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The Byrd Park Pump House, also called the New Pump-House, is a wonderfully executed late 19th-century example of the Gothic Revival style, applied to a municipal industrial building whose purpose was to house the Richmond city waterworks. The building, which served as the city’s waterworks from 1883 until 1924, is conveniently situated to draw water from the James River and Kanawha Canal as well as its own smaller canal. The facility pumped water uphill from the canals to the Byrd Park Reservoir, the city’s main water supply. Far from being entirely utilitarian, however, the pump house was also a popular gathering place in the late 19th and early 20th centuries. The pump house is in a scenic location at the Three-Mile Locks of the canal system. The site inspired Colonel Wilfred Emory Cutshaw, Richmond’s City Engineer from 1874 until 1907, to design the building as a social venue as well as a waterworks. He included an open-air dance hall, or pavilion, on the second floor above the equipment room. The pump house had the reputation of being one of the only buildings in the country designed and used as both a public utilities building and a social hall.
The solid and impressive pump house is made of local granite. It has Gothic features such as pointed arches, lancet windows, and steep gables. The high level of craftsmanship and refinement of the design make the pump house a fine example of the Gothic Revival style and belie its primary purpose as a municipal water-pumping facility.
Wilfred Emory Cutshaw, who oversaw the building's design and construction, was a grand figure in the development of Richmond. During his 34-year tenure as City Engineer, Cutshaw's endeavors included roads, sidewalks, schools, armories, parks, markets, and the construction of Old City Hall, one of the city’s most magnificent buildings. He was an advocate for tree planting along streets, and oversaw the creation of a tree nursery at the Byrd Park Reservoir. In 1907, a reporter for the Richmond Times-Dispatch wrote that "Cutshaw's greatest ambition was to turn every available foot of space into recreation resorts for the public." Cutshaw received some criticism for the cost that the pump house pavilion added to the city-funded project, but the pavilion would become wildly popular.
During the late 19th century, the pump house pavilion was a favorite destination for parties. Well-dressed Richmonders could board a flat-bottomed boat at Seventh Street and take a leisurely ride up the canal to the pump house and its festive ballroom overlooking the woods and water below. Sadly, the building closed in 1924, and had its machinery sold off for scrap metal before the outbreak of World War II. The city slated the pump house for demolition in the 1950s but sold it to First Presbyterian Church for one dollar instead. The city has regained ownership and is currently looking to rehabilitate the building for use as offices and a headquarters and interpretive center for the James River Park System.
beautiful white marble monument, executed by Flaxman, and which was erected in 1810 by a subscription amongst the pupils of the late Rev. Hugh Moises, A. M. It represents Religion, in the form of a female, with her eyes fixed on heaven, and leaning on a cippus, which is surmounted by an urn: on the side of the cippus is an admirably executed medallion of the venerable divine. A tablet beneath bears the following inscription, from the classical pen of the Right Hon. Sir William Scott, one of his most distinguished pupils:—
"Juxta Requiescit Reverendus Hugo Moises A. M. Collegii Divi Petri apud Cantabrigiensis olim socius Postea Per Longam Annorum seriem Ludi Literarii in hoc oppido Fundati Praefectus, Atque ibidem in ecclesia omnium sanctorum Verbi Divini Praelector. Vir erat ingenio eleganti et exculto, Literis Humanioribus apprime ornatus, et in iis impetiendis indefessus ac felix. In Regendis puerorum animis Leni usus imperio sed constanti Moribus facillimis nec inficetis, Sed ad vitae et officii sui sanctimoniam Rite compositis. Omnium, quorum studiis dirigendis invigilaverat, Commodis in omni Genere promovendis Amicissime semper, saepe utiliter, intentus. Religionis Patriae institutis stabilitae cultor observantissimus. Et in concionibus sacris Explicator Diligens, Doctus, Disertus. Hoc Monumento Memoriam Nominis Consecrari voluit Permultorum Discipulorum Amor et veneratio Favante et Pecunia collata juvante Novacastrensium municipio Viri de suis omnibus optime Meriti Grate Memori. Obiit Anno Salutis MDCCCVI, Ætatis suae LXXXV, Filiis Hugone et Gulielmo superstitibus."
