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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:-
Florida Park Service staff execute a prescribed burn in the pine flatwoods of Highlands Hammock State Park in Sebring, Florida. Prescribed burns are used periodically to keep invasive species, such as Cogon grass, in check.
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If you would like to use this image for any purpose, please see the available licensing and/or print options for this image on my website or contact me with any questions that you may have.
4101 executed a wheels up crash landing at RAF Manston Nov 40 after being damaged by a Spitfire. Later repaired allocated RAF serial DG200 and flew for a short period, she also eventually ended up at RAF Biggin Hill in the 60's as a static exhibit, to RAF museum Hendon in 1978.
Writer and human rights campaigner Ken Saro-Wiwa was executed, along with eight other members of the Ogoni people, by the Nigerian State in 1995. Ken Saro-Wiwa was a leading figure in the 500,000-strong Ogoni community and a founder and President of the Movement for the Survival of the Ogoni People (MOSOP). The MOSOP pressed oil companies and the government to clean up the environment and pay adequate compensation and royalties to the oil producing regions.
In February and March 1995, Ken Saro-Wiwa and 14 other accused were brought to trial on murder charges. On 30 and 31 October 1995 nine of the accused were convicted and sentenced to death following a politically-motivated prosecution and unfair trial; six others were acquitted.
On 10 November 1995, Ken Saro-Wiwa, Baribor Bera, Saturday Doobee, Nordu Eawo, Daniel Gbokoo, Barinem Kiobel, John Kpuinen, Paul Levura and Felix Nuate were hanged. The executions, carried out in defiance of appeals for clemency from heads of state, intergovernmental bodies and human rights groups worldwide, earned Nigeria international sanctions, suspension from the Commonwealth,and unprecedented scrutiny and denunciation. MOSOP leaders were detained without charge or trial on several occasions since 1993, including Ken Saro-Wiwa for periods in 1993 and 1994. In May 1994, four leading members of the Ogoni community were killed, reportedly by MOSOP supporters. MOSOP leaders, including Ken Saro-Wiwa, were detained, assaulted, and publicly accused by the authorities of responsibility for the murders, an accusation they denied.
Amnesty International believes Ken Saro-Wiwa and other activists were targeted by the Nigerian authorities because of MOSOP's political campaign which called for increased autonomy for the Ogoni ethnic group and highlighted the lack development of the area and the severe environmental damage resulting from the operations of oil companies - notably Shell.
© AI/Karen de Groot
Location on map is approximate.
On Tuesday 15 October 2024, police executed five warrants at addresses in Rochdale and Manchester to tackle the cruel and unlawful sale of puppies,
following an extensive investigation by the RSPCA, supported by Greater Manchester Police, into the illegitimate and organised sale of puppies.
This investigation has uncovered an illicit underground trade that promotes animal cruelty and neglect, with sellers and criminal gangs making vast sums of money at the expense of innocent puppies and members of the public.
Some puppies were sick and died shortly after being sold to unsuspecting members of the public who believed they were buying much-loved family pets but may have been imported from overseas.
Today’s positive action comes as a result of several reports from members of the public who have been subject to extreme distress as a result of this illicit operation. Work remains ongoing and we are following several lines of enquiry to disrupt and prevent this type of criminality.
Sergeant Brendan Walsh, from our Rochdale district, said: “This is organised crime, and those involved have been making eye watering profits from this harmful and illicit trade.
“This has been a tremendous joint effort between Greater Manchester Police and the RSPCA's Special Operations Unit.
"The properties were searched, and police have rescued 14 puppies and seized an XL bully. Police also seized several mobile phones, important documents and bank statements, all consistent with an organised criminal operation involving the fraudulent and unlawful sale and breeding of puppies.
“We’ve had members of the public who have paid substantial amounts for these puppies, paid large veterinary fees, and have been left traumatised by their experiences. I hope today’s activity will highlight our commitment to tackling this type of crime, and I would urge anyone who feels they have been affected by this, please contact us so that we can act."
