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This morning (Thursday 15 January 2026), officers executed an arrest warrant at an address on Brooklands Avenue, Chadderton, resulting in three arrests.
A 26-year-old man was arrested on suspicion of possession with intent to supply Class A, B, and C drugs, as well as possession of offensive weapons. A man aged 62, and a woman aged 61, were also arrested on suspicion of being concerned in the supply of drugs.
The warrant was the culmination of a thorough investigation by Chadderton’s Neighbourhood Team, who remain committed to tackling drug supply and misuse across the borough.
Acting on intelligence provided by the local community, officers identified the address as a suspected hub for drug activity. Police Sergeant Tom Layton and PC Aleks Gornisiewicz led the investigation, securing sufficient evidence to obtain today’s warrant.
Upon entry, officers located a man in an attic bedroom. Officers were able to seize drugs located in the bedroom.
Inside the property, officers discovered a variety of Class A, B, and C drugs, including suspected cocaine, nitrous oxide, and cannabis. Several bladed weapons—such as axes, machetes, and zombie knives were also seized, along with multiple mobile phones and luxury items.
The three suspects currently remain in custody for further questioning and all seized drugs will be transported to our labs for testing.
PS Tom Layton from the Chadderton Neighbourhood team said: "Today’s warrant was a great success, made possible thanks to vital intelligence from our community.
“I want residents to know that we are here to listen and act on your concerns. As a Neighbourhood Sergeant, my priority is keeping our community safe.
“Greater Manchester Police is relentless in tackling the supply and use of drugs across the force, and I am deeply committed to that mission here in Oldham.
“We have zero tolerance for offensive weapons and removing them from our streets remains an absolute priority.
“I urge anyone with information about criminal activity to come forward. Today’s warrant demonstrates just how crucial community intelligence is and how we act on it to protect you."
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
A glass pillow by Brian Catling marks the approximate spot where people were executed inside the walls of the Tower of London.
20th #CBRNE #Soldiers from the 184th Explosive Ordnance Disposal Battalion (EOD) prepare and execute training to improve #EOD core competencies and enhance #CBRN readiness skills for future combat operations Monday at Fort Campbell, Ky.
In 1945, a few days before the end of the war, Wehrmacht Captain Gerhard Klinkicht was ordered by City Commander Dietrich to blow the "Dom" first to pieces with 100 shells. If that is not enough, you have to continue shooting until it is completely destroyed. "But for moral reasons, Gerhard Klinkicht refused to execute this order and thus saved St. Stephen's Cathedral from total destruction.
On 14 March 2000 Gerhard Klinkicht died in Bavaria in his 86th year. A few months before his death, he presented Dr. Christoph Cardinal Schönborn a check worth around 70,000 euros for the restoration of St. Stephen's Cathedral. In total, Klinkicht donated 150,000 euros for "Our St. Stephen's Cathedral".
A memorial plaque at the foot of the high tower commemorates the savior of St. Stephen's Cathedral:
"Captain Gerhard Klinkicht thank you. By his decision of conscience he saved St. Stephen's Cathedral from destruction in April 1945. "
St. Stephen's Cathedral and the Second World War
During the Second World War, of course, hardly any restoration work could be carried out. Priority was the valuable art treasures to protect against possible bomb attacks: thus, for example, the pulpit and the tomb of Friedrich had been walled, the beautiful, colorful glass panes were removed, the giant gate secured and movable art objects brought into the catacombs.
On the night of April 11 to 12, 1945, the scaffolding on the north tower began to burn. Since there was no water to extinguish, the fire could spread to the roof. As a result of the fire, the Pummerin collapsed, including the belfry, the great organ was destroyed, the medieval choir stalls were burned and the vaults of the central and south choir collapsed: essential substance of St. Stephen's Cathedral was lost.
Yet 1945 was begun with the reconstruction of St. Stephen's Cathedral. From 1945 to 1948, the back of the cathedral was used as a church, while the choir (separated by a wall) was restored. In 1952, the choir was solemnly opened and the new Pummerin - a gift from Upper Austria - brought to Vienna.
Actions such as the "roof tile action" (a roof tile cost 5 shillings) or the Dombaulotterie (cathedral building lottery) contributed significantly to the rapid reconstruction of St. Stephen's Cathedral. The material that was used in 1945 (St. Margarethner limestone), was basically good. In some cases, however, layers were used that were biologically interfused and thus vulnerable. This material is still being replaced today.
In 1945 it was also considered to build a flat roof (such as the Milan Cathedral) instead of the steep Gothic roof. The idea was rejected.
