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Hugo Carl Emil Muecke (1842-1929), customs and shipping agent, was born on 8 July 1842 at Rathenow, near Berlin, eldest son of Dr Carl Wilhelm Ludwig Muecke and his first wife Emilie. The family arrived in Adelaide in 1849. Educated at Tanunda High School, at 16 Hugo joined John Newman's commercial and shipping agency, which required a German-speaking clerk. In 1866 he became a partner, and also a naturalized British subject. On 2 April 1863 at Tanunda he had married Margaret Elisabeth Julia Le Page from Guernsey, Channel Islands; they had four daughters and four sons.
After Newman's death in 1873, Muecke took over the business, renamed H. Muecke & Co. It owned large bond stores at Port Adelaide, handled consignment and customs business, acted as agent for Norddeutscher-Lloyd and other steamship lines, and owned and operated small coastal vessels. In 1877 Muecke became vice-consul for Germany, and was consul in 1882-1914, an honorary position (apart from occasional fees). He was also a justice of the peace. First elected to the Adelaide Chamber of Commerce committee in 1880, he served almost continuously until 1915, including terms as deputy chairman (1884) and president (1885-86). A successful and highly respected member of the business community, Muecke became a director of the Broken Hill Proprietary Co. Ltd in 1892. He joined the boards of the Bank of Adelaide, Adelaide Steamship Co. Ltd and Executor Trustee & Agency Co. of South Australia Ltd and the local boards of South British Fire & Marine Insurance Co. and National Mutual Life Association of Australasia (1878-1915). He served as warden of the Marine Board and on the Port Adelaide, Rosewater and Walkerville municipal councils. In 1900 he became a member of the Adelaide Club; he was active in the German Club and a prominent Freemason. In 1903 he entered the Legislative Council for the Central District as a conservative; he was defeated in 1910.
Excerpt from histoiresainteducanada.ca/en/le-sanctuaire-du-sacre-coeur...:
Father Joseph-Arthur Laporte was born in Saint-Paul de Joliette on August 15, 1857, the feast of the Assumption. He entered the community of the Clerics of Saint-Viateur on August 25, 1879. The members of this community have a great devotion to the Sacred Heart of Jesus, and it is through their contact that Father Laporte developed this devotion.
He left the community of the Clerics of Saint-Viateur on July 28, 1886 and requested his incardination to the Bishop of Sherbrooke. He was admitted to the number of priests of the diocese by Bishop Antoine Racine, and appointed pastor of the parish of Sainte-Praxède de Bromptonville (1891-1902) from where he discovered the “mountain” that he would later call “Beauvoir”.
Eight kilometers north of Sherbrooke, a small mountain of one hundred and fifteen meters, still unnamed, had long attracted the attention of this great lover of nature. After many approaches to Mr. Émile Lessard, a farmer, he bought two hectares of land from him in 1915. He gave the name “Beauvoir” (beautiful to see) to this corner of paradise whose panoramic view enchanted him. He decided to build a small cottage, a house of six meters on a side surrounded by a gallery. In 1916 and 1917, he bought more land to enlarge his small domain.
And in 1920, he founded the Sanctuary of the Sacred Heart of Beauvoir.
For years, Father Laporte has been fascinated by the devotion to the Sacred Heart of Jesus. He speaks of it tirelessly. So it is not surprising that the only decoration on the bare walls of his cottage is a lithograph, without much artistic pretension, of the Sacred Heart of Montmartre.
In 1916, Father Laporte still dreamed of making Beauvoir a place where people would come to pray and celebrate the Sacred Heart of Jesus, whose devotion was spreading more and more throughout the country. He therefore decided to erect, not far from his cottage, a statue of the Sacred Heart. Measuring two meters in height, this statue, with its arms wide open, stands on a pedestal of field stones that farmers have faithfully transported on their carts.
The parish priest now invites his parishioners to come and taste the happiness that is his at the Sacred Heart…
As early as 1918, pilgrims began “the ascent of the Rosary”, a devotional practice that would have its heyday in the 1930s. On Sunday afternoons, pilgrims, starting from the main road, climbed to Beauvoir while reciting the rosary.
In 1933, at the request of the pilgrims, Father Pierre-Achille Bégin had a cross erected in front of the road leading to the Shrine. It is from this cross, still visible, that the pilgrimages to Beauvoir started. Along the way, wooden boards were set up on which were written the fifteen mysteries of the rosary. For Beauvoir, the erection of this cross gives all its meaning to the ascent of the rosary: it is the beginning of the ascent, it is the cross of the rosary that the lips kiss before murmuring the “Aves”, the first links of this long chain that leads the pilgrims to the very Love that awaits them at the Shrine.
In 1920, during a Holy Hour, he asked for a special favor from the Sacred Heart, with the promise of building a small chapel in Beauvoir if he was granted it. With the help of some local craftsmen, he had the promised little chapel built.
It is an architectural jewel that Abbé Laporte had built on the hill of Beauvoir.
But the Sacred Heart, never defeated in generosity, knows how to reward his servant by giving to vile materials a stamp of rustic elegance, to a humble and poor building, a beauty that escapes no one. And all those who come to pray in this rustic chapel find there a calm, a peace that penetrates deep into their souls and leaves them pacified. One can almost feel the loving presence of the Sacred Heart of Jesus, which bends down with tenderness over those who come to visit it.
The exterior of this chapel is reminiscent in many ways of some of the country chapels of France. The rustic walls, the rudimentary furnishings and the few decorations are not likely to satisfy the connoisseur of expensive works of art. It is poverty, destitution. The only decoration is a statue, a frame, two statuettes, a few ex-votos testifying to the goodness of the Sacred Heart, lanterns and old images of the Way of the Cross. But, near the tabernacle, how one can taste with love and peace the divine presence of the Eucharistic Heart of Jesus!
On October 24, 1920, Bishop Larocque came to bless the little chapel. The next day, Father Laporte celebrated the first mass on Mount Beauvoir.
In the spring of 1921, his health inexorably deteriorated. Even though he was ill, he was taken to Beauvoir four or five more times. Then he had to give up returning to Beauvoir. He was hospitalized at the Saint-Vincent-de-Paul Hospital at the beginning of August. And on August 20, Father Laporte was finally able to meet face to face with the one who was the great love of his life.
The body of Father Laporte now rests in the crypt of the church of Saint-Jean-Baptiste of which he was parish priest. However, on the west wall of the little chapel in Beauvoir, a commemorative plaque recalls the man who founded the Shrine and who continues to watch over its work from above.
Father Laporte had bequeathed the Beauvoir property to the diocese on the condition that he pay the remaining $3,500 debt. The diocese refused this bequest. Beauvoir thus reverted to the universal legatee, Miss Euphémie Charest, Father Laporte’s former housekeeper. She sold Beauvoir in 1923 to the executor of Father Laporte’s will, the notary Gédéon Bégin, for the price of the debt. This wealthy businessman used Beauvoir Hill as a summer vacation spot for his family.
From 1923 to 1929, Beauvoir fell into almost complete abandonment. Only a few lovers of the Sacred Heart would go up there privately to pray at the foot of the Sacred Heart statue. But at the end of July 1929, Father Pierre Achille Bégin, a retired priest and brother of the owner, accompanied by a few members of the family, came to visit Beauvoir. Although the buildings had been quite damaged by thieves and the weeds had invaded the area, the group was charmed by the landscape and decided to settle there for two weeks.
From then on, the Bégin family would come to spend a few weeks in Beauvoir during the summer vacations.
Without looking for signs, the good abbot knows how to recognize an invitation. First of all, together with his family members, he decided to restore the place and to revive the project of Father Laporte. Every year in June, he invites the people of the area for the triduum in preparation for the feast of the Sacred Heart. This is the highlight of the year.
Throughout the summer months, Father Bégin, surrounded by nephews and nieces, ensures for the pilgrims the mass every morning and the prayer at the Sacred Heart every evening as well as a Holy Hour every Thursday evening. Father Bégin, after Father Laporte, sought to spread devotion to the Sacred Heart. It is in the small stone chapel that he spends most of his time in prayer and in welcoming the small groups of pilgrims who continue to climb the mountain. “All my desire is that in Beauvoir the Sacred Heart be particularly honored, praised and prayed to, and that He spread His greatest graces there.”
Montefiore Windmill
From Wikipedia, the free encyclopedia
Montefiore Windmill
16-03-30-Jerusalem-Innenstadt-RalfR-DSCF7584.jpg
Montefiore Windmill, 30 March 2016
Origin
Mill nameMontefiore Mill
Jaffa Gate Mill
Mill locationJerusalem, Israel
31°46′17.31″N 35°13′27.03″E
Year built1857
Information
PurposeFlour mill
TypeTower mill
StoreysFour storeys
Number of sailsFour sails
Type of sailsPatent sails
WindshaftCast iron
WindingFantail
Fantail bladesSix blades
Auxiliary powerElectric motor
Number of pairs of millstonesTwo pairs
The Montefiore Windmill is a landmark windmill in Jerusalem, Israel. Designed as a flour mill, it was built in 1857 on a slope opposite the western city walls of Jerusalem, where three years later the new Jewish neighbourhood of Mishkenot Sha'ananim was erected, both by the efforts of British Jewish banker and philanthropist Moses Montefiore. Jerusalem at the time was part of Ottoman-ruled Palestine. Today the windmill serves as a small museum honored and dedicated to the achievements of Montefiore. It was restored in 2012 with a new cap and sails in the style of the originals. The mill can turn in the wind.
Contents [hide]
1History
2Anecdotes
31948 War of Independence
4Montefiore carriage
5Restoration
6References
History[edit]
The mill in 1858
The windmill and the neighbourhood of Mishkenot Sha'ananim were both funded by the British Jewish banker and philanthropist Moses Montefiore, who devoted his life to promoting industry, education and health in the Land of Israel.[1] Montefiore built the windmill with funding from the estate of an American Jew, Judah Touro, who appointed Montefiore executor of his will.[2] Montefiore mentions the windmill in his diaries (1875), noting that he had built it 18 years ago on the estate of Kerem-Moshe-ve-Yehoodit (lit. "the orchard of Moses and Judith"), and that it had since been joined by two other windmills nearby, owned by Greeks.[3] The project, bearing the hallmarks of nineteenth century artisan revival, aimed to promote productive enterprise in the Yishuv.
