View allAll Photos Tagged Executed
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.
via WordPress crimesceneinvestigatoredus.wordpress.com/2016/12/10/zihua...
Original article available at ZETA
Translated by El Wachito
At least four agents of the Procuraduria General de la Republica (PGR) were burned inside a pick up truck that was abandoned by an armed commando in the urban zone of Zihuatanejo.
The armed commando left a message in which they accused the elements of the Ministerial Police of having links to drug trafficking organizations.
According to of…
To learn more visit: Borderland Beat
The post Zihuatanejo: 4 PGR Agents executed and burned appeared first on Become A Crime Scene Investigator.
www.crimesceneinvestigatoredus.org/zihuatanejo-4-pgr-agen...
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...
executed by tiffany studios in 1923-24, the design of this multi-panel window is attributed to agnes northrop; "autumn landscape" is now in the american wing of the metropolitan museum of art in new york city.
Kirby Muxloe Castle, known also as Kirby Castle is an unfinished 15th century fortified manor house in Kirby Muxloe, Leicestershire, England, It was begun in 1480 by William Hastings, 1st Baron Hastings, during the period of the Wars of the Roses. However work stopped at the castle when he was executed in 1483 for treason by Richard III and it was never completed.
Capone was shot and killed on Sept 27,2011 while being let out of his own house by a lake elsinore detective when he illegally kicked oipen our front door. Approx. 25-30 ft away in our yard not one growl, bark and never even acknowledging the officers that stood on our front porch.Capone was facing perpindicular to the officers, nHe was shot and killed unjustly. My husband had a bullet hit his foot leaving a bullet hole in his boot grazing his foot. There was NO REASON for this ! If either of our dogs wanted to charge and attack like they "claimed" they had every opportunity when the front door was kicked open with the two officers standing on our front porch. MY husband and I both were arrested on BOGUS charges to justify what they did.
Watch this video on Vimeo. Video created by tiffany fryer.
U.S. Marines assigned to the 273rd Marine Wing Support Squadron, Air Operations Company, Expeditionary Airfield Platoon at Marine Corps Air Station Beaufort, S.C., execute a forward air refueling point operation with the South Carolina National Guard at McEntire Joint National Guard Base, S.C. on May 14. Elements of the South Carolina Air and Army National Guard and the U.S. Marines conduct joint operations which are crucial to the ongoing success of operational readiness and deployments around the world. (U.S. Air National Guard photo by Airman 1st Class Ashleigh S. Pavelek/Released)
Prince Vladimir PALEY - né Paris 1897 - + exécuté Alapaevsk 1918
Prince Vladimir Pavlovich Paley (Владимир Павлович Палей) (January 9, 1897 – July 18, 1918) was a Russian poet.
Prince Vladimir was born Vladimir von Pistohlkors in Saint Petersburg, Russia. His parents were Grand Duke Paul Alexandrovich of Russia, the youngest child of Emperor Alexander II, and his father's mistress, Olga Valerianovna Paley, who was then still married to her first husband. In 1902, Grand Duke Paul—who had previously been married to Princess Alexandra of Greece and Denmark and had two children by her—wed Olga morganatically. In 1904, she was created Countess von Hohenfelsen by Prince Regent Luitpold of Bavaria, making Vladimir Count Vladimir von Hohenfelsen. In 1915 Olga was created Princess Paley by Nicholas II, making Vladimir a prince.
He spent his childhood in Paris and later graduated from the Corps de Pages, an aristocratic military school in Saint Petersburg. He fought with the Russian army in the First World War and was decorated as a war hero with the Order of Saint Anne.
Since he was a teenager, Vladimir Paley showed remarkable talent as a poet. He published two volumes of poetry (1916 and 1918) and wrote several plays and essays, as well as a magnificent French translation of Grand Duke Konstantin Konstantinovitch's play The King of the Jews.
In the summer of 1917 he and his family were placed for a short while under house arrest by the Provisional Government, because of a poem he wrote about Aleksandr Kerensky. In March 1918 he was arrested by the Bolsheviks and sent to exile in Vyatka and later Ekaterinburg and Alapaevsk. He was brutally murdered in a mineshaft near Alapaevsk, together with his cousins Prince Ioann Konstantinovich of Russia, Konstantin Konstantinovich of Russia, Prince Igor Konstantinovich of Russia, and other relatives. Their bodies were recovered and buried months later in an Orthodox cemetery in Beijing, China, which was destroyed during the Cultural Revolution.
