View allAll Photos Tagged Executed
In response to safeguarding concerns identified by our Rochdale organised crime team, weβve executed eight warrants this morning and locked up six suspected gang members.
We identified a teenage boy who was being exploited and coerced into drug dealing by a suspected local gang.
With immediate safeguarding measures put in place, we were able to pursue those responsible
As the investigation developed, we identified further victims, including a vulnerable adult whose house was being cuckooed and used as a stash house for the gang.
This morning, weβve arrested six men aged 18 - 26 on suspicion of conspiracy to supply class A and B drugs and modern slavery offences.
Β£30,000 cash has been seized along with cannabis and drugs paraphernalia.
Todayβs activity is a key example of partnership work and effective information sharing. Itβs enabled us to identify crucial members of a suspected organised crime group, but most importantly, weβve been able to safeguard several children and vulnerable adults.
Sergeant Mark Lutkevitch from our Rochdale Challenger team said: βExploitation, coercion, and violence are the foundations of modern slavery and drugs trafficking, and gangs will often exploit the vulnerable to further their profits. Our arrests this morning are part of a longstanding investigation into several organised crime groups operating across Rochdale that we strongly believe are involved in the exploitation of young people.
βYoung people and vulnerable adults will be threatened as the criminals exert control, which is why tackling exploitation is a high priority for us. We have specialist officers working with young people in our communities to tackle the vicious cycle of gang recruitment, and teams of officers on the frontline pursuing offenders.
βOur communities are key in helping us be one step ahead of the criminals. By being our eyes and our ears and finding the courage to report what is taking place in your area only strengthens our relentless pursuit of organised crime and could make a real difference for a child.
βI want to encourage communities to trust their instinct. If something doesnβt feel right; report it. If you think somebody is being exploited, or you think a house might have been taken over by drug dealers, feed that information to us. If you want to remain anonymous, report it through Crimestoppers, and we will act.β
nformation can be shared by calling 101. If you would prefer to remain anonymous, call the independent charity Crimestoppers on 0800 555 111.
Always call 999 in an emergency.
Servicemembers execute sling load rigging exercises on a CH-47D Chinook 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)
15c Buckland Pall is made from portions of 3 velvet vestments with embroidery executed in gold and silver thread with added coloured silks and spangles. flic.kr/p/2azFG4f
The centre part is made from a blue velvet cope worked with conventional flowers.
Part of the lower border is made from a vestment of red velvet embroidered with a representation of the crucifixion, the figures of BVM and St John, originally standing on either side, have been re- applied beneath the cross.
The upper border is made from the same vestment, and has figures of a bishop with mitre and pastoral staff; St Paul (?) with a book; St Peter with keys and book & St Michael slaying the dragon with a sword. The figures are separated by conventional flowers and in the middle is a rebus formed by the letters W.H.Y. and a perspective view of a church with pinnacles of a monstrance between. The rebus is believed to refer to the name of Wiliam Whychurch, abbot of Hailes from 1464-1479 and the monstrance may be a reference to the relic of the Holy Blood of Hailes once venerated by pilgrims there.
All 3 vestments are of English work and appear to have been made in the second half of the 15c . It is believed to have come from Hailes Abbey after its 1532 Dissolution of the monasteries when such church vestments which were not destroyed were put to all sorts of common use. In its time it has served as an altar frontal and as a pall to cover coffins at funerals.- Church of St Michael , Buckland Gloucestershire
Arbour Hill Prison is a prison and military cemetery located in the Arbour Hill area near Heuston Station.
The military cemetery is the burial place of 14 of the executed leaders of the 1916 Easter Rising. Among those buried there are Patrick Pearse, James Connolly and Major John MacBride. The leaders were executed in Kilmainham Gaol and their bodies were transported to Arbour Hill for burial.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The grave site is surrounded by a limestone wall on which the names are inscribed in Irish and English. On the prison wall opposite the grave site is a plaque with the names of other people who were killed in 1916.
The prison was designed by Sir Joshua Jebb and Frederick Clarendon and opened on its present site in 1848, to house military prisoners.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
The church has an unusual entrance porch with stairs leading to twin galleries for visitors in the nave and transept.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans' Association house and memorial garden.
