Exploitant : STIVO

Réseau : STIVO

Ligne : 34

Lieu : Les Valanchards (Jouy-le-Moutier, F-95)

Lien TC Infos : tc-infos.fr/vehicule/8786

Village de Pernand-Vergelesses (21 - Côte d'Or)

 

Website : www.fluidr.com/photos/pat21

 

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

Sunday Morning at 8AM at Creamy's Spot

maps.secondlife.com/secondlife/Soulcity/30/88/24

Exploitant : CAB Solution

Réseau : Navette Substitution SNCF Île-de-France

Ligne : Navette Transilien J

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/43818

__Exploited

ink.

Exploitant : Keolis Argenteuil Boucles de Seine

Réseau : IDF Mobilités – Argenteuil – Boucles de Seine

Lieu : Centre Opérationnel Bus d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/vehicule/14541

To misuse the beauty of nature

To exploit the love of nature and the animals of the ocean

To instrumentalize women's feelings

Profiteering

Abusive men: www.lfcc.on.ca/HCT_SWASM_4.html

 

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 9

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/14519

The Exploited: Matt McGuire (guitar), Wattie Buch (vocals) an and Irish Rob (bass) during their live performance at the Astra, Berlin, 18.04.15 Gitarrist, Saenger, Bassist

 

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Aerial

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German postcard by WS-Druck, Wanne-Eickel, no. F 107. Photo: Metro-Goldwyn-Mayer / Filmpress Zürich.

 

Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'

 

Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.

 

Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.

 

Sources: Wikipedia and IMDb.

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Agora L (02/2003) du réseau Le Met' exploité par TAMM.

Ambassadeur de France à Washington (1903-1925)

French Ambassador at Washington (1903-1925)

 

Doyen du Corps Diplomatique (1913-1925)

Dean of the Diplomatic Corps (1913-1925)

 

Les exploits scolaires, universitaires et diplomatiques de ce grand monsieur sont juste ahurissants !

The academic and diplomatic achievements of this gentleman are simply amazing !

 

FRANÇAIS

 

Jean-Jules Jusserand, né le 18 février 1855 à Lyon (Rhône) et mort le 18 juillet 1932 dans le 8e arrondissement de Paris (Seine), est un diplomate et historien français.

 

Il fut notamment ambassadeur de France aux États-Unis de 1902 à 1924.

 

Famille et études

 

Son père, Jean Jusserand (1798-1871), avocat, est issu d'une vieille et riche famille lyonnaise d'artisans. Il perdit sa première femme d'origine roannaise et le seul fils qu'il eut d'elle. Veuf, il se remaria quelque temps après avec Adrienne Tissot (1826-1896), de 27 ans sa cadette. De ce second mariage naquirent quatre enfants en l'espace de quatre ans : Jean-Jules (1855-1932), Étienne (1856-1932), Jeanne (1857-1939) et Françoise (1860-1942).

 

Jean-Jules Jusserand fut baptisé le 26 février 1855 en l'église Saint-François-de-Sales de Lyon dans le 2e arrondissement de Lyon. À cette époque, son père est propriétaire du 7 rue des Marronniers près de la place Bellecour à Lyon.

 

De 1865 à juin 1872, il fait ses études secondaires à l'Institution des Chartreux, un établissement prestigieux de Lyon où il a comme professeur de rhétorique l'abbé Jérôme Déchelette. Il termine ses études avec un bon bilan scolaire. Grâce à ses excellentes notes, Jean-Jules Jusserand obtient différents prix avec un palmarès assez riche. Au total, il fut nommé 10 fois, ce qui est un record à l'époque. Lors de son baccalauréat, il confirme les mêmes appréciations mais avec un palmarès toutefois moins riche. Il ne fut nommé que deux fois pour deux seconds accessits (philosophie et littérature).

 

De 1872 à 1876, il fréquente la Faculté de lettres de Lyon pour perfectionner ses fortes connaissances en langues latines et anglaises. De plus, il obtient un doctorat de lettres (diplôme peu commun à cette époque). Dans ce cadre, il soutient deux thèses, une en français et une en latin. Sa thèse principale intitulée Le Théâtre en Angleterre, depuis la conquête jusqu'aux prédécesseurs immédiats de Shakespeare, d’un style alerte et clair, a été validée par le recteur Antoine Dareste de la Chavanne, qui lui a permis de l'imprimer le 12 janvier 1877. Elle a été communiquée aux facultés extérieures et lui a valu les flatteuses appréciations de l’illustre Hippolyte Taine, historien et critique littéraire. Sa deuxième thèse a aussi été soutenue devant la Faculté de lettres de Lyon.

 

À la fin de ses études supérieures, Jean-Jules Jusserand alla à Paris pour préparer le concours national des affaires étrangères, il étudia le droit, l’histoire, les langues, le latin, la paléographie et les arts mais regretta de ne pas faire aussi un peu de médecine1. En juillet 1878, il se présenta au concours où il fut reçu premier à l’âge de 23 ans.

 

Carrière

 

Jean-Jules Jusserand est alors nommé élève-consul à Londres. Pendant cette période, il consacre ses recherches à l'Angleterre du XIVe siècle et écrit la première ébauche de ce qui sera son livre le plus souvent traduit et réédité : English wayfaring life in the 14th century (La vie nomade et les routes en Angleterre au XIVe siècle)1. Il devient rapidement aide-consul sous la direction de M. Langlet, qui le félicite pour son travail remarquable.

 

De 1881 à 1887, il est chargé d'une mission en Tunisie par Léon Gambetta où il y avait des rivalités et des troubles. À son retour, il fut remarqué pour ses rapports et son action puis il fut placé à la tête d’un bureau des affaires tunisiennes, auxquelles furent ajoutés de nombreux protectorats français (Madagascar, Congo, Annam, etc.).

 

De 1887 à 1890, Jean-Jules Jusserand est conseiller d'ambassade à Londres. Il se créa des relations dans les milieux littéraires, artistiques et politiques du Tout-Londres.

 

De 1890 à 1898, il est sous-directeur des affaires politiques au ministère des affaires étrangères. Jean-Jules Jusserand mena à Paris une vie studieuse et mondaine. Le 14 octobre 1895, il se marie dans le 16e arrondissement de Paris avec Elise Richards (1862-1948), américaine née à Paris, dont le père George Richards était fondé de pouvoir d’une banque américaine en France.

 

De 1898 à 1902, Jean-Jules Jusserand est ambassadeur de France au Danemark. Il voyagea dans l'Empire russe où il accompagna le président de la République Émile Loubet lors de ses visites.

 

Ambassadeur de France aux États-Unis

 

En 1902, Jean-Jules Jusserand est nommé ambassadeur de France aux États-Unis. Il succède ainsi à Jules Cambon (frère de Paul Cambon) qui est nommé ambassadeur de France en Espagne.

 

Il rejoint son poste le 7 février 1903.

 

Il gagna très rapidement l'amitié de Theodore Roosevelt et la sympathie de ses successeurs. Ainsi, pendant 22 ans, Jean-Jules Jusserand est le porte-parole de la politique française auprès de cinq présidents des États-Unis : Theodore Roosevelt, William Howard Taft, Woodrow Wilson, Warren G. Harding et Calvin Coolidge.

 

En juin 1905, lors de la crise du Tanger entre la France et l’Empire allemand pour la domination du Maroc, qui faillit conduire à la guerre, Jean-Jules Jusserand utilisa son influence sur Theodore Roosevelt pour jouer un rôle efficace dans les négociations de la Conférence d'Algésiras. L'appui accordé par les États-Unis et la Royaume-Uni à la France ouvrit à la France les portes de l'Empire chérifien (maintenant le royaume du Maroc). Cette négociation fut efficace, et plusieurs personnalités, américaines comme françaises, jugèrent que l’ambassadeur français avait « sauvé la paix ».

 

Pendant les dix premières années de son poste à Washington, Jean-Jules Jusserand a énormément voyagé dans le pays. Il inaugura la statue du scientifique lyonnais André-Marie Ampère à New York. Le 27 avril 1906 à Annapolis (Maryland), il prononça un discours pour l'inauguration d'un monument à la mémoire des soldats et marins français morts au service des États-Unis pendant la guerre d'indépendance.

 

Première guerre mondiale

 

Il joua un rôle important dans l’entrée en guerre des États-Unis puisque dès 1914, il milita pour l'entrée en guerre auprès de la France. Ce fut une période difficile pour lui, l'opinion publique américaine étant très divisée. Il fallut plus de trois ans pour que le pays entre en guerre, à la suite de la guerre sous-marine à outrance lancée par l’Allemagne et le télégramme Zimmerman dans lequel l'Allemagne offrait au Mexique des territoires américains s'il rejoignait la guerre aux côtés de la Triple alliance.

 

Le 12 mars 1917, la Chambre des représentants autorise à faire armer les navires de commerce. Suite à l'attaque de deux bateaux américains par des U-Boats allemands, le président des États-Unis constate le 20 mars que l'État de guerre existe avec l'Allemagne et que les États-Unis ne peuvent limiter leurs dispositions défensives au seul domaine naval. Le 2 avril, il annonce au Congrès qu’il souhaite l'entrée en guerre des États-Unis aux côtés de la Triple-Entente, qui se traduit par l'envoi de troupes pour combattre sur le sol français, prenant ainsi une part directe au conflit6. Le Sénat des États-Unis approuve cette résolution par 182 voix contre 6. Le 6 avril 1917, les États-Unis sont officiellement en guerre. Le 28 juin 1917, la 1re division d'infanterie américaine débarque sur le sol français à Saint-Nazaire. Jean-Jules Jusserand déclare à cette occasion : « Pour la première fois, une nation neutre s’est décidée à entrer dans le conflit sans marchandage préalable, sans avoir posé de condition ».