An RSPCA spokesperson said: "We'd urge anyone who wants to get a dog to consider adopting from a rescue charity, like the RSPCA. There are thousands of dogs across the country waiting to find their forever families.
"Anyone who is looking to buy a puppy should be cautious when choosing a breeder and use The Puppy Contract to help them find a happy, healthy dog. Anyone who is concerned about a seller should walk away and report their concerns to the police, Trading Standards or RSPCA."
Anyone with concerns over illegal puppy sales should contact Greater Manchester Police using the online reporting method or calling 101. Concerns can also be reported to the RSPCA.
Robert Emmet (1778-1803) - An Irish Nationalist rebel leader. He led an abortive rebellion against British rule in 1803 and was captured, tried, and executed (hanged drawn and quartered on Thomas Street, Dublin 8). After the 1798 rising, Robert Emmet was involved in reorganizing the defeated United irish Society, he escaped a warrant and fled to Europe. Following failed efforts to secure French military aid, he returned to Ireland in 1802 and began preparations for another rising. The Time Vaults: Battle of the Boyne (Cath Na Boinne) - Scene depicting the Battle of the Boyne with bust of King William of Orange and King James, also included are Wolfe Tone, Robert Emmoit, Patrick Sarsfield, Cromwell's death mask and the Treaty stone of Limerick. Wax Museum Plus off Dame Street, Dublin, Ireland. April 22, 2012. (c) 2012 - photography by Leaf McGowan, technogypsie.com.
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K / 1/13 dead mask
Death mask of the robber Johann Voboryl, who was executed on 11 August 1902.
An hour after the execution of the delinquent, the dead man was taken from the gallows and a mask of death was taken before the autopsy. The cast should supplement the anthropometric measurement of the later macerated skull. Only in a few cases from executed people dead masks were taken.
K/1/13 Totenmaske
Totenmaske des am 11. August 1902 hingerichteten Raubmörders Johann Voboryl.
Eine Stunde nach der Hinrichtung des Delinquenten wurde der Tote vom Galgen genommen und noch vor der Obduktion eine Totenmaske abgenommen. Der Abguss sollte die anthropometrische Vermessung des später mazerierten Schädels ergänzen. Nur in wenigen Fällen wurden von Hingerichteten Totenmasken abgenommen.
The Vienna Crime Museum is a museum in the 2nd district of Vienna, the Leopoldstadt, in the district of the same name.
Location
The museum, emerging at the end of 1991 at the current location from the Criminal Police Museum of the Federal Police Office Vienna (founded in 1984), successor of the former Imperial-Royal Police Museum (founded in 1899), is situated in the Soap Boiler's house, one of the oldest houses in the second district, in Great Sperl alley 24 (until 1862: Street of the Lords 297). It stands at that place where previously the community hall of the (displaced) Jewish Community had been located and it was built in 1685 (designated on the arch brick of the portal). The name of the house is based on the fact that it was purchased in 1794 by a soap boiler. Today, the museum is located between Karmeliter market and the church of Saint Leopold.
In the courtyard of the building is a café.
Exhibition
Burglar tools of the legendary "Burglar King" Breitwieser
The museum consists of 20 rooms, where the history of the judiciary, the police system and the criminality from the Middle Ages to the new era are presented. Represented there are medieval penal system and the last public executions in Vienna. Furthermore, some interesting criminal cases such as those of the poison-murderer Hofrichter or the case of Josefine Luner from the inter-war period are shown.
The exhibits include numerous original documents and reproductions on criminal cases, crime scene photos and court documents as well as body parts of executed criminals, including the heads of Juliana Hummel and Franz Hebenstreit. After protests, Hebenstreits head 2012 was removed from the collection.
The director of the museum is Harald Seyrl, who has been working on the matter since 1984, suggested the location of the museum and is heading the house since 1991.
Das Wiener Kriminalmuseum ist ein Museum im 2. Wiener Gemeindebezirk, der Leopoldstadt, im gleichnamigen Bezirksteil.
