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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:-
St Mary's Church is located prominently on the Lenten Pool roundabout, set back slightly behind low curving forecourt walls.
A large stone-built aisled church with tower in an eclectic Victorian Gothic style, intended as a replacement for the medieval St Hillary's, near the castle, the foundation stone laid in 1871. It was was designed by Lloyd Williams and Underwood, architects of Denbigh, and completed in 1874 when it was opened for service though consecration did not take place until December 1875. The delay was caused by a law suit over the reredos, designed by Lloyd Williams and executed by Earp of Lambeth, which was considered by many (including the bishop) as 'too Catholic in taste' and caused considerable controversy until it was (grudgingly) modified.
The ground plan comprises chancel, choir with aisles (the north for organ chamber and vestry, the south appropriated for scholars of Howell's School), nave with north and south aisles of five bays, a cloistered porch at the west end , and a lofty tower at the south transept. The material is light coloured local limestone, irregularly pointed, with dressings from the Minera quarries. The parapet of the tower is set off with rich crocketts and finials, and within it a peal of eight bells. Internally, the chancel which is raised above the the level of the nave and divided into choir and sacrarium, is handsomely furnished with carved oak seats, rich altar rails and standards, and is paved with encaustic tiles. The reredos, carved in Caen stone, is divided by marble shafts into three compartments, surmounted by rich ornamentation of finials, crockets and angel figures.
Denbigh is a market town and a community in Denbighshire, Wales. Formerly the county town of the historic county of Denbighshire until 1888, Denbigh's Welsh name (Dinbych) translates to "Little Fortress"; a reference to its historic castle. Denbigh lies near the Clwydian Hills.
Denbigh Castle, together with its town walls, was built in 1282 (742 years ago) by order of King Edward I. The Burgess Gate, whose twin towers adorn the symbol on Denbigh's civic seal, was once the main entrance into the town. The first borough charter was granted to Denbigh in 1290, when the town was still contained within the old town walls. It was the centre of the Marcher Lordship of Denbigh. The town was involved in the revolt of Madog ap Llywelyn in 1294–1295; the castle was captured in the autumn and, on 11 November 1294, a relieving force was defeated by the Welsh rebels. The town was recaptured by Edward I in December. Denbigh was also burnt in 1400 during the revolt of Owain Glyndŵr.
During the Wars of the Roses (1455–1487), the town was largely destroyed, subsequently moving from the hilltop to the area of the present town market.
Leicester's Church is an unfinished church. In 1579, Robert Dudley, 1st Earl of Leicester, who was also Baron of Denbigh, planned for there to be a cathedral. His intention was to move the status of city from neighbouring St Asaph. The project ran out of money and, when Robert Dudley died, it was left as ruins; it is now in the care of Cadw.
In 1643, during the English Civil War, Denbigh became a refuge for a Royalist garrison. Surrendering in 1646, the castle and town walls eventually fell into ruin.
The town grew around the textile industry in the 1600s, hosting specialist glovers, weavers, smiths, shoemakers, saddlers, furriers and tanners. Denbigh has been an important location for the agricultural industry throughout its history.
Denbigh railway station once served the town on the former London and North Western Railway, later part of the London, Midland and Scottish Railway.
It was a junction for the Vale of Clwyd Railway line, which lead north to St Asaph and Rhyl, and the Mold and Denbigh Junction Railway. The former was closed in 1955, leaving Denbigh on a lengthy branch running from Chester to Ruthin, via Mold, which subsequently closed in 1962. A southern continuation beyond Ruthin, linking up with the Great Western Railway at Corwen, had closed in 1952.
The station site has been redeveloped since into a small retail park; however, remains of a platform can still be seen beside the road leading to the Home Bargains store, Aldi Supermarket and two charity shops.
At one time, the majority of the population sought employment at the North Wales Hospital, which, dating back to the 1840s, cared for people with psychiatric illnesses. The hospital closed in 1995 and has since fallen into disrepair. In October 2008, a special series of episodes of Most Haunted, titled Village of the Damned, was broadcast from the North Wales Hospital over 7 days. As of October 2018, the derelict building has passed into the ownership of Denbighshire County Council.
Denbigh had a town cinema on Love Lane. It opened as the Scala in 1928, before being re-branded as the Wedgwood Cinema in the late 1970s. It closed in October 1980, then reopened by Lewis Colwell in 1982 and renamed the Futura Cinema. The cinema closed again in the 1990s, but the building remained open as a video rental store. In 1995, Peter Moore reopened the cinema for a short period before being arrested and convicted of the murder of four men. The video rental store closed and the building is now in ruin awaiting redevelopment. Denbigh has no permanent cinema, though Denbigh Film Club regularly operates in Theatr Twm o'r Nant.
The population at the 2001 Census was 8,783,[10] increasing to 8,986 in the 2011 census., reducing in the 2021 census to 8,669.
Attractions in the town include Denbigh Library, Denbigh Castle and the castle walls, Cae Dai 1950s museum, Theatr Twm o'r Nant, medieval parish church St Marcella's, and a small shopping complex. Denbigh Boxing Club is located on Middle Lane. Denbigh Community Hospital was established in 1807. Denbigh Town Hall is a Grade II* listed building.