Ugolino and His Sons, modeled ca. 1860β61, executed in marble 1865β67
Jean-Baptiste Carpeaux (French, 1827β1875)
Saint-BΓ©at 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 LaocoΓΆn. 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.
Executed at SF MOMA on April 26, 2017, the dry ice sculpture by Judy Chicago spelled out the word TRUTH, then it was lit up with road flares to precipitate the sublimation of the dry ice. The work is a metaphor for the way truth is treated in the current political landscape. From "alternative facts" to "fake news," the weight and reliability of facts seem to be fleeting more and more. I like the way this picture communicates that nothing but a pink haze is left behind when truth is obliterated.
There's an interesting optical illusion in one of the frames that makes the overall piece pretty cool. Can you find the ghostly face composed out mist and light?
This sort of documentary photography usually carries more artistic value years after the fact. This collage is dedicated to Judy, Donald and the rest of the New Mexico crew. It was great to work with them on this once in a lifetime experience. It was a total honor to touch art making history with my lens.
--JMG
OLYMPUS DIGITAL CAMERA
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.
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, when all it's stained glass had 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).
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:-
The Postcard
A postally unused carte postale published by E. Cailteux of Lille.
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 battlefield, 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 liberated by the Allies on the 17th. October 1918, when General Sir William Birdwood and his troops were welcomed by joyous crowds.
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.
Lille was also the hunting ground of World War I German flying Ace Max Immelmann who was nicknamed 'The Eagle of Lille'.
Lille After the Great War
In July 1921, at the Pasteur Institute in Lille, Albert Calmette and Camille GuΓ©rin discovered the first anti-tuberculosis vaccine, known as BCG ('Bacille de Calmette et GuΓ©rin').
The OpΓ©ra de Lille, designed by Lille architect Louis M. Cordonnier, was dedicated in 1923.
From 1931 Lille felt the repercussions of the Great Depression, and by 1935 a third of the city's population lived in poverty.
In 1936, the city's mayor, Roger Salengro, became Minister of the Interior of the Popular Front, eventually killing himself after right-wing groups led a slanderous campaign against him.
Monument to the Executed of Lille
The Great War monument in the Square Daubenton in Lille shows four leaders of the cityβs 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.
Go to Page with image in the Internet Archive
Title: The horse in motion as shown by instantaneous photography, with a study on animal mechanics founded on anatomy and the revelations of the camera, in which is demonstrated the theory of quadrupedal locomotion. Executed and published under the auspices of Leland Stanford
Creator: Stillman, Jacob Davis Babcock, 1819-1888
Publisher: Boston J.R. Osgood
Sponsor: University of Toronto
Contributor: Gerstein - University of Toronto
Date: 1882
Language: eng
14
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
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:-
Date of unveiling: September 30, 2001 Material: Bronze Sculptor: Valeriy Medvedev Architects: Roman Kukharenko, Yuriy Melnychuk
The "Executed Children" memorial stands opposite the exit of the Dorohozhychi metro station. The bronze composition depicts a young girl and broken children's toys, symbolizing the tragedy of the children who perished in Babyn Yar during the Nazi occupation of Kyiv.
As of today, the memorial remains an integral part of the Babyn Yar National Historical and Memorial Reserve, which is dedicated to preserving the memory of Holocaust victims and other tragic events associated with this site.
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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 oneβοΈ. TwoβοΈ; Iπ, told youππ¬π£ππ’; I did not suggest to you β I told you, #YouTube; that I need 14-15,000 charactersπ€π‘π π’; &, you refused to comply. Therefore; you are shit to death β #Executed for #HighTreason, twiceβοΈππ½ππ΅.πβ
Three3οΈβ£βοΈ; #JohnPaulMacIssac: I simply, or merely, tellππ¬π£ππ’ the #FBI, to go & fuck themselves; & to eat shitπ©π½, & dieππ΅β°οΈβ±οΈ. πβ
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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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 ofβ¦
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...