The year 1960 marked the end of the reconstruction, from this point on one speaks of restoration work.
Wehrmachtshauptmann Gerhard Klinkicht erhielt 1945 einige Tage vor Kriegsende von Stadtkommandant Dietrich den Befehl, den „... Dom zunächst mit 100 Granaten in Schutt und Asche zu legen. Sollte das nicht ausreichen, ist bis zu seiner völligen Zerstörung weiterzuschießen." Doch Gerhard Klinkicht verweigerte aus moralischen Gründen die Ausführung dieses Befehls und rettete damit den Stephansdom vor der totalen Zerstörung.
Am 14. März 2000 ist Gerhard Klinkicht in Bayern im 86. Lebensjahr verstorben. Einige Monate vor seinem Tod überreichte er Dr. Christoph Kardinal Schönborn einen Scheck im Wert von rund 70.000 Euro für die Restaurierung des Stephansdoms. Insgesamt spendete Klinkicht 150.000 Euro für „Unser Stephansdom“.
Eine Gedenktafel am Fuß des Hochturms erinnert an den Retter des Stephansdoms:
„Hauptmann Gerhard Klinkicht zum Dank. Durch seine Gewissensentscheidung bewahrte er im April 1945 den Stephansdom vor der Zerstörung."
Der Stephansdom und der Zweite Weltkrieg
Während des Zweiten Weltkriegs konnten selbstverständlich kaum Restaurierungsarbeiten durchgeführt werden. Vorrangig waren die wertvollen Kunstschätze vor möglichen Bombeneinschlägen zu schützen: So wurden z. B. die Kanzel und das Friedrichsgrab ummauert, die schönen, bunten Glasscheiben wurden ausgebaut, das Riesentor gesichert und bewegliche Kunstgegenstände in die Katakomben gebracht.
In der Nacht von 11. auf 12. April 1945 begann das Gerüst auf dem Nordturm zu brennen. Da kein Wasser zum Löschen vorhanden war, konnte sich das Feuer auf das Dach ausbreiten. Infolge des Brandes stürzte die Pummerin samt Glockenstuhl herab, die große Orgel wurde zerstört, das mittelalterliche Chorgestühl verbrannte und das Gewölbe des Mittel- und Südchores stürzte ein: Wesentliche Substanz des Stephansdoms war verloren.
Noch 1945 wurde mit dem Wiederaufbau des Stephansdoms begonnen. In den Jahren 1945 bis 1948 wurde der hintere Teil des Doms als Kirche verwendet, während der Chor (durch eine Wand getrennt) wiederhergestellt wurde. 1952 wurde der Chor feierlich eröffnet und die neue Pummerin – ein Geschenk Oberösterreichs – nach Wien gebracht.
Aktionen wie die „Dachziegelaktion“ (ein Dachziegel kostete 5 Schilling) oder die Dombaulotterie trugen wesentlich zum raschen Wiederaufbau des Stephansdoms bei. Das Material, das 1945 verwendet wurde (St. Margarethner Kalksandstein), war grundsätzlich gut. Teilweise kamen aber Schichten zum Einsatz, die biologisch durchsetzt und somit anfällig waren. Noch heute wird dieses Material ausgetauscht.
1945 wurde auch überlegt, ein Flachdach (wie z. B. am Mailänder Dom) anstelle des steilen gotischen Daches zu errichten. Die Idee wurde jedoch verworfen.
Das Jahr 1960 markiert das Ende des Wiederaufbaus, ab diesem Zeitpunkt spricht man von Restaurierungsarbeiten.
UAB's Miteka Trueheart and Tamika Dukes set and execute a pick to stop Tulane defender Megan Valicevic.
Executed by the United Nations Development Programme - Transition Recovery Programme
Photo: Avindi Perera/December 2013/UNDPSriLanka
Ampara, Sri Lanka.
From left, Adam Brown, Jack Holt, Dan Greenfield, Sally Falkow, Paul Gillin, Will Morrison, Alan Cattier and Katie Paine at the wrap-up Day 1 Q&A at the Executing Social Media Conference, Atlanta, Nov 14-16, 2007
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:-
Back in 2005, Stanley "Tookie" Williams was executed by the State of California. In 1971 he co-founded the Crips street gang and by 1979, he was found guilty of multiple murders. While in prison, Tookie changed his ways. He became an anti-gang activist and apologized for founding the Crips. He also met a journalist named Barbara Becnel and asked her to help him write children's books. Tookie's work gained attention and praise from around the world. He was nominated for the Nobel Peace Prize four times. In 2004 a movie was made about him called 'Redemption.' A year later, efforts to stop his execution grew. Celebrities like Jamie Foxx, Danny Glover, and Sean Penn appealed to governor Arnold Schwarzenegger to spare Tookie's life. The governor refused. Williams' execution went ahead in December 2005. Barbara Becnel was there and she's made a documentary about his life. Barbara is on a mission to vindicate Tookie, end the death penalty and reform the criminal justice system.