Denbigh Cricket Club is one of the oldest cricket clubs in Wales having been established in 1844. The club plays at the Ystrad Road ground and plays in the North Wales Cricket League. The 1st XI play in the Premier Division having won the Division 1 championship in 2010 with the 2nd XI in Division 3.
For over 50 years, a barrel rolling competition has been held on Boxing Day in the town square.
There are a number of places to stay in Denbigh, including Tyn Yr Eithin, a caravan, camping, and glamping site based on the edge of the town which has been hosting tourists since 1986.
There are three secondary schools located in Denbigh. Denbigh High School is the larger of the two, consisting of nearly 600 pupils and approximately 60 staff. The current headmaster is Glen Williams.
St Brigid's is a Catholic voluntary aided school on Mold Road on the outskirts of the town which caters for pupils between the ages of 3 – 19. There is a strict admissions policy and until 2009 the school only accepted girls. The schools current headteacher is Leah Crimes.
Myddleton College is the former Howell's Preparatory School and is an independent co-educational day and boarding school.
All 3 of these High Schools in Denbigh, along with Ysgol Brynhyfryd (Ruthin), Ysgol Glan Clwyd (St Asaph), Denbigh College, and Llysfasi College (Deeside) have joined to offer a combined 6th form under the title 'The Dyffryn Clwyd Consortium'.
Crest Mawr Wood (alt. - Crêst) is a Site of Special Scientific Interest to the north west, adjoining Denbigh Golf Club and the Tarmac Quarry, an historic and ancient deciduous woodland. This woodland is endangered due to environmental pressure and competing land use in the area.
Denbigh hosted the National Eisteddfod of Wales in 1882, 1939, 2001 and 2013.
Notable people
Rhoda Broughton (1840–1920), novelist
Elizabeth Casson (1881–1954) doctor and occupational therapy pioneer.
Shefali Chowdhury (born 1988), actor, notably in the Harry Potter films
CDawgVA (born 1996), YouTuber and podcaster, presenter of Trash Taste
Robert Dudley, 1st Earl of Leicester (1532–1588), also known as Baron of Denbigh
Thomas Gee (1815–1898), a Welsh Nonconformist preacher, journalist and publisher.
David Griffith (1800–1894), known as "Clwydfardd" a Welsh poet and Archdruid of the National Eisteddfod of Wales.
Dr Samuel Johnson (1709–1784), visited friends and relation in Denbigh many times and has an urn memorial in his honour in the woods nearby.
Professor Edward Taylor Jones FRSE (1872–1961), physicist
Eirian Llwyd (1951–2014), printmaker and wife of former Plaid Cymru leader Ieuan Wyn Jones
Humphrey Llwyd (1527–1568), a Welsh cartographer, author, antiquary and MP.
Sir Hugh Myddleton (1560–1631), royal jeweller, goldsmith and entrepreneur.
Thomas Myddelton (1550–1631) a Welsh merchant, Lord Mayor of London & MP
Twm o'r Nant (1739–1810), playwright, real name Thomas Edwards
Beatrix Potter (1866–1943), spent summers with her aunt and uncle at Gwaenynog Hall between 1895 and 1913 and used their large garden as inspiration for The Tale of Peter Rabbit
Susan Reynolds (1929–2021) a medieval historian
Kate Roberts (1891–1985), Welsh language writer.
Several members of the Salusbury Family, who represented Denbigh over the years.
Sir Henry Morton Stanley (1841–1904), a journalist and explorer
Mark Webster (born 1983) Welsh darts international, winner of the BDO World Darts Championship 2008
Bryn Williams (born 1977), TV chef who won the Great British Menu BBC TV programme.
Denbighshire is a county in the north-east of Wales. It borders the Irish Sea to the north, Flintshire to the east, Wrexham to the southeast, Powys to the south, and Gwynedd and Conwy to the west. Rhyl is the largest town, and Ruthin is the administrative centre. Its borders differ from the historic county of the same name.
Denbighshire has an area of 326 square miles (840 km2) and a population of 95,800, making it sparsely populated. The most populous area is the coast, where Rhyl (25,149) and Prestatyn (19,085) form a single built-up area with a population of 46,267. The next-largest towns are Denbigh (8,986), Ruthin (5,461), and Rhuddlan (3,709). St Asaph (3,355) is a city. All of these settlements are in the northern half of the county; the south is even less densely populated, and the only towns are Corwen (2,325) and Llangollen (3,658).
The geography of Denbighshire is defined by the broad valley of the River Clwyd, which is surrounded by rolling hills on all sides except the north, where it reaches the coast. The Vale of Clwyd, the lower valley, is given over to crops, while cattle and sheep graze the uplands. The Clwydian Range in the east is part of the Clwydian Range and Dee Valley Area of Outstanding Natural Beauty.
This part of Wales contains the country's oldest known evidence of habitation – Pontnewydd (Bontnewydd-Llanelwy) Palaeolithic site has Neanderthal remains of some 225,000 years ago. The county is also home to several medieval castles, including Castell Dinas Brân, Denbigh, and Rhuddlan, as well as St Asaph Cathedral. Llangollen International Musical Eisteddfod takes place in the town each July.