 

Le 10 mai 1917, le président du conseil français, Georges Clemenceau, lui envoie un câble (télégramme) pour le féliciter de son action : « Tout ce que vous avez dit est excellent ». Le 5 septembre 1917, les États-Unis d'Amérique participent à une première offensive contre l'Allemagne. Le 11 novembre 1918, alors que les Américains sont sur le point de remporter une victoire, l'armistice est déclaré et la guerre est terminée.

 

Après-guerre

 

Après la guerre, il continue de se battre pour conserver la paix, obtenue avec tant d’efforts et de sacrifices.

 

Le 18 janvier 1919, à Paris, commence la Conférence de paix. Dans le cadre des négociations, le président Woodrow Wilson se fait accompagner en France par Jean-Jules Jusserand en qui il a toute confiance. Wilson est le premier président américain en exercice à venir en Europe. Cette conférence aboutit à la signature du traité de Versailles le 28 juin 1919. Les conditions de sortie de la guerre sont dictées, et la paix définitive semble établie.

 

Peu de gens ne pensaient alors que cette période de paix ne durerait qu'une vingtaine d'années avant l'avènement de la Seconde Guerre mondiale.

 

Pendant la guerre polono-ukrainienne, lorsque l'armée polonaise a envahi l'Ukraine, une contre-offensive russe a atteint Varsovie, où un mouvement révolutionnaire fit surface. Jean-Jules Jusserand fut alors envoyé à la tête d'une mission diplomatique et militaire par la France pour sauver la Pologne.

 

En 1923, il préside et délivre un discours lors de la cérémonie d'inauguration du monument aux morts des États-Unis.

 

Il reste ambassadeur de France aux États-Unis cinq ans de plus jusqu'en 1924.

 

Retraite

 

Pendant ces années, il publie une dizaine d’ouvrages en français et en anglais sur des sujets variés.

 

Plus tard, il prit des congés en France, où il fit un séjour avec son épouse dans leur propriété à Saint-Haon-le-Châtel dans le Forez.

 

À 70 ans, il prend sa retraite. C'est Émile Daeschner qui lui succède en 1924, et Henry Bérenger prend sa place le 1er janvier 1925.

 

Le 10 janvier 1925, un banquet d’adieu lui est offert par le gouvernement américain pour montrer son estime et sa gratitude. Cette cérémonie réunit les plus hautes personnalités politiques, scientifiques et culturelles des États-Unis. Une médaille d'or lui est aussi offerte.

 

En 1930, il publie un dernier ouvrage : L’évolution du sentiment américain pendant la guerre.

 

C’est en 1932 que Jean Jules Jusserand meurt à Paris, à 77 ans. Ses funérailles nationales se font à la Cathédrale Notre-Dame de Paris, et son corps est déposé dans le caveau de famille à Saint-Haon-le-Châtel.

 

Un des fondateurs de l'Alliance française

 

Jean Jules Jusserand a participé à la fondation de l'Alliance française. Cette alliance fut créée le 21 juillet 1883 à l'initiative de Paul Cambon, lui-même ambassadeur. Son comité se compose de Philippe Berthelot, Jean-Jules Jusserand, Ferdinand de Lesseps, Louis Pasteur, Ernest Renan, Jules Verne, Félix Charmetant et Armand Colin. Son nom est inspiré de l’Alliance israélite universelle, et son objectif est de défendre et de promouvoir la culture et la langue française, notamment après la défaite de 1870-1871 contre l'Allemagne.

 

Cette association n'est soumise à aucune influence politique ou encore religieuse. Elle compte en effet parmi ses fondateurs des personnalités de toutes religions.

 

La Fondation de l'Alliance française est « la référence morale et juridique » des Alliances françaises. Elle reconnaît les nouvelles Alliances françaises en approuvant leur statut. Elle accompagne les Alliances dans la formation du personnel et les conseille dans l'extension de leurs activités ou encore lorsqu'elles traversent des difficultés.

 

L'Alliance française possède des établissements partout dans le monde et est la plus grande organisation non gouvernementale (ONG) culturelle du monde, avec près de 1000 établissements dans plus de 136 pays différents.

 

À Lyon, l'Alliance française a été mise en place en 1984 et a obtenu de nombreux labels depuis sa création. Elle est la 1re école de langues de Lyon ainsi que la 3e Alliance française en France. Elle a une équipe multiculturelle de 40 personnes. Elle accueille 2 500 élèves par an avec 130 nationalités différentes dans 2 500 m2 de locaux modernes avec 17 salles de classes spacieuses et climatisées dédiées à l'apprentissage des langues. Elle perpétue encore l'esprit des fondateurs comme Jean-Jules Jusserand.

 

ENGLISH

 

Jean Adrien Antoine Jules Jusserand (18 February 1855 – 18 July 1932) was a French author and diplomat. He was the French Ambassador to the United States during World War I.

 

Birth and education

 

Born into a rich Lyonnais family, Jean Jules Jusserand spent his childhood between his familial residence in Saint-Haon-le-Châtel and Chalon's boarding school in Lyon. After his father's death in 1870, he was determined to honour him by learning new cultures and excelling in his international and bicultural career.

 

After his scholarship at the Chartreux, he continued his studies at the Université de Lyon, not knowing where these studies would lead him. He also wanted to increase his knowledge, which he judged insufficient. He studied literature, science, law and history, where he became an excellent student in all the subjects. He was awarded two doctorates, in history and law, and, despite the worries his family had about him not completing his studies, he obtained a doctorate in history. Jusserand continued travelling across the world, learning languages and discovering new horizons. He completed his studies in 1875 and pursued an international career.

 

Career

 

His career started in 1878 when he applied to the Foreign Affairs national competition, at the age of 23. He first started as a student-consul, and he was then kept as a help-consul in London under the direction of Mr. Langlet, who congratulated him on his remarkable work. In 1880, he became sous-chef of the “cabinet de Barthélemy-Saint-Hilaire,” where he worked as minister of foreign affairs. His literary work enabled him to reach a higher status as Paul Cambon's partner, the Minister of France in Tunisia, in 1882. During this time Jusserand will be in charge of the administrative organisation of the protectorate. He is then known as a respected diplomat, thanks to his contributions to the great humanization of the protectorate. Jusserand came back to the Quai d’Orsay In 1887, in a delicate moment, where he worked in the political sector. In 1898 he exerced in the role of emissary near Saint-Siège, then Minister of France in Copenhagen. Jusserand will be finally named ambassador in Washington in 1902, under the presidency of Émile Loubet.

 

Ambassador in Washington

 

As the new French ambassador in Washington, Jean Jules Jusserand succeeded Jules Cambon who, in Madrid, was replacing his brother Paul Cambon, himself nominated in London. Jusserand took up his position on 7 February 1903.

 

In 1911, he was admitted as an Honorary Member of the Society of the Cincinnati in the State of New Jersey.

 

He soon won Roosevelt's sympathy, in addition to the President's successors’. Thus, during 22 years, Jusserand was the French politic spokesperson alongside 5 presidents of the United States (Roosevelt, Taft, Wilson, Harding and Coolidge)[citation needed], especially he had served as Dean of the Diplomatic Corps from May 1913 to January 1925.

 

As in June 1905, the French and German concurrence over Morocco's domination nearly lead to a war. Jusserand used his influence on Roosevelt in order to play an efficient role in the Algeciras Conference. The support that was brought by the United States and the United Kingdom to France helped the French access to the Cherifian Empire (known today as the Moroccan Empire.). Everything happened in a very friendly and courteous manner, several American and French personalities considered that the ambassador had “saved the peace.”

 

Jusserand played an important role in the United States's entry into the war. As early as 1914, he campaigned for the entry of the United States to support France. It was a period of anguish and concern for Jusserand because the American public's opinion was very divided. It took the Americans more than three years to enter the war, being triggered by the submarine campaign launched by Germany.[citation needed]

 

On 12 March 1917, the House of Representatives authorised the arming of commercial vessels. Following the attack on two US ships by German U-boats, the US president realised on 20 March that the US was in fact at war with Germany. The United States would not be able to limit its intervention to the naval domain alone. On 2 April, he announced to Congress that he wished to go to war alongside the Entente, sending troops on French soil, thus directly entering the conflict. The US Senate approved this resolution by 82 votes to 6. On 6 April 1917, the US was officially at war. On 28 June 1917, the first American division landed at Saint-Nazaire. Jean Jules Jusserand said on this occasion: “For the first time, a neutral nation has decided to enter the conflict without prior bargaining, without having laid down a condition.”

 

On 10 May 1917, French Prime Minister Georges Clemenceau sent him a telegram to congratulate him on his action, saying “All you have said is excellent.” On 5 September, the United States of America participated in their first offensive against Germany. On 11 November, during an American offensive, the armistice was signed, thus ending the First World War.

 

He helped to support of professor Thomas Garrigue Masaryk legions especially in Russia and in negotiation for independent Czechoslovak state in America from May to October 1918.

 

For the Versailles negotiations, President Wilson was accompanied in France by Jusserand, whom he trusted. As a matter of fact, Wilson was the first incumbent US President to come to Europe. The Paris Peace Conference, beginning on 18 January 1919, culminated in the signing of the Treaty of Versailles on 28 June, establishing a seemingly definitive peace.