The following translation was made by the late William Burdon, Esq. who had also been a pupil of this learned and virtuous gentleman:—
"Near this place are interred the remains of the Rev. Hugh Moises, A. M. formerly a Fellow of Peterhouse, in the university of Cambridge, and afterwards, for many years, master of the Free Grammar School in this town, and lecturer of All Saints'. He was a man of an elegant and cultivated mind, eminently adorned with polite literature, unwearied and successful in imparting it to others. In directing the minds of his pupils, he exercised a firm but lenient sway; of easy and polished address, not inconsistent with the sanctity of his life and office; constantly, most kindly, and not always unsuccessfully, intent on promoting the interests of those whose studies he superintended. A most diligent observer of the established religion, and in his sermons an assiduous, learned, and elegant expositor of the divine word. The love and veneration of many of his scholars, assisted by a subscription of the inhabitants of Newcastle, gratefully mindful of his merits, has sought to perpetuate, by the erection of this monument, the memory of a man who deserved well of all mankind. He died in the month of July, 1806, in the 85th year of his age, leaving two sons, Hugh and William."
This man was executed by firing squad minutes after this picture was taken. Prior to his death he was taunted and ridiculed by locals including children. What happened next is far too graphic to show on this site.
The Postcard
A postally unused carte postale bearing no publisher's name. The card has a divided back. To see the Rue de Béthune after bombardment in the Great War, please search for the tag 33LRD37.
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. The artillery attack destroyed 882 apartment and office blocks and 1,500 houses, mostly around the railway station and in the centre.
By the end of October 1914, the city 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 for the hospitalisation and the treatment of wounded soldiers as well as a place for soldiers' relaxation and entertainment. Many buildings, homes and businesses were requisitioned for those purposes.
Lille was the hunting ground of the German Great War flying ace Max Immelmann, who was nicknamed "the Eagle of Lille".
Lille was liberated by the Allies on the 17th. October 1918, when General Sir William Birdwood and his troops were welcomed by joyous crowds. The general was made an honorary citizen of the city of Lille on the 28th. October 1918.
The only audio recording known to have been made during the Great War was recorded near Lille in October 1918. The two-minute recording captured the Royal Garrison Artillery conducting a gas shell bombardment.
Monument to the Executed of Lille
The Great War monument in the Square Daubenton in Lille shows four leaders of the city’s Resistance standing against a wall just moments before their execution by the German Army in the dungeons of the citadel.
Along with Léon Trulin, who can be seen lying at their feet, Eugène Jacquet, Georges Maertens, Ernest Deceuninck and Sylvère Verhulst set up a network for communicating information to the Allies about the German occupiers of Lille.
They were eventually betrayed and executed on the 22nd. September 1915.
In total, twenty-five individuals were executed in Lille by firing squad under the occupation. Notices were posted informing the public about executions of political prisoners, saboteurs, and hostages in response to attacks or acts of sabotage against the German occupiers.
An estimated 500,000 French men and women worked for the Resistance during Germany's occupation of France. Resistance workers carried out thousands of acts of sabotage against the German occupiers, even though the risks were great. More than 90,000 members of the Resistance were killed, tortured or deported by the Germans.
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.
Some of the more famous Tower prisoners were executed within the Inner Ward of the Tower. There were fewer spectators here, on Tower Green, than for those executions held just north of the Tower on Tower Hill, but there could still be a couple hundred people viewing the "private" execution. Lower-class prisoners who were executed at Tower Hill were usually hanged; beheading was reserved for higher-class or high-profile prisoners. The seven on this sign were all beheaded for treason.
The last person executed at the Tower was Josef Jakobs, a German spy, in 1941 by firing squad.
Distington execute a perfect tackle during an exciting 32-28 victory over Ellenborough Rangers in the Premier Division of amateur rugby league's Cumberland League. The visitors, who outscored Rangers six tries to five at Solway Park, led 10-0 after eight minutes of the Maryport fixture but Rangers responded with four tries to open up a 22-10 half-time advantage. Two tries early in the second half saw Distington close to within two points. Although Rangers crossed again, the visitors secured the win, and remained unbeaten in the league, courtesy of two further tries, the second nine minutes from the end of normal time.