The main area was formed on 1 April 1996 under the Local Government (Wales) Act 1994, from various parts of the county of Clwyd. It includes the district of Rhuddlan (formed in 1974 entirely from Flintshire), the communities of Trefnant and Cefn Meiriadog from the district of Colwyn (entirely Denbighshire) and most of the Glyndŵr district. The last includes the former Edeyrnion Rural District, part of the administrative county of Merionethshire before 1974, covering the parishes of Betws Gwerfil Goch, Corwen, Gwyddelwern, Llangar, Llandrillo yn Edeirnion and Llansanffraid.
Other principal areas including part of historical Denbighshire are Conwy, which picked up the remainder of 1974–1996 Colwyn, the Denbighshire parts of 1974–1996 Aberconwy, and Wrexham, which corresponds to the pre-1974 borough of Wrexham along with most of Wrexham Rural District and several parishes of Glyndŵr. Post-1996 Powys includes the historically Denbighshire parishes of Llanrhaeadr-ym-Mochnant, Llansilin and Llangedwyn, which formed part of Glyndŵr district.
Researchers have found signs that Denbighshire was inhabited at least 225,000 years ago. Bontnewydd Palaeolithic site is one of the most significant in Britain. Hominid remains of probable Neanderthals have been found, along with stone tools from the later Middle Pleistocene.
In 2021 February, archaeologists from Aeon Archaeology announced a discovery of over 300 Stone Age tools and artifacts in Rhuddlan. They revealed scrapers, microliths, flakes of chert (a hard, fine-grained, sedimentary rock composed of microcrystalline or cryptocrystalline quartz), flints and other rudimentary tools. An expert, Richard Cooke, believes the lithic remains belonged to ancient peoples, who while passing through the area, made camp by the river more than 9,000 years ago.
The eastern edge of Denbighshire follows the ridge of the Clwydian Range, with a steep escarpment to the west and a high point at Moel Famau (1,820 ft (555 m)), which with the upper Dee Valley forms an Area of Outstanding Natural Beauty, the Clwydian Range and Dee Valley – one of just five in the Wales. The Denbigh Moors (Mynydd Hiraethog) are in the west of the county and the Berwyn Range adjacent to the southern edge. The River Clwyd has a broad fertile Vale running from south–north in the centre of the county. There is a narrow coastal plain in the north which much residential and holiday-trade development. The highest point in the historic county was Cadair Berwyn at 832 m or 2,730 ft), but the boundary changes since 1974 make Cadair Berwyn North Top the highest point. Denbighshire borders the present-day principal areas of Gwynedd, Conwy County Borough, Flintshire, Wrexham County Borough, and Powys.
Rhyl and Prestatyn form a single built-up area in the north of the county, with a population of 46,267. They are immediately adjacent to the Kinmel Bay and Abergele built-up area in neighbouring Conwy, and at the eastern end of series of coastal resorts which that also includes Colwyn Bay and Llandudno further west.
According to the 2021 United Kingdom census, Denbighshire's population was approximately 95,800. According to previous censuses, the population of Denbighshire was 93,734 in 2011 and 93,065 in 2001. The largest towns on the coast are Rhyl (2001 population c. 25,000) and Prestatyn (2001 population c. 18,000). According to the 2011 Census returns, 24.6 per cent stated they could speak Welsh.
Since the 20th-century demise of the coal and steel industries in the Wrexham area, there is no heavy industry in the county. Although most towns have small industrial parks or estates for light industry, the economy is based on agriculture and tourism. Much of the working population is employed in the service sector. The uplands support sheep and beef cattle rearing, while in the Vale of Clwyd dairy farming and wheat and barley crops predominate. Many towns have livestock markets and farming supports farm machinery merchants, vets, feed merchants, contractors and other ancillaries. With their incomes on the decline, farmers have found opportunities in tourism, rural crafts, specialist food shops, farmers' markets and value-added food products.
The upland areas with their sheep farms and small, stone-walled fields are attractive to visitors. Redundant farm buildings are often converted into self-catering accommodation, while many farmhouses supply bed and breakfast. The travel trade began with the arrival of the coast railway in the mid-19th century, opening up the area to Merseyside. This led to a boom in seaside guest houses. More recently, caravan sites and holiday villages have thrived and ownership of holiday homes increased. Initiatives to boost the economy of North Wales continue, including redevelopment of the Rhyl seafront and funfair.
The North Wales Coast Line running from Crewe to Holyhead is served by Transport for Wales and Avanti West Coast services. Trains leaving Crewe to pass through Chester, cross the River Dee into Wales, and continue through Flint, Shotton, Holywell Junction (closed in 1966), Prestatyn, Rhyl, and stations to Bangor and Holyhead, which has a ferry service to Ireland.
There are no motorways in Denbighshire. The A55 dual carriageway runs from Chester through St Asaph to the North Wales coast at Abergele, then parallel to the railway through Conwy and Bangor to Holyhead. The A548 run from Chester to Abergele through Deeside and along the coast, before leaving the coast and terminating at Llanrwst. The main road from London, the A5, passes north-westwards through Llangollen, Corwen and Betws-y-Coed to join the A55 and terminate at Bangor. The A543 crosses the Denbigh Moors from south-east to north-west, and the A525 links Ruthin with St Asaph.
There are local bus services between the main towns. Several services by Arriva Buses Wales run along the main coast road between Chester and Holyhead, linking the coastal resorts. Another route links Rhyl to Denbigh.