The mill was designed by Messrs Holman Brothers, the Canterbury, Kent millwrights. The stone for the tower was quarried locally. The tower walls were 3 feet (910 mm) thick at the base and almost 50 feet (15.24 m) high. Parts were shipped to Jaffa, where there were no suitable facilities for landing the heavy machinery. Transport of the machinery to Jerusalem had to be carried out by camel. In its original form, the mill had a Kentish-style cap and four Patent sails. It was turned to face into the wind by a fantail. The mill drove two pairs of millstones, flour dressers, wheat cleaners and other machinery.[4]
The mill as it appeared with decorative, non-functional sails and bronze cap prior to the 2012 restoration
The construction of the mill was part of a broader program to enable the Jews of Palestine to become self-supporting. Montefiore also built a printing press and a textile factory, and helped to finance several agricultural colonies. He attempted to acquire land for Jewish cultivation, but was hampered by Ottoman restrictions on land sale to non-Muslims.
The mill was not a success due to a lack of wind.[5] Wind conditions in Jerusalem could not guarantee its continued operation. There were probably no more than 20 days a year with strong enough breezes. Another reason for the mill's failure was technological. The machinery was designed for soft European wheat, which required less wind power than the local wheat. Nevertheless, the mill operated for nearly two decades until the first steam-powered mill was completed in Jerusalem in 1878.[6][7]
In the late 19th century the mill became neglected and abandoned and it was not until the 1930s that it was comsetically restored by British Mandate authorities together with the Pro-Jerusalem Society. During this restoration decorative, non-functional fixed sails were placed at the top of the structure. Over the years the building's condition had deteriorated again and following the reunification of Jerusalem in the Six-Day War another cosmetic restoration was carried out, as part of which a decorative bronze cap was also added to the structure. In 2012 these decorative elements were removed and the mill was completely restored to full working order using the original 1850s plans (which were located in the British Library) as a guide.[7]
Anecdotes[edit]
Blowing up of the windmill by the British in 1948
Two anecdotes about the windmill appear in a 1933 book, which refers to it as the Jaffa Gate Mill. The first is that there was much opposition from among the local millers to the windmill, who looked upon it with the evil eye and sent their head man to curse it. Predictions were made that the mill would be washed away during the rainy season; after it survived intact, it was declared to be the work of Satan. The second is that the Arabs developed a taste for the lubricating oil on the bearings and would lick them, prompting fear the mill would burn down from the resulting friction. The solution was said to be placing a leg of pork in the oil barrel, whereafter the Arabs lost a taste for the oil.[4]
1948 War of Independence[edit]
During the 1948 blockade of Jerusalem the windmill served as an observation point for Jewish Haganah fighters. In an attempt to impede their activities, the British authorities blew up the top of the windmill in an operation mockingly dubbed by the population "Operation Don Quixote."[8][9]
Montefiore carriage[edit]
In a glassed-in room at the windmill is a replica of the famous carriage Sir Moses Montefiore used in his travels. The original carriage was brought to Palestine by Boris Schatz, the founder of the Bezalel Academy of Art, but was destroyed in an arson fire at the site in 1986.[10]
Restoration[edit]
Cap under construction in Sloten
The mill was restored in 2012 as part of the celebrations of the 60th anniversary of the founding of Israel. A Dutch organisation, "Christians for Israel" (Dutch: Stichting Christenen voor Israël), is behind the scheme. A model of Stelling Minnis windmill, built by Tom Holman, was temporarily taken to the Netherlands to help raise funds for the restoration. None of the original machinery survives.[11] Millwright Willem Dijkstra rebuilt the floors, sails, cap and machinery in his workshop in Sloten, the Netherlands in cooperation with Dutch construction company Lont and British millwright Vincent Pargeter. The windshaft was cast and machined at Sanders’ Ijzergieterij en Machinefabriek B.V. (Sanders foundry and machines factory) in Goor, the Netherlands.[12] The parts were then shipped to Israel and reassembled on site.[13] Dijkstra, his family and employee temporarily moved to Israel to help with the restoration.[12] The cap and sails were lifted into place on July 25, 2012,[14][15] and the mill was turning for the first time again on August 6.[16][17] The first bag of flour was ground in May 2013.[7]
References[edit]
Wikimedia Commons has media related to Moses Montefiore Windmill.
Jump up ^ Montefiore Heritage Site
Jump up ^ Jerusalem Simon Goldhill
Jump up ^ Diaries of Sir Moses and Lady Montefiore: comprising their life and work as recorded in their diaries from 1812-1883, Volume 2. Adamant Media Corporation. 2001. p. 277. ISBN 9781402193149.
^ Jump up to: a b Coles Finch, William (1933). Watermills and Windmills. London: C W Daniel and Company. pp. 50–52, illustration facing p224.
Jump up ^ "The Windless Windmill". ohr.edu. Retrieved 2008-11-12.
Jump up ^ Palestine in the Late Ottoman Period , David Kushner
^ Jump up to: a b c "Historic Jerusalem Windmill" (PDF). Mishkenot Shaananim website (in Hebrew). Retrieved 22 May 2016.
Jump up ^ Eisenberg, Ronald L. (2006). The Streets of Jerusalem - Who, What, Why. Devora Publishing Company. p. 178. ISBN 1-932687-54-8.
Jump up ^ Dudman, Helga (1982). Street People. Jerusalem: Jerusalem Post/Carta. pp. 21–22.
Jump up ^ In the shadow of the walls
Jump up ^ Holman, Geoff (2010). "Kent mill moved to Holland". Cant Post (Kent Mills Society) (1): 9.
^ Jump up to: a b "Bertus Dijkstra, Bouw en Molenbouw" (in Dutch). Retrieved 8 June 2012.
Jump up ^ Walinga, Cees (5 January 2012). "Willem Dijkstra herstelt Montefiore-molen in Jeruzalem". Balkster Courant (in Dutch). p. 7. Retrieved 25 March 2012.
Jump up ^ "Historic Jerusalem mill gets new wind in sails". Retrieved 3 August 2012.
Jump up ^ "Mûne yn Jeruzalem opknapt" (in Frisian). Retrieved 3 August 2012.
Jump up ^ "Jerusalem Mill turns after 140 years". The Mills Archive Trust. August 7, 2012. Retrieved August 16, 2012.
Jump up ^ "De Montefioremolen draait weer". Alfred Muller via YouTube. 6 August 2012. Retrieved 18 August 2012.
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Of comfort no man speak.
Let's talk of graves, of worms and epitaphs,
Make dust our paper, and with rainy eyes
Write sorrow on the bosom of the earth.
Let's choose executors and talk of wills.”
One of the reasons my sister loved the Naples (Florida) area was because of the amazing sunsets. She took me to see it every time I visited. There was something different about seeing this one without her though. It truly was spiritual. I was surprised by how many came to view this celestial happening and even more so when the crowd cheered and clapped as it finally dropped below the horizon.
As executor of her will I will be incredibly busy in the coming weeks and months. I will be posting many photos from the area. Please be patient with me as I will visit when I can.
"No Disintegrations!" I present my interpretation of the classic scene from Empire Strikes Back, complete with lighting and non-slip design to hold books nicely. Instructions available here, rebrickable.com/users/IScreamClone/mocs/
Sir Kenelm Digby (July 11, 1603 – June 11, 1665) was an English courtier and diplomat. He was also a highly reputed natural philosopher, and known as a leading Roman Catholic intellectual and Blackloist. For his versatility, Anthony à Wood called him the "magazine of all arts".
He was born at Gayhurst, Buckinghamshire, England. He was of gentry stock, but his family's adherence to Roman Catholicism coloured his career. His father, Sir Everard, was executed in 1606 for his part in the Gunpowder Plot. Kenelm was sufficiently in favour with James I to be proposed as a member of Edmund Bolton's projected Royal Academy (with George Chapman, Michael Drayton, Ben Jonson, John Selden, and Sir Henry Wotton).[2]
He went to Gloucester Hall, Oxford in 1618, where he was taught by Thomas Allen; but left without taking a degree. In time Allen bequeathed to Digby his library, and the latter donated it to the Bodleian.[3][4]
He spent three years in Europe between 1620 and 1623, where Marie de Medici fell madly in love with him (as he later recounted). He was granted a Cambridge M.A. on the King's visit to the university in 1624.[5] Around 1625, he married Venetia Stanley, whose wooing he cryptically described in his memoirs. He had also become a member of the Privy Council of Charles I of England. His Roman Catholicism being a hindrance in the way of government office, he switched to Anglicanism.
In 1628, Digby became a privateer, with some success: on January 18 he arrived off Gibraltar and captured several Spanish and Flemish vessels. From February 5 to March 27 he remained at anchor off Algiers on account of the sickness of his men, and extracted a promise from the authorities of better treatment of the English ships. He seized a rich Dutch vessel near Majorca, and after other adventures gained a complete victory over the French and Venetian ships in the harbour of Iskanderun on the June 11. His successes, however, brought upon the English merchants the risk of reprisals, and he was urged to depart.
He returned to become a naval administrator and later Governor of Trinity House. His wife died suddenly in 1633, prompting a famous deathbed portrait by Van Dyck and a eulogy by Ben Jonson. (Digby was later Jonson's literary executor. Jonson's poem about Venetia is now mostly lost, because of the loss of the center sheet of a leaf of papers which held the only copy.) Digby, stricken with grief and the object of enough suspicion that the Crown had ordered an autopsy (rare at the time) on Venetia's body, secluded himself in Gresham College and attempted to forget his personal woes through scientific experimentation and a return to Catholicism. At that period, public servants were often rewarded with patents of monopoly; Digby received the regional monopoly of sealing wax in Wales and the Welsh Borders. This was a guaranteed income; more speculative were the monopolies of trade with the Gulf of Guinea and with Canada. These were doubtless more difficult to police.