 

After a brief period of harmony lasting only 22 years, another world conflict ensued in 1939. However, Jusserand had no influence on this Second world war, passing away in 1932.

 

Even after the First World War, Jean Jules Jusserand was still fighting to maintain the peace obtained after so many efforts and sacrifices. He accompanied the American President Woodrow Wilson to the Paris Peace Conference (1919), during which was signed the Treaty of Versailles on 28 June 1919. When the Polish army invaded Ukraine, a Russian counter-attack reached Warsaw, where there was a rise in revolutionary ideas. France sent Jusserand at the head of a diplomatic and military mission to save the Poles.

 

He remained the French ambassador to Washington for the next five years under presidents Warren G Harding and Calvin Coolidge. During this time, he published a dozen books in French and English, on various subjects. Later on he returned to France, where he spent some time with his wife in Saint-Haon-le-Châtel, their property in the Forez.

 

In 1923, Jusserand presided and delivered a speech during the inauguration ceremony for the American war memorial.

 

At the age of seventy, he retired. Émile Daeschner succeeded him in 1924, followed by Henry Bérenger on 1 January 1925.

 

On 10 January 1925, a farewell banquet was organised in his honour by the American government in order to express their esteem and gratitude. This ceremony brought together the most important political, scientific and cultural figures of the United States. He was also awarded a medal for his deeds.

 

In 1930, Jusserand published his last book, The evolution of the American sentiment during the war (“L'évolution du sentiment américain pendant la guerre”).

 

He died in 1932 in Paris at the age of 77, following a lengthy bout of kidney disease. His national funeral took place in Notre-Dame, and his body rests in the family home in Saint-Haon-le-Châtel.

 

Alliance Française

 

In 1884, Jean Jules Jusserand took part in the foundation of the Alliance Française. The Alliance Française is a French organisation which aims to promote French culture and reaffirm it; especially after France's defeat against the Germans in 1870.

 

This association is not subject to any political or religious influence.

 

The Fondation de l’Alliance Française is the "moral and juridic reference" for the other Alliances Françaises. It is she whom approves the formation of new Alliances françaises by approving their status. It helps the Alliances to form employees, and guide them in the extension of their activities or even when they go through tough times.

 

The Alliance Française has buildings all around the world and is today the biggest cultural Non-Governmental Organisation of the world with around 1000 establishments in more than 136 countries. The Alliance Française in Lyon was created in 1984 and has received many Labels since then. Nowadays, it is the first French language school in Lyon and the third Alliance Française in France. Within it, there is a multicultural team of 40 people, who welcome 2500 students per year and more than 130 nationalities. The 2,500 m2 of modern locals dedicated to the study and learning of languages with 17 classrooms. It perpetuates the founders’ spirit, including Jusserand's.

 

Legacy

 

Jean Jules Jusserand monument in Rock Creek Park, Washington D.C., just off Beach Drive and Western Ridge Trail, across the foot bridge from Peirce Mill.

 

Even today, different monuments exist in France and the United States in order to commemorate Jusserand's diplomatic role.

 

A pink granite bench in Rock Creek Park honoring Jusserand was dedicated by President Franklin Delano Roosevelt on 7 November 1936. It is the first memorial erected on Federal property to a foreign diplomat. In 2014 Washington City Paper called it the “best obscure memorial” in D.C.

HMS Exploit (P167) at speed on the Solent.

 

She is an Archer-class (or P2000) patrol and training vessel built in Woolston by Vosper Thornycroft and commissioned in 1988.

 

Originally ordered for the now defunct RNXS.

1954; The Exploits of Sherlock Holmes by Adrian Conan Doyle and John Dickson Carr. Dust Jacket by Leo Manso. Adrian is the youngest son of Sir Arthur Conan Doyle.

Police and partner agencies have been focusing on young people who run away or go missing from home and those that may exploit them during a week of action that began across Greater Manchester on Monday 14 March.

 

The focus of the campaign during this year’s week of action has been raising awareness around the strong link between child sexual exploitation and children who go missing.

 

Going missing can mean bunking off school, staying out overnight, or running away from home for a few days or longer. Whatever the context, the reality is that 95% children at risk from child sexual exploitation have gone missing at least once.

 

GMP Assistant Chief Constable Rob Potts said: “The statistics speak for themselves – there is a clear correlation between young people at risk of child sexual exploitation and their inclination to run away or go missing.

 

“More often than not, the young people who do run away do so regularly. This not only places a significant strain on policing but also increases the chances of that person coming to harm.

 

“Young people are often unaware of the dangers that are posed when they stay away from home without telling anyone and we urge them to keep in touch somehow, whether that’s through a friend, relative or anyone you trust.

 

“If you have concerns about your child’s whereabouts or don’t know where they are, please contact the police. With our partners in Project Phoenix we are doing all we can to work with these young people to get to the root of the problem, and keep them safe.

 

“Child sexual exploitation is a horrific crime and we will continue to work hard to both locate and protect those vulnerable to abuse, working with missing children on their return to break the cycle. Officers are patrolling around the clock, and will take robust action to tackle anyone who seeks to exploit these young people.”

 

Greater Manchester Mayor and Police and Crime Commissioner Tony Lloyd said: “Greater Manchester is leading the fight against child sexual exploitation. We’re engaging with local people to raise awareness of the abuse and how to spot the signs, and partner agencies are working together to tackle the issue, bring perpetrators to justice, and provide much-needed support to victims and those at risk, including children who run away or go missing.

 

“Child sexual exploitation is child sex abuse, plain and simple. We must come down heavily on those who exploit and manipulate vulnerable children for their own sexual pleasure, and arm our young people with the means to keep safe and recognise unhealthy, abusive relationships.”

 

Paul Maher, Greater Manchester Area Manager at The Children’s Society, which works with children and young people who go missing or are at risk of going missing, said: “Children and young people who go missing are among the most vulnerable children in our society.

 

“Some may be running from neglect and abuse, family breakdown or drug and alcohol misuse by their parents - while others go missing under the influence of predatory adults seeking to exploit them.

 

“Whatever the reason for them going missing, we know these children are at particular risk of being sexually exploited or falling victim to other types of harm. Our research has shown that around a quarter are either hurt or harmed in some way.

 

“That is why it is vital they receive more support at an early stage to help address the issues that cause them to go missing and protect them from the risks of sexual exploitation or becoming a victim of other crimes.”

 

The week of activity is the latest from Project Phoenix’s ‘It’s Not Okay’ campaign, and will be publicising resources and support related to child sexual exploitation.

 

‘It’s Not Okay’ was created as part of Project Phoenix, the Greater Manchester response to tackling child sexual exploitation - a collaboration of public and third sector partners throughout Greater Manchester working together to protect young people.

 

Since the campaign launched in September 2014, public awareness and understanding of child sexual exploitation in Greater Manchester has increased considerably amongst young people and parents and carers, as well as professionals.

 

In the 18 months since the launch of the ‘It’s Not Okay’ campaign, Project Phoenix has undertaken substantial work with schools, healthcare providers and support services to ensure that vulnerable young people are helped at every stage - from prevention through to support and rehabilitation.

 

Regular weeks of awareness-raising have included direct engagement with young people and those who care for them; police targeting and disruption, dedicated days of publicity focusing on key trends and close collaboration across Greater Manchester authorities means that hundreds more young people are being identified, educated and safeguarded than ever before. Visit www.itsnotokay.co.uk to find out more.

 

For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk

 

To report crime call police on 101 the national non-emergency number.

 

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.

 

The ship sails through rough North Atlantic waters along the Norwegian mountains.

 

After the end of the Viking Age and the transition into the early Middle Ages, ship technology in the North and Baltic Sea regions began to undergo significant development, closely associated with changing trade patterns, economic interests, and a growing network of maritime routes. Whereas Viking longships were primarily optimised for swift raids, coastal navigation, and agile manoeuvring, the following centuries brought forth the need for larger, more robust, and more capacious vessels, better able to withstand the harsh conditions of the North Atlantic and to transport goods over greater distances.

 

Especially from the Danish waters and the Hanseatic towns along the southern coast of the Baltic Sea—cities such as Lübeck, Rostock, and Wismar—trade routes were gradually established stretching northwards along the Norwegian coasts, onward to the Faroe Islands, Iceland, and in some cases even as far as Greenland. These journeys required ships capable of carrying large volumes of cargo, maintaining stability on open seas, and fitted with rigging that could exploit shifting winds. The result was a range of ship types, such as the knarr and the cog, developed and refined to meet these new demands.

 

With these more voluminous vessels, merchants, fishermen, and whalers could transport stockfish, hides, whale oil, and other valuable goods between the North Atlantic islands and continental Europe. Bergen in Norway became a crucial hub, where the German Hanseatic League, among others, established permanent trading offices (the Bryggen). From there, goods were redistributed to various European markets. At the same time, stations for seal hunting, whaling, and fishing were set up at strategic coastal locations, linking production areas with regional trading centres.

 

This evolution in ship technology and maritime infrastructure laid the foundation for a more integrated economy, where the sea was no longer merely a barrier but a vital artery connecting distant regions. It not only brought greater prosperity to the area, but also shaped a North Atlantic culture and commerce that would come to characterise the maritime world of the Middle Ages.

 

"Whispers of the North Sea Trade"

 

Beneath iron clouds and heaving tides,

Hulls strain in the grasp of chill winds,

Where once longships sliced the foam and fled,

Now broader decks bear the world’s finds.

