View allAll Photos Tagged Executed
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...
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.
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
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.
The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
We submit the sample photos in this series in three-nine-square.
Photos is possible to look here:
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.
CEA Project Logistics recently executed a project for the Nissan Motor Company which involved the transportation of factory parts with a total weight of 5,200 tons.
The factory parts arrived by ship at Laem Chabang Port and were unloaded by the vessel onto the dock below. Two CEA 50 ton cranes were then used to lift the parts on to three different types of trailer Flatbed, Lowbed and Multi Axle, this was due to the cargo being oversized and varying in weight. All cargo was secured with ratchet straps and transported to the CEA yard in Laem Chabang for two weeks storage until delivery date.
Upon delivery date the same configuration of trailers made the 82km journey to the Nissan facility in Samut Prakan. As these parts were oversized cargo CEA employed the services of the local Highway Police for a full escort to ensure safety to all road users.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
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:-
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...
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.
The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
The sketches very often executed in such a way further are drawn in the graphic editor as it would be on a canvas a brush. Plug-ins and filters are not used.
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:-
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.
There's a lot of bad was an idea can be executed. Even for good ideas. So it's not about getting good ideas.
If you use this image please give credit back by linking to bentremblay.com/en/if-only-i-had-a-good-idea
Thanks!
press to execute
a kiss, or a hanshake, for the person that can tell me what Casio model this one is!
Flight Lieutenant William Ellis Newton, VC
Date of birth: 08 June 1919
Place of birth: St Kilda, VIC
Date of death: 29 March 1943
Place of death: Salamaua Ithmus, New Guinea
William Newton was born on 8 June 1919 at St Kilda, Melbourne. He attended the Melbourne Church of England Grammar School, becoming a keen sportsman who played cricket for the Victorian second eleven. He was working in a Melbourne silk warehouse when the Second World War began and he enlisted in the RAAF on 5 February 1940.
Having been commissioned and qualified as a pilot, Newton became a flight instructor before being posted to 22 Squadron, based in Port Moresby, in May 1942. He flew 52 operations in Boston dive bombers, consistently displaying a determination to destroy his target. Fellow airmen dubbed him "the firebug", claiming that wherever Newton flew he left a fire burning behind him.
On 16 March 1943, Newton was leading an attack against Japanese positions at Salamaua in New Guinea. As he dived through heavy anti-aircraft fire his aircraft was hit, although he was able to bomb before pulling away and coaxing his badly damaged aircraft safely back to Port Moresby. Two days later he returned to Salamaua again hitting his target and again being hit by heavy ground-fire. This time Newton's aircraft caught fire but he managed to ditch the burning aircraft in the sea, about 900 metres offshore. Two of the Boston's three crew members were seen to make it ashore by other squadron members.
Newton was one of them. He was captured by the Japanese along with Flight Sergeant J. Lyon. Both men were sent to Lae where Lyon was later executed. Newton was returned to Salamaua and on 29 March 1943 he too was executed. His death became linked with that of another Australian, Len Siffleet, a special operations sergeant who had also been captured in New Guinea. A photograph of Siffleet's beheading was found by American soldiers in April 1944 and was believed for many years to have shown Newton's execution. While no photograph of his death is known to exist, the story of Newton's execution circulated in Australian newspapers after it was translated from the captured diary of a Japanese soldier who had witnessed the incident.
His fearless approach to operational flying and the manner in which he attempted to save his crew by piloting their burning aircraft as far from Japanese positions as possible earned Newton the Victoria Cross, the only such award made to a member of the RAAF in the Pacific theatre. After the war, Newton's body was located and buried in the Lae war cemetery.
Servicemembers execute sling load rigging exercises on a UH-60 Blackhawk during Day 5 of Air Assault School on Camp Smith, N.Y., July 25, 2010. (U. S. Army photo by Pfc. Jose L. Torres-Cooban/Not Released)
Sold.
Magnificently executed Chinese porcelain blue and white miniature bottle.
If you click on "all sizes", the bottle will start rotating, showing a mountainous landscape with trees, bushes and grass, an architectural structure with a person fishing and a river with ships sailing.