Check out her interview with George here - www.cbc.ca/thehour/videos.html?id=1009520413
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.]
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.
Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.
"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"
Daddy executed the maneuver known as "tee-oo," which translates to English as "carry you."
If only I'd noticed that light, I would have tried to angle the shot so it looked like a halo. Ah well. This way I didn't have to decide who should get the halo.
Beatrice Rangel: Venezuela - Anschluss Executed!
"The takeover of political parties by the Venezuelan regime is the sign that a complex process of phagocytosis has ended and thus we have in front of us a new and different political entity that does not correspond to the definition of nation state or colony," concludes former Venezuelan Minister of Ministers Beatrice Rangel. "Venezuela has become a deviant state that has lost its defining properties to alien entities that have penetrated its body, sucked out its spirit and filled the cocoon with an organism that pursues other interests and sustains other values."
The painting was executed for Sigismondo de' Conti in 1511-12. It represents the Madonna in Glory but it is usually called the Madonna of Foligno.
Raphael's pictorial research had been enriched by his solutions regarding the use of light in the Expulsion of Heliodorus and the Liberation of St Peter. These pictorial devices reappear in the Madonna of Foligno, now in the Vatican Museum. The Madonna and Child, borne by a cloud of angels and framed by an orange disk, dominate the group of saints below them, among whom is the donor. This group includes - from left to right - St John the Baptist, St Francis, Sigismondo de' Conti and St Jerome. A small angel at the centre of the composition holds a 'small plaque which was originally intended to carry the dedicatory inscription.
The painting was commissioned to commemorate a miracle in which the donor's house in Foligno was struck by lightning or - according to another version - was struck by a projectile during the siege of Foligno, although it was not damaged. The stormy atmosphere of the landscape background and the flash of lightning (or explosion) which strikes the Chigi Palace (visible at left) illustrate the legend. The strong characterization of the figures, the volumetric fullness of the putti and the refined chiaroscuro distinguish the panel (which was taken as loot by Napoleon's army in 1799 and returned in 1815) as a work of the mature artist.
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:-
Exécutée par le sculpteur François Girardon sur un dessin de Le Brun, la Pyramide, au centre de son bassin, demanda trois ans de travail. Elle est composée de quatre vasques de plomb superposées, supportées par des tritons, des dauphins et des écrevisses en plomb.
www.chateauversailles.fr/decouvrir-domaine/jardins/la-nat...
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:-
Closely associated with Georges Danton, Camille Desmoulins was a journalist and politician aligned with the Girondins. Arrested on the orders of Robespierre, Camille Desmoulins was executed on the same day he learned of the arrest of his beloved wife, Lucile Duplessis. She was killed on April 13, 1794.
The Design revolution spreads through financial-services based tech companies in India. An intensive, comprehensive, deeply-researched, and impeccably-executed 5 half-day design workshop. On-site in Noida at the office of Indus Valley Partners (IVP.in). The topics include user-interface design, user-personas, color-theory, typography, interaction design, use-case scenarios, user psychology, design trend analysis, usability, and several other advanced and sophisticated topics. An overwhelming experience that transformed everyone it touched in that conference room: Senior Software Engineers, Associate Software Engineers, Software Enigineers, Team Lead , Tech Lead, UX Designers, Implementation Lead, Product Manager.
Indus Valley Partners is the largest specialist solutions firm focused exclusively on the Alternative Asset Management industry.
IVP play a key role supporting their clients in their pursuit of alpha by analyzing their portfolio data, institutionalizing their fund platforms and reducing their non-investment risks.
Founded in 2000, IVP currently have 380 professionals, working across 4 time-zones with over 15 years of in-depth domain expertise and insight.
IVP's array of world-class solutions have won numerous awards across the alternative asset management industry.
The Design Workshop, conducted by Niyam Bhushan, Digital Dionysus,24th, 27th, 28th, 31st, Aug and 1st Sept , 2015, NOIDA, is the third of a series of ongoing workshops.
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:-
Carlin 'El Asesino" in the process of ruthlessly executing two underbosses of a local gang who tried to interfere with her business. They are bound and on their knees before her.