Digby became a Catholic once more in 1635. He went into voluntary exile in Paris, where he spent most of his time until 1660. There he met both Marin Mersenne and Thomas Hobbes.[6]
Returning to support Charles I in his struggle to establish episcopacy in Scotland (the Bishops' Wars), he found himself increasingly unpopular with the growing Puritan party. He left England for France again in 1641. Following an incident in which he killed a French nobleman, Mont le Ros, in a duel,[7] he returned to England via Flanders in 1642, and was jailed by the House of Commons. He was eventually released at the intervention of Anne of Austria, and went back again to France. He remained there during the remainder of the period of the English Civil War. Parliament declared his property in England forfeit.
Queen Henrietta Maria had fled England in 1644, and he became her Chancellor. He was then engaged in unsuccessful attempts to solicit support for the English monarchy from Pope Innocent X. Following the establishment of The Protectorate under Oliver Cromwell, who believed in freedom of conscience, Digby was received by the government as a sort of unofficial representative of English Roman Catholics, and was sent in 1655 on a mission to the Papacy to try to reach an understanding. This again proved unsuccessful.
At the Restoration, Digby found himself in favor with the new regime due to his ties with Henrietta Maria, the Queen Mother. However, he was often in trouble with Charles II, and was once even banished from Court. Nonetheless, he was generally highly regarded until his death at the age of 62 from "the stone", likely caused by kidney stones.
He published a work of apologetics in 1638, A Conference with a Lady about choice of a Religion. In it he argued that the Catholic Church, possessing alone the qualifications of universality, unity of doctrine and uninterrupted apostolic succession, is the only true church, and that the intrusion of error into it is impossible.
Digby was regarded as an eccentric by contemporaries, partly because of his effusive personality, and partly because of his interests in scientific matters. Henry Stubbe called him "the very Pliny of our age for lying".[9] He lived in a time when scientific enquiry had not settled down in any disciplined way. He spent enormous time and effort in the pursuits of astrology, and alchemy which he studied in the 1630s with Van Dyck.[10][11][12]
Notable among his pursuits was the concept of the Powder of Sympathy. This was a kind of sympathetic magic; one manufactured a powder using appropriate astrological techniques, and daubed it, not on the injured part, but on whatever had caused the injury. His book on this salve went through 29 editions.[13] Synchronising the effects of the powder, which apparently caused a noticeable effect on the patient when applied, was actually suggested in 1687 as a means of solving the longitude problem.
In 1644 he published together two major philosophical treatises, The Nature of Bodies and On the Immortality of Reasonable Souls. The latter was translated into Latin in 1661 by John Leyburn. These Two Treatises were his major natural-philosophical works, and showed a combination of Aristotelianism and atomism.[14]
He was in touch with the leading intellectuals of the time, and was highly regarded by them; he was a founding member of the Royal Society[10] and a member of its governing council from 1662 to 1663. His correspondence with Fermat contains the only extant mathematical proof by Fermat, a demonstration, using his method of descent, that the area of a Pythagorean triangle cannot be a square. His Discourse Concerning the Vegetation of Plants (1661) proved controversial among the Royal Society's members.[15] He is credited with being the first person to note the importance of "vital air," or oxygen, to the sustenance of plants.[16]
Digby is known for the publication of a cookbook, The Closet of the Eminently Learned Sir Kenelme Digbie Knight Opened, but it was actually published by a close servant, from his notes, in 1669, several years after his death. It is currently considered an excellent source of period recipes, particularly for beverages such as mead.
Digby is also considered the father of the modern wine bottle. During the 1630s, Digby owned a glassworks and manufactured wine bottles which were globular in shape with a high, tapered neck, a collar, and a punt. His manufacturing technique involved a coal furnace, made hotter than usual by the inclusion of a wind tunnel, and a higher ratio of sand to potash and lime than was customary. Digby's technique produced wine bottles which were stronger and more stable than most of their day, and which, due to their dark color, protected the contents from light. During his exile and prison term, others claimed his technique as their own, but in 1662 Parliament recognized his claim to the invention as valid.
Sir Kenelm Digby (July 11, 1603 – June 11, 1665) was an English courtier and diplomat. He was also a highly reputed natural philosopher, and known as a leading Roman Catholic intellectual and Blackloist. For his versatility, Anthony à Wood called him the "magazine of all arts".
He was born at Gayhurst, Buckinghamshire, England. He was of gentry stock, but his family's adherence to Roman Catholicism coloured his career. His father, Sir Everard, was executed in 1606 for his part in the Gunpowder Plot. Kenelm was sufficiently in favour with James I to be proposed as a member of Edmund Bolton's projected Royal Academy (with George Chapman, Michael Drayton, Ben Jonson, John Selden, and Sir Henry Wotton).[2]
He went to Gloucester Hall, Oxford in 1618, where he was taught by Thomas Allen; but left without taking a degree. In time Allen bequeathed to Digby his library, and the latter donated it to the Bodleian.[3][4]
He spent three years in Europe between 1620 and 1623, where Marie de Medici fell madly in love with him (as he later recounted). He was granted a Cambridge M.A. on the King's visit to the university in 1624.[5] Around 1625, he married Venetia Stanley, whose wooing he cryptically described in his memoirs. He had also become a member of the Privy Council of Charles I of England. His Roman Catholicism being a hindrance in the way of government office, he switched to Anglicanism.
In 1628, Digby became a privateer, with some success: on January 18 he arrived off Gibraltar and captured several Spanish and Flemish vessels. From February 5 to March 27 he remained at anchor off Algiers on account of the sickness of his men, and extracted a promise from the authorities of better treatment of the English ships. He seized a rich Dutch vessel near Majorca, and after other adventures gained a complete victory over the French and Venetian ships in the harbour of Iskanderun on the June 11. His successes, however, brought upon the English merchants the risk of reprisals, and he was urged to depart.
He returned to become a naval administrator and later Governor of Trinity House. His wife died suddenly in 1633, prompting a famous deathbed portrait by Van Dyck and a eulogy by Ben Jonson. (Digby was later Jonson's literary executor. Jonson's poem about Venetia is now mostly lost, because of the loss of the center sheet of a leaf of papers which held the only copy.) Digby, stricken with grief and the object of enough suspicion that the Crown had ordered an autopsy (rare at the time) on Venetia's body, secluded himself in Gresham College and attempted to forget his personal woes through scientific experimentation and a return to Catholicism. At that period, public servants were often rewarded with patents of monopoly; Digby received the regional monopoly of sealing wax in Wales and the Welsh Borders. This was a guaranteed income; more speculative were the monopolies of trade with the Gulf of Guinea and with Canada. These were doubtless more difficult to police.
Digby became a Catholic once more in 1635. He went into voluntary exile in Paris, where he spent most of his time until 1660. There he met both Marin Mersenne and Thomas Hobbes.[6]
Returning to support Charles I in his struggle to establish episcopacy in Scotland (the Bishops' Wars), he found himself increasingly unpopular with the growing Puritan party. He left England for France again in 1641. Following an incident in which he killed a French nobleman, Mont le Ros, in a duel,[7] he returned to England via Flanders in 1642, and was jailed by the House of Commons. He was eventually released at the intervention of Anne of Austria, and went back again to France. He remained there during the remainder of the period of the English Civil War. Parliament declared his property in England forfeit.
Queen Henrietta Maria had fled England in 1644, and he became her Chancellor. He was then engaged in unsuccessful attempts to solicit support for the English monarchy from Pope Innocent X. Following the establishment of The Protectorate under Oliver Cromwell, who believed in freedom of conscience, Digby was received by the government as a sort of unofficial representative of English Roman Catholics, and was sent in 1655 on a mission to the Papacy to try to reach an understanding. This again proved unsuccessful.
At the Restoration, Digby found himself in favor with the new regime due to his ties with Henrietta Maria, the Queen Mother. However, he was often in trouble with Charles II, and was once even banished from Court. Nonetheless, he was generally highly regarded until his death at the age of 62 from "the stone", likely caused by kidney stones.
He published a work of apologetics in 1638, A Conference with a Lady about choice of a Religion. In it he argued that the Catholic Church, possessing alone the qualifications of universality, unity of doctrine and uninterrupted apostolic succession, is the only true church, and that the intrusion of error into it is impossible.
Digby was regarded as an eccentric by contemporaries, partly because of his effusive personality, and partly because of his interests in scientific matters. Henry Stubbe called him "the very Pliny of our age for lying".[9] He lived in a time when scientific enquiry had not settled down in any disciplined way. He spent enormous time and effort in the pursuits of astrology, and alchemy which he studied in the 1630s with Van Dyck.[10][11][12]
Notable among his pursuits was the concept of the Powder of Sympathy. This was a kind of sympathetic magic; one manufactured a powder using appropriate astrological techniques, and daubed it, not on the injured part, but on whatever had caused the injury. His book on this salve went through 29 editions.[13] Synchronising the effects of the powder, which apparently caused a noticeable effect on the patient when applied, was actually suggested in 1687 as a means of solving the longitude problem.
In 1644 he published together two major philosophical treatises, The Nature of Bodies and On the Immortality of Reasonable Souls. The latter was translated into Latin in 1661 by John Leyburn. These Two Treatises were his major natural-philosophical works, and showed a combination of Aristotelianism and atomism.[14]
He was in touch with the leading intellectuals of the time, and was highly regarded by them; he was a founding member of the Royal Society[10] and a member of its governing council from 1662 to 1663. His correspondence with Fermat contains the only extant mathematical proof by Fermat, a demonstration, using his method of descent, that the area of a Pythagorean triangle cannot be a square. His Discourse Concerning the Vegetation of Plants (1661) proved controversial among the Royal Society's members.[15] He is credited with being the first person to note the importance of "vital air," or oxygen, to the sustenance of plants.[16]
Digby is known for the publication of a cookbook, The Closet of the Eminently Learned Sir Kenelme Digbie Knight Opened, but it was actually published by a close servant, from his notes, in 1669, several years after his death. It is currently considered an excellent source of period recipes, particularly for beverages such as mead.
Digby is also considered the father of the modern wine bottle. During the 1630s, Digby owned a glassworks and manufactured wine bottles which were globular in shape with a high, tapered neck, a collar, and a punt. His manufacturing technique involved a coal furnace, made hotter than usual by the inclusion of a wind tunnel, and a higher ratio of sand to potash and lime than was customary. Digby's technique produced wine bottles which were stronger and more stable than most of their day, and which, due to their dark color, protected the contents from light. During his exile and prison term, others claimed his technique as their own, but in 1662 Parliament recognized his claim to the invention as valid.