Match statistics:
Admission: £2. Programme: four pages (w/a). Attendance: 175. Scoring sequence: 0-6 (4mins); 0-10 (8mins); 4-10 (24mins); 10-10 (30mins); 16-10 (35mins); 22-10 (40mins); 22-16 (46mins); 22-20 (48mins); 28-20 (59mins); 28-26 (63mins); 28-32 (71mins). Referee: Lee MacDonald (Cumberland League Society).
The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April 1118. He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival. Magnus had a reputation for piety and gentleness and was canonised in 1135.
The identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926. Following this decision a patronal festival service was held on 16 April 1926. In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century). However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades." For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea. The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age', and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus". A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century, but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921. www.stmagnusmartyr.org.uk/history/history-church
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 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.
Boston Dynamics, the corporation guiding some of the most impressively terrifying and terrifyingly outstanding robots of the previous decade, is demonstrating its softer facet with a online video showcasing the Alphabet-owned firm’s latest generation.
The SpotMini is a type of little ro...
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We decided to check out the Old Idaho Penitentiary in Boise. It is one of the most famous and highly recommended tourist sights around. The Old Pen is a big territorial prison constructed way back in 1870 and was in use for over 100 years. This was when the West was wild. No coddling criminals back then; no country club prisons. It was weird standing in the room where convicts were executed.
On the plus side, a lot of photographers use the Old Pen for photo shoots - we might have to check into that in the future.
I took these photos in September 2014.
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.
Japanese Hirado porcelain dish delicately painted with a Nabeshima design of a swimming Carp in the typical Hirado soft underglaze blue. The reverse of the plate is executed with flowers and flowing foliage which is a feature of Hirado ware. The foot rim displays the purity and whiteness of the paste.
Unmarked but a similar dish is shown in Hirado: Prince of porcelains by Louis Lawrence, Appendix Six, Marks on Hirado porcelain number 16 which is marked Hirado, sei sei.
Late Meiji Period.
Date: Circa 1900 - 1910
Height: 3.5cm
Diameter: 23cm
Hirado:
A Japanese porcelain type characterized by its pure white body and clear glaze, often adorned with fine painting in underglaze blue.
It was an important kiln in the history of Japanese ceramics and its widely varied wares rank among the finest made and considered by many as the finest in the world.
The kiln was active from the early 17th century and during the 19th century, Hirado ware, also known as Mikawachi ware was, especially in the Victorian West, renowned as a desirable export ware. By the 1840s Hirado ware had become eagerly sought by sophisticated buyers in the West. Hirado porcelain was featured in some of the great international expositions of the late 19th and early 20th centuries.
Unfortunately the demand dwindled due to changing taste on the export market, and the kiln closed early in the 20th century.
82nd CAB executes a simulated Chemical, Biological, Radiological and Nuclear training event during a Leadership Professional Development course on Simmons Army Airfield, Fort Bragg, N.C., March 2.
The objective of this training exercise is to ensure leaders of all facets have a baseline understanding of potential CBRN threats and how to maneuver their forces in the event of a chemical attack against personnel and aircraft.
2 pics of mullah on the top is Sadegh Khalkhali, bloody killer, a Judge In Iran Who Executed Hundreds
Greater Manchester Police Bolton executed a series of drug warrants across Bolton this morning,Thursday 15 August 2023.
This is part of the ongoing efforts to crack down on criminal activity across the borough and to maintain a visible police presence.
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
Executed in the summer of 1882 during his second trip to the region, this painting was part of an intensely productive campaign: Monet himself declared that he had worked 憀ike a maniac? He covered the cliffs in all directions, from Aval to Varangeville, where he painted several pictures of the fisherman抯 house, seen from different angles and in a range of sizes and compositions. Each view conveys a particular aspect of the light and weather. This work anticipates the series paintings that the artist would complete in years to come. The locale allowed the painter to play around with the curving cliffs which stand out against the sea. During this period with Alice Hosched?at his side, Monet was coping with a difficult situation, because her husband still wanted to pay regular visits to his wife.