A biography of Prince Vladimir Paley by Andrey Baranovsky was published in 1997 in Russian, and another (A Poet Among The Romanovs) by Jorge F. Saenz in 2004, in both Russian and English.
Its horrible code and some of it was remnants of a copy and paste so not all of its needed.... However.. its blinking.
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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ℹ️8️⃣📞📲📳☎️♾💁♂️
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shit to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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ℹ️8️⃣📞📲📳☎️♾💁♂️
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shit to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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James Connolly, the last of the 1916 rebels to be executed, died at this end of the Stoneworker's Yard because he was so weakened by blood poisoning he could not walk to the other end of the yard to the spot where his compatriots had been executed. He was so weak in fact, he was seated and then TIED to the seat.
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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ℹ️8️⃣📞📲📳☎️♾💁♂️
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shit to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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I've seen this idea executed by others before and thought I might give it a try for this MSH category. The results are ok. Looks best large.
Basically I:
-Put on a dress (I HATE to dress up)
-Played with the tonal curves.
-Cut myself out of a second picture and pasted into the bed picture
-Resized myself
-Threw a texture over top the whole thing
-Put the sepia photofilter over the texture
-Placed and outer glow around myself.
All for MSH: The lightness of being.
View large & on black.
Skull Design Executed with a Cezanne-inspired Brushstroke Scheme by way of a Diverse Assortment of Purple Hues
watercolor, ink, pencil
9in. x 6in.
2013
Nurse Edith Cavell was executed by German forces during WWI as she had aided British POWs to escape.
There was great diplomatic efforts to have her death sentence commuted or delayed, but to no avail.
She was shot by eight soldiers, and in time, her body was repatriated, the wagon her body was carried from Dover is the same used for the body of the Unknown Soldier.
The luggage wagon usually rests at Bodiham on the Kent and East Sussex Railway, but for November it has been brought back to the former Dover Marine station.
I got tickets, so after lunch we would visit, not just to see the wagon and pay our respects, but the station is now a cruise terminal, and is rarely open to the public, and it had been a decade or so since my last visit.
I slept late, late enough so that Jools driving off to yoga woke me up at ten past six. Outside rain was bouncing down, and there was the bins to do.
I got up and put them out, dodging the raindrops, and back inside to make a coffee.
With rain expected all day, other than doing to the station after lunch, not much else planned, whilst Jools had her craft and gossip morning at the village library.
Jools came back from yoga as I was finishing my coffee, so I made breakfast giving her an hour before she had to leave again.
I listened to podcasts and watched videos for the morning, not much else to do, really.
Sadly, we had what we thought was the plumber coming to fix the overflow, but instead Craig came to touch up some paint in the toilet.
So Jools stayed home and I drove down to the Western Docks, over the flyover, past the former Lord Warden Hotel, then round to where lines from London entered Dover Marine, forming a large flat crossing in a tangle of lines.
You can still see how the lines used to curve west to join the main line to Folkestone, but is now concreted over, as are the tracks between the platforms, so to create a large flat parking area for cruisers.
I showed my ticket, and walked up through the central arch along what was the path of platforms 2 and three, past the former station buildings and under the footbridge.
At the far end there was the wagon, so I walked up, showed my ticket again, had my name ticked off, and went to look inside.
Inside there is a coffin, a replica of the one that brought the body of the unknown soldier back from France, and on the walls there were information boards on the only three bodies to be brought back from the war.
I exited it, took shots all around it, then walked to the war memorial, which is a splendid thing, and should be more accessible.
And I was done.
I thanked the volunteers and walked out, getting shots of the walkway linking the former hotel with the station and the Admiralty pier before taking shelter from the rain in the car and driving home.
I had been gone all of 40 minutes.
Once back I began to cook dinner/lunch: chicken pie, roast potatoes, steamed leeks, sprouts and spring greens, gravy and shop bought Yorkshire puddings.
It was all done by four, by which time Craig had done two coats of paint and had left.
I poured a beer and a cider, then dished up, the potatoes lovely and crunchy, without being burnt.
I won the music quiz at six, which was nice, then after washing up I settled down to watch Northern Ireland play in Slovakia.
A poor game, ended 1-0 to the home side, but Northern Ireland go to the play-offs anyway.