“Ahem…seeing as you’re all here, let’s begin, the solicitor began. “The document reads as follows…” He was squinting. “Would someone find a light switch? I can’t see in this bloody darkness.”
“Ahem… now as I was saying…I, Patrick Paul Downes, residing in the city of Sligo, of the same county, Ireland, and being of sound mind, this, the twenty-seventh day of August, in the year of our Lord two thousand twenty-four, hear-by appoint Mr. Fred (Freddy Duh) Mavins, of Sligo executor of my estate on confirmation of my death.”
“Ah, shite,” Mary Quinn, sister of the deceased, whispered to her twin sister, Maggie. “The eejit went and done it. And Freddy Duh isn’t even here. If there was work in the bed, Freddy would sleep on the floor.”
“Hush, Mary. Shut up and listen to the man,” Maggie replied.
“The executor shall promptly pay any and all outstanding debts and assignments….”
The sisters and others had already quit listening to the legal boilerplate, and were eyeing the tea pot and biscuits that had been brought in and placed on a nearby table.
“I hate to admit it, but I’m glad Yuki left. I never liked having that foreign girl here. Pat Paul was better off without the woman,” Mary hissed.
Maggie put her hand on Mary’s leg. “Settle down. We said what was needed to be said. Today will be our reward.”
“Why did we have to be here so damn early in the morning?” Jimmy Joyce muttered under his breath. Seven AM? Christ almighty. He had cows to feed. Well, then again, maybe old Pat Paul would have though about that; hence the early hour.
“Ahem.” Declan O’Connor, the solicitor, tried to make eye contact with the group.
‘Now, the distribution of the estate is as follows…’’
That seemed to work, O’Connor noted. All eyes were upon him. You could hear the proverbial pin drop.
“To my lifelong fishing buddy, Jimmy Joyce, I leave my 17-foot lake boat, my Yamaha 5 horsepower engine, and all my fishing gear.“
Jimmy Joyce beamed. Pat Paul always went first class when it came to fishing. God bless ya, Jimmy thought.
“To my local parish, my church, Our Lady of Eternal Sorrows, and that lovely new priest, Father Akachukwu, recently arrived from Nigeria, I leave ten thousand Euro, to be used toward the recompense of people abused in their National School during the 1950s… the 1960s…the 1970s… the 1980s…
Father Akachukwu beamed.
Having little English, Father Akachukwu had no idea what had just been said, but he had heard his name, and knew what ten thousand Euro was.
Now we’re getting to the meat on the table, Maggie thought to herself.
“To my son, Patrick Paul Junior, who fecked off to America twenty years ago, and never sent so much as a postcard, I leave one Euro.”
Mary and Maggie gasped.
Patrick Paul Junior, who had at last returned to the auld sod for the reading of the will, spit on the rug and left the room; never, it was imagined by those in attendance, ever to be seen again.
“If I hurry, I maybe can catch the noon flight out of Shannon,” he thought to himself, as he fumbled for his mobile phone and the keys to the hire car. “The old gobshite…”
“To my sisters, Mary, and Mildred,” (who winced at hearing her given name) “Despite their constant bickering, and meddling in my affairs, I leave the remainder of my estate.”
Mary and Maggie beamed.
A month earlier, Patrick Paul Downes, knowing he was dying, had strolled into Mullaney’s in town and purchased a new suit, a couple of shirts, and a sharp looking necktie.
He’d then walked to the other side of the shop, to Mullaney’s travel agency, and had them arrange for airfare, a hotel, plus a car and driver, for a long-overdue holiday abroad. He wore the suit out of the shop, lacking a final tailoring, but suitable for his next task.
He stopped at the Bank of Ireland, whose manager knew him well, to arrange for a loan for the full market value of his property. The manager looked at Pat Paul; looked at the suit, and determined Pat Paul must of made a killing on the ponies at the local horse track. Loan approved.
Taking all the cash and life savings he’d gathered from beneath his mattress at home, he flew off to Monte Carlo a few days later. Pat Paul went to the grand casino, marched up to the first roulette table he saw, and bet it all on black. The wheel came up red.
Patrick Paul beamed.
(Photo taken at a grand Manor House now used as a luxury resort hotel, western Ireland.)
Jacopo della Quercia
Madonna della Melagrana (1403-1408)
Ferrara, Museo della Cattedrale
Chiamata anche Madonna Silvestri, dal nome del committente dell'opera venne scolpita dallo scultore senese in marmo di Carrara e rappresenta una tra le massime opere scultoree del Rinascimento.
Di essa esiste una vasta informazione che va dalla sua committenza nel 1403 dagli esecutori testamentari di Virgilio Silvestri fino alla sua esecuzione e collocazione sull'altare di famiglia nell'antico Duomo di Ferrara nel settembre di tre anni dopo.
Gli esperti di storia dell'arte sono concordi nel definire questa statua, che oggi è conservata nel Museo della Cattedrale di Ferrara, come uno delle massime opere di Jacopo della Quercia, "un artista di dimensioni internazionali, né soltanto gotico, né già rinascimentale, ancora profondamente medievale ma capace di intuizioni che scavalcano il Quattrocento" (L. Bellosi).
L'impianto volumetrico e la maestosità delle forme rappresentano il più palese omaggio alla cultura figurativa toscana che va da Nicola Pisano a Giotto, passando per Arnolfo di Cambio.
La scultura è stata sempre oggetto di profonda devozione da parte dei ferraresi che fin dal Settecento la chiamavano "Madonna Bianca" o, più affettuosamente, "Madonna del Pane" in quanto la popolazione vedeva nel rotolo della legge tenuto in mano dal Bambino la forma di un pezzo di pane ferrarese.
Indubbiamente una delle massime opere del Rinascimento Italiano da ammirare nel suo restauro eseguito recentemente.
Jacopo della Quercia
Madonna of the Pomegranate (1403-1408)
Ferrara, Cathedral Museum
Also called Madonna Silvestri, from the name of the client of the work, it was sculpted by the Sienese sculptor in Carrara marble and represents one of the greatest sculptural works of the Renaissance.
There is a vast amount of information about it which goes from its commissioning in 1403 by the executors of Virgilio Silvestri up to its execution and placement on the family altar in the ancient Cathedral of Ferrara in September three years later.
Art history experts agree in defining this statue, which today is preserved in the Museum of the Cathedral of Ferrara, as one of the greatest works of Jacopo della Quercia, "an artist of international dimensions, neither just Gothic nor already Renaissance, still profoundly medieval but capable of intuitions that go beyond the fifteenth century" (L. Bellosi).
The volumetric layout and the majesty of the forms represent the most obvious homage to the Tuscan figurative culture that goes from Nicola Pisano to Giotto, passing through Arnolfo di Cambio.
The sculpture has always been the object of profound devotion on the part of the people of Ferrara who since the eighteenth century called it "White Madonna" or, more affectionately, "Madonna del Pane" (Madonna of the Bread) as the population saw in the scroll of the law held in the Child's hand the shape of a piece of Ferrarese bread.
Undoubtedly one of the greatest works of the Italian Renaissance to be admired in its recently restored restoration.
© Riccardo Senis, All Rights Reserved
This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
The latest lockdown ends, the sun shines, the Duke of Cumberland re-opens on The Marr. Half of the village works whilst the other half plays. Everyday life slowly creaks back into action!
Castle Carrock is a village and civil parish on the B6413 road, in the City of Carlisle District, in the English county of Cumbria about 3 miles south of Brampton. The population of the Civil Parish was 303 in 2001 and rose to 328 by 2011. It has a pub, The Duke of Cumberland, a primary school and many walks.
More recently Castle Carrock is known for 'Cumbria's Most Friendly Music Festival' Music on the Marr which takes place each year at the end of July. It attracts a diverse crop of music, entertainers, artists and poets from around the world: www.flickr.com/photos/davidambridge/collections/721576277...
Castle Carrock is surrounded on the south by Leath Ward, on the west by Cumrew and Carlatton, on the north by Brampton and Hayton, and on the east by Northumberland.
The first name which appears on the manorial roll of Castle Carrock is Eustace de Vallibus, grantee under his kinsman, Hugh de Vallibus, or Vaux, upon whom Henry II conferred the barony of Gilsland as a recompense for services rendered the young prince in his contest with Stephen.
The family of Eustace adopted the Castle-Carrock as a surname, and probably had their castle here which has given a name to the parish. Robert de Castle Carrock, the fourth in descent, left three daughters, among whom the manor was divided, parts of which passed to the Dacres eventually the whole manor passed to the Earls of Carlisle. The principal landowners in the late 19th century were the executors of the late John Watson, Esq., Gelt House: William Watson, Esq., Holme Eden; Ralph Watson, Garth Foot; James Proctor Watson, Esq., Gelt Hall; and Mrs. Elizabeth Carrick.
On the summit of the fell are two cairns, one of which, called Hespeck Raise, is of considerable magnitude. Near Gelt bridge was another cairn, and when the stones were removed in 1775, by the farmer on whose land it was situated, a cistaven or rude stone coffin was found, in which was a human skeleton. About fifteen years ago another cistaven, containing a human skeleton, was unearthed by two farmers near to Greenwell; accompanying it were an urn and a flint, probably the hatchet of the warrior chief, whose mouldered remains were thus brought to view 2,000 years after his entombment.
St. Peter's Church, built on a medieval site in the ruins of previously built churches and also a castle. The present site of St Peter's Church was rebuilt in 1828 and restored in 1888.
Castle Carrock School, a Primary School that has been in Castle Carrock since 1871.
Castle Carrock reservoir, situated above the village. It was built in 1907 to supply drinking water
Dating back to 1509 when it The Royal Grammar Schoolwas set up by a bequest of Robert Beckingham in his will . !n 1512 the executors handed over the land to trustees ( The Mayor and four past mayors ) . In the 1550s the trustees pettioned Edward IV for further endowments which were granted and thus gained the right to call itself The Royal Grammar School .