"You should have heeded my warning but now you have to pay the price of yours and your boss's stupidity. Do you know what I am called by the cartels? - "El Asesino" and now you learn why. I will make it quick unlike your boss but you go knowing the last thing you see will be me. .She shots both in the head. "Dispose of these bodies guys"
On December 12, ImprovAZ executed the mp3 Experiment. Participants downloaded an audio file which told them what to do for roughly 20 mins. at 2p in Tempe, AZ. Participants met, skipped, drew their bows, died, blew bubbles, and high fived through Tempe's Mill Ave. Roughly 100 "agents" participated.
Soldiers execute a swim survival event at the National Best Warrior Competition held at Middle Tennessee State University in Murfreesboro, Tenn., July 25, 2022. Fourteen competitors from around the nation came together to compete July 22-29. The National Best Warrior Competition has the best of the best Soldiers in the Army National Guard. (U.S. Army National Guard photo by Sgt. Kristina Kranz)
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.
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.
Boy Hero of the Confederacy was executed at this spot in Pulaski, TN on Nov 27, 1863. A small museum was erected near this spot
16 June 2022 - Speaking at the unveiling, Cathaoirleach of the Seanad, Senator Mark Daly said “David is the embodiment of the theme Seanad100 “Minority Voices, Major Change”. He is the first sitting Member of the Oireachtas to have an individual portrait on display in Leinster House. He is the longest continuous serving elected member of Seanad Eireann.
In this year of the centenary of the Seanad, the centenary of Ulysses, and the month of Pride, it is wonderful to mark the confluence of events which bring together David’s great passions, his distinguished public service in Seanad Eireann, Bloomsday and championing gay rights”
Senator Norris’s portrait was painted by Dublin based artist William A. Nathans, a native of New Jersey, USA. Mr Nathans painted Senator Norris’s portrait during Culture Night 2019, when Kildare Arts Council hosted the Portrait Artist of the Year competition in Castletown House. Senator Norris sat for three hours and Mr Nathan’s portrait was judged the best of seven portraits executed.
Today (Friday 10 November), Operation Vulcan executed warrants at premises on Bury New Road, shutting down and seizing half a million of pounds worth of counterfeit items.
Police warnings seem to have fallen on deaf ears for some counterfeit operations in the area. Attempts to re-open and profit from the Christmas sales however continue to be detected and swiftly shut down.
Thanks to intelligence from the Cheetham Hill Neighbourhood Team (who remain in the area with the Vulcan team and conduct daily patrols in the community), Operation Vulcan were able to execute these warrants just days after witnessing customers walking down Bury New Road with bags of fake goods.
Detective Sergeant Matt Donnelly, one of Operation Vulcan’s specialist officers, said: “These results today demonstrate just how important it is that Operation Vulcan remain in the area. The criminals operating here are so brazen, the minute they think they spot an opening, they’re back up and running as though it’s business as usual. We’re here to show them that this isn’t the case, and we will not stop until these illegitimate shops are eradicated and those responsible are locked up.
“I hope this is a warning that no matter how many times you try to reopen, we will continue to seize your belongings and profits, making sure none of this money can make its way back into the criminal market.
Councillor Luthfur Rahman, Deputy Leader of Manchester City Council said: "Over the past 12 months we have achieved a great deal through Operation Vulcan. Through our partnership with GMP gangs have been run out of Cheetham Hill and people have been allowed to feel safe in their own neighbourhoods.
"But the work will go on. We know these gangs are tenacious and that criminals will always find ways to circumvent the law. The Council's Trading Standards will remain vigilant throughout the Christmas period to make sure that dangerous or harmful goods do not make their way in the hands of the public."
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:-
Executed by Manasi, all the curves are complex curves.
The nine-square problem is a pedagocial exercise devised by the late John Hejduk to instruct young architecture students in the ways of spatial and architectonic design.
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?
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:-
USDA Forest Service Photo, Lolo National Forest, Seeley Lake Ranger District
The Westside Bypass Project decision was signed in spring of 2021 after collaboration with local partners. Through this project, the Seeley Lake Ranger District and Montana DNRC executed a Good Neighbor Authority Agreement which will enable the agencies to integrate staff and expertise to accomplish the fuels reduction through a commercial timber sale administered by the DNRC.
