all weather personnel recovery capabilities to our Combatant Commanders and Joint/Coalitions partners worldwide.
Mission
The mission of the HC-130P/N "King" is to rapidly deploy to austere airfields and denied territory in order to execute , all weather personnel recovery operations anytime...anywhere. King crews routinely perform high and low altitude personnel & equipment airdrops, infiltration/exfiltration of personnel, helicopter air-to-air refueling, and forward area refueling point missions.
When tasked, the aircraft also conducts humanitarian assistance operations, disaster response, security cooperation/aviation advisory, emergency aeromedical evacuation, casualty evacuation, noncombatant evacuation operations, and, during the Space Shuttle program, space flight support for NASA.
Features
Modifications to the HC-130P/N are improved navigation, threat detection and countermeasures systems. The aircraft fleet has a fully-integrated inertial navigation and global positioning systems, and night vision goggle, or NVG, compatible interior and exterior lighting. It also has forward-looking infrared, radar and missile warning receivers, chaff and flare dispensers, satellite and data-burst communications.
The HC-130 can fly in the day; however, crews normally fly night at low to medium altitude levels in contested or sensitive environments, both over land or overwater. Crews use NVGs for tactical flight profiles to avoid detection to accomplish covert infiltration/exfiltration and transload operations. To enhance the probability of mission success and survivability near populated areas, crews employ tactics that include incorporating no external lighting or communications, and avoiding radar and weapons detection.
Drop zone objectives are done via personnel drops and equipment drops. Rescue bundles include illumination flares, marker smokes and rescue kits. Helicopter air-to-air refueling can be conducted at night, with blacked out communication with up to two simultaneous helicopters. Additionally, forward area refueling point operations can be executed to support a variety of joint and coalition partners.
Background
The HC-130P/N is the only dedicated fixed-wing combat search and rescue platform in the Air Force inventory. The 71st and 79th Rescue Squadrons in Air Combat Command, the 550th Special Operations Squadron in Air Education and Training Command, the 920th Rescue Group in Air Force Reserve Command and the 106th Rescue Wing, 129th RQW and 176th Wing in the Air National Guard operate the aircraft.
First flown in 1964, the aircraft has served many roles and missions. It was initially modified to conduct search and rescue missions, provide a command and control platform, in-flight-refuel helicopters and carry supplemental fuel for extending range and increasing loiter time during search operations.
In April 2006, the continental U.S. search and rescue mission was transferred back to Air Combat Command at Langley AFB, Va. From 2003 to 2006, the mission was under the Air Force Special Operations Command at Hurlburt Field, Fla. Previously, HC-130s were assigned to ACC from 1992 to 2003. They were first assigned to the Air Rescue Service as part of Military Airlift Command.
They have been deployed to Italy, Kyrgyzstan, Kuwait, Pakistan, Saudi Arabia, and Turkey in support of operations Southern and Northern Watch, Allied Force, Iraqi Freedom and Enduring Freedom. HC-130s also support continuous alert commitments in Alaska and the Horn of Africa.
General Characteristics
Primary function: Rescue platform
Contractor: Lockheed Aircraft Corp.
Power Plant: Four Allison T56-A-15 turboprop engines
Thrust: 4,910 shaft horsepower, each engine
Wingspan: 132 feet, 7 inches (40.4 meters)
Length: 98 feet, 9 inches (30.09 meters)
Height: 38 feet, 6 inches (11.7 meters)
Weight: 83,000 pounds (37,648 kilograms)
Maximum Takeoff Weight: 155,000 pounds (69,750 kilograms)
Fuel Capacity: 73,000 pounds (10,724 gallons)
Payload: 30,000 pounds (13,608 kilograms)
Speed: 289 miles per hour (464 kilometers per hour) at sea level
Range: beyond 4,000 miles (3,478 nautical miles)
Ceiling: 33,000 feet (10,000 meters)
Armament: countermeasures/flares, chaff
Crew: Three officers (pilot, co-pilot, navigator) and four enlisted (flight engineer, airborne communications specialist, two loadmasters). Additional crewmembers include a Guardian Angel team consisting of one combat rescue officer and three pararescuemen
Unit Cost: $77 million (fiscal 2008 replacement cost)
Initial operating capability: 1964
Inventory: Active force, 13; ANG, 13; Reserve, 10
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...
Mighty Eighth Air Force Museum
This Safe House Exhibit is dedicated to those Helpers and their families in occupied Europe who risked their lives during World War II hiding and moving downed Allied airmen through enemy lines to freedom. These Helpers selflessly provided food, civilian clothing, false identity papers, transportation, and a safe place to hide from the Nazis.