Denbighshire is represented in the House of Commons by three MPs. The Welsh Labour Party lost to the Welsh Conservatives in the 2019 general election for the first time.
The following MPs were elected from Denbighshire in 2019:
Simon Baynes (Welsh Conservatives) in Clwyd South, first elected in 2019.
David Jones (Welsh Conservatives) in Clwyd West, first elected in 2005.
James Davies (Welsh Conservatives) in Vale of Clwyd, first elected in 2019.
Denbighshire is also represented in the Senedd by three members elected in 2021:
Ken Skates (Welsh Labour) in Clwyd South, first elected in 2011
Darren Millar (Welsh Conservatives) in Clwyd West, first elected in 2007
Gareth Davies (Welsh Conservatives) in Vale of Clwyd, first elected in 2021.
In 2019, research by UnHerd in association with the pollster FocalData showed that most people across the county support the British monarchy.
BAGHDAD – Spc. Carlos Castillo (left, on top), a cannon crewmember and level three combatives instructor with 1st Battalion, 41st Field Artillery Regiment, 1st Advise and Assist Brigade, 3rd Infantry Division, United States Division – Center, and a Dalton, Ga., native, demonstrates how to execute a grappling technique properly to 1st Iraqi National Police Division officers Oct. 4 during early morning combatives training at Joint Security Station Loyalty. The units have been working together throughout the deployment and combatives is one of many skills Soldiers with 1st Bn., 41st FA Regt. are teaching the 1st Iraqi NP Div. (U.S. Army photo by Pfc. Emily Knitter, 1st AAB, 3rd Inf. Div., USD-C)
Tower Green, Tower of London, UK © Linda Dawn Hammond / IndyFoto.com Nov.14, 2014
Site of the scaffolds used to execute those considered too important to be subjected to public scrutiny as they were killed. Supposedly a small building was constructed for this purpose. Their remains were buried beneath the floor of the small chapel behind, with no markings at the time, though later an attempt was made to determine who belonged to which bones. It does not appear to have been entirely successful. Modern forensics would have established identity, but even prior to this technological advance, it is hard to understand why Anne Boleyn's death by sword could not have been differentiated from other female victims whose heads were removed by axe. onthetudortrail.com/Blog/anne-boleyn/anne-boleyns-remains...
From Wikipedia, en.wikipedia.org/wiki/Tower_Green
The spot where the scaffolds were erected.
Side of the Church of St Peter ad Vincula viewed across Tower Green within the Tower of London in the early 1990s.
Tower Green is a space within the Tower of London where two English Queens consort and five other British nobles were executed by beheading. The Tower Green is located on a space south of the Chapel Royal of St. Peter ad Vincula.
Stevenson University's Fashion Merchandising program teamed up with Boscov's in Westminster to prepare, coordinate, and execute the department store's "Spring Trends Fashion Show," on Saturday, February 22, 2014 at the TownMall of Westminster.
FORT IRWIN, Calif. - U.S. Army Soldiers from 1st Stryker Brigade Combat Team, 4th Infantry Division, execute drills with an M777 howitzer during Decisive Action Rotation 15-10 at the National Training Center here, Sept. 16th, 2015. Decisive action rotations create a realistic training environment that tests the capabilities of brigade combat teams preparing them to face similarly equipped opposing forces. (U.S. Army photo by Spc. Tammy Nooner, Operations Group, National Training Center)
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.
Albuquerque police execute a homeless man and then let their dog tear into him after shooting his motionless body with beanbags.
CAN'T CHEAT KARMA
Nine people have been arrested following a series of coordinated warrants executed across Salford this morning (31 July), as part of a forcewide operation targeting the importation and distribution of cannabis into Greater Manchester.
The arrests are the result of months of planning and intelligence gathering, led by GMP’s Salford Challenger team and supported by other specialist units across the force.
The operation focused on disrupting an organised crime group (OCG) operating in the Irlam area, which is believed to be responsible for importing significant quantities of cannabis into the UK via ‘fast parcel’ services.
Fast parcels refer to packages sent into the UK from abroad. They typically contain illegal drugs or weapons and can travel through express delivery companies.
A total of ten warrants were executed, with nine individuals – men and x women – taken into custody. The work follows an investigation into the gang’s local criminality, from importation, to organisation, and distribution of illicit goods.
The operation follows the seizure of over 185kg of cannabis intercepted at UK borders by GMP officers, with a further 27kg successfully delivered prior to interception.
Today’s warrants have uncovered £14,000 in cash, a cannabis farm, and a further 7kg of the class B drug among the addresses.
Among those arrested were six men aged between 35 – 59 years old, and three women aged between 34 – 38 years old. All were arrested under suspicion of conspiracy to import and supply class B drugs.
Detective Inspector Rebecca McGuigan, who was the SIO on the operation, said: “Today’s warrants are the result of a complex and intelligence-led investigation involving 75 officers from across GMP, including our Salford Challenger team and specialist units. We are confident that this has significantly disrupted the operations of criminality in the area.
“Drugs like these wreak havoc on communities and individuals. The mental health impact, the added strain on the NHS, and the exploitation of vulnerable people are all consequences of the importation, supply, and use of drugs.
“I’m incredibly proud of the team and the work that’s gone into this operation. We’re committed to stemming the flow of drugs in Greater Manchester, reducing harm, and bringing those responsible to justice.”