 

Knarr and cog, stout of beam and keel,

Crafted in quiet, shaped by need,

Their sails yearn for far, wind-haunted isles,

Carrying more than gold or seed.

 

From Danish shores to Bergen’s quay,

These traders stitch distant coasts,

Binds of stockfish, hides, and oil,

Woven on oak where silence boasts.

 

No longer mere borders of surging brine,

The seas bend to commerce and skill,

Bridging green fjords and grey horizons,

Until distant ports stand still.

 

In rigging’s song and lantern’s glow,

A maritime age takes form,

Whales yield their oil, winds chart the course,

As nations meet beyond the storm.

 

Three Haikus:

 

Stout knarr on dark waves,

Whispered routes beneath grey skies,

Seas carry rich trade.

 

Cogs drift by damp quays,

Hanseatic tongues echo,

Goods flow like water.

 

Whale oil lamps glimmer,

In Bergen’s hushed evening gloom,

Masts fade into mist.

The following cover appeared in:

True Detective

July 1950

Café Society Murder

The story below probably did not.

 

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We appreciate the courtesy of Chatwick University Archives for letting us use the journals in our research, and for permission to use parts for the genesis of “Dare’s Game”.

Dare’s Game

Beth, eagerly looking for Dare, walked straight into Seth’s cunning snare…..

 

Suffix, circa 1910?. It was during this time a fanciful young lady, whom we will call Beth, started a journal which she would faithfully keep over the course of almost 50 years. She led quite an adventuresome life for a lady of that time, and her journals were filled with many tales and observations of her exploits. The following story is derived from events that she penned down in the early years in her journal.

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Beth had known Dare since their childhood. Dare was a handsome free spirited youth only two years her senior, who lived for the games his life had to offer. As his cherished nickname inferred, Dare was always trying to find the thrill out of anything he could think up, relishing to go beyond the pale in anything he attempted. Dare always a little different, harboring feelings and ideas way beyond his years, almost as if he had lived a previous life and retained something from it in his being.

Beth would remember times playing dress up with Dare’s sister Diana in some old gowns of their mothers. It was always then that Dare and his friends seemed to appear and talk them into playing hide n seek, tag or cops n robbers. Dare seemed to take pleasure in cajoling the girls into playing with them in this manner. Eyeing them as they played with a far off look that suggested the game they were playing had more meaning to him than he could ever venture to say. It was hard for Beth to explain it, but she did find it pleasurable (almost erotic using a word whose term she would learn much later) to be observed by him in this way.

One warm fall day Diana and Beth headed down to an old shack located near some railroad tracks at the back of a cornfield. Diana was dressed in a long satin play gown with her mother’s jewelry, which Dare had called rhinestones. Beth, herself dressed in a long flowing dress, loved the way Diana’s jewels twinkled and sparkled as she walked. They were going to pretend the shack was a ballroom and they were one their way to a fancy dance, like Beth’s and Diana’s parents had recently attended. Diana wasn’t supposed to be wearing her mother’s jewelry outside the house, but as a result of Dare’s teasing, had done so anyway.

They had reached the shack, an old white brick building with a wooden roof half fallen in, when a man’s voice suddenly said behind them, what are you two ladies up to? Turning they were confronted by a happily sneering drifter. The grubby man looked around, alone is we, and advanced towards them. The two girls stood petrified, he reached out and probed Diana along her side, pretty dress missy, he said, sparsely toothed mouth grinning like a pumpkin. He suddenly reached up and tore the necklace away from Diana’s throat, sending her falling backwards. Beth screamed bloody murder, as the vagrant turned heel, running off towards the tracks. Suddenly Dare appeared, and Beth, meaning to yell for help, exclaimed instead “help honey” to Dare. Dares eyes took on a very different look, almost of a burning yearning. Beth told him what had happened and he took off down towards the tracks in hot pursuit. For Beth, the look he had given her and the way he had dashed off excited her beyond measure. Even for someone that young, Beth now knew what Dare meant to her. From then on, playing games with Dare took on a heightened meaning for Beth.

But, nothing really changed in their relationship until Beth’s sophomore year of high school. Beth was sixteen at the time, a whimsical being, passionate, innocent, not particularly attractive, but radiating with a love of life. A living free spirit, developing into a very sexual being by the time her and Diana decided to attend their schools prom in their sophomore year. Beth dressed in a fuchsia coloured satin dress with dangling rhinestone earrings that had been” borrowed” from Diana’s Mother, the same ones Diana had been wearing when they had run into the drifter at the shack. Diana slipped into the slinky blue spaghetti strap gown and matching cover-all that she had worn as her cousin’s bridesmaid. She was wearing sapphire costume jewels patterned after the hope diamond. Their parents had given them a hard time when they saw their made up girls in their gowns and finery , admonishing them for looking way too mature. They smiled, consoling their parents fears, and went off on their adventure.

Their eyes were dazzled by the display of lights, the cheerfully student filled room, the band. They had stopped and were letting it all sink in, when Beth felt a hand on her shoulder. She turned and came face to face with Dare, who once again had the same yearning fire in his eyes as on that fateful day at the old shack. A veil was lifted from between the two, and Beth spent the whole evening encompassed in Dare’s arms. Soon after that the two had begun seeing much more of one another. Their relationship was still going strong eight years later.

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8 Years Later

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Come on Dare, let’s go to the Riverside, it will be fun she urged. She had been trying to get her fiancé’ to take her to the exclusive five star resorts for some time. And now she had a free overnight room card she had won at work! Dare looked into Beth’s wide, hope filled eyes, knowing her passion for attending these types of affairs. Ever hopeful she would see someone rich. Dare knew how to use this to his advantage. Finally he buckled, all right, only if we play the game afterwards he bargained. She squirmed inwardly with passion, nodding her agreement. Beth found the game exciting, though she would never let on to Dare. And, you must wear the gold bridesmaid gown and jewels you wore to your friend’s wedding last week , he added, a wistful smile lighting up his thin face.. Okay she agreed, trying to sound reluctant, but truthfully feeling multiple tingles of delight.

Dare was handsome, in a scrawny, thin bearded, sort of way ( From an old photo that survives he resembled a young Johnny Depp… the eds), with a witty writers imagination and a playful disposition. He could always make Beth laugh, feeling his excitement as he drew her into his stories and games. She would never admit to it, but found the game delightfully erogenous. She smiled to herself, so Dare had liked the satin gown after all, he had not shown any interest in her wearing it since the wedding. And the jewelry, the small rhinestone pendent and earrings had been pretty, but Beth soon came up with another idea. She would knock his socks off by wearing the glittering diamonds and emeralds that had been inherited from her grandmother. The set had laid collecting dust in a safety deposit box all these years, unworn. She had never told Dare about them, waiting for the perfect occasion. She could just imagine the look in his eyes when he saw her wearing them. Okay then, game on, Beth thought, wickedly sending shivers up and down her spine.

Dare’s Game was based on role playing:

Dare would give Beth money to purchase a new outfit, something rich and shiny, like silk or satin. With the new outfit, Beth would wear the good gold jewelry she had received from Dare on her birthdays. The idea was to acting like a bored rich girl out for a good time, alone and vulnerable.

Dare would be at the hotel bar, waiting for Beth to make her entrance, then make her acquaintance , playing a debonair, suited gentleman with a mysterious past and a hidden agenda. They would make a date later, usually to dance and have drinks.

Then that evening, she would go down to the bar. Dressed in one of the long gowns Dare favored, fitting in with the usual spillover from a wedding reception that had been held in one of the Ballrooms. Sometimes she would wear the rhinestone jewelry they had purchased together at various antique stores. Then Beth would wait for Dare to make his entrance, signaling the time for Dare’s game. He would assume one of several roles, or possibly a new one that Beth had never seen. In the past Dare had played:

A spy who would dance with Beth, then disappear. Sending a note to Beth via a third person that would have her meet him clandestinely in a remote location…

A highwayman who would come across Beth on the castle grounds , usually the resorts empty gardens at night….

A rich millionaire looking for romance…

A kidnapper hired by an evil uncle, who after tying up Beth and removing her valuables would have a change of heart….

A Jewel thief who would be cunningly after her valuables…

A handsome prince rescuing Beth’s damsel in distress ….

Or Dare’s favorite, centered on their old childhood game of cops and robbers. Dare would play the thief, and steal something from Beth, usually while dancing. He would then leave preset clues around the grounds that she would have to follow to catch him.

All of the games usually led to some playful groping and then escalating into the upper echelons of erotic pleasure. Sometimes they never made out of the woods, or barely out of the ballroom. Beth shivered at these thoughts, wishing she didn’t have to wait….

 

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Three weeks later at the Riverside Resort.

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In the Bar:

At the bar, Dare smiled to himself, pleased. He had dropped Beth off to check in by herself. She would change into her new outfit and wear it down to the bar for lunch. She would come in acting like a complete stranger to the area. Dare would make her acquaintance, invite her to lunch, and make plans to see her that evening at the resorts dance room. There were two wedding receptions going on, and that dance room should be filled with well-dressed patrons. Beth would fit right in; clad that pretty gown she had promised to wear.

Dare had been sitting at the bar, thinking about ways to play out the game that evening, when the answer came to him, in the form of a stranger who had come with his drink and sat next to him. The stranger introduced himself as Seth, and shaking Dare’s hand sat on the stool next to him. After they had had couple of drinks, they had become quite chummy. Seth explaining he had come up for one of the weddings, and assumed Dare was doing the same. Seth did not fail to observe Dare’s secretive smile, but did not question it. Their conversation was distracted only when a newcomer appeared at the entrance. Beth walked in, a long flowing silky skirt swishing down to her leather sandals. A shiny, long sleeved satin top fitting tightly along her perky figure, with bright gold jewelry complementing the ensemble. Real gold, Seth observed silently to himself.