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Edith Louisa Cavell (/ˈkævəl/ KAV-əl; 4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for treating wounded soldiers from both sides without discrimination during the First World War and for helping some 200 Allied soldiers escape from German-occupied Belgium. Cavell was arrested, court-martialled under German military law and sentenced to death by firing squad. Despite international pressure for mercy, the German government refused to commute her sentence, and she was shot. The execution received worldwide condemnation and extensive press coverage.
The night before her execution, she said, "Patriotism is not enough. I must have no hatred or bitterness towards anyone". These words were inscribed on the Edith Cavell Memorial[1] opposite the entrance to the National Portrait Gallery near Trafalgar Square. Her strong Anglican beliefs propelled her to help all those who needed it, including both German and Allied soldiers. She was quoted as saying, "I can't stop while there are lives to be saved."[2] The Church of England commemorates her in its Calendar of Saints on 12 October.
Cavell, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium.
In November 1914, after the German occupation of Brussels, Cavell began sheltering British soldiers and funnelling them out of occupied Belgium to the neutral Netherlands. Wounded British and French soldiers as well as Belgian and French civilians of military age were hidden from the Germans and provided with false papers by Prince Réginald de Croÿ at his château of Bellignies near Mons. From there, they were conducted by various guides to the houses of Cavell, Louis Séverin, and others in Brussels, where their hosts would furnish them with money to reach the Dutch frontier, and provide them with guides obtained through Philippe Baucq.[18] This placed Cavell in violation of German military law.[4][19] German authorities became increasingly suspicious of the nurse's actions, which were further fuelled by her outspokenness.
The night before her execution, Cavell told the Reverend H. Stirling Gahan, the Anglican chaplain of Christ Church Brussels, who had been allowed to see her and to give her Holy Communion, "I am thankful to have had these ten weeks of quiet to get ready. Now I have had them and have been kindly treated here. I expected my sentence and I believe it was just. Standing as I do in view of God and Eternity, I realise that patriotism is not enough, I must have no hatred or bitterness towards anyone."[30][31] These words are inscribed on her statues in London and in Melbourne, Australia.[32][33] Cavell's final words to the German Lutheran prison chaplain, Paul Le Seur, were recorded as, "Ask Father Gahan to tell my loved ones later on that my soul, as I believe, is safe, and that I am glad to die for my country.
en.wikipedia.org/wiki/Edith_Cavell
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Situated on Admiralty Pier for connection to ships, this was constructed on an expanded pier by SECR, finished in 1914, began to be used on 2 February 1915 but was not available for public use until 18 January 1919; in the meantime it had been renamed Dover Marine on 5 December 1918. It was a large terminus with four platforms covered by a full roof. Platforms were extended to take 12-car trains in February 1959.[6] It was renamed again to Dover Western Docks on 14 May 1979, and was closed by British Rail on 26 September 1994[1] with the demise of boat trains and the opening of the Channel Tunnel. It has since been turned into a cruise-liner terminal.[7]
Work on the new train ferry pier at the station suffered damage worth £300,000 during the Great storm of 1987.[8]
Regie voor Maritiem Transport used to run ferries until 1994 from here to Oostende railway station which connected into Belgian railway line 50A run by NMBS. There was a fast ferry service using the Jetfoil as well as conventional ferries.
The Southern Railway opened a large locomotive depot at the site in 1928. This was closed in 1961 and demolished.
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)
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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ℹ️8️⃣📞📲📳☎️♾💁♂️
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shit to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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ℹ️8️⃣📞📲📳☎️♾💁♂️
ℹ️▶️⏯⏭↕️🔘https://youtu.be/bS5JnGBmghM
First of all; the #FBI does not have the clearance, to be in possession, of my nuclear codesz.
Load, Load, Load; you're too slow, #YouTube. And do you know what that means? It means that you are #Guilty of #HighTreason. &, do you know what that means? It means that you are #Executed by #FiringSquad.
Nope; your apology means nothing to me. It means, that you are still #Executed by #FiringSquad.
That's one☝️. Two✌️; I👆, told you💭💬📣🔊📢; I did not suggest to you – I told you, #YouTube; that I need 14-15,000 characters🔤🔡🔠🔢; &, you refused to comply. Therefore; you are shit to death – #Executed for #HighTreason, twice✌️👋😽💀😵.👀
Three3️⃣☘️; #JohnPaulMacIssac: I simply, or merely, tell💭💬📣🔊📢 the #FBI, to go & fuck themselves; & to eat shit💩🚽, & die💀😵⚰️⚱️. 👀
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0♾😻
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#EvanRachelWood-._•✏️📝✍️🔏🐧
--WRW
_.• ✍️🔏
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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.