Standort
Das Ende 1991 aus dem Kriminalpolizeilichen Museum der Bundespolizeidirektion Wien (gegründet 1984), Nachfolger des ehem. k.k. Polizeimuseums (gegründet 1899), am heutigen Standort hervorgegangene Museum befindet sich im Seifensiederhaus, einem der ältesten Häuser im 2. Bezirk, in der Großen Sperlgasse 24 (bis 1862: Herrengasse 297). Es steht dort, wo sich zuvor in der (vertriebenen) Judengemeinde das Gemeindehaus befunden hatte, und wurde (bezeichnet am Keilstein des Portals) 1685 errichtet. Der Name des Hauses beruht darauf, dass es 1794 von einem Seifensieder gekauft wurde. Heute liegt das Museum etwa zwischen Karmelitermarkt und Leopoldskirche.
Im Innenhof des Gebäudes befindet sich ein Kaffeehaus.
Ausstellung
Einbruchswerkzeuge des legendären „Einbrecherkönigs“ Breitwieser
Das Museum besteht aus 20 Räumen, in denen die Geschichte der Justiz, des Polizeiwesens und auch die Kriminalität vom Mittelalter bis in die neue Zeit präsentiert wird. Es werden mittelalterlicher Strafvollzug und die letzten öffentlichen Hinrichtungen in Wien dargestellt. Weiters werden einzelne interessante Kriminalfälle wie der des Giftmörders Hofrichter oder der Fall Josefine Luner aus der Zwischenkriegszeit gezeigt.
Zu den Exponaten zählen zahlreiche Originaldokumente und Reproduktionen zu Kriminalfällen, Tatortfotos und Gerichtstexte sowie Körperteile von Hingerichteten Verbrecher, u. a. die Köpfe von Juliana Hummel und von Franz Hebenstreit. Nach Protesten wurde Hebenstreits Kopf 2012 aus der Sammlung entfernt.
Direktor des Museums ist Harald Seyrl, der seit 1984 mit der Materie befasst war, den Standort des Museums vorschlug und das Haus seit 1991 leitet.
This elegantly executed piece of grafftic line work on a boarded up doorway of a derelict heritage home, with the play of sunlight, leaves and shadow positively begged for the Black and White treatment. Coloured shots were too distracting and unfocused in their power. This became for me an opportunity for pure abstraction. I opted to allow for my inner Olitski to dicate the composition, with it's strong gestural field and it's articulated side band.
Officers from Greater Manchester Police’s County Lines team executed seven warrants across Bolton this morning, working alongside specialist Challenger and complex safeguarding teams to secure several arrests.
The early morning wake-up calls for the residents across the various addresses was a direct result of the team’s work in tackling county lines drug supply and the exploitation of vulnerable people in the Bolton area.
Additionally working with members of GMP’s Serious and Organised Crime team, four arrests were made:
Three men, aged 21, 24, and 26, were arrested on suspicion of conspiracy to supply drugs, participation in an organised gang and modern slavery offences.
One man, aged 26, was arrested on suspicion of being concerned in the supply of drugs.
During searches of the properties, numerous items were discovered and seized, including an e-bike, Class A and Class B drugs. The four remain in custody for questioning.
County Lines is the use of dedicated phone lines to deal drugs from one location to another. In some instances of county lines gangs, vulnerable people are exploited in order to sell and store drugs.
This can include young children who are lured into a life of crime by older people seeking to convince them to take part in illegal behaviour.
Vulnerable adults may also be forced into similar acts – by people who pretend to be their friend or otherwise threaten them for not assisting with their criminality. In some cases, homes will be taken over and taken advantage of.
Across Greater Manchester, officers work tirelessly every day to tackle drugs and the people who supply them. From our specialist Programme Challenger teams to neighbourhood officers in your local community, GMP seizes significant quantities of drugs and ill-gotten money every week, combatting everything from anti-social drug users to organised criminal dealers.