The Liechtenstein Garden Palace is a Baroque palace at the Fürstengasse in the 9th District of Vienna, Alsergrund . Between the palace, where the Liechtenstein Museum was until the end of 2011, and executed as Belvedere summer palace on the Alserbachstraße is a park. Since early 2012, the Liechtenstein Garden Palace is a place for events. Part of the private art collection of the Prince of Liechtenstein is still in the gallery rooms of the palace. In 2010 was started to call the palace, to avoid future confusion, officially the Garden Palace, since 2013 the city has renovated the Palais Liechtenstein (Stadtpalais) in Vienna's old town and then also equipped with a part of the Liechtenstein art collection.
Building
Design for the Liechtenstein Garden Palace, Johann Bernhard Fischer von Erlach in 1687/1688
Canaletto: View of Palais Liechtenstein
1687 bought Prince Johann Adam Andreas von Liechtenstein a garden with adjoining meadows of Count Weikhard von Auersperg in the Rossau. In the southern part of the property the prince had built a palace and in the north part he founded a brewery and a manorial, from which developed the suburb Lichtental. For the construction of the palace Johann Adam Andreas organised 1688 a competition, in the inter alia participating, the young Johann Bernhard Fischer von Erlach. Meanwhile, a little functional, " permeable " project was rejected by the prince but, after all, instead he was allowed to built a garden in the Belvedere Alserbachstraße 14, which , however, was canceled in 1872.
The competition was won by Domenico Egidio Rossi, but was replaced in 1692 by Domenico Martinelli. The execution of the stonework had been given the royal Hofsteinmetzmeister (master stonemason) Martin Mitschke. He was delivered by the Masters of Kaisersteinbruch Ambrose Ferrethi , Giovanni Battista Passerini and Martin Trumler large pillars, columns and pedestal made from stone Emperor (Kaiserstein). Begin of the contract was the fourth July 1689 , the total cost was around 50,000 guilders.
For contracts from the years 1693 and 1701 undertook the Salzburg master stonemason John and Joseph Pernegger owner for 4,060 guilders the steps of the great grand staircase from Lienbacher (Adnet = red) to supply marble monolith of 4.65 meters. From the Master Nicolaus Wendlinger from Hallein came the Stiegenbalustraden (stair balustrades) for 1,000 guilders.
A palazzo was built in a mix of city and country in the Roman-style villa. The structure is clear and the construction very blocky with a stressed central risalite, what served the conservative tastes of the Prince very much. According to the procedure of the architectural treatise by Johann Adam Andreas ' father, Karl Eusebius, the palace was designed with three floors and 13 windows axis on the main front and seven windows axis on the lateral front. Together with the stems it forms a courtyard .
Sala terrene of the Palais
1700 the shell was completed. In 1702, the Salzburg master stonemason and Georg Andreas Doppler took over 7,005 guilders for the manufacture of door frame made of white marble of Salzburg, 1708 was the delivery of the fireplaces in marble hall for 1,577 guilders. For the painted decoration was originally the Bolognese Marcantonio Franceschini hired, from him are some of the painted ceilings on the first floor. Since he to slow to the prince, Antonio Belucci was hired from Venice, who envisioned the rest of the floor. The ceiling painting in the Great Hall, the Hercules Hall but got Andrea Pozzo . Pozzo in 1708 confirmed the sum of 7,500 florins which he had received since 1704 for the ceiling fresco in the Marble Hall in installments. As these artists died ( Pozzo) or declined to Italy, the Prince now had no painter left for the ground floor.
After a long search finally Michael Rottmayr was hired for the painting of the ground floor - originally a temporary solution, because the prince was of the opinion that only Italian artist buon gusto d'invenzione had. Since Rottmayr was not involved in the original planning, his paintings not quite fit with the stucco. Rottmayr 1708 confirmed the receipt of 7,500 guilders for his fresco work.
Giovanni Giuliani, who designed the sculptural decoration in the window roofing of the main facade, undertook in 1705 to provide sixteen stone vases of Zogelsdorfer stone. From September 1704 to August 1705 Santino Bussi stuccoed the ground floor of the vault of the hall and received a fee of 1,000 florins and twenty buckets of wine. 1706 Bussi adorned the two staircases, the Marble Hall, the Gallery Hall and the remaining six halls of the main projectile with its stucco work for 2,200 florins and twenty buckets of wine. Giuliani received in 1709 for his Kaminbekrönungen (fireplace crowning) of the great room and the vases 1,128 guilders.