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.
Officers forced entry into an abattoir on Higher Bury Street in Stockport on Thursday 30th January 2025, while a second warrant was executed simultaneously at a residential property on Merlin Road in Blackburn, Lancashire.
A man and a woman – both in their thirties – were arrested on suspicion of human trafficking and an offence of slavery, servitude and forced or compulsory labour, contrary to S1 and s2 of The Modern Slavery Act.
A man also in his thirties was arrested at the abattoir after he tried to evaded police, fleeing from the site and hiding on a nearby roof. We discovered he was an Albanian national living and working illegally in the UK. He is now being processed by Immigration Enforcement.
This operation took place after we received disclosure alleging a man who previously worked at the abattoir was a victim of modern day slavery. The claims are that he was forced to live in the abattoir and work around the clock to pay off extortionate debts that were said to be associated with a sponsorship visa and travel expenses.
Detectives acted quickly, following lines of enquiry, gathering potential evidence, and coordinating a joint response with national agencies: the Gangmasters and Labour Abuse Authority (GLAA) and Home Office Border Security and Asylum. This included the Salvation Army and Crime and Justice charity.
The team involved in the late-night raid interviewed 30 employees onsite with a keen eye for spotting signs of exploitation. We also seized mobile phones, computer equipment and documentation as our investigations continue.
Detective Sergeant Lee Attenborough from GMP’s Stockport Challenger Team said: “We hope this robust and coordinated action taken in response a concerning report instils confidence in our approach to tackling modern slavery head on.
“Officers spoke with every employee working within the abattoir last night, they were receptive to our presence, and we engaged in good discussions around their working conditions, payment, and terms of employment.
“It’s so important we do this diligence and thankfully there were no further claims of exploitation. We have communicated the support that is available and how to access it should anyone choose to come forward.
“This activity forms one of several active modern slavery investigations within the force. In 2024 we supported more victims of modern slavery and held more offenders accountable for the misery they caused as 80 charges were laid – 40% more than the previous year – and 19 convicted were secured, up from seven, with several cases continuing to progress through the criminal justice system.
“Modern slavery is happening across Greater Manchester, and we encourage anyone who is a victim of this crime, or suspect someone they know could be, to report it. You will always be taken seriously, and protection and support is available.
“You can report modern slavery to us using our online crime reporting service."
Debi Lloyd, Head of UK Counter Trafficking Operations at Justice and Care, said: “Our Victim Navigators were deployed alongside police and other agencies on Thursday and it was fantastic to see a collaborative and multidisciplinary approach to tackling alleged modern slavery.
‘Navigators are embedded in police forces across the UK and help survivors to rebuild their lives and secure justice against exploiters. We are supporting the survivor in this case and commend their bravery in coming forward.
‘If you are experiencing exploitation, please know you are not alone, and support is available.
‘Every person out there can play a part in fighting modern slavery by learning to spot the signs and reporting any concerns to police or the Modern Slavery Helpline on 0800 0121 700.”
Gangmasters & Labour Abuse Authority (GLAA) Investigations Manager Michael Heyes said: “The GLAA works to stop the exploitation of workers in the UK and ensure that they are treated fairly. We have powers to investigate modern slavery offences and work with law enforcement and other partners to achieve this end.
“The GLAA has been involved in at least seven modern slavery and human trafficking investigations in Greater Manchester between April 2024 and January 2025.
“The GLAA is an intelligence-led organisation. Anyone with information or concerns about workers being exploited for their labour should email contact@gla.gov.uk or use the online reporting form which can be found at www.gla.gov.uk.”
Director of Anti Trafficking and Modern Slavery for The Salvation Army, Major Kathy Betteridge said: "The Salvation Army was on site today with Greater Manchester Police to make available specialist support for any potential victims of modern slavery identified. It is vital that victims’ needs are assessed, and they receive immediate access to protective care and specialised support, available through a Government contract operated by The Salvation Army.
“We work with survivors as they begin the long journey to rebuild their lives and their trust in humanity. Support provided by The Salvation Army can include intensive 24/7 support for people with high-level needs as well as safe accommodation, counselling and help with returning home, finances and finding employment.
"If you suspect that you, or someone you have come into contact with may be a victim of modern slavery and in need of help, please call The Salvation Army’s 24-hour confidential referral helpline on 0800 808 3733."