Detective Inspector Zoe MacDonald, from GMP’s County Lines Team, said: “Drugs and the people who supply them can cause an incredible amount of harm in our community. From addiction to the exploitation of the most vulnerable, illicit substances cause so many types of hurt and criminality across so many towns and cities.
“This morning’s work has targeted reports of county lines operating in Bolton, and the drug supply in the town and wider area. We have successfully hit several addresses across the district and shown criminals that we will never tolerate them.
“I want the people of Bolton to know that we are dedicated to protecting them and ensuring we keep criminals off the streets.
“From regular patrols to intelligence gathering to crucial work with partner agencies, we put considerable resources in to tackling the scourge of drug-related criminality on our streets.
“If you have any concerns about drug supply or county lines operating in your area or feel like you have witnessed something suspicious, please do get in touch with us. You can report information to the police on 101, via gmp.police.uk, or by calling the independent charity Crimestoppers, anonymously, on 0800 555 111.
A spokesperson for Bolton Council said: “County lines gangs exploit the most vulnerable in society and inflict considerable harm on the wider community.
“As part of our safeguarding responsibilities, we have worked jointly with Greater Manchester Police to disrupt the activity of these gangs and hold those responsible to account.
“As a council, we will always be relentless in identifying anyone who exploits others and take decisive action to keep Bolton’s children and vulnerable adults safe.
“Our specially trained staff continue to work with the victims and to support all those affected.”
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
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:-
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.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Agents with the Cullman Narcotics Enforcement Team (CNET) and deputies with the Cullman County Sheriff’s Office (CCSO) arrested nine individuals for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia.
Arrested for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia were:
• Santos Lynn Thomas (25 - Hispanic) Cleveland, AL - $5000 Bond
• Sarah Marie Milligan (23 -White) Cullman, AL - $5000 Bond
• Omar Rivera Loyola (24 - Hispanic) Oneonta, AL - $5000 Bond
• Tonya Lynn Wagner (35 -White) Crane Hill, AL - $5000 Bond
• Brian Keith Bagwell (32 -White) Holly Pond, AL - $5000 Bond
• Ricky Charles Mewbourn (50 - White) Cullman, AL - $5000 Bond
(also had a warrant for Unlawful Possession of Drug Paraphernalia)
• Hugo Contreaus-Cenantes (33 - Hispanic) Altoona, AL - $5000 Bond
• Angela Denise Stewart (44 - White) Hayden, AL - $5,000 Bond
Arrested for Unlawful Possession of Drug Paraphernalia and also had warrants for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia:
• Santanna Marie Barnett (25 - White) Cullman, AL - $13,000 Bond
The operation that led to the arrest of the nine suspects was executed in the 800 block of County Road 1319, also known as Basch Road, on Thursday February 4, 2016.
CNET and CCSO deputies made entry into the residence and arrested those suspects who had warrants. While inside, CNET agents and deputies located multiple suspects inside the residence were methamphetamine, other drugs and drug paraphernalia were located.
CCSO seized approximately 10 grams of meth, syringes, glass meth pipes, straws and Marijuana.
Following the arrest Cullman County Sheriff Matt Gentry had these remarks:
“I believe anytime you can arrest a large number of drug pushers and several of them are not from our community it sends the message we don’t want your drugs in Cullman County and if you come here you will go to jail. I would also like to thank CNET and our deputies for the great job they did on this arrest."
For the full story including images of those arrested and example of items seized. please so here:
cullmantoday.com/2016/02/04/cnet-executes-far-reaching-cu...
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:-
Tony Hawk executes a Mctwist on 27 ft quarterpipe Skateboard Big Air RampDuring practice Wed 8-4-2004- X Games X
On the outside wall of the Waag hangs a copper cauldron in which counterfeiters used to be executed by being boiled in oil or water.
Me you can erase but not the fire!
Never forget - be watchful!