We continue to urge the public to share intelligence, which remains vital in disrupting criminal networks. We are also committed to safeguarding any vulnerable people who are victims of crime.
Anyone with information is encouraged to contact police directly, or Crimestoppers anonymously, via 0800 555 111.
Originally executed in 1918 by Swedish sculptor Carl Milles, who was brought to the Cranbrook Art Academy by Finnish architect Eliel Saarinen. He worked as director of sculpture from 1931 until 1952. Saarinen designed the Cranbrook buildings while Milles decorated the grounds with his sculpture work.
Local Accession Number: FA_CC.000508
Connick Job Number: 5705
Title: Prince Grotto, Lowell, Massachusetts, never executed.
Creator/Contributor: Charles J. Connick Associates (creator)
Genre: Design drawings; Gouaches
Date created: 1978- (approximate)
Physical description: 1 gouache : color ; 21 x 10 cm.
General notes: Title from item, from additional material accompanying item, or from information provided by the Boston Public Library.; Handwritten on item back: ca. 1978, never executed, job #5705.
Date notes: Date from item.
Biographical and historical notes: Window designed for Prince Macaroni Grotto, Lowell, Masaschusetts.
Subjects: Stained glass; Windows
Collection: Charles J. Connick Gouaches - Massachusetts
Location: Boston Public Library, Arts Department
Shelf locator: Massachusetts Box #11
Rights: Rights status not evaluated.
The early 1800s witnessed the early development of chemical photography. Hawaii saw the camera for the first time in 1819. Jacques Etienne Victor Arago, the de Freycinet expedition ship’s artist, said that he “showed Rieourious a Camera obscura,” a filmless device to aid in sketching scenes.
Hawaii's first mention of photography service -- In 1845, Theophilus Metcalf, Hawaii’s first commercial photographer, advertised in The Polynesian for five months. He took “likenesses by the Daguerrotype.”
Hawaii saw its first camera ad in 1848: S. H. Williams & Company sold its “daguerreotype apparatus” with “chemicals complete.”
- Alice Kim
Ad: "Mikado Photograph Gallery
"Nuuanu Street, opp. Queen Emma Hall.
"1 doz. Cabinets, $3. ------------------Work Neatly Executed."
Evening bulletin, December 3, 1898, Page 7
chroniclingamerica.loc.gov/lccn/sn82016413/1898-12-03/ed-...
Hawai'i Digital Newspaper Project
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 Wonders of the Invisible World: Observations as Well Historical as Theological, upon the Nature, the Number, and the Operations of the Devils [1693] by Cotton Mather
"Accompany‘d with, I. Some Accounts of the Grievous Molestations, by DÆ-
MONS and WITCHCR AFTS, which have lately
annoy’d the Countrey; and the Trials of some eminent
Malefactors Executed upon occasion thereof; with several
Remarkable Curiosities therein occurring.
II. Some Counsils, Directing a due Improvement of the ter- rible things, lately done, by the Unusual & Amazing Range of EVIL SPIRITS, in Our Neighbourhood: & the methods to prevent the Wrongs which those Evil Angels may intend against all sorts of people among us; especially in Accusations of the Innocent.
III. Some Conjectures upon the great EVENTS, likely to befall, the WOR LD in General, and NEW-ENGLAND
in Particular; as also upon the Advances of the TIME, when we shall see BETTER DAYES.
IV. A short Narrative of a late Outrage committed by a
knot of WITCHES in Swedeland, very much Resembling,
and so far Explaining, That under which our parts
of America have laboured!
V. THE DEVIL DISCOVERED: In a Brief Discourse upon the TEMPTATIONS, which are the more Ordinary Devices
of the Wicked One.
by Cotton Mather
Boston Printed, and sold by Benjamin Harris. 1693."
"PUblished by the Special Command of His EX- CELLENCY, the Governour
of the Province of
the Massachusetts-Bay in
New-England.
The Authors Defence.
‘TIs as I Remember, the Learned Scribonius, who Reports, that One of his Acquaintance, devoutly
making his Prayers on the behalf of a Person molested by
Evil Spirits, received from those Evil Spirits an horrible blow
over the Face: And I may my self Expect not few or small
Buffetings from Evil Spirits, for the Endeavours wherewith I
am now going to Encounter them. I am far from Insensible,
That at this Extraordinary Time of the Devils Coming down in
Great Wrath upon us, there are too many Tongues and Hearts
thereby Set on Fire of Hell; that the various Opinions about
the Witchcrafts which of Later Time have Troubled us, are
maintained by some with so much Cloudy Fury, as if they
could never be sufficiently Stated, unless written in the Liquor
wherewith Witches use to write their Covenants; and
that he who becomes an Author at such a Time, had need
be, Fenced with Iron, and the Staff of a Spear. The unaccountable
Frowardness, Asperity, Untreatableness, and Inconsistency
of many persons, every Day gives a Visible Exposition
of that passage, An Evil Spirit from the Lord came upon Saul;
and Illustration of that Story, There met him two Possessed with
Devils, exceeding Fierce, so that no man might pass by that way. To
send abroad a Book, among such Readers, were a very unadvised
Thing if a man had not such Reasons to give as I can
bring, for such a Undertaking. Briefly, I hope it cannot be
said, They are all so: No, I hope the Body of this People, are
yet in such a Temper, as to be capable of Applying their
Thoughts, to make a Right Use, of the Stupendous and prodigious
Things that are happening among us: and because I
was concern’d, when I saw that no Abler Hand Emitted any
Essayes to Engage the Minds of this People in such Holy, Pious,
Fruitful Improvements, as God would have to be made
of His Amazing Dispensations now upon us, THEREFORE
it is that One of the Least among the Children of
New-England, has here done, what is done. None, but, The
Father who sees in Secret, knows the Heart-breaking Exercises,
wherewith I have Composed what is now going to be
Exposed; Lest I should in any One Thing, miss of Doing my
Designed Service for His Glory, and for His People; But
I
am now somewhat comfortably Assured of His favourable
Acceptance; and, I will not Fear; what can a Satan do unto me !