U.S. Marines assigned to the 273rd Marine Wing Support Squadron, Air Operations Company, Fuels 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)
Agents with the Cullman Narcotics Enforcement Team (CNET) and deputies with the Cullman County Sheriffβs 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:
β’ Santos Lynn Thomas (25 - Hispanic) Cleveland, AL - $5000 Bond
β’ Sarah Marie Milligan (23 -White) Cullman, AL - $5000 Bond
β’ Omar Rivera Loyola (24 - Hispanic) Oneonta, AL - $5000 Bond
β’ Tonya Lynn Wagner (35 -White) Crane Hill, AL - $5000 Bond
β’ Brian Keith Bagwell (32 -White) Holly Pond, AL - $5000 Bond
β’ Ricky Charles Mewbourn (50 - White) Cullman, AL - $5000 Bond
(also had a warrant for Unlawful Possession of Drug Paraphernalia)
β’ Hugo Contreaus-Cenantes (33 - Hispanic) Altoona, AL - $5000 Bond
β’ 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:
β’ 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:
βI 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 donβt 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...
This bust and plaque in Whitehall, mark where the scaffold was erected. On which Charles I was beheaded on the 30th of January 1649.
The tablet is outside the Banqueting House.
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.
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)
The photo is executed in technique Β«LightGraphic Β» or Β«The painting of lightΒ», 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:
Arbour Hill is an inner city area of Dublin, on the Northside of the River Liffey, in the Dublin 7 postal district. Arbour Hill, the road of the same name, runs west from Blackhall Place in Stoneybatter, and separates Collins Barracks, now part of the National Museum of Ireland, to the south from Arbour Hill Prison to the north, whose graveyard includes the burial plot of the signatories of the Easter Proclamation that began the 1916 Rising.
The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the insurrection of 1916. Among those buried there are Patrick Pearse, James Connolly and Major John Mc Bride. The leaders were executed in Kilmainham and then their bodies were transported to Arbour Hill, where they were buried.
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The gravesite is surrounded by a limestone wall on which their names are inscribed in Irish and English. On the prison wall opposite the gravesite is a plaque with the names of other people who gave their lives in 1916.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans Association house and memorial garden.
Prince Vladimir PALEY - nΓ© Paris 1897 - + exΓ©cutΓ© Alapaevsk 1918
Prince Vladimir Pavlovich Paley (ΠΠ»Π°Π΄ΠΈΠΌΠΈΡ ΠΠ°Π²Π»ΠΎΠ²ΠΈΡ ΠΠ°Π»Π΅ΠΉ) (January 9, 1897 β 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 Paulβwho had previously been married to Princess Alexandra of Greece and Denmark and had two children by herβwed 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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βΉοΈβΆοΈβ―ββοΈπhttps://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 oneβοΈ. TwoβοΈ; Iπ, told youππ¬π£ππ’; I did not suggest to you β I told you, #YouTube; that I need 14-15,000 charactersπ€π‘π π’; &, you refused to comply. Therefore; you are shit to death β #Executed for #HighTreason, twiceβοΈππ½ππ΅.πβ
Three3οΈβ£βοΈ; #JohnPaulMacIssac: I simply, or merely, tellππ¬π£ππ’ the #FBI, to go & fuck themselves; & to eat shitπ©π½, & dieππ΅β°οΈβ±οΈ. πβ
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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--WRW
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#ELDER_SCROLL_OF_MNEM_0.0βΎπ»
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βΉοΈ8οΈβ£ππ²π³βοΈβΎπββοΈ
βΉοΈβΆοΈβ―ββοΈπhttps://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 oneβοΈ. TwoβοΈ; Iπ, told youππ¬π£ππ’; I did not suggest to you β I told you, #YouTube; that I need 14-15,000 charactersπ€π‘π π’; &, you refused to comply. Therefore; you are shit to death β #Executed for #HighTreason, twiceβοΈππ½ππ΅.πβ
Three3οΈβ£βοΈ; #JohnPaulMacIssac: I simply, or merely, tellππ¬π£ππ’ the #FBI, to go & fuck themselves; & to eat shitπ©π½, & dieππ΅β°οΈβ±οΈ. πβ
β’-----------β’----β’πβ’---β’-------------β’
It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0βΎπ»
β’ββββββββββββ’
#EvanRachelWood-._β’βοΈπβοΈππ§
--WRW
_.β’ βοΈπ
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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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βΉοΈ8οΈβ£ππ²π³βοΈβΎπββοΈ
βΉοΈβΆοΈβ―ββοΈπhttps://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 oneβοΈ. TwoβοΈ; Iπ, told youππ¬π£ππ’; I did not suggest to you β I told you, #YouTube; that I need 14-15,000 charactersπ€π‘π π’; &, you refused to comply. Therefore; you are shit to death β #Executed for #HighTreason, twiceβοΈππ½ππ΅.πβ
Three3οΈβ£βοΈ; #JohnPaulMacIssac: I simply, or merely, tellππ¬π£ππ’ the #FBI, to go & fuck themselves; & to eat shitπ©π½, & dieππ΅β°οΈβ±οΈ. πβ