Garden
Liechtenstein Palace from the garden
The new summer palace of Henry of Ferstel from the garden
The garden was created in the mind of a classic baroque garden. The vases and statues were carried out according to the plans of Giuseppe Mazza from the local Giovanni Giuliani. In 1820 the garden has been remodeled according to plans of Joseph Kornhäusel in the Classical sense. In the Fürstengasse was opposite the Palais, the Orangerie, built 1700s.
Use as a museum
Already from 1805 to 1938, the palace was housing the family collection of the house of Liechtenstein, which was also open for public viewing, the collection was then transferred to the Principality of Liechtenstein, which remained neutral during the war and was not bombed. In the 1960s and 1970s, the so-called Building Centre was housed in the palace as a tenant, a permanent exhibition for builders of single-family houses and similar buildings. From 26 April 1979 rented the since 1962 housed in the so-called 20er Haus Museum of the 20th Century , a federal museum, the palace as a new main house, the 20er Haus was continued as a branch . Since the start of operations at the Palais, the collection called itself Museum of Modern Art (since 1991 Museum of Modern Art Ludwig Foundation ), the MUMOK in 2001 moved to the newly built museum district.
From 29 March 2004 till the end of 2011 in the Palace was the Liechtenstein Museum, whose collection includes paintings and sculptures from five centuries. The collection is considered one of the largest and most valuable private art collections in the world, whose main base in Vaduz (Liechtenstein) is . As the palace, so too the collection is owned by the Prince of Liechtenstein Foundation .
On 15 November 2011 it was announced that the regular museum operating in the Garden Palace was stopped due to short of original expectations, visiting numbers remaining lower as calculated, with January 2012. The Liechtenstein City Palace museum will also not offer regular operations. Exhibited works of art would then (in the city palace from 2013) only during the "Long Night of the Museums", for registered groups and during leased events being visitable. The name of the Liechtenstein Museum will no longer be used.
de.wikipedia.org/wiki/Palais_Liechtenstein_(F%C3%BCrstengasse)
Portrait of Simelane while addressing during Africa Investment Forum 2018 - The Business of Sports - Executing for Success in November 2018, at Sandton Convention Centre, Johannesburg, South Africa.
A band of "Jewish fighters" executed by the SS after being captured. The original German caption read: "Bandits killed in Battle". Whether or not they were really members of the resistance is unknown. We do know that the SS executed Jews, even non-combatants, at will during the Ghetto Uprising.
Spc. Sol Lee, with the 450th Civil Affairs Battalion, executes a 9-line MEDEVAC during a night combat medical exercise at the joint best warrior competition, dubbed "Motown Showdown,” hosted by the 352 Civil Affairs Command from Fort Meade, MD, and the 2nd Psychological Operations Group from Twinsburg, OH, March 29 at the Fort Custer Training Center in Battle Creek, MI. This competition will determine which junior enlisted Soldier and noncommissioned officer will represent each command later this year at Fort Hunter Liggett, CA. U.S. Army Photo by Sgt. Erick Yates (released)
The right hand head here is a 19th century replacement executed as a reflected copy of the original 15th century head on the left..
Traceries of the central window on the south side (as viewed from scaffolding during restoration of the chapel in 2015) glazed by the royal glazier John Prudde in 1447 with some of the most luxuriant stained glass available at the time. The angels hold pieces of medieval music manuscript (a design also used in the east window and that most likely also continued into the two westernmost windows of the chapel where sadly only fragments remain today). A few of the heads on the south side are later repairs, some Victorian but others as early as the 17th century.
The bulk of this glass was tragically lost when the chapel was attacked by Cromwellian troops in 1643 (it is possible the chapel was locked and all this was done from outside as the tombs and statuary survived undamaged). The six side windows were a complete loss below the traceries and have remained plain-glazed ever since, but the surviving figures were used to fill the large gaps left in the east window to give the patchwork display we see today.
The gorgeous Beauchamp Chapel at St Mary's, Warwick is perhaps the best preserved example of a medieval church interior in England. I have been in love with it ever since my first childhood visit, and it remains my favourite room in all England.