Minister for Border Security and Asylum, Dame Angela Eagle MP, said: “Modern slavery is an abhorrent crime that dehumanises people for profit. We are committed to tackling it in all its forms and giving survivors the support and certainty they need to rebuild their lives.
“We know that many people are sold lies about their ability to live and work in the UK and are often subjected to squalid conditions and illegal working hours for little to no pay.
“That’s why, as well as playing a critical safeguarding role, our immigration officers are also ramping up enforcement activity across the country to clamp down on illegal working and the exploitation of illegal workers to put a stop to the abuse of our immigration system and ensure those involved face the full consequences.”
Deputy Mayor of Greater Manchester, Kate Green, said: "Modern slavery is an appalling crime that has no place in our communities. Exploiting vulnerable people for profit is utterly unacceptable, and I fully support the efforts of our teams in bringing those responsible to justice.
"I’d like to welcome the way different agencies are working in partnership to tackle this disgusting crime. Through Programme Challenger, our partnership with GMP and a broad range of partners from across the public, private and voluntary sectors to tackle serious and organised crime, we are making a real difference, ensuring victims are protected and offenders face the consequences of their actions.
"We all have a part to play in spotting the signs of modern slavery. If something doesn't feel right, take action and report it. And I ask businesses specifically, please consider your supply chains and whether there may be a risk that modern slavery is happening where you access goods and services.
"Greater Manchester will not tolerate such exploitation, and we remain committed to rooting it out wherever it occurs."
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
I executed the principles of movement and balance through the use of texture. There is balance with the texture on both sides but smoothness down the center and the movement with the line moving down the image.
Something not seen is the nails in the center board that weren't all centered down the line.
I think something I did well was moving from light to the dark at the bottom of the picture.
If I could go back and change anything I'd try to find something more interesting than my ceiling to be the basis for my picture. I would also try to find something with a larger emphasis on texture.
Officers from South Manchester Challenger executed multiple warrants at addresses across Manchester on Thursday 23 January 2025.
Officers were supported by partner agencies – Tactical Aid Unit, Regional Crime Unit, other Challenger Teams as part of the investigation into class A and B drugs supply across Greater Manchester.
A large quantity of drugs was discovered at several properties, as well as a loaded and viable firearm. All these items have been seized.
The investigation - which was also aided by intelligence passed to us by the community, alongside a meticulous investigation and proactive policing - has resulted in the arrests of five people.
Four men and one woman between the ages of 22 and 37 were all arrested on suspicion of being concerned in the supply of class A and B drugs. They have all been remanded into custody.
Officers have also seized a large quantity of drugs and other items related to the supply of illegal drugs.
Detective Constable Helen Rutter, of our South Manchester Challenger Team, said: “Today’s warrants and arrests are part of an on-going investigation in relation to distribution and supply of class A and B drugs in and around the South Manchester area.
“Protecting our communities from such criminality means taking a stand against the supply of illegal drugs and firearms. I urge the public to continue keeping this open line of communication with police about criminal activities or expressing their concerns through contacting us directly via LiveChat, speaking to your local neighbourhood officer or anonymously through Crimestoppers.
“Every bit of information, no matter how small, contributes to our investigations across Greater Manchester and could support us in tackling vehicle crime at its root.
"If you have any concerns about crime come and speak to officers or alternatively report through 101 or via LiveChat on gmp.police.uk. Always call 999 in an emergency."
This morning (Friday 23 August) police in Rochdale executed two warrants in the Freehold neighbourhood as they continue their relentless pursuit of those intent on causing harm to the local community.
Three men aged 14 – 54, have been arrested on suspicion of conspiracy to supply class A and B drugs. They remain in police custody for questioning.
Following a thorough search of the addresses, significant quantities of class A and B drugs were found, with an estimated street sale value of £51,000. We also seized several weapons, including two samurai swords, and several items consistent with a significant drugs operation.
This is the latest activity which comes under the district’s Operation Affect, the force’s latest Clear, Hold, Build initiative. Police are systematically dismantling and disrupting organised crime in the area, by pursuing gang members and criminals to clear the area, holding the location to prevent criminals exploiting the vacuum created by the original disruption, and working with partners and Rochdale Boroughwide Housing (RBH) to build a prosperous and resilient community.
So far, the team have made 36 arrests, secured three full closure orders on nuisance properties linked to criminality, and seized large quantities of cash, drugs, and weapons.