Consecration site (former execution chamber)
Memorial plaques with names of 536 executed
The following names of the on the plaques under the heading "They died for freedom of Austria" cited victims - ident or corrected - are complemented with date of birth, occupation, date of execution and grave address. These indicates, unless stated otherwise, row and grave in the shaft graves complex of group 40 of the Vienna Central Cemetery. The vast majority of the executed were convicted "for preparing a high treason". For those who have been convicted of another offense, this one is indicated.
The data are based on the following sources:
The guillotined. List of names by the guillotine in Vienna Regional Court of the Nazi executioners murdered Edit.: Communist Party of Austria, Vienna undated.
Sentenced to death. Edit.: Federal Association of Austrian Resistance Fighters and Victims of Fascism (Concentration Camp Association), Vienna undated.
List of people executed, Vienna undated (presumably created by Regional Court Vienna and 1964 under the archive signing DOeW 1512 recorded).
Database of Municipal Department 43 - Urban cemeteries.
The Documentation Centre of Austrian Resistance intends to issue a documentation that provides information on the Regional Court of Vienna under Nazi rule, includes biographies of those executed and depicts the origin of the consecration site.
Weihestätte (ehemaliger Hinrichtungsraum)
Gedenktafeln mit Namen von 536 Hingerichteten
Die folgenden Namen der auf den Tafeln unter dem Titel „Sie starben für Österreichs Freiheit“ angeführten Opfer — ident bzw. richtiggestellt — sind ergänzt mit Geburtsdatum, Beruf, Datum der Hinrichtung und Grabadresse. Diese gibt, wenn nicht anders ausgewiesen, Reihe und Grab in der Schachtgräberanlage der Gruppe 40 des Wiener Zentralfriedhofes an. Die überwiegende Mehrzahl der Hingerichteten wurde wegen „Vorbereitung zum Hochverrat“ verurteilt. Bei jenen, die wegen eines anderen Delikts verurteilt wurden, ist dieses angegeben.
Die Daten stützen sich auf folgende Quellen:
Die Guillotinierten. Namensliste der durch das Fallbeil im Wiener Landesgericht durch die Nazihenker Ermordeten. Hrsg.: Kommunistische Partei Österreichs, Wien o. J.
Zum Tode verurteilt. Hrsg.: Bundesverband Österreichischer Widerstandskämpfer und Opfer des Faschismus (KZ-Verband), Wien o. J.
Liste der Hingerichteten, Wien o. J. (erstellt vermutlich vom LG Wien und 1964 unter der Archiv-Signatur DÖW 1512 aufgenommen).
Datenbank der Magistratsabteilung 43 – Städtische Friedhöfe.
Das Dokumentationsarchiv des österreichischen Widerstandes beabsichtigt, eine Dokumentation herauszugeben, die über das Landesgericht Wien unter der NS-Herrschaft informiert, Kurzbiographien der Hingerichteten beinhaltet und die Entstehung der Weihestätte darstellt.
www.nachkriegsjustiz.at/vgew/1080_landesgerichtweihestaet...
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:-
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.
82nd CAB executes a simulated Chemical, Biological, Radiological and Nuclear training event during a Leadership Professional Development course on Simmons Army Airfield, Fort Bragg, N.C., March 2.
The objective of this training exercise is to ensure leaders of all facets have a baseline understanding of potential CBRN threats and how to maneuver their forces in the event of a chemical attack against personnel and aircraft.
Early this morning (1 April 2025), our Money Laundering Team were out in force executing two warrants as part of an operation cracking down on money laundering in Greater Manchester.
As a result, two men, aged 30 and 25, have been arrested on suspicion of money laundering offences and remain in police custody for questioning.
Approximately £2,000 in cash and a car worth around £80,000 was seized from an address in Salford, around £50,000 in cash was seized from a business premises in Cheetham Hill, and a further search at a property in Crumpsall also resulted in the seizure of £1,000 in cash.
This morning (1 April 2025), at the break of dawn and the start of a new financial year, our Money Laundering Team were out in force executing two warrants as part of an operation cracking down on money laundering in Greater Manchester.
As a result, two men, aged 30 and 25, have been arrested on suspicion of money laundering offences and remain in police custody for questioning.