Thus the school still exists having stood at the top of Guildford High Street since before the time of the Spanish Amada .
a link to the frontage of the building .
"No Disintegrations!" I present my interpretation of the classic scene from Empire Strikes Back, complete with lighting and non-slip design to hold books nicely. Instructions available here, rebrickable.com/users/IScreamClone/mocs/
Situado, como es tradicional en estos edificios, volando la muralla del recinto, también en su disposición recuerda al Palacio de Comares, con una gran alberca central presidida por el pórtico, aquí de cinco arcos, tras el que se desarrolla la estancia principal en el interior de una torre conocida con el nombre de las Damas.
La decoración de sus paramentos presenta el habitual zócalo de alicatados, amplios paños de yeserías originalmente policromados hasta el arrocabe y cubierta con armadura de madera. Su tipología decorativa ha atribuido su construcción a la época del sultán Muhammad III (1302-1309) lo que lo presupone como el palacio -al menos parcialmente en pie- más antiguo de la Alhambra.
Junto a la Torre de las Damas, por encima del pórtico sobresale un bello y reducido mirador, muy característico de la arquitectura nazarí, presente en otros palacios como el de Comares o el del Generalife, al que denominaron modernamente por las extraordinarias vistas, el observatorio.
El Partal por su refinamiento es una obra primordial del arte nazarí.
Es una residencia de recreo decorada con abundante lujo. Servirá de modelo para otras construcciones de la Alhambra.
Los mismos artistas que trabajaron en el Partal serán ejecutores de partes del Generalife y de otras obras.
Sus zócalos servirán también de modelos para las producciones más complejas de la Torre del a Cautiva y de Comares.
Situated, as is traditional in these buildings, flying the wall of the enclosure, also available Comares Palace recalls, with a large central pool chaired by the portico of five arches here, after which it takes place in the main room inside a known tower of checkers.
The decoration of its walls has the usual tiled plinth, large panels of plasterwork frieze originalmente polychrome up and covered with wooden frame. Its decorative type construction has been attributed to the time of Sultan Muhammad III (1302-1309) which presupposes as the palace, at least partially standing-oldest in the Alhambra.
Next to the Torre de las Damas, above the portico stands a beautiful small balcony, very characteristic of Moorish architecture, present in other palaces such as Comares or the Generalife, which they called modern by the extraordinary views, the observatory .
The Partal for its refinement is a major work of art Nazari.
This residence hall is decorated with plenty of recreational luxury. Serve as a model for other buildings of the Alhambra.
The same artists who worked on the Partal be executors of parts of the Generalife and other works.
Their sockets will also serve as models for complex productions to Captive Tower and Comares.
Esta foto tiene derechos de autor. Por favor, no la utilice sin mi conocimiento y autorización. Gracias.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved. Thanks
The Eva van Hoogeveen almshouse has the entrance at the Doelensteeg. Eva van Hoogeveen came from a wealthy family. She was unmarried, daughter of Albert (Aelbrecht), Heere van Hoogeveen and a very chaste and praiseworthy virgin. In 1650, she testified that she wanted to use her money to buy Houses in honor of God for Chaste Virgins and Honorable Widows. After her death, in 1652, the executors (her brother and a cousin) bought a number of building plots to build this almshouse.
The houses are currently occupied by one-person households. Given the historical background of the almshouse, the houses are preferably rented to single middle-aged ladies.
The almshouse is a national monument
Cambridge
Sidney Sussex College (referred to informally as "Sidney") is a constituent college of the University of Cambridge in England. The College was founded in 1596 under the terms of the will of Frances Sidney, Countess of Sussex (1531–1589), wife of Thomas Radclyffe, 3rd Earl of Sussex, and named after its foundress. In her will, Lady Sidney left the sum of £5,000 together with some plate to found a new College at Cambridge University "to be called the Lady Frances Sidney Sussex College". Her executors Sir John Harington and Henry Grey, 6th Earl of Kent, supervised by Archbishop John Whitgift, founded the Protestant College seven years after her death.
Sidney sits on the site of Cambridge's Franciscan friary, built in the middle of the 13th century and dissolved in the 1530s. Artefacts of the site's past lie beneath the foundations of the college buildings.
- Wikipedia
Quixote - "I am the guardian of this forest. The keeper of law and order. I am the Judge, and the executor!"
*Proceeds to bite the bark off the tree*
Stay Safe, Eat Doughnuts, and Read Good Books (╭☞ ⌐■ ◞ ■ )╭☞
Sporo's receive the 'big brother' gaze from Birch, the all-seeing silver sentinel - he doesn't appear very often, but you can be sure he is watching you :-)
Dear friends, i'm still here, but engaged in distracting executor and house improvement tasks after my mother passed away last year.
I hope to be back more regularly in the near future, but in the meantime I do look in at your new posts, even if you haven't heard my thoughts.
Kind regards to you all.
Pete
A tribute to Arvel Crynyd, one of the Rebellion's heroes. Crynyd was killed during the Battle of Endor in a suicide run to destroy the Super Star Destroyer Executor.
2023 Photo 319/46 I'm the executor and sole trustee of Mother's estate, and with her death on Nov. 14, I have begun the daunting task of distributing assets. ©2023 | John M. Hudson
OPTMUS RACE - OR R900 YZR-M1 EXECUTOR
Can be bought at the Marketplace..Also check out the rest of the store it's awesome.
marketplace.secondlife.com/p/OR-R900-YZR-M1-EXECUTOR/9964634
Inworld store is here maps.secondlife.com/secondlife/Scott/101/95/27
MY FLICKR www.flickr.com/photos/146096319@N03/
MY FACEBOOK www.facebook.com/SkitzoBassvonfuq
MY YOUTUBE www.youtube.com/channel/UCLICXo7hkKt9oGHvyj_-0zQ?view_as=...
Just one wall showing three of the arches of a number of them in it . Looking through you can see numerous other arches .
Where are we ? This is the remains of Netley Abbey on the side of Southampton Water .
Now the abbey looks in on itself, one of the most complete and certainly the most beautiful Cistercian monastery in southern England. It is free to wander into and it captures the heart and mind in an instant. Its more recent history is bound up with artists, poets and others of artistic bent as many have tried to capture its beauty. John Constable painted it, as did Francis Towne, George Keats was moved to write a poem about the ruins and so was William Sotheby who chose to write an ode at midnight, an allusion maybe to the ‘other worldly’aspect of the Abbey’s history. Just to imagine those people here observing and working is enough to send goose pumps.
Netley Abbey was founded by a small group of monks who were following the will of the Bishop of Winchester ,Peter de Roches. He died in 1238 but he had made plans for the foundation of an abbey at Netley that was to be a daughter abbey to the great Beaulieu Abbey in the New Forest.
After the death of Peter de Roches
Peter de Roches may have made plans for Netley Abbey but died before he could complete them or carry them out. It was left to his executors to put the final plans into place. Over the water of the River Itchen from the New Forest, Peter de Roches had found the perfect spot. He purchased lands around about from which they could derive an income and so it was that in June 1239, a colony of monks arrived from Beaulieu and thus began the existence of Netley Abbey.
The house was dedicated to the Blessed Virgin and Saint Edward the Confessor, as a result of this it was known as Edwardstowe. King Henry III, (Henry of Winchester), in whose reign the abbey was built, made several early donations to the house and by 1251 seems to have regarded himself its patron and founder. In fact the inscriptions at the base of the four great piers at the transept crossing, commemorate the construction of the abbey church by King Henry III. It reads; ‘Henry, by the grace of God, King of England’
The church is immense and towers above the viewer, with its roof on it must have been a beautiful structure, with the roof off it still is.
The early grounds of Netley Abbey went right down to the shoreline. Its gatehouse was situated close to the shoreline. It is interesting that King Henry VIII saw merit in its position and converted it into one of his southern shore forts and the house that is now Netley Castle was built in the C19th on these Tudor foundations.
Netley Abbey in the C14th
During the C13th the abbey prospered and the number of monks and lay -brothers increased. The abbey did not seem to raise itself to any great status however and by about 1328 the house was experiencing some financial difficulties and the community was forced to sell much of its property. This financial pressure may have come about because of its proximity to the coast. Mariners passing through could demand hospitality and care. The King himself and his household were also demanding of the abbey’s provisions including their livestock. The abbey site was also large and needed a great deal of upkeep. The Black Death of 1348 added to its woes and Netley Abbey became a poor and undistinguished Cistercian house. It seems that the impoverishment of the abbey can be largely attributed to its position on the south coast.
Netley Abbey and the Dissolution
At the time of Dissolution only seven monks remained at the abbey, incredible when you look at the abbey ruins and the annual net income was valued at £100. The house was dissolved with the smaller monasteries in 1536. Following the Dissolution, the site was granted to Sir William Paulet, he converted the monastery into a Tudor mansion. His work can be seen in the red brick that pokes through the structure here and there. The site was occupied by the Paulet family until the late C17th, when the property was sold to a Southampton builder called Taylor and it is with him that the ‘other worldly’ stories about the abbey seem to have originated. He intended to demolish the entire church but while supervising the demolition of the west end Taylor was crushed to death by the falling tracery of the west window. This was interpreted as a sign that the building should not be demolished and so thankfully, no more demolition took place and the property remained in private ownership until 1922 when it was given over to the Ministry of Works.
The Abbey as a tourist site
A brief walk around the ruins soon alerts you to the fact that Netley Abbey has attracted visitors for hundreds of years. One of them a painter from London who made the journey in 1839, 600 years after its founding, maybe inspired by the other great artists who felt drawn to capture the mood. The incredibly slender tracery of the windows perched so impossibly high and every corner hinting at the possibility of a monk turning it, adds to the feeling that here, in Netley Abbey time has stopped.
The Eva van Hoogeveen almshouse has the entrance at the Doelensteeg. Eva van Hoogeveen came from a wealthy family. She was unmarried, daughter of Albert (Aelbrecht), Heere van Hoogeveen and a very chaste and praiseworthy virgin. In 1650, she testified that she wanted to use her money to buy Houses in honor of God for Chaste Virgins and Honorable Widows. After her death, in 1652, the executors (her brother and a cousin) bought a number of building plots to build this almshouse.