Beth went to a table, both men going silent as they watched her move through the room. Good-looking one, that, Seth commented, looking at Dare who was deep in thought as his eyes were fixed on the sexy newcomer. Seth teasingly offered Dare a penny for his thoughts. Dare smiled mischievously, letting lose his plans. Seth listened to the young man, smiling as a light went on in his steal grey eyes. When Dare finished he offered up a suggestion as to how Dare could make it really interesting for Beth. The two co-conspirators worked it out: Seth told Dare about a stone hut and wall that was located on the back nine of the resorts golf course. He suggested that he, Seth, would meet Beth that evening and pass a note onto her from Dare saying that he was in trouble and needed her help, with directions to the spot. Dare liked the idea, and wrote the note on a cocktail napkin, cementing the plan by handing it to Seth.

Off you go old chap, let Uncle Seth take care of his end, he said grinning, giving Dare a sporting clap on the back. With a wink, Dare left his fellow collaborator, and went over to Beth, who had since been seated by a male waiter, now standing drooling over her shoulder as she looked at the menu.

 

Later that same evening, inside the crowded club:

 

Seth had stopped by the bar for a last drink. His business venture had been concluded earlier than he had expected. With the change in his plans, he had checked out early, his kit packed, boot loaded and the car ready. He now sat at the bar Causley watching young lass of about seventeen who had literally ran into him at one of the receptions. He watched her flirting about the club, weaving in and out of the guests. With a long swishing gown flowing provocatively along her lithe figure, abundant, solid white gold chains swinging out in an alluringly eye catching manner as she scurried about. A diminutive gold ring its half caret diamond flickered playfully from the petite pinky it loosely surrounded once again welcomed his contemplation. The lass presented quite an intriguing gold feathered fledgling, just begging to be plucked. He looked around, spying her parents on the dance floor. The father/husband, despite being an excellent dancer, gave him no interest. It was his partner, the wife/ mother, decked out in a iridescent suit and long swishing satin skirt upon which he now was reexamining. He again studied under the bright dance floor lights her fine pearls dangling from her ears, throat, and wrists. But it was the Ladies’ two rings that stole the show for him; an engagement ring with a rock of at least 2 carets surrounded by numerous shimmering half caret stones and a pinky ring similar to her daughters, that proudly displayed a single white solitaire diamond of at least one caret that had garnered his consideration. He also reconsidered the facts that he had been able to garnish about the lady who wore them, and her husband. The wife/mother was a heavy drinker who would not be expected to make any kind of appearance before noon. Hubby was a golfer, who would be out for breakfast at five am before being on the links at 6 am the next morning . At 5 :15 Seth was planning to pay a visit to his suite, and relieve his two ladies of their expensive trinkets. It should be an easy straight forward caper, that had Seth bristling with anticipation at the prospect.

As he was tossing down the last of his drink he remembered about Dare and the note he still had in his pocket. Setting down the empty glass, he pulled the note out and looked at it, kids he smirked, and was preparing to crinkle toss it on the bar and leave, when his eyes caught sight of Beth. He had felt his breath taken away when he saw her. Not at all what he had expected, he would say to Beth much later in the evening. He looked over the note, stirrings of a plan began formulating. All thoughts of the dancing couple and his plans fled his mind, as He rose, throwing a fiver on the bar and went off to intercept Beth.

Seth held Beth in his arms, she was a vivacious little thing he thought, while smiling charmingly into her eyes. She seemed a little apprehensive at first, but had settled right in when he had told her this had been set up by Dare, remember me at the bar with him this afternoon he had consoled her, she had smile brightly into his eyes in answer. He relished in the feel of her warm satin gown, and allowed himself to be mesmerized by the shimmer of her diamonds.

 

It reminded him of the diamonds that had been worn by one of his dance partners earlier that evening at a reception. He had forgotten her name, but not her diamonds, one of which now resided in a hidden compartment of his roadsters boot, along with the diamond pin he had slipped off the satin cape he had cordially help a well-dressed lady put on. He had also shelved his plans for his 5:15 am “meeting” at the golf playing husbands hotel room, Beth’s jewels were a much more lucrative prospect.

 

When the dance had ended he took her to the bar and sat her down, ordering her a drink. She seemed a little perplexed, Seth kissed her gloved hand; wait for it he told her mysteriously, winking into her eyes. Beth had winked back, the fire in her heart reflecting deep in her eyes. Seth left, smiling cleverly to himself as he took in his surroundings. He looked around as he walked away, now where had the little imp gotten off too?

He had decided that the seventeen year old in the long flirting gown would play a very different role in his plans. He approached her, with Dares note and a twenty. Thought for a moment about the pair of thick platinum gold chains dangling from her throat down the open neckline of the girl’s glossy gown, then banished the though, he had bigger fish to filet. The twenty caught her attention and she eagerly listened as he explained to her what to do, pointing out Beth sitting, waiting in earnest at the bar. Wait until she finishes her drink, Seth told her as she listened eagerly. She took the twenty into her hand, the half caret diamond on her pinky ring flashing, and her gold chain bracelets jangled as she grasped it. Seth left, figuring he had about twenty minutes to stop at his car, get a few items from the boot, and put his plan in motion.

Beth had curiously received the note from the attractively shy young lady, clad a slinky gown that made her appear years older. Reading it she folded it and was just getting up when a man wearing a suit came up to her and offered to let her dance with him. It took her some time, before she was finally able to ward him off and leave the brilliantly lit clubroom for the dark, forbidding grounds outside.

Now, a thoroughly excited Beth walked up the hill. Her senses becoming more prickling alert with each step. Innocently unaware that she was no longer playing a role in Dare’s game!

 

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Epilogue:

 

As Seth walked away admiring the shimmery necklace, his thoughts travelled back to the gold burdened impish youngster in the swirling gown, and her pearl and diamond laden mother. Revisiting his original plans he decided that he liked the odds, especially since they would be against him. With the father leaving early to meet his cronies for breakfast the Mother should be still sleeping off her drink induced stupor, the hyperactive girl should still be out cold, but presented no risk if she awoke, he had more rope. The ladies jewels should be lying about in the apartment, or handedly on their persons( the pairs of diamond pinky rings, as well as the multi-diamond engagement ring flashed once again across his memory with all their brilliant glory),as he caught fire with the vision. There could be a safe he reasoned, but with a tied up daughter and a knife in his hand, the mother should have no issue opening it for him, or disclosing anywhere else her jewels may have been hidden . But if there was no safe, and the rings, pearls and solid white gold chains were somewhere in the room, he knew he would be able to noiselessly break in, find and slip the jewels from wherever they were perched, and be safely on his way without even causing the slightest stir from the sleeping woman and her daughter. It was a road Seth had travelled down many times. He prickled at the thought, as he foresightedly tallied up the potential haul while making his way to the car. The Mother/wife’s diamond rings, would easily fetch him at least three grand, probably close five with her pearls and the whelp’s jewelry added in. About a quarter of what he probably would get for the jewels now in his procession, so he mused inquisitively to himself, so ,was it worth the risk of his 20,000 bird in hand? Yes he answered himself, as all too familiar and welcome tingling sensation overwhelmed Seths muscular body. Like Dare, Seth like to play risky games, especially those which promised to be somewhat profitable. It would be a tantalizingly chancy gamble of his own; to wait a safe distance away while things cooled down and then return to break into the un protected sleeping ladies chamber.. He knew just the place to hide , and it would be a perfect spot to watch events unfold around Beth and Dare, while making his plans! It also afforded a nicely secret hiding nook for the ill-gotten gains collected so far that evening in case something went wrong, which it wouldn’t..

 

Courtesy of Chatwick University Archives

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All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

 

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No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

 

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

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Γαλλική εταιρεία για την αποξήρανση και εκμετάλλευση της λίμνης Κωπαΐδας (Compagnie française pour le desséchement et l’exploitation du lac Copaïs), περίπου 1880.

Gallica

gallica.bnf.fr/ark:/12148/btv1b53020965z/f1.item.r=copais

ZOOM

drive.google.com/file/d/1cYJl8pVfb9NTSVIJr2WbOxaajOGhSBy5...

COMPAGNIE FRANÇAISE POUR LE DESSÉCHEMENT ET L’EXPLOITATION DU LAC COPAÏS

Grèce

par Corinne Krouck et Alain Léger

www.entreprises-coloniales.fr/proche-orient/Cie_frse_du_l...

Les entreprises coloniales françaiseS

PROCHE ORIENT

www.entreprises-coloniales.fr/proche-orient.html

Δήμος Ορχομενού

www.orchomenos.gr/shmeia-endiaferontos/copais/

ΣΥΝΟΠΤΙΚΗ ΕΚΘΕΣΙΣ. ΤΗΣ ΙΣΤΟΡΙΑΣ ΚΑΙ ΤΟΥ ΕΡΓΟΥ. ΤΗΣ ΑΝΩΝΥΜΟΥ ΕΤΑΙΡΕΙΑΣ. ΤΗΣ ΛΙΜΝΗΣ ΚΩΠΑΪΔΟΣ. ΑΘΗΝΑ! 1951. Συλλογή ΔΗΜΟΣΙΑΣ ΚΕΝΤΡΙΚΗΣ ΒΙΒΛΙΟΘΗΚΗΣ ΛΙΒΑΔΕΙΑΣ

livadia.publiclibrary.gr/cgi-bin/koha/opac-detail.pl?bibl...