Building on a successful community event held earlier this year, Rochdale Boroughwide Housing (RBH) are working with local residents and partners to design out crime in Freehold and rebuild a stronger community.
The overall investment is anticipated to be around £5M and will keep residents safer and improve the overall look of the local area, including providing higher quality common areas and improving the condition of the buildings.
Inspector Meena Yasin, who is leading Operation Affect, said: “Since launching this operation we’ve seen a real concerted effort to disrupt illegal drug supply in the Freehold area of Rochdale.
"From speaking with residents, we know that drug dealing, and anti-social behaviour has been a particular area of concern for them.
“The seizures this morning means we have been able to take tens of thousands of pounds worth of illicit and harmful products off our streets and dismantle a significant drugs operation which has been blighting our residents.
“Our officers remain in the area to provide a visible reassurance for residents. If you have any concerns or want to share information about suspicious behaviour in the area, please speak to them, they are there to help you.
“You know your community best, and your intelligence often forms a large and crucial park of our criminal investigations, helping us to remove criminals from the streets.”
Hayley Stockham, RBH Director of Neighbourhoods, said: "We have zero tolerance for anti-social behaviour and criminal activity in our neighbourhoods. We're very grateful to the local community for supporting our joint efforts to stamp out this behaviour.
“We will continue to work closely with our partners in the Police and at the Council, and we know that this is making a significant difference to the lives of local people. We encourage members of the community to continue to report crime and anti-social behaviour to RBH and to the Police.”
If you have any concerns about drugs in your area, let us know via our Live Chat function on our website, or by calling 101, so that we can take action.
Always dial 999 in an emergency.
Alternatively, you can report it to Crimestoppers, anonymously, on 0800 555 111.
Capone was shot and killed on Sept 27,2011 while being let out of his own house by a lake elsinore detective when he illegally kicked oipen our front door. Approx. 25-30 ft away in our yard not one growl, bark and never even acknowledging the officers that stood on our front porch.Capone was facing perpindicular to the officers, nHe was shot and killed unjustly. My husband had a bullet hit his foot leaving a bullet hole in his boot grazing his foot. There was NO REASON for this ! If either of our dogs wanted to charge and attack like they "claimed" they had every opportunity when the front door was kicked open with the two officers standing on our front porch. MY husband and I both were arrested on BOGUS charges to justify what they did.
Watch this video on Vimeo. Video created by tiffany fryer.
while executing a visual image, a strong meaning behind the image is of utmost importance. whether it is a message of political change, personal growth, the human tragedy.. there must be an emotion behind the work that will move the viewer. I feel that I have achieved that very thing with this piece, I'm considering donating to the Seattle Art Museum
Probably the worst executed photo I've posted (or will post, I hope) but I just couldn't pass up the image.
Grocery shopping in Aldi's.
The kid is in the special seat in the cart.
His mom is unloading the cart onto the conveyer. The kids is reaching down into the cart-- stretching, straining, grunting at the exertion of it...
Finally, he reaches the item in the bottom of the cart and quickly throws it on the conveyer.
And then he stretches for something else in the cart...
The only time he was standing still was when he was buried/stretching in the cart. I took three photos of him throwing his stuff on the conveyer. This is the best of the three--- in the other two, he was a complete and utter blur...
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:-
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:-
A Performing Group execute a ritual dance display before the start of the completion fights.
Action packed nights as MBK Center Fight Night Festival at the shopping mall . Professional athletes enter the ring and fight to become the champion. Fighters of MMA, Kickboxing and Muay Thai will all compete and are sure to give an exhilarating and brutal show.
Probably the worst-executed dish I've ever had at Caprice. The cassoulet at the bottom was nicely done with softened beans and squid, but the tiger prawns were overcooked.
It's amazing how expectation and emotion are worked into what, where, and how we eat. When I bit into the prawn, a visceral sense of disappointment washed over me. Immediately, I thought, "This isn't Caprice." Caprice, in all my visits, has never made such a basic mistake in technical execution. So to have not only one but four over-cooked tiger prawns sit in front of me hit me hard, especially when a dining companion ordered the same dish and was perfectly happy with her shrimp.
It also demonstrates that kitchens operating at such high levels cannot make missteps such as this, which might be shrugged off at lesser restaurants. Despite all the delicious dishes of this lunch, it will be hard to forget these over-cooked prawns at Caprice.