The houses are currently occupied by one-person households. Given the historical background of the almshouse, the houses are preferably rented to single middle-aged ladies.
The almshouse is a national monument
The Harry F. Sinclair House at E. 79th Street and 5th Avenue, completed in 1899, was successively the residence of businessmen Isaac D. Fletcher and Harry F. Sinclair, and then the descendants of Peter Stuyvesant. The mansion was designed by C. P. H. Gilbert and built by foreman Harvey Murdock. The building largely retains its original design, except for a 1917, [ on the roof. The mansion comprises 27 rooms on 6 floors, for a total floorspace of 20,000 square feet. Fletcher died at the house in 1917 and in his will bequeathed the property to the Metropolitan Museum of Art. The museum sold the house the next year to oil magnate Harry F. Sinclair, who sold the house in 1930 to Augustus Stuyvesant Jr. and Anne van Horne Stuyvesant. The siblings resided in the mansion until their deaths in 1953 and 1938, respectively. The executors of the Stuyvesant estate sold the Sinclair House in 1954 to a group of investors, who sold it in 1955 to the Ukrainian Institute of America, a nonprofit founded by Ukrainian businessman William Dzus in 1948 to promote Ukrainian culture.
Excerpt from histoiresainteducanada.ca/en/le-sanctuaire-du-sacre-coeur...:
Father Joseph-Arthur Laporte was born in Saint-Paul de Joliette on August 15, 1857, the feast of the Assumption. He entered the community of the Clerics of Saint-Viateur on August 25, 1879. The members of this community have a great devotion to the Sacred Heart of Jesus, and it is through their contact that Father Laporte developed this devotion.
He left the community of the Clerics of Saint-Viateur on July 28, 1886 and requested his incardination to the Bishop of Sherbrooke. He was admitted to the number of priests of the diocese by Bishop Antoine Racine, and appointed pastor of the parish of Sainte-Praxède de Bromptonville (1891-1902) from where he discovered the “mountain” that he would later call “Beauvoir”.
Eight kilometers north of Sherbrooke, a small mountain of one hundred and fifteen meters, still unnamed, had long attracted the attention of this great lover of nature. After many approaches to Mr. Émile Lessard, a farmer, he bought two hectares of land from him in 1915. He gave the name “Beauvoir” (beautiful to see) to this corner of paradise whose panoramic view enchanted him. He decided to build a small cottage, a house of six meters on a side surrounded by a gallery. In 1916 and 1917, he bought more land to enlarge his small domain.
And in 1920, he founded the Sanctuary of the Sacred Heart of Beauvoir.
For years, Father Laporte has been fascinated by the devotion to the Sacred Heart of Jesus. He speaks of it tirelessly. So it is not surprising that the only decoration on the bare walls of his cottage is a lithograph, without much artistic pretension, of the Sacred Heart of Montmartre.
In 1916, Father Laporte still dreamed of making Beauvoir a place where people would come to pray and celebrate the Sacred Heart of Jesus, whose devotion was spreading more and more throughout the country. He therefore decided to erect, not far from his cottage, a statue of the Sacred Heart. Measuring two meters in height, this statue, with its arms wide open, stands on a pedestal of field stones that farmers have faithfully transported on their carts.
The parish priest now invites his parishioners to come and taste the happiness that is his at the Sacred Heart…
As early as 1918, pilgrims began “the ascent of the Rosary”, a devotional practice that would have its heyday in the 1930s. On Sunday afternoons, pilgrims, starting from the main road, climbed to Beauvoir while reciting the rosary.
In 1933, at the request of the pilgrims, Father Pierre-Achille Bégin had a cross erected in front of the road leading to the Shrine. It is from this cross, still visible, that the pilgrimages to Beauvoir started. Along the way, wooden boards were set up on which were written the fifteen mysteries of the rosary. For Beauvoir, the erection of this cross gives all its meaning to the ascent of the rosary: it is the beginning of the ascent, it is the cross of the rosary that the lips kiss before murmuring the “Aves”, the first links of this long chain that leads the pilgrims to the very Love that awaits them at the Shrine.
In 1920, during a Holy Hour, he asked for a special favor from the Sacred Heart, with the promise of building a small chapel in Beauvoir if he was granted it. With the help of some local craftsmen, he had the promised little chapel built.
It is an architectural jewel that Abbé Laporte had built on the hill of Beauvoir.
But the Sacred Heart, never defeated in generosity, knows how to reward his servant by giving to vile materials a stamp of rustic elegance, to a humble and poor building, a beauty that escapes no one. And all those who come to pray in this rustic chapel find there a calm, a peace that penetrates deep into their souls and leaves them pacified. One can almost feel the loving presence of the Sacred Heart of Jesus, which bends down with tenderness over those who come to visit it.
The exterior of this chapel is reminiscent in many ways of some of the country chapels of France. The rustic walls, the rudimentary furnishings and the few decorations are not likely to satisfy the connoisseur of expensive works of art. It is poverty, destitution. The only decoration is a statue, a frame, two statuettes, a few ex-votos testifying to the goodness of the Sacred Heart, lanterns and old images of the Way of the Cross. But, near the tabernacle, how one can taste with love and peace the divine presence of the Eucharistic Heart of Jesus!
On October 24, 1920, Bishop Larocque came to bless the little chapel. The next day, Father Laporte celebrated the first mass on Mount Beauvoir.
In the spring of 1921, his health inexorably deteriorated. Even though he was ill, he was taken to Beauvoir four or five more times. Then he had to give up returning to Beauvoir. He was hospitalized at the Saint-Vincent-de-Paul Hospital at the beginning of August. And on August 20, Father Laporte was finally able to meet face to face with the one who was the great love of his life.
The body of Father Laporte now rests in the crypt of the church of Saint-Jean-Baptiste of which he was parish priest. However, on the west wall of the little chapel in Beauvoir, a commemorative plaque recalls the man who founded the Shrine and who continues to watch over its work from above.
Father Laporte had bequeathed the Beauvoir property to the diocese on the condition that he pay the remaining $3,500 debt. The diocese refused this bequest. Beauvoir thus reverted to the universal legatee, Miss Euphémie Charest, Father Laporte’s former housekeeper. She sold Beauvoir in 1923 to the executor of Father Laporte’s will, the notary Gédéon Bégin, for the price of the debt. This wealthy businessman used Beauvoir Hill as a summer vacation spot for his family.
From 1923 to 1929, Beauvoir fell into almost complete abandonment. Only a few lovers of the Sacred Heart would go up there privately to pray at the foot of the Sacred Heart statue. But at the end of July 1929, Father Pierre Achille Bégin, a retired priest and brother of the owner, accompanied by a few members of the family, came to visit Beauvoir. Although the buildings had been quite damaged by thieves and the weeds had invaded the area, the group was charmed by the landscape and decided to settle there for two weeks.
From then on, the Bégin family would come to spend a few weeks in Beauvoir during the summer vacations.
Without looking for signs, the good abbot knows how to recognize an invitation. First of all, together with his family members, he decided to restore the place and to revive the project of Father Laporte. Every year in June, he invites the people of the area for the triduum in preparation for the feast of the Sacred Heart. This is the highlight of the year.
Throughout the summer months, Father Bégin, surrounded by nephews and nieces, ensures for the pilgrims the mass every morning and the prayer at the Sacred Heart every evening as well as a Holy Hour every Thursday evening. Father Bégin, after Father Laporte, sought to spread devotion to the Sacred Heart. It is in the small stone chapel that he spends most of his time in prayer and in welcoming the small groups of pilgrims who continue to climb the mountain. “All my desire is that in Beauvoir the Sacred Heart be particularly honored, praised and prayed to, and that He spread His greatest graces there.”
Urbex Benelux -
The first question in this case is whether or not she left a valid will. A will is valid if it was made and signed appropriately under the laws of the state. (For example, in San Francisco a handwritten will, called a holographic will, can be valid, while it would not be valid in some states.) A valid will is likely to name an executor, the person the deceased selected to shepherd the estate through the probate process.
Giuseppe Vermiglio (c. 1587 - c. 1635) - Jael and Sisara (1621) - oil on canvas 130 × 103 cm - Pinacoteca/Biblioteca Ambrosiana - Milan
L’opera ci mostra Giaele nel momento drammatico in cui trafigge il capo di Sisara con il picchetto della tenda, secondo la narrazione del Libro dei Giudici. Nulla si conosce circa la provenienza di questa tela e nemmeno vi sono documenti che dicano quando fece il suo ingresso in Ambrosiana. L’opera è stata attribuita a Giuseppe Vermiglio; essa mostra elementi caravaggeschi e sembra essere stata ispirata dallo stesso soggetto eseguito da Artemisia Gentileschi conservato a Budapest.
È soprattutto nei secoli XVI e XVII che l'episodio dell'uccisione di Sisara conosce una grande fortuna in campo pittorico. Tra gli esecutori più noti, si ricordano Artemisia Gentileschi, Palma il Giovane, Jacopo Vignali, Gregorio Lazzarini e Mattia Preti.
The work shows us Jael in the dramatic moment in which he pierces the head of Sisara with the picket of the tent, according to the narrative of the Book of Judges. Nothing is known about the origin of this canvas and there are no documents that say when he made his entry into the Ambrosiana. The work has been attributed to Giuseppe Vermiglio; it shows elements of Caravaggio and seems to have been inspired by the same subject executed by Artemisia Gentileschi and kept in Budapest.
It is especially in the sixteenth and seventeenth centuries that the episode of the killing of Sisara knows a great fortune in painting. Among the most famous executors, we remember Artemisia Gentileschi, Palma il Giovane, Jacopo Vignali, Gregorio Lazzarini and Mattia Preti.
Giuseppe Vermiglio (c. 1587 - c. 1635) - Jael and Sisara (1621) - oil on canvas 130 × 103 cm - Pinacoteca/Biblioteca Ambrosiana - Milan
L’opera ci mostra Giaele nel momento drammatico in cui trafigge il capo di Sisara con il picchetto della tenda, secondo la narrazione del Libro dei Giudici. Nulla si conosce circa la provenienza di questa tela e nemmeno vi sono documenti che dicano quando fece il suo ingresso in Ambrosiana. L’opera è stata attribuita a Giuseppe Vermiglio; essa mostra elementi caravaggeschi e sembra essere stata ispirata dallo stesso soggetto eseguito da Artemisia Gentileschi conservato a Budapest.