ΣΥΝΟΠΤΙΚΗ ΕΚΘΕΣΙΣ. ΤΗΣ ΙΣΤΟΡΙΑΣ ΚΑΙ ΤΟΥ ΕΡΓΟΥ. ΤΗΣ ΑΝΩΝΥΜΟΥ ΕΤΑΙΡΕΙΑΣ. ΤΗΣ ΛΙΜΝΗΣ ΚΩΠΑΪΔΟΣ. ΑΘΗΝΑ! 1951

drive.google.com/file/d/1bnhR8Yp3g2cHdrJC_QlEOc-0CKEnhpPE...

Minolta SRT101

35mm

HP5 400asa

My exploit to the top of the car park was cut rather short by the arrival of a Dennis Trident on the 100, which is usually the preserve of it dedicated batch of E400 MMCs. 18335 pulls in with the blind already set for the return trip.

 

Lincoln bus station, 28.5.21

Société d’Exploitation de Lignes Touristiques 09 EL-295-PA, a Volvo B10M-60 built 1999 with an East Lancashire O55/41D body on Rue Auber in Paris, France by the Rue Scribe junction with a Red Line Open Tour. Sunday 17th June 2018

 

Note, EL-295-PA was originally registered as 201 MSH 75, being re-registered EL-295-PA at some time

 

Ref no Nikon D7200 2nd series - DSC_4900

Exploiting the waterfront location

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

Bus : Irisbus / Renault Agora Line

n°5005 - ligne B

Exploitant : Transdev Rambouillet

Réseau : IDFM, Rbus

Lieu : Rambouillet, Yvelines, France

Title: More Exploits Of Spycatcher.

Author: Lt. Col. Oreste Pinto.

Publisher: Panther Books.

Date: 1961.

Artist: John Berry.

Police and partner agencies have been focusing on young people who run away or go missing from home and those that may exploit them during a week of action that began across Greater Manchester on Monday 14 March.

 

The focus of the campaign during this year’s week of action has been raising awareness around the strong link between child sexual exploitation and children who go missing.

 

Going missing can mean bunking off school, staying out overnight, or running away from home for a few days or longer. Whatever the context, the reality is that 95% children at risk from child sexual exploitation have gone missing at least once.

 

GMP Assistant Chief Constable Rob Potts said: “The statistics speak for themselves – there is a clear correlation between young people at risk of child sexual exploitation and their inclination to run away or go missing.

 

“More often than not, the young people who do run away do so regularly. This not only places a significant strain on policing but also increases the chances of that person coming to harm.

 

“Young people are often unaware of the dangers that are posed when they stay away from home without telling anyone and we urge them to keep in touch somehow, whether that’s through a friend, relative or anyone you trust.

 

“If you have concerns about your child’s whereabouts or don’t know where they are, please contact the police. With our partners in Project Phoenix we are doing all we can to work with these young people to get to the root of the problem, and keep them safe.

 

“Child sexual exploitation is a horrific crime and we will continue to work hard to both locate and protect those vulnerable to abuse, working with missing children on their return to break the cycle. Officers are patrolling around the clock, and will take robust action to tackle anyone who seeks to exploit these young people.”

 

Greater Manchester Mayor and Police and Crime Commissioner Tony Lloyd said: “Greater Manchester is leading the fight against child sexual exploitation. We’re engaging with local people to raise awareness of the abuse and how to spot the signs, and partner agencies are working together to tackle the issue, bring perpetrators to justice, and provide much-needed support to victims and those at risk, including children who run away or go missing.

 

“Child sexual exploitation is child sex abuse, plain and simple. We must come down heavily on those who exploit and manipulate vulnerable children for their own sexual pleasure, and arm our young people with the means to keep safe and recognise unhealthy, abusive relationships.”

 

Paul Maher, Greater Manchester Area Manager at The Children’s Society, which works with children and young people who go missing or are at risk of going missing, said: “Children and young people who go missing are among the most vulnerable children in our society.

 

“Some may be running from neglect and abuse, family breakdown or drug and alcohol misuse by their parents - while others go missing under the influence of predatory adults seeking to exploit them.

 

“Whatever the reason for them going missing, we know these children are at particular risk of being sexually exploited or falling victim to other types of harm. Our research has shown that around a quarter are either hurt or harmed in some way.

 

“That is why it is vital they receive more support at an early stage to help address the issues that cause them to go missing and protect them from the risks of sexual exploitation or becoming a victim of other crimes.”

 

The week of activity is the latest from Project Phoenix’s ‘It’s Not Okay’ campaign, and will be publicising resources and support related to child sexual exploitation.

 

‘It’s Not Okay’ was created as part of Project Phoenix, the Greater Manchester response to tackling child sexual exploitation - a collaboration of public and third sector partners throughout Greater Manchester working together to protect young people.

 

Since the campaign launched in September 2014, public awareness and understanding of child sexual exploitation in Greater Manchester has increased considerably amongst young people and parents and carers, as well as professionals.

 

In the 18 months since the launch of the ‘It’s Not Okay’ campaign, Project Phoenix has undertaken substantial work with schools, healthcare providers and support services to ensure that vulnerable young people are helped at every stage - from prevention through to support and rehabilitation.

 

Regular weeks of awareness-raising have included direct engagement with young people and those who care for them; police targeting and disruption, dedicated days of publicity focusing on key trends and close collaboration across Greater Manchester authorities means that hundreds more young people are being identified, educated and safeguarded than ever before. Visit www.itsnotokay.co.uk to find out more.

 

For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk

 

To report crime call police on 101 the national non-emergency number.

 

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.

 

© Leanne Boulton, All Rights Reserved

 

This is what a woman screamed at me when I took this shot. That I was 'exploiting the vulnerable'. Personally, despite feeling that perhaps the subject here is exploiting herself, that I am merely reporting the facts of what I see around me. Reporting and sharing such a sad and evocative image for no monetary gain is, to me at least, the very opposite of exploitation. Candid street shot, with flash, of a young girl begging for money on the streets of Glasgow, Scotland.

Three men and a woman have been sentenced after being rumbled by our detectives in Tameside investigating a drugs line that profited around £80k from the criminal exploitation of teenage boys.

 

Manchester Minshull Street Crown Court heard today (18 November 2021) how Ryan Wall, 24, Claire Daniels, 36, Christopher Thornton, 20, and Leigh Sleddon, 38, were involved in an organised crime group that trafficked class A drugs as well as vulnerable young people from Tameside to Blackpool.

 

Wall, of Lakenheath Road, Liverpool and Thornton, of Barlow Road, Dukinfield, were sentenced to a total of 17 years after admitting arranging or facilitating the travel of another person with a view to exploitation under the Modern Slavery Act - becoming GMP's first county lines offenders guilty of this offence.

 

Despite not being charged with the same offence, the court also accepted that Daniels - herself a mother - of Fitzroy Street, Ashton-under-Lyne, was aware and complicit in the movement of the teenagers in order for them to deal drugs and she was given a one year and two month suspended sentence.

 

Sleddon, of Claremont Court, Blackpool, admitted that the children had stayed at his address in return for him being supplied with drugs. He was given a two year suspended sentence.

 

The verdicts conclude an eighteen-month investigation into the transportation of drugs and children - aged between 13 and 16 - led by detectives in GMP Tameside's Complex Safeguarding Team.

 

Investigators began the operation - codenamed 'Fairview' - following the report of a boy missing from the Hyde area. After close work with Lancashire Police, it was identified that he had been moved to Blackpool and that he was being used by the gang to supply class 'A' drugs on the streets.

 

Enquiries confirmed that two other teenage boys who had been missing from the nearby Ashton area had been in contact with a number associated with Ryan Wall - who was jailed for nine years today.

 

Already a picture was starting to develop of a group conspiring to supply class A drugs - namely heroin and crack cocaine - and also transporting the young boys to Blackpool to deal these drugs on the streets, often leaving them to fend for themselves for days.

 

While it is not thought the two boys - and a third boy also found to be exploited - were ever injured, detectives believe by leaving the boys alone to be involved in illicit enterprises in towns miles away from home was exposing them to a real and significant danger.

 

Officers ensured the boys were immediately referred to relevant specialist agencies and safeguarded away from further harm, and have pursued with a victimless prosecution to ensure that the gang are still held to account for their crimes.

 

A strike day was executed at the start of October 2020 where eight people - aged 16 to 67 - were arrested, before Wall, Thornton and Daniels were charged and eventually admitted two counts of conspiracy to supply a controlled drug. The detectives were also able to prove to the court that Thornton, who was jailed for eight years today, was also controlling a 'drug line' local to the Tameside area supplying heroin, cocaine and cannabis. He had also entered guilty pleas for these matters.

 

Wall and Thornton pleaded guilty of four modern slavery offences between them while Sleddon pleaded guilty to participating in the activities of an organised crime group.

 

While similar charges have been secured in other complex safeguarding teams in Greater Manchester for offences relating to Child Sexual Exploitation, the unit in Tameside is the first to land a conviction under the Modern Slavery Act in relation to Child Criminal Exploitation 'county lines' gangs - with support from the Crown Prosecution Service.

 

Comprising of specially-trained detectives, safeguarding officers, and partners from Tameside Council; the Complex Safeguarding Team currently has nine ongoing investigations and a number of suspects have been arrested. Children who have been identified as needing to be safeguarded have in some cases been re-homed.