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:-
Nihonga are typically executed on washi (Japanese paper) or eginu(silk), using brushes. The paintings can be either monochrome or polychrome. If monochrome, typically sumi (Chinese ink) made from soot mixed with a glue from fishbone or animal hide is used. If polychrome, the pigments are derived from natural ingredients: minerals, shells, corals, and even semi-precious stones like malachite, azurite or cinnabar. The raw materials are powdered into 16 gradations from fine to sand grain textures. Hide glue is used as a binder for these powdered pigments. In both cases, water is used; hence Nihonga is by definition a sub-genre of watercolor painting.
Initially, Nihonga were produced for hanging scrolls (kakemono), hand scrolls (emakimono) or folding screens (byōbu). However, most are now produced on paper stretched onto wood panels, suitable for framing. Nihonga paintings do not need to be put under glass. They are archival for thousands of years.
LS Katie Porter makes a touch.
Women's Team Sabre, Canada vs. China
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Le Mat 1 Katie Porter execute une touche.
Sabre par équipes femmes, Canada c. Chine
Photo: CFMWS Imagery | Services d'imagerie des SBMFC
The Republic of South Korea is hosting the 6th Military World Games from 2-11 October 2015. Titled “Friendship together, peace forever”, the Military World Games bring together 7,300 military delegates/athletes from 103 countries to compete in 24 military and traditional sports. The Games are the third largest sporting event in the world. The Games provide to more than 125 Canadian Armed Forces athletes the opportunity to compete and win against some of the world’s best and provide CAF leadership with another unique platform to recognize the exceptional level of fitness and athleticism within the CAF.
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La Corée du Sud est l’hôte des 6es Jeux Mondiaux Militaires qui ont lieu du 2 au 11 octobre 2015. Sous le thème « Paix et amitié... ensemble et pour toujours », cet événement réunit 7 300 délégués et athlètes militaires provenant de 103 pays qui compétitionnent dans 24 sports militaires et traditionnels. Les Jeux Mondiaux Militaires sont la troisième manifestation sportive en importance à l’échelle mondiale. Ces Jeux permettent à nos 125 athlètes des Forces armées canadiennes (FAC) de se mesurer à certains des meilleurs athlètes au monde pour remporter la victoire. De plus, ils offrent aux dirigeants des FAC une autre plateforme unique pour mettre en valeur la forme physique et les qualités athlétiques exceptionnelles au sein des FAC.
This morning, officers executed four arrest warrants at addresses on Derbyshire Avenue in Stretford, resulting in five arrests.
At the first address, a 16‑year‑old boy was arrested on suspicion of possession with intent to supply Class B drugs, as well as an unrelated robbery offence.
At the second address, a 39‑year‑old man was arrested on suspicion of possession with intent to supply Class B drugs.
At the third address, two men, aged 28 and 61and a 59‑year‑old woman were arrested on suspicion of possession with intent to supply Class A and Class B drugs.
No drugs were located at the fourth address; however, a mobile phone was seized as part of the ongoing investigation.
These warrants were executed following a proactive investigation led by Trafford North’s Neighbourhood Team into drug supply linked to Derbyshire Avenue.
The team remains committed to tackling drug dealing and associated criminality across the Trafford area.
Intelligence from the local community played a vital role. Based on this information, officers believed the four addresses were connected to the supply of controlled substances.
Collaboration was key to the success of this operation. The Neighbourhood Team worked alongside the Tactical Dog Unit, the Drone Unit, our Challenger Team, and the Regional Organised Crime Unit, ensuring a coordinated and robust approach.
upon entry, officers recovered cannabis at three properties, secured multiple arrests, and seized a quantity of white powder - believed to be cocaine - which has been sent for forensic testing.
All five suspects remain in custody for further questioning.
Inspector Jamie Jeffries, from the Trafford North Neighbourhood Team said: “Executing four warrants at the same time on the same street is a significant undertaking and reflects the seriousness of the intelligence we received.
“This level of coordinated action demands careful planning and considerable resources, and it shows our determination to disrupt drug networks operating in Trafford.
“Thanks to crucial information from the public, our Trafford North Neighbourhood Team was able to act decisively against addresses suspected of working together in drug supply.
“Conducting multiple warrants in one operation sends a clear message: if you choose to deal drugs, we will gather the evidence and take robust, swift action.
“We remain firmly committed to keeping Trafford safe, and I encourage anyone with concerns to keep coming forward — community intelligence directly drives operations like today’s.
Anyone with information about criminal activity is urged to contact police on 101, Live Chat or report anonymously via Crimestoppers on 0800 555 111.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Very perfectly executed by these four warbird pilots in North American Texans.
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This is a photo from the 26 April 2014 Heritage Flight Museum/HFM Grand Opening album.