È soprattutto nei secoli XVI e XVII che l'episodio dell'uccisione di Sisara conosce una grande fortuna in campo pittorico. Tra gli esecutori più noti, si ricordano Artemisia Gentileschi, Palma il Giovane, Jacopo Vignali, Gregorio Lazzarini e Mattia Preti.
The work shows us Jael in the dramatic moment in which he pierces the head of Sisara with the picket of the tent, according to the narrative of the Book of Judges. Nothing is known about the origin of this canvas and there are no documents that say when he made his entry into the Ambrosiana. The work has been attributed to Giuseppe Vermiglio; it shows elements of Caravaggio and seems to have been inspired by the same subject executed by Artemisia Gentileschi and kept in Budapest.
It is especially in the sixteenth and seventeenth centuries that the episode of the killing of Sisara knows a great fortune in painting. Among the most famous executors, we remember Artemisia Gentileschi, Palma il Giovane, Jacopo Vignali, Gregorio Lazzarini and Mattia Preti.
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AV-6R7 was an Imperial V-series droid supervisor manufactured by MerenData. The supervisor droid oversaw work droids building the Empire's Death Star II superweapon by 4 ABY, and was serving in that year on the Super Star Destroyer Executor during the Battle of Endor, which ended with the Executor colliding with the Death Star. At one point, AV-6R7 was deprived of arms for failing to keep track of a faulty power droid.
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ENGLISH TEXT DOWN UNDER THE LINE
Aquesta església barroca aparentment anodina no tant sols és la catedral ortodoxa de Praga (ja explicaré perquè), sino que és un dels llocs més importants i dramatics de la historia txeca i eslovaca del s. XX, un veritable camp de batalla en miniatura. Es tracta de la catedral de St. Ciril i Metodi de Praga. El 27 de maig de 1942, paracaigudistes txecoslovacs emboscaren i feriren de mort al Reichprotektor de Bohemia i Moravia, el temudissim Reinhard Heydrich, organitzador de la Gestapo, del extermini dels jueus europeus i un dels 4 o 5 homes més importants del III Reich (el seu cotxe portava la matrícula SS-3, essent els altres dos primers per a Hitler i Himmler). Les repercussions mortals foren terribles, amb centenars de represaliats (en especial al poble de Lidice, on foren assassinats unes 340 persones), però no localitzaren els executors fins que un company seu els va trair, l’infame Karel Čurda.
Els paracaigudistes s’amagaven a la cripta de St. Ciril, montant guardia també a dalt del cor de l’església. El 18 de juny de 1942 de matinada, l’església fou encerclada per uns 800 soldats de les SS. Dins l’església hi havia 7 paracaigudistes, 3 dalt el cor i 4 dormint a la cripta. L’arribada sobtada dels alemanys impedí que els de la cripta poguessin sortir a ajudar als seus companys. Durant sis hores aguantaren els assalts de les SS, sobretot Jan Kubis, Adolf Opalka i Josef Bublik des de dalt del cor, on dominaven tot l’interior de l’església. Tots foren morts en combat, tot i que mataren a uns 14 alemans, i en feriren una trentena més. Un cop la nau de l’església estava en mans nazis, aquests localitzaren l’entrada a la cripta, però era massa petita per poder assaltar-la. Així que finalment inundaren el soterrani amb manegues dels bombers per l’única finestra de la cripta, previament ametrallada per a impedir que els paracaigudistes s’hi poguessin acostar. Aquests intentaren fugir excavant un forat fins les clavegueres, però el creixent nivell d’aigua i la voladura d’una segona entrada a la cripta acabà amb les seves opcions. Tots es suicidaren per no caure vius en mans dels nazis: Josef Gabzic, Josef Valcik, Jan Hruby i Jaroslav Sbarc.
Avui en dia, la cripta i tot l’edifici és un santuari molt emotiu, i de nou torna a ser catedral ortodoxa, també (per cert, originariament era una església catolica, però el 1930 fou venguda a l’exglésia ortodoxa, molt minoritaria a Txequia). Diverses pel·licules mostren el setge de St. Ciril i Metodi, notablement Operation Daylight (1975) i Anthropoid (2016).
ca.wikipedia.org/wiki/Operaci%C3%B3_Antropoide
www.prague.eu/en/object/places/442/cathedral-church-of-st...
www.katedrala.info/index.php/galerie-katedraly
www.army.cz/images/id_7001_8000/7419/assassination-en.pdf
Una escena del combat a Anthropoid (2016):
www.youtube.com/watch?v=_TLiRxwFCk0
I a Operation Daybreak (1975):
www.youtube.com/watch?v=mAWgbmluk34&t=194s
I crec que a la txecoslovaca Atentát (1965):
www.youtube.com/watch?v=ipoGy1XadYw
=========================================
This rather mundane baroque church in Prague is in fact a cathedral, an orthodox one, St. Cyril and Methodius. But it is what happened here in WW2 that makes this place one of the most important and dramatic places in czech and slovak XX Century. On May 27th, 1942, czechoslovak paras killed the Reichprotektor of Bohemia and Moravia, Reinhard Heydrich. He was one of the 4 or 5 top nazi leaders, organizer of the Gestapo and of the Holocaust. In fact, his car, where he was mortally wounded, had the SS-3 plate (the 1 was for Hitler and the 2 for Himmler). The nazi repprisal was terrible, with thousands of imprisoned people, hundreds murdered (notably in the razed to the ground Lidice, where 340 were murdered). But the nazis failed to locate the paras. Until a traitor told them a lead that ultimately gave the hidding place: St. Cyril and Methodius cathedral.
The paras were hidding in the cript, but also kept guard up in the choir, which dominated the nave of the church. On the early morning of June 18th, 1942, the building and several streets were surrounded by 800 German soldiers and SS. Seven paras were in the church, four sleeping in the cript and three, Jan Kubis, Adolf Opalka and Josef Bublik, guarding the choir. When the SS entered the nave, the battle began. The siege lasted 6 hours, and all the paras were killed or comited shoot themselves. But they killed at least 14 Germans, according to some sources, and wounded maybe 30. With the nave secured, the nazis located the entrance into the cript but was so small that was impossible to attack. So they put firemen hoses down the only tiny window of the cript and blown up a large stone leading to the cript. The paras tried to dig a hole into the sewers but was too late and finally commited suicide to avoid being captured alive: : Josef Gabzic, Josef Valcik, Jan Hruby and Jaroslav Sbarc.
Nowadays the cript and all the building is a national sanctuary, a quite moving place when you know the dramatic events that happened there. Several movies show in a quite spectacular way the siege and assault, most notably Operation Daylight (1975) and Anthropoid (2016).
en.wikipedia.org/wiki/Ss._Cyril_and_Methodius_Cathedral
www.prague.eu/en/object/places/442/cathedral-church-of-st...
www.katedrala.info/index.php/galerie-katedraly
www.army.cz/images/id_7001_8000/7419/assassination-en.pdf
Here are the scenes of Anthropoid (2016) and Operation Daybreak (1975):
www.youtube.com/watch?v=_TLiRxwFCk0
www.youtube.com/watch?v=mAWgbmluk34&t=194s
I presume this is the scene in the czechoslovak film Atentát (1965):
Franz Kafka (3 July 1883 – 3 June 1924) was a German-speaking Bohemian novelist and short-story writer, widely regarded as one of the major figures of 20th-century literature. His work fuses elements of realism and the fantastic. It typically features isolated protagonists facing bizarre or surrealistic predicaments and incomprehensible socio-bureaucratic powers. It has been interpreted as exploring themes of alienation, existential anxiety, guilt, and absurdity. His best known works include the short story "The Metamorphosis" and novels The Trial and The Castle. The term Kafkaesque has entered English to describe situations like those found in his writing.
Kafka was born into a middle-class German-speaking Jewish family in Prague, the capital of the Kingdom of Bohemia, then part of the Austro-Hungarian Empire, today the capital of the Czech Republic. He trained as a lawyer and after completing his legal education was employed full-time by an insurance company, forcing him to relegate writing to his spare time. Over the course of his life, Kafka wrote hundreds of letters to family and close friends, including his father, with whom he had a strained and formal relationship. He became engaged to several women but never married. He died in 1924 at the age of 40 from tuberculosis.
Few of Kafka's works were published during his lifetime: the story collections Contemplation and A Country Doctor, and individual stories (such as "The Metamorphosis") were published in literary magazines but received little public attention. In his will, Kafka instructed his executor and friend Max Brod to destroy his unfinished works, including his novels The Trial, The Castle and Amerika, but Brod ignored these instructions. His work has influenced a vast range of writers, critics, artists, and philosophers during the 20th and 21st centuries.
Friends…lend me your ears
I come to…, not to praise him
Shakespeare, William (ca. 1599): Julius Caesar, Act III Scene II
Shakespeare might get a bit of a gig here today. It was from the very era when Julius Caesar and Hamlet were written that this piece from the salvage yard was hung at the front of the house of Sir Paul Pindar. And that is where it stayed, surviving the slum clearance of 1666, which you might know as the Great Fire of London and subsequent years of reuse and abuse, until 1890 when his house was demolished in the name of progress. Now, saved from the demolisher's it hangs among the bits and pieces you might have stashed in your shed but is actually the Victoria and Albert Museum.
Pindar's house was unwisely constructed on the Bishopgate Road, formerly the Roman's Ermine St and now the A10. Worse still, he put it right where the Liverpool Street Station was to be built. Such is the wisdom of hindsight! It was a skinny thing, deeper than broad with three jettied floors poking out into the road, each one overhanging the other. On the front was this elaborate glazed and carved oak façade.
No amount of patronage nor protest could save what was reputedly London's last house of its type. Progress and profit would inevitably take it down.
I'm not here to praise Pindar. In a common story, all of his wealth may not have been got fairly. But wealth he had! Reputedly, he invested it in political matters, including to support King Charles I, his wife and son. No amount of any of that could turn the head of the Parliament, nor keep Charles' head on its shoulders. The interregnum could have played out better for Pindar. Before Charles II was reinstated as the regent, Pindar's loans remained unpaid, and he died. Reputedly, his executor, was so overcome by his inability to unpick the web of Pindar's creditors that he killed himself.