Having Performed, Something of what God Required, in labouring
to suit His Words unto his Works, at this Day among
us, and therewithal handled a Theme that has been sometimes
counted not unworthy the Pen, even of a King, it will easily
be perceived, that some, subordinate Ends have been considered
in these Endeavours.
I have indeed set my self to Countermine the whole
PLOT of the Devil, against New-England, in every Branch of
it, as far as one of my Darkness, can comprehend such a Work of
Darkness. I may add, that I have herein also aimed at the Information
and Satisfaction of Good men in another Country,
a Thousand Leagues off, where I have, it may be, More,
or however, more Considerable, Friends, than in My Own; And
I do what I can to have that Countrey, now, as well as alwayes,
in the best Terms with, My Own. But while I am doing
these things, I have been driven a little to do something likewise,
for My self; I mean, by taking off the false Reports and
hard Censures about my Opinion in these matters, the Par-
ters Portion, which my pursuit of Peace, has procured me among the Keen. My hitherto Unvaried Thoughts are here Published; and I believe, they will be owned by most, of the Ministers of God in these Colonies: nor can amends be well made me, for the wrong done me, by other sorts of Representations. In fine, For the Dogmatical part of my Discourse, I want no Defence; for the Historical part of it, I have a very Great One. The Lievtenant Governour of New-England, having pe- rused it, has done me the Honour of giving me a Shield under the Umbrage whereof I now dare to walk Abroad."
...
"A
Discourse:
O N
The Wonders of the Invisible World.
Uttered ( in part ) on Aug. 4. 1692.
E Cclesiastical History has Reported it unto us, That a Renowned Martyr at the Stake, seeing the Book of
THE R EVELATION thrown by his no less Profane than
Bloody Persecutors, to be Burn’d in the same Fire with himself,
he cry’d out, O Beata Apocalypsis; quam bene mecum agitur,
qui tecum Comburar ! BLESSED R EVELATION! Said he;
How blessed am I in this Fire, while I have Thee to bear me Company.
As for our selves this Day, ‘tis a Fire of sore Affliction and
Confusion, wherein we are Embroiled; but it is no Inconsiderable
Advantage unto us, that we have the Company of this
Glorious and Sacred Book, THE REVELATION, to assist
us in our Exercises. From that Book, there is one Text, which
I would single out, at this Time, to lay before you; ‘tis that in
Rev. XII. 12.
Wo to the Inhabitants of the Earth, and of the Sea; for the Devil is come down unto you, having great Wrath; because he knoweth, that he hath but a short time."
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:-
Could've executed it better, light trails include wobbles and a bus, but at least the concept's new for me.
Louise Ciccone, the second woman executed in Paris county, Indiana. Almost certainly mentally ill, she was accused of killing her husband Salmonella Ciccone with a sharpened breadstick on the night of February 14, 1857. Despite pleas of mercy from twelve of her seventeen children (two died in infancy and the other three wanted moma to swing), she was hung outside the county courthouse at 3:00 PM on June 13, 1858. A briefly popular 1887 song, Don't Pass Momma the Bread!, brought Ciccone a bit of post-mortem celebrity. Her great-grandson Hubert Ciccone was twice elected state senator from Paris county.
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
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.
auschwitz.org/en/history/punishments-and-executions/shoot...
Initially, a firing squad executed prisoners near the camp at places where gravel had been extracted—the so-called “gravel pits.” From the fall of 1941 to the fall of 1943, the majority of executions were carried out in the walled-off yard of block 11 in the main camp, in front of a specially built “Death Wall.”
The condemned prisoners had to strip naked in block 11, on the ground floor. Any women among them disrobed in separate rooms. The women were then led into the courtyard and shot first. The condemned prisoners were led to the wall in pairs. The SS executioner walked up from behind and shot them in the back of the head with a small-caliber rifle. Designated prisoners threw the corpses onto trucks or carts that delivered them to the crematoria. Auschwitz SS men also carried out numerous executions in which they shot Soviet POWs in the gravel pits, the courtyard of block 11, and inside the crematoria. Many of the people killed in this way were never entered in the camp records. On October 7, 1944, the SS shot 200 Jews in reprisal for the mutiny by Sonderkommando prisoners.
We have only partial data as to the number of victims of shooting. It is estimated that almost 1 thousand prisoners previously jailed in the cells in block 11 were killed in this way, as well as 4,500 so-called “police prisoners” sentenced to death by the Summary Court. Significant but unknown numbers of prisoners were shot after being taken straight from the camp for execution, as were Soviet POWs and Poles brought in from outside to be killed.