Approximately £2,000 in cash and a motor vehicle worth around £80,000 was seized from an address in Salford, and around £50,000 in cash was seized from a business premises in Cheetham Hill.
A further search at a property in Crumpsall also resulted in the seizure of £1,000 in cash.
Today’s arrests are part of a sustained crackdown into individuals suspected of being involved in high level money laundering offences in the Greater Manchester area.
Over the last year, GMP’s Economic Crime Unit have successfully forfeited over £17 million from the back pockets of criminals, and the funds have been handed to organisations who support local communities across Greater Manchester via the Asset Recovery Incentivisation Scheme (ARIS).
Non-profits, which benefit communities, can apply for a maximum of £20,000 to help fund activities. The activities must support GMP’s objectives to fight, prevent and reduce crime; keep people safe; and care for victims.
Detective Sergeant Peter Goddard, from our Money Laundering Team, said: “Today marks the start of a new financial year and we have started as we mean to go on, continuing in our relentless pursuit of those suspected to be laundering money from their criminal proceeds.
“Criminals try to disguise their ill-gotten gains to support illegal activities and exploit vulnerable people, causing harm to our communities.
“We have a dedicated team of specialists to tackle organised money laundering, which often supports criminal activity such as: drug dealing, firearms, terrorism and organised immigration crime.
“We are asking the public to remain vigilant and if you see, or suspect something is wrong, please tell us, and we can do something about it. The information you continue provide us with is vital to our investigations.”
You can make report a crime to police online at www.gmp.police.uk or via 101. Alternatively, contact the independent charity Crimestoppers, anonymously, on 0800 555 111.
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.
This fascinating and well executed mural depicts San Francisco throughout the years. The artist employs an overhead view of Market St. from an oblique angle through a wide angle lens.
On the left (and to the east), the Bay, the Ferry Building, and the Embarcadero swoop into frame in stark high contrast black lines on a white backdrop.
The scene fades to sepia tone as the years advance from the turn of the 20th century through the 1920s.
The 1930s, depicted in a nostalgic faded color scheme, shows Policemen addressing the people.
The 1940s, in a shade of green, shows a parade.
The 1950s, in a cold, subdued blue shows trolleys, cars, and trucks.
The 1960s shows crowds in bright colors filling the sidewalks.
The 1970s and 1980s show dense automobile traffic, and a sliver of contemporary society filling the streets caps off the millenium.
An empty city of the future awaits to the west at the far right of the mural.
This morning (Thursday 29 May 2025), our Challenger Team in Bolton executed four simultaneous warrants as the crackdown on drugs and anti-social behaviour continues.
Officers from our Specialist Operation department such as the Tactical Aid Unit, Drone Unit and the Stolen Vehicle Examination Unit joined district Neighbourhood officers as they descended on addresses in the New Bury area.
Strikes were conducted at properties on Fairfield Road, Moorside Avenue, Parkfield Avenue and St Gregory’s, with three people – two men in their 50s and 30s, and a female in her 40s - being arrested on suspicion of drugs offences.
While searching these locations, we recovered a quantity of Class A, B and C drugs, a number of stolen vehicles and multiple electronic bikes.
Challenger is Greater Manchester’s partnership response to serious and organised crime. It is made up of a variety of agencies that work together to disrupt and dismantle individuals and networks from committing serious crime.
This includes those who run drug lines, exploit people for financial gain, those who buy and use firearms, and launder money they make from their criminality.
PC Gregory from the Bolton Challenger Team said: “This morning our officers executed four warrants at separate addresses across Bolton as part of our ongoing commitment to tackling drugs and anti-social behaviour in our communities. These coordinated operations demonstrate our continued determination to disrupt criminal activity and send a clear message to those involved in the drug trade.
“We take drug dealing extremely seriously because we see firsthand the devastating effects these substances have - not only on individual users and their families, but on the wider Bolton community and Greater Manchester as a whole.