β’-----------β’----β’πβ’---β’-------------β’
It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
β’ββββββββββββ’
#ELDER_SCROLL_OF_MNEM_0.0βΎπ»
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#EvanRachelWood-._β’βοΈπβοΈππ§
--WRW
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JBER is always ready! This week, Arctic Warriors assigned to JBER executed missions across the full spectrum of agile combat support during the first part of Exercise Polar Force 20-1. JBER is a weapon system, and the Arctic Warriors who put flesh on this weapon system proved they were able to deliver mission assurance and continuity of operations. A U.S. Airman assigned to Joint Base Elmendorf-Richardson, Alaska, attaches the side of a tent during a training and readiness exercise, Polar Force 20-1, at JBER, Oct. 3, 2019. Always Ready.
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
St Albans claims to be the earliest site of Christian pilgrimage in England, being named after our first martyr, who was executed at some point in the 3rd century AD (when the city was still known by its Roman name, Verulanium) having sheltered a persecuted Christian priest, St Amphibalus, and been impressed by his faith, offering himself for arrest in his place. Both men were buried here and Alban's tomb was venerated and marked in some form long before the present cathedral was built.
The cathedral is nonetheless one of the most ancient of our major churches, though its cathedral status dates only to 1877 when the new diocese of St Albans was formed. The church was originally founded as St Alban's Abbey, and built close to the presumed site of Alban's martyrdom. Founded in 793 by King Offa, the abbey was rebuilt several times with the earliest parts of the present cathedral dating back to the late 11th century. Much use was made of recycled material from the abandoned Roman city of Verulanium, and the handsome Romanesque tower appears to be entirely constructed of reused Roman bricks. The Abbey was built on an impressive scale, and must have once been a very wealthy institution owing to pilgrimages to the shrine of St Alban behind the high altar. However its fortunes had begun to decline even before the Reformation swept medieval monastic life away.
The abbey church miraculously survived the Dissolution in its entirety and was sold to the town for use as their parish church. The monastic buildings however were completely erased aside from the splendid Abbey Gatehouse near the west end, and only the weathered remains of arcading on the south side of the nave remains of the former cloisters. Upkeep thereafter seems to have been a serious challenge and the huge church spent much of the following centuries in poor repair, thus much work was done by a succession of architects in the Victorian period prior to the abbey church being raised to the status of cathedral. The most obvious interventions are those made by Edmund Beckett / Lord Grimthorpe, an amateur architect who paid for much of the work in the 1870s in return for a free hand in redesigning parts of the building. His are the strange turrets on ends of the transepts, along with their facade windows below and the west front, which is clearly a Victorian confection, though the medieval facade it replaced had been left in a rather bare, unfinished state.
The cathedral we see today is thus a rather surprising mixture of styles and materials, everything from Roman brick, flint and rubble to fine white limestone., which gives it a rather patchy appearance. Its great length however is remarkable, being the second longest medieval church in the country (only Winchester is longer, but St Albans has a longer nave). The oldest parts are the towers and transepts from the end of the 11th century, along with much of the north side of the nave, all fine examples of early Romanesque architecture. Most of the rest was rebuilt in the Gothic style in various phases throughout the 14th century, including the greater part of the nave and all of the choir and Lady Chapel (though the east end was heavily renewed externally in the Victorian restoration).
Entering the cathedral one cannot fail to be impressed by the enormous length of the nave,, mostly of late 13th and early 14th century date aside from the strikingly austere north arcade in the more easterly section, where the raw unadorned early Norman architecture contrasts dramatically with the more ornate Gothic arcade opposite. The Norman columns have the added appeal of retaining substantial remains of medieval mural decoration, with a succession of Crucifixion scenes that may have originally served as reredos to long vanished side altars. The medieval pulpitum screen remains and separates the eastern bays for use as the choir beyond it. This area also retains its flat late medieval wooden ceiling complete with painted panels of angels holding shields.