The painting in combination with the color and the marking (double circle) suggest the early Kangxi period (1662-1722), notably the - transitional - "master of the rocks" style. However, it was made in the 19th century in the Kangxi revival period under the empress Dowager Cixi.
Height 6,5 cm.
Amera cruise ship executing a port swing departing the CLT, Liverpool to head outbound for sea
Building cost: USD 160 million
IMO: 8700280
Vessel Type - Detailed: Passenger Ship
MMSI: 311000840
Call Sign: C6EA7
Flag: Bahamas
Gross Tonnage: 39051
Summer DWT: 6150 t
Length Overall x Breadth Extreme: 204 x 32.32 m
Year Built: 24 Nov 1988
9 Passenger Decks
Registered owner: Phoenix Reisen
Ship manager/Commercial manager & ISM: Phoenix Reisen GmbH
Shipyard: Wärtsilä Marine Perno Shipyard, Turku, Finland
Yard number: 1296
Keel laying date: 20 Jan 1988
Main Engine: x4 Wärtsilä-Sulzer 8ZAL40S 4 stroke 8 cyls @ 530RPM
Engine Power kW: 21120kW
Twin screw - controllable pitch + stern thruster
x2 bow thrusters @ 1000kW each
x1 stern thruster @ 1000 kW
Speed: 22 knots max and 18 knots service speed
Capacity: 835 passengers and 440 crew
Last Refurbishment: 2019
Verrière exécutée en 1534 pour Nicolas Quelain et sa femme. On observe sur ce détail de la verrière: à gauche St-Jacques; au milieu, St-Jean-Baptiste portant l'agneau mystique; à droite, la femme du donateur Nicolas Quelain.
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...
Tuscany Florence Basilica di Santa Croce Nativity executed by the Masters of glass Murano Veneto Italy
Lightwave International uses 39W of full color lasers to honor NBA star LeBron James as MVP on a massive scale. With just 24 hours notice, Lightwave executed this spectacle for Nike on a 100'x 212' black banner draping a building adjacent to the arena.
When you think of a movie projection screen, you think of a white screen. Imagine, instead, that you go to see your favorite movie at the theatre and the screen is black. You would probably request a refund and leave early. Certainly, you would not be able to see any images on the screen.
Lightwave visual designers faced a similar challenge here: the projection screen is black. Producing results as seen in these pictures would require massive laser power. In fact, it would take an assembly of the world's largest full color lasers: four of them were on-site for this event.
The laser projectors were combined on the screen to increase brightness threefold, and elimate all flicker that is common with inproperly used lasers or slow scanning speeds. This technique produced a net scanning speed of nearly 100,000 points per second on-screen.
This allowed viewers to photograph the presentation with point and shoot cameras, cellphone cameras, etc -- and expose images identical to what they were seeing in real life. Thousands of visitors captured photographs, and many examples are visible on social netorking and media sharing sites such as: Flickr, YouTube, Twitter, Facebook, etc.
Network and news video cameras also found the images incredibly simple to capture as a result of this technique. Footage from the overhead blimp and from cameras on the surface received impressive airtime for our client on the major networks.
To complete this piece of art, Lightwave visual designers also added a lighting package to properly illuminate LeBron's image. The clever programming of lasers cut out behind LeBron and the dimension created by the lighting created a depth and realism to the project that could only be experienced by firsthand viewers.
Approximately two weeks ago, Sergeant Rob Long and John Davidson of the Hanceville Police Department conducted what initially seemed to be a routine traffic stop within the city limits of Hanceville. During the traffic stop interaction, Long established the likelihood that an illegal drug component was part of the incident.
Hanceville Police Department Narcotics Investigators were summoned to the scene.
Based upon evidence acquired during this traffic stop and subsequent questioning, Narcotics Investigator and Assistant Chief of Police Adam Hadder pursued a lengthy, ongoing investigation that took him across the county line into Blount County.
A single suspect with prior felony convictions involving narcotics possession and trafficking was the target of the investigation. Hadder pursued the likelihood that the individual may have once again been involve in the unlawful distribution of a controlled substance.