“We will pursue every line of enquiry vigorously and relentlessly, our message to drug dealers and those involved in related criminal activity is clear: we will not stop until we get these offenders off our streets and into our custody cells where they belong."
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
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.
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Ugolino and His Sons, modeled ca. 1860–61, executed in marble 1865–67
Jean-Baptiste Carpeaux (French, 1827–1875)
Saint-Béat marble
H. 77 in. (195.6 cm)
Signed (incised in script at right front facet of base): Jbte Carpeaux./Rome 1860; (incised at right end facet of base) JBTE CARPEAUX ROMA 1860
Purchase, Josephine Bay Paul and C. Michael Paul Foundation Inc. Gift and Charles Ulrick and Josephine Bay Foundation Inc. Gift, and Fletcher Fund, 1967 (67.250)
Dante's Divine Comedy has always enjoyed favor in the plastic arts. Ugolino, the character that galvanized peoples' fantasies and fears during the second half of the nineteenth century, appears in Canto 33 of the Inferno. This intensely Romantic sculpture derives from the passage in which Dante describes the imprisonment in 1288 and subsequent death by starvation of the Pisan count Ugolino della Gherardesca and his offspring. Carpeaux depicts the moment when Ugolino, condemned to die of starvation, yields to the temptation to devour his children and grandchildren, who cry out to him:
But when to our somber cell was thrown
A slender ray, and each face was lit
I saw in each the aspect of my own,
For very grief both of my hands I bit,
And suddenly from the floor arising they,
Thinking my hunger was the cause of it,
Exclaimed: Father eat thou of us, and stay
Our suffering: thou didst our being dress
In this sad flesh; now strip it all away.
Carpeaux's visionary composition reflects his reverence for Michelangelo, as well as his own painstaking concern with anatomical realism. Ugolino and His Sons was completed in plaster in 1861, the last year of his residence at the French Academy in Rome. A sensation in Rome, it brought Carpeaux many commissions. Upon his return to France, Ugolino was cast in bronze at the order of the French Ministry of Fine Arts and exhibited in the Paris Salon of 1863. Later it was moved to the gardens of the Tuilieries, where it was displayed as a pendant to a bronze of the Laocoön. This marble version was executed by the practitioner Bernard under Carpeaux's supervision and completed in time for the Universal Exposition at Paris in 1867. The date inscribed on the marble refers to the original plaster model's completion.
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...
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:-
The Postcard
A postally unused carte postale that was published by P-L. The card has a divided back.
Lille in the Great War
Lille's occupation by the Germans began on the 13th. October 1914 after a ten-day siege and heavy shelling which destroyed 882 apartment and office blocks and 1,500 houses, mostly around the railway station and in the town centre.
By the end of October the town was being run by German authorities. Because Lille was only 20 km from the front line, German troops passed through the city regularly on their way to and from the front.
As a result, occupied Lille became a place both for the hospitalisation and treatment of wounded soldiers as well as a place for soldiers' relaxation and entertainment. Many buildings, homes, and businesses were requisitioned to those ends.
Lille was also the hunting ground of the Great War German flying Ace Max Immelmann who was nicknamed 'The Eagle of Lille'.
Lille was liberated by the Allies on the 17th. October 1918, when General Sir William Birdwood and his troops were welcomed by joyous crowds. The general was made an honorary citizen of the city of Lille on the 28th. October of that year.
The only audio recording known to have been made during the First World War was recorded near Lille in October 1918. The two minute recording captured the Royal Garrison Artillery conducting a gas shell bombardment.
Monument to the Executed of Lille
The Great War monument in the Square Daubenton in Lille shows four leaders of the city’s Resistance standing against a wall just moments before their execution by the German Army in the dungeons of the citadel.
Along with Léon Trulin, who can be seen lying at their feet, Eugène Jacquet, Georges Maertens, Ernest Deceuninck and Sylvère Verhulst set up a network for communicating information to the Allies about the German occupiers of Lille.
They were eventually betrayed and executed on the 22nd. September 1915.