Executions were also carried out in the gas chambers in Auschwitz. In the latter half of 1941 and at the beginning of the following year, about 2 thousand Soviet POWs were killed in this way, as were 320 prisoners from the penal company in the aftermath of their planned mass escape in June 1942. Poles sentenced to death by the Summary Court were killed in the gas chambers in 1944, after the liquidation of the Death Wall. Several hundred people probably died in this way.
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:-
Ronny executes a Batterie over Kurt Thomas.
Final score: 114-106 (no tacos!)
I love the new Lights Out vibe at Staples but couldn't quite make the right camera adjustments to compensate, which was disappointing.
(A friendly reminder, folks: It's considered good form to wait until the ball is not in play if you need to leave or return to your seats!)
Nurse Edith Cavell was executed by German forces during WWI as she had aided British POWs to escape.
There was great diplomatic efforts to have her death sentence commuted or delayed, but to no avail.
She was shot by eight soldiers, and in time, her body was repatriated, the wagon her body was carried from Dover is the same used for the body of the Unknown Soldier.
The luggage wagon usually rests at Bodiham on the Kent and East Sussex Railway, but for November it has been brought back to the former Dover Marine station.
I got tickets, so after lunch we would visit, not just to see the wagon and pay our respects, but the station is now a cruise terminal, and is rarely open to the public, and it had been a decade or so since my last visit.
I slept late, late enough so that Jools driving off to yoga woke me up at ten past six. Outside rain was bouncing down, and there was the bins to do.
I got up and put them out, dodging the raindrops, and back inside to make a coffee.
With rain expected all day, other than doing to the station after lunch, not much else planned, whilst Jools had her craft and gossip morning at the village library.
Jools came back from yoga as I was finishing my coffee, so I made breakfast giving her an hour before she had to leave again.
I listened to podcasts and watched videos for the morning, not much else to do, really.
Sadly, we had what we thought was the plumber coming to fix the overflow, but instead Craig came to touch up some paint in the toilet.
So Jools stayed home and I drove down to the Western Docks, over the flyover, past the former Lord Warden Hotel, then round to where lines from London entered Dover Marine, forming a large flat crossing in a tangle of lines.
You can still see how the lines used to curve west to join the main line to Folkestone, but is now concreted over, as are the tracks between the platforms, so to create a large flat parking area for cruisers.
I showed my ticket, and walked up through the central arch along what was the path of platforms 2 and three, past the former station buildings and under the footbridge.
At the far end there was the wagon, so I walked up, showed my ticket again, had my name ticked off, and went to look inside.
Inside there is a coffin, a replica of the one that brought the body of the unknown soldier back from France, and on the walls there were information boards on the only three bodies to be brought back from the war.
I exited it, took shots all around it, then walked to the war memorial, which is a splendid thing, and should be more accessible.
And I was done.
I thanked the volunteers and walked out, getting shots of the walkway linking the former hotel with the station and the Admiralty pier before taking shelter from the rain in the car and driving home.
I had been gone all of 40 minutes.
Once back I began to cook dinner/lunch: chicken pie, roast potatoes, steamed leeks, sprouts and spring greens, gravy and shop bought Yorkshire puddings.
It was all done by four, by which time Craig had done two coats of paint and had left.
I poured a beer and a cider, then dished up, the potatoes lovely and crunchy, without being burnt.
I won the music quiz at six, which was nice, then after washing up I settled down to watch Northern Ireland play in Slovakia.
A poor game, ended 1-0 to the home side, but Northern Ireland go to the play-offs anyway.
----------------------------------------------------------------------------------------
Edith Louisa Cavell (/ˈkævəl/ KAV-əl; 4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for treating wounded soldiers from both sides without discrimination during the First World War and for helping some 200 Allied soldiers escape from German-occupied Belgium. Cavell was arrested, court-martialled under German military law and sentenced to death by firing squad. Despite international pressure for mercy, the German government refused to commute her sentence, and she was shot. The execution received worldwide condemnation and extensive press coverage.
The night before her execution, she said, "Patriotism is not enough. I must have no hatred or bitterness towards anyone". These words were inscribed on the Edith Cavell Memorial[1] opposite the entrance to the National Portrait Gallery near Trafalgar Square. Her strong Anglican beliefs propelled her to help all those who needed it, including both German and Allied soldiers. She was quoted as saying, "I can't stop while there are lives to be saved."[2] The Church of England commemorates her in its Calendar of Saints on 12 October.
Cavell, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium.
In November 1914, after the German occupation of Brussels, Cavell began sheltering British soldiers and funnelling them out of occupied Belgium to the neutral Netherlands. Wounded British and French soldiers as well as Belgian and French civilians of military age were hidden from the Germans and provided with false papers by Prince Réginald de Croÿ at his château of Bellignies near Mons. From there, they were conducted by various guides to the houses of Cavell, Louis Séverin, and others in Brussels, where their hosts would furnish them with money to reach the Dutch frontier, and provide them with guides obtained through Philippe Baucq.[18] This placed Cavell in violation of German military law.[4][19] German authorities became increasingly suspicious of the nurse's actions, which were further fuelled by her outspokenness.