That multi-day investigation allowed Hadder to develop a crime profile that indicated that significant amounts of narcotics and other illegal drugs - directly tied to this traffic stop - were potentially being trafficked into Hanceville, Cullman County, and surrounding communities from a residential location in the Blountsville area.
On Monday evening (December 19th) around 9:00 pm, Hadder along with the aforementioned Long, Lieutenant Brannon Hammick and Chief of Police Bob Long arranged for the purchase of one ounce of ICE methamphetamine in Blount County from a white male believed linked to the suspected trafficking mentioned above.
During the pre-arranged drug buy, the suspect became agitated just prior to the transaction. He departed the transaction location in a motor vehicle. Hadder surreptitiously followed the suspect in an unmarked vehicle.
The situation soon escalated with Hadder and other members of HPD pursuing the individual into downtown Blountsville with as full show of blue lights. Ultimately, the suspect vehicle was boxed in after a short chase by HPD cruisers and the unmarked car.
The suspect was taken into custody at the location with one ounce of ICE methamphetamine in his possession.
In the meantime, from research information provided by the Hanceville Police Department, Sgt. Kirkland of the Blount County Sheriff's Office conducted a multiple hours surveillance of the suspect's presumed home.
Upon the detainment of the suspect, a search warrant was generated by the Blount County Sheriff's Office to enter the subject's dwelling. Hanceville and Blount County Investigators discovered a residential interior heavy with the smell of marijuana. The residence was sparsely decorated and believed to be a 'stash house'.
The following items were discovered inside the home:
• Approximately 110 pounds of high-grade marijuana buds
(street valued at $3,500 per pound)
• Approximately 2 pounds of ICE Methamphetamine
• Approximately 3 ounces of Cocaine
• Numerous pills of suspected of being controlled substances (Ecstacy)
• Multiple firearms
• A Ballistic Vest
• Various drug paraphernalia and apparatus
• Cash currency amounts believed to be between $90,000 and $110,000
As a result of the above, Hanceville Police arrested:
BRADLEY NEAL STEELE (33) of Blountsville
The above items were seized and Steel was taken to the Blount County Jail.
Steele will be charged with:
• Trafficking of Controlled Substance (3 counts)
~ Marijuana
~ Methamphetamine
~ Cocaine
Additional charges made be pending in relation to this arrest such as Attempting to Commit A Controlled Substance Crime, Attempting to Elude and Unlawful Possession of a Controlled Substance.
The total estimated street value of all street drugs seized is well over $350,000.
Bond will be set at $3,000,000.00.
Hanceville Chief of Police Bog Long had these thoughts following a press conference explain the arrest and charges:
"The important thing about this entire incident is that a very large amount of illegal drugs won't be available on the streets. I would like to acknowledge that the officers of Hanceville Police Department did a fantastic job. I also want to express my sincere gratitude to Blount County Sheriff Lloyd Arrington and the Blount County Sheriff's Office for all their hard work and dedication on this case."
Further information on this case is expected in the near future from the Blount County Sheriff's Office and Blount County District Attorney Pamela Casey (who is currently reviewing the circumstances of the case).
For the full story with images and press conference, please see:
cullmantoday.com/2016/12/21/hanceville-police-execute-lar...
Elle fut exécutée en 1788 d'après les dessins de Charles de Wailly, et donnée par le duc d'Aiguillon du Plessis-Richelieu, arrière-petit-neveu du cardinal de Richelieu, ancien ministre de Louis XV et premier marguillier de la paroisse. Elle est faite de chêne et de marbre, et considérée comme un chef-d’œuvre d'ébénisterie et d'équilibre (elle repose, de fait, sur les seuls escaliers latéraux qui la soutiennent). En 1791, Monsieur de Pansemont (curé de la paroisse) déclara son refus de prêter le serment de la Constitution Civile du Clergé du haut de cette chaire, devant les gardes nationaux et ses fidèles. La chaire fut, par chance, conservée par les révolutionnaires qui la jugeaient « utile ». Ses dorures et ses peintures ont fait récemment l'objet d'une restauration très soignée (2010).