 

Detective Constable Matthew Elliot, from Operation Fairview, said: "Today, this group has been jailed for their roles in a county line gang - wrecking lives along the way through the dissemination of illegal drugs.

 

"But what we've been able to prove to the court during this investigation, is that Wall and Thornton - in particular - were not just trafficking drugs but also trafficking people.

 

"They were running their drugs line to Blackpool by deliberately targeting teenage boys, and exploiting them for their own illicit gains.

 

"These were boys who were identified by the group as vulnerable, and groomed into travelling between counties - left to fend for themselves and exposed to danger - to do the dirty work on the ground that these offenders didn’t wish to do themselves.

 

"The act of exploiting children and peddling them for such selfish and criminal ways is an abhorrent crime - but one that is complex and wide-ranging which makes today's outcome all the more of a success.

 

"And it isn’t just putting offenders behind bars that makes this operation a great result. The fact we have been able to work with partners and ensure victims have been safeguarded and away from harm is just as - if not more - significant.

 

"I would like to thank our partners at Tameside Council, Lancashire Police, and the Crown Prosecution Service, for the extensive support they have offered to this investigation and helping us ensure these historic convictions for GMP.

 

"This has been a tireless eighteen-month investigation by our Complex Safeguarding Team in Tameside, and hopefully the first good result of many.

 

"We have demonstrated how by working with local police forces, local authority, and other relevant supporting agencies, that we are able to target and dismantle those involved in this truly despicable criminal activity - while identifying and protecting victims in the process.

 

"If you feel you are being criminally exploited, or know someone who is, then please come forward to the police or Crimestoppers, knowing information will be treat with the strictest confidence."

 

Tameside Council Executive Member for Children and Families, Councillor Bill Fairfoull, said: “Superb partnership working has resulted in this first conviction of Modern Day Slavery in Greater Manchester. We have removed these drug dealers from our streets and stopped them from exploiting our children. Our Children’s Services staff have worked tirelessly with the police to secure this result and I’d like to thank everyone involved for their hard work.

 

“All of the children involved are being supported by our Tameside Complex Safeguarding Team and Tameside Youth Justice Service. I’m also pleased that the learning from this successful operation with be shared across Greater Manchester Complex Safeguarding Teams as a model of best practice.”

Police and partner agencies have been focusing on young people who run away or go missing from home and those that may exploit them during a week of action that began across Greater Manchester on Monday 14 March.

 

The focus of the campaign during this year’s week of action has been raising awareness around the strong link between child sexual exploitation and children who go missing.

 

Going missing can mean bunking off school, staying out overnight, or running away from home for a few days or longer. Whatever the context, the reality is that 95% children at risk from child sexual exploitation have gone missing at least once.

 

GMP Assistant Chief Constable Rob Potts said: “The statistics speak for themselves – there is a clear correlation between young people at risk of child sexual exploitation and their inclination to run away or go missing.

 

“More often than not, the young people who do run away do so regularly. This not only places a significant strain on policing but also increases the chances of that person coming to harm.

 

“Young people are often unaware of the dangers that are posed when they stay away from home without telling anyone and we urge them to keep in touch somehow, whether that’s through a friend, relative or anyone you trust.

 

“If you have concerns about your child’s whereabouts or don’t know where they are, please contact the police. With our partners in Project Phoenix we are doing all we can to work with these young people to get to the root of the problem, and keep them safe.

 

“Child sexual exploitation is a horrific crime and we will continue to work hard to both locate and protect those vulnerable to abuse, working with missing children on their return to break the cycle. Officers are patrolling around the clock, and will take robust action to tackle anyone who seeks to exploit these young people.”

 

Greater Manchester Mayor and Police and Crime Commissioner Tony Lloyd said: “Greater Manchester is leading the fight against child sexual exploitation. We’re engaging with local people to raise awareness of the abuse and how to spot the signs, and partner agencies are working together to tackle the issue, bring perpetrators to justice, and provide much-needed support to victims and those at risk, including children who run away or go missing.

 

“Child sexual exploitation is child sex abuse, plain and simple. We must come down heavily on those who exploit and manipulate vulnerable children for their own sexual pleasure, and arm our young people with the means to keep safe and recognise unhealthy, abusive relationships.”

 

Paul Maher, Greater Manchester Area Manager at The Children’s Society, which works with children and young people who go missing or are at risk of going missing, said: “Children and young people who go missing are among the most vulnerable children in our society.

 

“Some may be running from neglect and abuse, family breakdown or drug and alcohol misuse by their parents - while others go missing under the influence of predatory adults seeking to exploit them.

 

“Whatever the reason for them going missing, we know these children are at particular risk of being sexually exploited or falling victim to other types of harm. Our research has shown that around a quarter are either hurt or harmed in some way.

 

“That is why it is vital they receive more support at an early stage to help address the issues that cause them to go missing and protect them from the risks of sexual exploitation or becoming a victim of other crimes.”

 

The week of activity is the latest from Project Phoenix’s ‘It’s Not Okay’ campaign, and will be publicising resources and support related to child sexual exploitation.

 

‘It’s Not Okay’ was created as part of Project Phoenix, the Greater Manchester response to tackling child sexual exploitation - a collaboration of public and third sector partners throughout Greater Manchester working together to protect young people.

 

Since the campaign launched in September 2014, public awareness and understanding of child sexual exploitation in Greater Manchester has increased considerably amongst young people and parents and carers, as well as professionals.

 

In the 18 months since the launch of the ‘It’s Not Okay’ campaign, Project Phoenix has undertaken substantial work with schools, healthcare providers and support services to ensure that vulnerable young people are helped at every stage - from prevention through to support and rehabilitation.

 

Regular weeks of awareness-raising have included direct engagement with young people and those who care for them; police targeting and disruption, dedicated days of publicity focusing on key trends and close collaboration across Greater Manchester authorities means that hundreds more young people are being identified, educated and safeguarded than ever before. Visit www.itsnotokay.co.uk to find out more.

 

For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk

 

To report crime call police on 101 the national non-emergency number.

 

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.

 

While having a drink outside the Well and Bucket pub on Bethnal Green Road, Irene, Gillian and I met up with Amber - seen on the right of this picture. Amber was selling copies of ‘DOPE’ magazine, a quarterly street publication in newspaper format – essentially a journal of radical art and politics. 'DOPE' has become something of a rival to the better-known ‘Big Issue’ newspaper, sold by the homeless. Amber herself is currently without a fixed address.

 

Amber told us something of her former life as a sex worker, and how selling 'DOPE' had allowed her to quit that exploitive and dangerous sector. I wish we had had longer to talk with Amber, and I wish her all the best in all her endeavours. She had a lot of questions for Irene, Gillian and myself about our lives as t-girls…

 

Love and Kisses to All!

xxxxx

Rebecca

 

The Exploited

28.04.2023 Trier - Mergener Hof

James Montgomery (4 November 1771 – 30 April 1854) was a Scottish-born hymn writer, poet and editor, who eventually settled in Sheffield. He was raised in the Moravian Church and theologically trained there, so that his writings often reflect concern for humanitarian causes, such as the abolition of slavery and the exploitation of child chimney sweeps.[1]

 

Early life and poetry

Montgomery was born at Irvine in south-west Scotland, the son of a pastor and missionary of the Moravian Brethren. He was sent to be trained for the ministry at the Moravian School at Fulneck, near Leeds, while his parents left for the West Indies, where both died within a year of each other. At Fulneck, secular studies were banned, but James still found means of borrowing and reading a good deal of poetry and made ambitious plans to write epics of his own.

 

On failing to complete his schooling, Montgomery was apprenticed to a baker in Mirfield, then to a store-keeper at Wath-upon-Dearne. After further efforts, including an unsuccessful attempt at a literary career in London, he moved north again to Sheffield in 1792 as an assistant to Joseph Gales, auctioneer, bookseller and printer of the Sheffield Register, who introduced him into the local Lodge of Oddfellows, to which he later addressed a song. In 1794, Gales left England to avoid political prosecution and Montgomery took the paper in hand, changing its name to the Sheffield Iris.

 

These were times of political repression. Montgomery was twice imprisoned on charges of sedition, first in 1795 for printing a poem to celebrate the fall of the Bastille in revolutionary France, and secondly in 1796 for criticising a magistrate for forcibly dispersing a political protest in Sheffield. Turning his jail experiences to some profit, he then published a pamphlet of poems written during his captivity: Prison Amusements (1797). His later prose account of the period appeared in 1840.

 

For some time the Iris was the only newspaper in Sheffield, but beyond an ability to produce fairly creditable articles from week to week, Montgomery lacked the journalistic skills to take full advantage of his position. Other newspapers arose to fill the place which his might have held and in 1825 he sold out to a local bookseller, John Blackwell.

 

Meanwhile, Montgomery continued to write poetry. He achieved some fame with The Wanderer of Switzerland (1806), a poem in six parts written in seven-syllable cross-rhymed quatrains. It addressed the French annexation of Switzerland and quickly went through two editions. When it was denounced the following year in the conservative Edinburgh Review as a poem that would be speedily forgotten, Lord Byron came to its defence in the satire English Bards and Scotch Reviewers. Nevertheless, within 18 months a fourth impression of 1500 copies was issued from the very presses that had printed the criticism, and several more would follow. This success brought Montgomery a commission from the printer Bowyer to write a poem on the abolition of the slave trade, to be published with other poems on the subject by Elizabeth Benger and James Grahame in a handsome illustrated volume. The subject appealed to the poet's philanthropic enthusiasm and his own family associations with the West Indies. The four-part poem in heroic couplets appeared in 1809 as The West Indies.