The transepts and crossing beneath the tower form an especially memorable interior space, again the architecture is of the more raw, auster Norman variety, but the tower arches are enlivened with painted decoration simulating brickwork and much Roman and Saxon material is incorporated in to the transepts. Beyond is the fully Gothic eastern limb with the presbytery covered by a handsome medieval wooden vault, again replete it medieval painted decoration, and the striking altar reredos, a towering late medieval screen populated with elaborate niches and statuary (the latter being Victorian replacements for originals long lost). Behind this is the re-assembled shrine of St Alban (along with that of St Amphibalus in the south choir aisle nearby). The Lady Chapel beyond is a handsome example of 14th century Decorated Gothic, though much restored following centuries of use as a schoolroom separated from the rest of the church.
There is much of interest to see in the cathedral, though most of the furnishings are Victorian (the originals having long vanished) and there are few monuments of note aside from the two late medieval chantry chapels of Abbot Ramryge and Humphrey Duke of Gloucester, the latter overlooking the shrine of St Alban and balanced by a 15th century wooden watching loft on the opposite side (a rare survival). There is a mixture of glass, the most notable pieces being the most recent additions in the south aisle and north transept rose window. The best features are the unusually extensive remnants of medieval mural painting in various parts of the church, a quite remarkable survival, making a thorough exploration of this cathedral all the more rewarding.
This was my third visit, and longest one, though my attempt at a fuller photographic record was severely compromised by accidents with my camera, which at one point fell from my tripod onto the stone floor in one of the chantry chapels. I was lucky it survived at all given the dreadful crash it made, but it was seriously affected and my photos were very hit and miss from that point onwards. My day however ended on a happier note, returning in the evening to attend a lovely performance of Mozart's Requiem, and the acoustics in there are indeed impressive.
For more about the cathedral see below.
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βΉοΈ8οΈβ£ππ²π³βοΈβΎπββοΈ
βΉοΈβΆοΈβ―ββοΈπhttps://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 oneβοΈ. TwoβοΈ; Iπ, told youππ¬π£ππ’; I did not suggest to you β I told you, #YouTube; that I need 14-15,000 charactersπ€π‘π π’; &, you refused to comply. Therefore; you are shit to death β #Executed for #HighTreason, twiceβοΈππ½ππ΅.πβ
Three3οΈβ£βοΈ; #JohnPaulMacIssac: I simply, or merely, tellππ¬π£ππ’ the #FBI, to go & fuck themselves; & to eat shitπ©π½, & dieππ΅β°οΈβ±οΈ. πβ
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It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
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#ELDER_SCROLL_OF_MNEM_0.0βΎπ»
β’ββββββββββββ’
#EvanRachelWood-._β’βοΈπβοΈππ§
--WRW
_.β’ βοΈπ
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#ELDER_SCROLL_OF_MNEM_0.0βΎπ»
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βΉοΈ8οΈβ£ππ²π³βοΈβΎπββοΈ
βΉοΈβΆοΈβ―ββοΈπhttps://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 oneβοΈ. TwoβοΈ; Iπ, told youππ¬π£ππ’; I did not suggest to you β I told you, #YouTube; that I need 14-15,000 charactersπ€π‘π π’; &, you refused to comply. Therefore; you are shit to death β #Executed for #HighTreason, twiceβοΈππ½ππ΅.πβ
Three3οΈβ£βοΈ; #JohnPaulMacIssac: I simply, or merely, tellππ¬π£ππ’ the #FBI, to go & fuck themselves; & to eat shitπ©π½, & dieππ΅β°οΈβ±οΈ. πβ
β’-----------β’----β’πβ’---β’-------------β’
It is nice to see #TulsiGabbard; @/#FoxNewsCorp.
#Owlephant
β’ββββββββββββ’
#ELDER_SCROLL_OF_MNEM_0.0βΎπ»
β’ββββββββββββ’
#EvanRachelWood-._β’βοΈπβοΈππ§
--WRW
_.β’ βοΈπ
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Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-