La chaire comporte de nombreux symboles sur les différentes parties qui la composent :
Deux statues en bois de tilleul doré (œuvre de Guesdon), celle de gauche tenant un calice (symbole de la foi) et celle de droite une ancre (symbole d'espérance).
Quatre bas reliefs en bronze dorés d'Edme Dumont, avec des animaux qui représentent les évangélistes : un lion (pour Saint Marc, dont l'Évangile commence par le ministère de Saint Jean le Baptiste dont la parole retentit comme le rugissement d'un lion dans le désert), un taureau (pour Saint Luc, dont l'Évangile commence par l'annonce d'un fils à Zacharie, sacrificateur au temple), un ange (ou un homme, pour Saint Matthieu dont l'Évangile commence par la généalogie humaine du Christ) et un aigle (qui fixe le Soleil comme Saint Jean fixe Dieu dans la personne humaine et divine du Christ).
Un abat-voix d'Edme Dumont surmonté d'un groupe (une femme et des enfants) en bois doré représentant la charité, dont le dessous du ciel est orné d'une colombe dorée aux ailes étendues, symbole de l'Esprit Saint entouré de rayons lumineux.
Actuellement la chaire ne sert plus pour les prêches, les prédicateurs commentant les textes de la liturgie depuis le pupitre des lecteurs, près de l'autel.
(Wikipedia)
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:-
Insurgents prepare to execute a man in-front of towns people during Decisive Action Rotation 16-07 at the National Training Center on Fort Irwin, Calif., June 14, 2016. (U.S. Army photo by Spc. Courtney White, Operations Group, National Training Center)
Exécutées en 1850, elles représentent des chevaux et leurs dresseurs. Elles sont une allégorie du triomphe de l'homme sur la nature...
Row upon row of photos of some of those executed at S-21.
In 1975, this former school was converted into a prison and interrogation centre. The Khmer Rouge renamed the complex "Security Prison 21" (S-21) and construction began to adapt the prison to the inmates: the buildings were enclosed in electrified barbed wire, the classrooms converted into tiny prison and torture chambers, and all windows were covered with iron bars and barbed wire to prevent escapes.
From 1975 to 1979, an estimated 17,000 people were imprisoned at Tuol Sleng. The prisoners were selected from all around the country, and usually were former Khmer Rouge members and soldiers, accused of betraying the party or revolution.Prisoners' families were often brought en masse to be interrogated and later murdered at the Choeung Ek extermination centre.
Competition winning design of 1869 by Lockwood and Mawson, completed in 1873. Extended in 1905-09 to the designs of Norman Shaw and executed by the city architect F E P Edwards. Lockwood and Mawson's building, intended by the city to compete with the Leeds and Halifax town halls, occupies a splayed triangular site. The elevations of Gaisby rock sandstone, rising through 3-storeys and attic with steep pitched roofs, are treated in an early to mid C13 Gothic style, dominated by the 200 ft campanile tower of Tuscan derivation. The original competition designs, considerably influenced by Burges and Scott, show a bowed corner at the apex of the site but in execution this became a polygonal terminal feature. Massive ashlar block ground floor and sandstone "brick" with ashlar dressings to upper floors. The longest frontage is towards Tyrell Street. Plain 2 light windows to ground floor. Tall first floor with 2 light shafted windows under plate tracery with moulded arches, linking strings. The wall surface of the spandrels was intended to have carved diaperwork pierced by circular frames containing carved heads, similar to those on the Wool Exchange. In execution these details were dispensed with except over the main entrance. The top floor is treated as a continuous arcade articulated by statues of kings and queens in canopied niches. Corbelled eaves surmounted by miniature colonnade as parapet. Finialed gabled dormers and pinnacles rise above. The centrepiece of the long north-east front has an elaborate oriel window set above the portal. Here the quality of the carving is particularly apparent in the multi-shafted jambs of the doorway and the framework of the arch. Fine wrought iron gate of intricate scrollwork with ornate cresting. Broad flight of steps leafing up into hall... EH Listing