The chapel is rich in excellent monuments, of which the tomb of Richard Beauchamp, the chapel's founder, is the most impressive with magnificent gilt bronze sculptures, an extremely rare survival.
Equally spectacular is the delightful east window, which is filled with superb 15th century glass by John Prudde, the King's glazier. Much if it is not in situ, since Cromwell's troops wrought havoc with the glass here and the surviving figures were assembled in this window (only the outer pairs of figures in the upper row are in their original positions). The north and south windows retain original glass only in their traceries and the cusped heads of the main lights, and knowing the quality of the surviving elements makes this loss all the more grievous.
A further treasure of this chapel and a miraculous survivor of Cromwells fanatics is the statuary surrounding the east window. This unique display of almost perfectly preserved figure sculpture from the early 15th century is exquisite, and gives an answer to all those empty niches we see in so many medieval churches elsewhere in England. The medieval splendour is further echoed by the use of colour on the sculptures and vaulted ceiling, all redone in the mid 20th century but based on medieval precedents.
The defense chief is said to have been executed in front of hundreds of spectators for complaining about North Korean leader Kim Jong Un and falling asleep in a meeting.
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Murals in the underpass at the bottom of Beoley Road West in Redditch. They were executed late in 2014 on the theme of the 'Gateway to the Lake', since this underpass is generally accepted as the end of the town centre and the start of the approach to the green haven that is Arrow Valley Park (this is certainly how I see it, as someone who uses this route regularly going to and from the town centre from my home).
The imagery celebrates wildlife along with activities associated with the park and was painted by artist Andy Mills (following consultation with local schoolchildren to form a consensus on subject matter). It is a fine piece of work and has made a huge difference in cheering up a formerly dull grey space, enlivening it with colour and imagery all can enjoy.
This bronze sculptural bust of Gabriela Mistral, executed by Galvarino Ponce, was dedicated in front of the entrance of the Organization of America on November 21, 1980.
Lucila Godoy Alcayaga (1889–1957), known by her pseudonym Gabriela Mistral, was a Chilean poet-diplomat, educator and humanist who became the first Latin American author to receive a Nobel Prize in Literature in 1945. Her portrait also appears on the 5,000 Chilean peso bank note.
The Organization of American States (OAS), or, as it is known in the three other official languages, (OEA), is an international organization comprised of the thirty-five independent states of the Americas. Its headquarters, the Pan American Union Building, at 17th Street and Constitution Avenue, NW, occupies the former site of the Van Ness mansion. The building was designed in 1910 by Albert Kelsey and Paul C. Cret in classical style with allusions to Spanish Colonial styles.
The Art Museum of the Americas (AMA), formally established in 1976 by the OAS, is primarily devoted to exhibiting works of modern and contemporary art from Latin America and the Caribbean. The Museum is housed in an annex, which is separated by the Blue Aztec Garden, featuring a small reflecting pool presided over by Xochipilli, the Aztec god of flowers.
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)
Ugolino and His Sons, modeled ca. 1860–61, executed in marble 1865–67
Jean-Baptiste Carpeaux (French, 1827–1875)
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.
A nursery teacher in China has been executed after killing one child and injuring 24 others by poisoning their porridge.Wang Yun was sentenced to death in September 2020 following the incident at Mengmeng Pre-school Education in Jiaozuo in March 2021.
She put sodium nitrite into the porridge of the students of another teacher in "revenge" after they argued over "management issues", court statements said at the time.Most of the children recovered fairly quickly - however, one died 10 months later of multiple organ failure caused by the poisoning.Wang was initially convicted and sentenced to nine months in prison for deliberate harm, but her sentence was later changed by Jiaozuo city's Intermediate Court in Henan province.
She had unsuccessfully appealed against the death sentence, state media reported on Friday.The 39-year-old was taken to an execution ground and put to death on Thursday, a court statement said.
Read more:Three children killed in knife attack at nurseryChina risks falling further behind US in AI raceShe had previously poisoned her husband with the same substance bought online two years ago. He survived with mild injuries.
More prisoners are reportedly executed in China than the rest of the world combined, although the figure is a state secret.Most executions are carried out with a bullet to the back of the head, although lethal injection using mobile units has been employed in some cases.
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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)
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 operatoin 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)