To be or not to be: that is the question
Shakespeare, William (ca. 1600): Hamlet, Act III Scene I
There you have it! Pindar certainly didn't get his ROI, nor did his Estate.
Neither a borrower nor a lender be…
Shakespeare, William (ca. 1600): Hamlet, Act I Scene III
Excerpt from histoiresainteducanada.ca/en/le-sanctuaire-du-sacre-coeur...:
Father Joseph-Arthur Laporte was born in Saint-Paul de Joliette on August 15, 1857, the feast of the Assumption. He entered the community of the Clerics of Saint-Viateur on August 25, 1879. The members of this community have a great devotion to the Sacred Heart of Jesus, and it is through their contact that Father Laporte developed this devotion.
He left the community of the Clerics of Saint-Viateur on July 28, 1886 and requested his incardination to the Bishop of Sherbrooke. He was admitted to the number of priests of the diocese by Bishop Antoine Racine, and appointed pastor of the parish of Sainte-Praxède de Bromptonville (1891-1902) from where he discovered the “mountain” that he would later call “Beauvoir”.
Eight kilometers north of Sherbrooke, a small mountain of one hundred and fifteen meters, still unnamed, had long attracted the attention of this great lover of nature. After many approaches to Mr. Émile Lessard, a farmer, he bought two hectares of land from him in 1915. He gave the name “Beauvoir” (beautiful to see) to this corner of paradise whose panoramic view enchanted him. He decided to build a small cottage, a house of six meters on a side surrounded by a gallery. In 1916 and 1917, he bought more land to enlarge his small domain.
And in 1920, he founded the Sanctuary of the Sacred Heart of Beauvoir.
For years, Father Laporte has been fascinated by the devotion to the Sacred Heart of Jesus. He speaks of it tirelessly. So it is not surprising that the only decoration on the bare walls of his cottage is a lithograph, without much artistic pretension, of the Sacred Heart of Montmartre.
In 1916, Father Laporte still dreamed of making Beauvoir a place where people would come to pray and celebrate the Sacred Heart of Jesus, whose devotion was spreading more and more throughout the country. He therefore decided to erect, not far from his cottage, a statue of the Sacred Heart. Measuring two meters in height, this statue, with its arms wide open, stands on a pedestal of field stones that farmers have faithfully transported on their carts.
The parish priest now invites his parishioners to come and taste the happiness that is his at the Sacred Heart…
As early as 1918, pilgrims began “the ascent of the Rosary”, a devotional practice that would have its heyday in the 1930s. On Sunday afternoons, pilgrims, starting from the main road, climbed to Beauvoir while reciting the rosary.
In 1933, at the request of the pilgrims, Father Pierre-Achille Bégin had a cross erected in front of the road leading to the Shrine. It is from this cross, still visible, that the pilgrimages to Beauvoir started. Along the way, wooden boards were set up on which were written the fifteen mysteries of the rosary. For Beauvoir, the erection of this cross gives all its meaning to the ascent of the rosary: it is the beginning of the ascent, it is the cross of the rosary that the lips kiss before murmuring the “Aves”, the first links of this long chain that leads the pilgrims to the very Love that awaits them at the Shrine.
In 1920, during a Holy Hour, he asked for a special favor from the Sacred Heart, with the promise of building a small chapel in Beauvoir if he was granted it. With the help of some local craftsmen, he had the promised little chapel built.
It is an architectural jewel that Abbé Laporte had built on the hill of Beauvoir.
But the Sacred Heart, never defeated in generosity, knows how to reward his servant by giving to vile materials a stamp of rustic elegance, to a humble and poor building, a beauty that escapes no one. And all those who come to pray in this rustic chapel find there a calm, a peace that penetrates deep into their souls and leaves them pacified. One can almost feel the loving presence of the Sacred Heart of Jesus, which bends down with tenderness over those who come to visit it.
The exterior of this chapel is reminiscent in many ways of some of the country chapels of France. The rustic walls, the rudimentary furnishings and the few decorations are not likely to satisfy the connoisseur of expensive works of art. It is poverty, destitution. The only decoration is a statue, a frame, two statuettes, a few ex-votos testifying to the goodness of the Sacred Heart, lanterns and old images of the Way of the Cross. But, near the tabernacle, how one can taste with love and peace the divine presence of the Eucharistic Heart of Jesus!
On October 24, 1920, Bishop Larocque came to bless the little chapel. The next day, Father Laporte celebrated the first mass on Mount Beauvoir.
In the spring of 1921, his health inexorably deteriorated. Even though he was ill, he was taken to Beauvoir four or five more times. Then he had to give up returning to Beauvoir. He was hospitalized at the Saint-Vincent-de-Paul Hospital at the beginning of August. And on August 20, Father Laporte was finally able to meet face to face with the one who was the great love of his life.
The body of Father Laporte now rests in the crypt of the church of Saint-Jean-Baptiste of which he was parish priest. However, on the west wall of the little chapel in Beauvoir, a commemorative plaque recalls the man who founded the Shrine and who continues to watch over its work from above.
Father Laporte had bequeathed the Beauvoir property to the diocese on the condition that he pay the remaining $3,500 debt. The diocese refused this bequest. Beauvoir thus reverted to the universal legatee, Miss Euphémie Charest, Father Laporte’s former housekeeper. She sold Beauvoir in 1923 to the executor of Father Laporte’s will, the notary Gédéon Bégin, for the price of the debt. This wealthy businessman used Beauvoir Hill as a summer vacation spot for his family.
From 1923 to 1929, Beauvoir fell into almost complete abandonment. Only a few lovers of the Sacred Heart would go up there privately to pray at the foot of the Sacred Heart statue. But at the end of July 1929, Father Pierre Achille Bégin, a retired priest and brother of the owner, accompanied by a few members of the family, came to visit Beauvoir. Although the buildings had been quite damaged by thieves and the weeds had invaded the area, the group was charmed by the landscape and decided to settle there for two weeks.
From then on, the Bégin family would come to spend a few weeks in Beauvoir during the summer vacations.
Without looking for signs, the good abbot knows how to recognize an invitation. First of all, together with his family members, he decided to restore the place and to revive the project of Father Laporte. Every year in June, he invites the people of the area for the triduum in preparation for the feast of the Sacred Heart. This is the highlight of the year.
Throughout the summer months, Father Bégin, surrounded by nephews and nieces, ensures for the pilgrims the mass every morning and the prayer at the Sacred Heart every evening as well as a Holy Hour every Thursday evening. Father Bégin, after Father Laporte, sought to spread devotion to the Sacred Heart. It is in the small stone chapel that he spends most of his time in prayer and in welcoming the small groups of pilgrims who continue to climb the mountain. “All my desire is that in Beauvoir the Sacred Heart be particularly honored, praised and prayed to, and that He spread His greatest graces there.”
Circular Quay has many interesting street performers putting up shows over the weekend. This guy was juggling everything from apples and knives to chainsaws and fire!
This was taken just before the grand finale where he juggled fire, knives and an apple (that is being thrown to him in this shot) while he was suspended on a cycle 15 feet off the ground! The ropes which held the cycle up were being handled by members of the crowd.
Foolhardy or pure talent?
See more black on blue.
Sydney, Australia
2008
♫ Minha alma canta, Vejo o Rio de Janeiro
Estou morrendo de saudades
Rio, seu mar, Praia sem fim
Rio, você foi feito prá mim
Cristo Redentor, Braços abertos sobre a Guanabara...
My soul sings, I see Rio de Janeiro
I’m dying of longing
Rio, your sea, Beach without end
Rio, you were made for me
Christ the Redeemer, Open arms over Guanabara... ♫
No 12 de outubro de 1931 era inaugurado o Cristo Redentor, talvez o simbolo mais conhecido da cidade do Rio de Janeiro e do Brasil no Mundo.
A construção de um monumento religioso no local foi sugerida pela primeira vez em 1859, pelo padre lazarista Pedro Maria Boss, à Princesa Isabel. No entanto, apenas retomou-se efetivamente a ideia em 1921, quando se iniciavam os preparativos para as comemorações do centenário da Independência.
A pedra fundamental do monumento foi lançada em 4 de abril de 1922, mas as obras somente foram iniciadas em 1926. Dentre as pessoas que colaboraram para a realização, podem ser citados o engenheiro Heitor da Silva Costa (autor do projeto escolhido em 1923), o artista plástico Carlos Oswald (autor do desenho final do monumento) e o escultor francês de origem polonesa Paul Landowski (executor das mãos e do rosto da escultura).
Ainda hoje, algumas pessoas dizem que o monumento foi um presente da França para o Brasil , quando, na verdade, a obra foi erigida a partir de doações de fiéis de arquidioceses e paróquias por todo o país. mas principalmente da Cidade do Rio de Janeiro, com o projeto de autoria e chefia do engenheiro Heitor da Silva Costa. Da França, vieram, apenas uma réplica de quatro metros feita de pequenos moldes, assim como modelos das mãos feitos pelo Landowski, conforme o desenho de Heitor e Carlos Oswald (Wikipedia)
Foto tirada do Amanhecer no Corcovado durante a JMJ Rio 2013, onde tive a oportunidade de estar com esses talentosos jovens peregrinos que faziam parte do wilenszczyzna zespol piesni i tanca, um coral folclórico de dança e canto do Leste Europeu; Para ve-los e ouvi-los basta clicar AQUI
* Todas as fotos da sequencia estão ABERTAS, pois já foram publicadas anteriormente
Foto: Cristo Redentor - Amanhecer no Corcovado - Jornada Mundial da Juventude 2013 - Rio de Janeiro - Brasil
Video: ♪ Samba do Avião ♪ - Tom Jobim
Conforme a Lei 9.610/98, é proibida a reprodução total ou parcial ou divulgação comercial ou não sem a autorização prévia e expressa do autor (artigo 29). ® Todos os direitos reservados.
According to Law 9.610/98, it is prohibited the partial or total commercial reproduction without the previous written authorization of the author (article 29). ® All rights are reserved.