The night before her execution, Cavell told the Reverend H. Stirling Gahan, the Anglican chaplain of Christ Church Brussels, who had been allowed to see her and to give her Holy Communion, "I am thankful to have had these ten weeks of quiet to get ready. Now I have had them and have been kindly treated here. I expected my sentence and I believe it was just. Standing as I do in view of God and Eternity, I realise that patriotism is not enough, I must have no hatred or bitterness towards anyone."[30][31] These words are inscribed on her statues in London and in Melbourne, Australia.[32][33] Cavell's final words to the German Lutheran prison chaplain, Paul Le Seur, were recorded as, "Ask Father Gahan to tell my loved ones later on that my soul, as I believe, is safe, and that I am glad to die for my country.
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"
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."
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...
Sophie and Nathan Gumenick chapel
137 NE 19th Street
Miami, Florida
1969
Architect: Kenneth Treister
Glass: Benoît D. Gilsoul
I first saw this in 1992 and it was painted gray. I refered to it as the rotting pachyderm do to it's obvios resemblance to a dead elephant having been picked apart by lions and vultures.
There are two names embeded in brass witin the hammered glass windows. They read. "Gilsoul Created" and "Dupre Executed".
Shot with Pentax K-1000 with a Tamron SP f/3.5-4.2 28-80mm on Kodak 800 vc-2. Scanned with Nikon Coolscan V ED. edited with Corel Photopaint.
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.
Detail of one of the three apse windows that constitute the first major stained glass commission of John Piper & Patrick Reyntiens, executed 1954-6 and portraying nine aspects of Christ's divinity.
The also constitute the first major flowering of a new, contemporary approach to stained glass design, radically different from anything produced in this country before, and therefore a milestone in the evolution of modern stained glass in Britain.
This was my second visit to Oundle School Chapel, an impressive building designed by Sir Arthur Blomfield in 1922-3 and standing completely detached in splendid isolation in the grounds of Oundle School. The chapel was built in a late Perpendicular Gothic style with a nave flanked by low aisles and a tall clerestorey that floods the interior with light..The east end is formed by a polygonal apse surrounded with a low ambulatory (forming a hidden corridor within).
The interior is vast and spacious as a grand school chapel should be, but fine though the architecture is it is the explosions of coloured light that punctuate the aisles and the deep, brooding tones of the glass in the apse that draw the eye here. Oundle's chapel is a treasure house of modern stained glass, from the three altar windows by John Piper & Patrick Reyntiens (their first ever commission dating from 1954-6, often considered the first windows in a modern style in Britain) to the extensive scheme of aisle windows recently commissioned from Mark Angus and installed in 2002-5.
Piper & Reyntiens' apse windows are quite unique, and more figurative than so much of their more familiar later work. The images represent nine aspects of Christ, each personifying a different aspect of his divinity. The colouring is rich and dense and the stylisation bold, many of the faces being more reminiscent of some powerful tribal mask than anything seen in a British church before. It took great vision and courage to commission these windows (Piper & Reyntiens had little experience at this stage and no previous collaboration to their names) and is perhaps symptomatic of postwar optimism and a more forward thinking approach than is often seen in today's commissions in glass. John Betjeman was so impressed on first seeing these works that he stated that the chapel would become a place of pilgrimage to art lovers, and so it should be to anyone with an interest in modern glass.
The aisle windows by Mark Angus are no less richly coloured, and some (at the west end) are equally figurative but most use a more abstract symbolic language. Much of the drawing has a rather charming, almost childlike naivety and the designs are in many cases kept refreshingly simple, allowing the various bold colours to dominate these smaller apertures.
Oundle School Chapel is a must for anyone with an interest in contemporary stained glass and the School is to be commended for its vision in making such a statement in its choice of artists. The chapel may be open to visitors much of the time but it might be advisable to check if making a special journey to see it.
“Rolling Thunder is in effect,” repeated Col. Rene Horton, the group commander, as she called each one of her company and battalion commanders from the Emergency Operations Center (EOC) in Roseville. “A major earthquake has hit the Bay Area. This could be a tragic event but we have been training for this and we have a job to do. Roll out and do great things. Do you understand your orders commander?” “Yes ma’am,” came the reply. “Then execute,” said Horton.
California Army National Guard leaders from the 115th Regional Support Group begin the mission one minute after midnight, Jan. 6, 2012, during the RSGs Emergency Deployment Readiness Exercise, which had 60 vehicles and 217 troops moving their wheeled assets around the state in response to a earthquake scenario. This is the first training that solely focuses on moving the vehicle specialists and their hauling machines into position to respond to a state emergency. (Army National Guard photo/Master Sgt. Paul Wade)
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:-
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)
The statue was executed in bronze by Cephisodotus the Elder, likely the father or uncle of the famous sculptor Praxiteles. It was acclaimed by the Athenians, who depicted it on vases and coins.
Although the statue is now lost, it was copied in marble by the Romans; one of the best surviving copies (right) is in the Munich Glyptothek. It depicts the goddess carrying a child with her left arm – Plutus, the god of plenty and son of Demeter, the goddess of agriculture. Peace's missing right hand once held a sceptre. She is shown gazing maternally at Plutus, who is looking back at her trustingly. The statue is an allegory for Plenty (i.e., Plutus) prospering under the protection of Peace; it constituted a public appeal to good sense.
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.