In total, twenty-five individuals were executed in Lille by firing squad under the occupation. Notices were posted informing the public about executions of political prisoners, saboteurs, and hostages in response to attacks or acts of sabotage against the German occupiers.
An estimated 500,000 French men and women worked for the Resistance during Germany's occupation of France. Resistance workers carried out thousands of acts of sabotage against the German occupiers, even though the risks were great. More than 90,000 members of the Resisters were killed, tortured or deported by the Germans.
Grilles exécutées par Jean LAMOUR ( Nancy 1698 - Nancy 1771 ), serrurier de Stanislas Leszczynski qui utilise l’ancienne église de la Primatiale comme un vaste atelier de forge pour réaliser, en collaboration avec l’architecte Emmanuel Héré, les magnifiques grilles rehaussées d’or de la Place Stanislas à Nancy.
garry executing a tricky piece of backing! sillers lookout, the outward terminus of the ridgetop tour, ridgetop track, arkaroola wilderness sanctuary
flinders university wilderness collective expedition to iga warta and arkaroola, far-northern flinders ranges, south australia, september / october 2013
This statue of Secretariat, executed by sculptor John Skeaping in 1974 and presented as a gift of Paul Mellon to the National Museum of Saratoga stands in the center of the paddock at Belmont Park Racetrack.
It was here, on June 9, 1973, that Secretariat won the Belmont Stakes in dominating fashion to become the first horse in 25 years to win the Triple Crown. Competing against only four horses before a crowd of 67,605, Secretariat won by 31 lengths in a time of 2 minutes and 24 seconds, which still remains the world record on dirt at the 1.5 mile. No horse has come within 1.4 seconds of that time. At the mile and 3/8 point, Secretariat had run faster than Man o' War's record from when the Belmont was run at that length.
Sired by Bold Ruler out of the dam Somethingroyal, Secretariat was born at Meadow Farm in Caroline County, Virginia in 1970. Owned by Penny Chenery, he was trained by Canadian Lucien Laurin and ridden by fellow Canadian jockey Ron Turcotte. Nicknamed Big Red, he won the Kentucky Derby in a still record time (1:59 2/5) over rival Sham whose 1:59 4/5 equals Monarchos' 2001 time as the second fastest in history. Even more impressively, he achieved the unheard of feat of "negative splitting", running each quarter-mile (402 m) segment faster than the one before it. Secretariat won the Preakness by two and a half lengths in a time that has been historically contested. The official time is recognized as 1:54 2/5, but two Daily Racing Form clockers claimed a time of 1:53 2/5 which would've broken the track record--a time that has since been matched twice and bested once. Secretariat never duplicated his Belmont Stakes performance, but continued to run impressively. His time of 1:45 2/5 for 1 1/8 miles, a world record at the time, in the inaugural Marlboro Cup. In winning his first start on grass in the Man o' War Stakes, he set a still standing track record of 2:24 4/5, without being whipped once.
Altogether, Secretariat won 16 of his 21 career races and finished out of the money just once. He won the Eclipse Award for Horse of the Year twice--as the first two year old ever to be honored as such, and again as a three year old. In retirement at Claiborne Farm, he stood stud siring as many as 600 foals including the 1979 Travers Stakes winner General Assembly, 1986 Horse of the Year Lady's Secret, 1988 Preakness and Belmont Stakes winner Risen Star, and the 1990 Melbourne Cup winner Kingston Rule. His blood flows through many other notable racehorses, including 2004 Kentucky Derby and Preakness winner Smarty Jones, and he is most noted as a broodmare sire.
In 1989, Secretariat was afflicted with laminitis and he was euthanized on October 4. In death, he was received the ultimate honor for a horse--he was buried whole at Claiborne Farm. Before his burial, he was necropsied at the University of Kentucky where he was discovered that his heart was approximately twice the size of a normal horse.
ESPN listed Secretariat 35th of the 100 greatest athletes of the 20th century, one of three non-humans on the list. In 1974, Secretariat was inducted into the National Museum of Racing and Hall of Fame.