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Martin (Martinus Antonius) Lelivelt
A skilled carpenter and building contractor, Martinus Lelivelt preparing his home in 1939 for wartime survival by adding false ceilings in a number of high rooms to hide food and refugees. Following Nazi occupation of The Netherlands in 1940, he used his home in Lichtenvoorde, The Netherlands, as a safe house for evading Allied airmen. His teenaged daughter Mia became his carpenter's assistant helping build a secret room in the attic to ensure the safety of these airmen. Mia then made certain that those refugees staying only a few days never knew who else was in hiding.
Martinus and Mia taught the Allied airmen how to behave like Dutchmen. Americans learned to eat with knives in their right hand and forks in their left hand while Brits stopped placing food on the rounded back of their forks. Martinus used his own supply of Dutch gin to teach them how to drink. In Holland gin must always be sipped, not gulped, as Americans usually did.
Even the number of rings used for the doorbell had meaning. Those with the Resistance rang the doorbell twice and Mia's closest girl friend rang it three times. When the doorbell rang only once, everyone knew hide.
In April 1944, the Nazis searched this safe house and arrested Martinus. Two 96th Bomb Group airmen, Myrtle Stinnett and Carl Glassman escaped capture by disappearing into the secret hiding place in the attic. After the Nazis left, the Americans were moved by other helpers to a safer location. They subsequently crossed into Belgium through the cement mines in Maastricht. Both were liberated by advancing United States forces.
The Nazis executed Martinus Lelivelt by firing squad in Fort Rhijnauwern near Utrecht on 25 July 1944.
[Mia Lelivelt stands at the door to secret room Martinus built to hide downed Allied airmen.]
This morning (Friday 23 August) police in Rochdale executed two warrants in the Freehold neighbourhood as they continue their relentless pursuit of those intent on causing harm to the local community.
Three men aged 14 – 54, have been arrested on suspicion of conspiracy to supply class A and B drugs. They remain in police custody for questioning.
Following a thorough search of the addresses, significant quantities of class A and B drugs were found, with an estimated street sale value of £51,000. We also seized several weapons, including two samurai swords, and several items consistent with a significant drugs operation.
This is the latest activity which comes under the district’s Operation Affect, the force’s latest Clear, Hold, Build initiative. Police are systematically dismantling and disrupting organised crime in the area, by pursuing gang members and criminals to clear the area, holding the location to prevent criminals exploiting the vacuum created by the original disruption, and working with partners and Rochdale Boroughwide Housing (RBH) to build a prosperous and resilient community.
So far, the team have made 36 arrests, secured three full closure orders on nuisance properties linked to criminality, and seized large quantities of cash, drugs, and weapons.
Building on a successful community event held earlier this year, Rochdale Boroughwide Housing (RBH) are working with local residents and partners to design out crime in Freehold and rebuild a stronger community.
The overall investment is anticipated to be around £5M and will keep residents safer and improve the overall look of the local area, including providing higher quality common areas and improving the condition of the buildings.
Inspector Meena Yasin, who is leading Operation Affect, said: “Since launching this operation we’ve seen a real concerted effort to disrupt illegal drug supply in the Freehold area of Rochdale.
"From speaking with residents, we know that drug dealing, and anti-social behaviour has been a particular area of concern for them.
“The seizures this morning means we have been able to take tens of thousands of pounds worth of illicit and harmful products off our streets and dismantle a significant drugs operation which has been blighting our residents.
“Our officers remain in the area to provide a visible reassurance for residents. If you have any concerns or want to share information about suspicious behaviour in the area, please speak to them, they are there to help you.
“You know your community best, and your intelligence often forms a large and crucial park of our criminal investigations, helping us to remove criminals from the streets.”
Hayley Stockham, RBH Director of Neighbourhoods, said: "We have zero tolerance for anti-social behaviour and criminal activity in our neighbourhoods. We're very grateful to the local community for supporting our joint efforts to stamp out this behaviour.
“We will continue to work closely with our partners in the Police and at the Council, and we know that this is making a significant difference to the lives of local people. We encourage members of the community to continue to report crime and anti-social behaviour to RBH and to the Police.”
If you have any concerns about drugs in your area, let us know via our Live Chat function on our website, or by calling 101, so that we can take action.
Always dial 999 in an emergency.
Alternatively, you can report it to Crimestoppers, anonymously, on 0800 555 111.
The statue was executed in bronze by Cephisodotus the Elder, likely the father or uncle of the famous sculptor Praxiteles. It was acclaimed by the Athenians, who depicted it on vases and coins.
Although the statue is now lost, it was copied in marble by the Romans; one of the best surviving copies (right) is in the Munich Glyptothek. It depicts the goddess carrying a child with her left arm – Plutus, the god of plenty and son of Demeter, the goddess of agriculture. Peace's missing right hand once held a sceptre. She is shown gazing maternally at Plutus, who is looking back at her trustingly. The statue is an allegory for Plenty (i.e., Plutus) prospering under the protection of Peace; it constituted a public appeal to good sense.