 

Montgomery also used heroic couplets for The World before the Flood (1812), a piece of historical reconstruction in ten cantos. He then turned to attacking the lottery in Thoughts on Wheels (1817) and took up the cause of chimney sweeps' apprentices in The Climbing Boys' Soliloquies. His next major poem was Greenland (1819) in five cantos of heroic couplets. It was prefaced by a description of the ancient Moravian church, its 18th-century revival and its mission to Greenland in 1733. The poem was noted for the beauty of its descriptions:

 

The moon is watching in the sky; the stars

Are swiftly wheeling on their golden cars;

Ocean, outstretcht with infinite expanse,

Serenely slumbers in a glorious trance;

The tide, o'er which no troubled spirits breathe,

Reflects a cloudless firmament beneath,

Where poised as in the centre of a sphere

A ship above and ship below appear;

A double image pictured on the deep,

The vessel o’er its shadow seems to sleep;

Yet, like the host of heaven, that never rest,

With evanescent motion to the west,

The pageant glides through loneliness and night,

And leaves behind a rippling wake of light.

 

— Canto 1, lines 1-14

 

Later career

Montgomery's only other long poem, after retiring from newspaper editorship, was The Pelican Island (1828): nine cantos of descriptive blank verse, which garnered mixed responses, ranging between the summarily dismissive and Blackwood's Magazine's "the best of all Montgomery's poems: in idea the most original, in execution the most powerful."

 

Montgomery himself expected that his name would live, if at all, in his hymns. Some of these, such as "Hail to the Lord's Anointed", "Prayer is the Soul's Sincere Desire", "Stand up and Bless the Lord" and the carol "Angels from the Realms of Glory", are still sung. "The Lord Is My Shepherd" is a popular hymn with many denominations, based on Psalm 23. "A Poor Wayfaring Man of Grief" has been adopted as a favourite in the Latter Day Saint movement. The earliest of his hymns dates from his days in Wath on Dearne and he added to their number over the years. The main boost came when the Rev. James Cotterill arrived at the parish church St Paul's, a chapel of ease to St Peter's, Sheffield's only parish church, in 1817.

 

Cotterill had compiled and published A Selection of Psalms and Hymns Adapted to the Services of the Church of England in 1810, but to his disappointment and concern he found that his new parishioners did not take kindly to using it. He therefore enlisted the help of James Montgomery to help him revise the collection and improve it by adding some hymns of the poet's own composition. This new edition, meeting with the approval of the Archbishop of York (and eventually of the parishioners at St Paul's), was finally published in 1820. In 1822 Montgomery published his own Songs of Zion: Being Imitations of Psalms, the first of several more collections of hymns. During his life he composed some 400 hymns, although less than a hundred of them are commonly sung today.

 

From 1835 until his death, Montgomery lived at The Mount in Glossop Road, Sheffield. He was well regarded in the city and played an active part in its philanthropy and religious life. He died on 30 April 1854, was honoured by a public funeral, and buried in Sheffield General Cemetery. He had remained unmarried.

 

Legacy

In 1861, a monument designed by John Bell (1811–1895) was erected over his grave in the Sheffield cemetery at a cost of £1000, raised by public subscription on the initiative of the Sheffield Sunday School Union, of which he was among the founding members. On its granite pedestal is inscribed: "Here lies interred, beloved by all who knew him, the Christian poet, patriot, and philanthropist. Wherever poetry is read, or Christian hymns sung, in the English language, 'he being dead, yet speaketh' by the genius, piety and taste embodied in his writings." There are also extracts from his poems "Prayer" and "The Grave". After the statue fell into disrepair it was moved in 1971 to the precincts of Sheffield Cathedral, where there is also a memorial window to him.

 

Elsewhere in Sheffield there are various streets named after Montgomery, as is a Grade II-listed drinking fountain on Broad Lane. The Surrey Street meeting hall of the Sunday Schools Union (now known as The Montgomery) was named in his honour in 1886. It houses a 420-seat theatre, which also bears his name. Elsewhere, Wath-upon-Dearne, flattered by being called "the queen of villages" in his work, has repaid the compliment by naming after him a community hall, a street and a square. His birthplace in Irvine was renamed Montgomery House after he had paid the town a return visit in 1841, but it has since been demolished.

 

Other works

Montgomery, James (1816). Verses to the memory of the late Richard Reynolds, of Bristol.

Poetical Works, four editions in 1821, 1836, 1841, and 1854

Editor: The Chimney-Sweeper's Friend and Climbing-Boy's Album, London: Longman, Hurst, Rees, Orme, Brown and Green, 1824

Editor: The Christian Psalmist; or, Hymns, Selected and Original, Glasgow: Chalmers and Collins, 1825. sixth edn. 1829; Read Books, 2008, ISBN 9781409799900

Editor: The Christian poet; or, selections in verse on sacred subjects, Wm Collins, Glasgow, 1825

An Essay on the Phrenology of the Hindoos and Negroes, London: Printed for E. Lloyd, 1829

Original Hymns For Public, Private, and Social Devotion, London: Longman, Brown, Green, 1853

Sacred Poems and Hymns: For Public and Private Devotion. D. Appleton. 1854.

Prose by a Poet, 2 vols, London: Longman, Hurst, Rees, Orme, Brown and Green, 1824

Montgomery, James (1833). Lectures on poetry and general literature.

A practical detail of the cotton manufacture of the United States of America: and the state of the cotton manufacture of that country contrasted and compared with that of Great Britain; with comparative estimates of the cost of manufacturing in both countries ... J. Niven. 1840.

 

Sheffield is a city in South Yorkshire, England, whose name derives from the River Sheaf which runs through it. The city serves as the administrative centre of the City of Sheffield. It is historically part of the West Riding of Yorkshire and some of its southern suburbs were transferred from Derbyshire to the city council. It is the largest settlement in South Yorkshire.

 

The city is in the eastern foothills of the Pennines and the valleys of the River Don with its four tributaries: the Loxley, the Porter Brook, the Rivelin and the Sheaf. Sixty-one per cent of Sheffield's entire area is green space and a third of the city lies within the Peak District national park and is the fifth largest city in England. There are more than 250 parks, woodlands and gardens in the city, which is estimated to contain around 4.5 million trees. The city is 29 miles (47 km) south of Leeds and 32 miles (51 km) east of Manchester.

 

Sheffield played a crucial role in the Industrial Revolution, with many significant inventions and technologies having developed in the city. In the 19th century, the city saw a huge expansion of its traditional cutlery trade, when stainless steel and crucible steel were developed locally, fuelling an almost tenfold increase in the population. Sheffield received its municipal charter in 1843, becoming the City of Sheffield in 1893. International competition in iron and steel caused a decline in these industries in the 1970s and 1980s, coinciding with the collapse of coal mining in the area. The Yorkshire ridings became counties in their own right in 1889, the West Riding of Yorkshire county was disbanded in 1974. The city then became part of the county of South Yorkshire; this has been made up of separately-governed unitary authorities since 1986. The 21st century has seen extensive redevelopment in Sheffield, consistent with other British cities. Sheffield's gross value added (GVA) has increased by 60% since 1997, standing at £11.3 billion in 2015. The economy has experienced steady growth, averaging around 5% annually, which is greater than that of the broader region of Yorkshire and the Humber.

 

Sheffield had a population of 556,500 at the 2021 census, making it the second largest city in the Yorkshire and the Humber region. The Sheffield Built-up Area, of which the Sheffield sub-division is the largest part, had a population of 685,369 also including the town of Rotherham. The district borough, governed from the city, had a population of 554,401 at the mid-2019 estimate, making it the 7th most populous district in England. It is one of eleven British cities that make up the Core Cities Group. In 2011, the unparished area had a population of 490,070.

 

The city has a long sporting heritage and is home both to the world's oldest football club, Sheffield F.C., and the world's oldest football ground, Sandygate. Matches between the two professional clubs, Sheffield United and Sheffield Wednesday, are known as the Steel City derby. The city is also home to the World Snooker Championship and the Sheffield Steelers, the UK's first professional ice hockey team.

 

The history of Sheffield, a city in South Yorkshire, England, can be traced back to the founding of a settlement in a clearing beside the River Sheaf in the second half of the 1st millennium AD. The area now known as Sheffield had seen human occupation since at least the last ice age, but significant growth in the settlements that are now incorporated into the city did not occur until the Industrial Revolution.

 

Following the Norman conquest of England, Sheffield Castle was built to control the Saxon settlements and Sheffield developed into a small town, no larger than Sheffield City Centre. By the 14th century Sheffield was noted for the production of knives, and by 1600, overseen by the Company of Cutlers in Hallamshire, it had become the second centre of cutlery production in England after London. In the 1740s the crucible steel process was improved by Sheffield resident Benjamin Huntsman, allowing a much better production quality. At about the same time, Sheffield plate, a form of silver plating, was invented. The associated industries led to the rapid growth of Sheffield; the town was incorporated as a borough in 1843 and granted a city charter in 1893.

 

Sheffield remained a major industrial city throughout the first half of the 20th century, but the downturn in world trade following the 1973 oil crisis, technological improvements and economies of scale, and a wide-reaching restructuring of steel production throughout the European Economic Community led to the closure of many of the steelworks from the early 1970s onward. Urban and economic regeneration schemes began in the late 1980s to diversify the city's economy. Sheffield is now a centre for banking and insurance functions with HSBC, Santander and Aviva having regional offices in the city. The city has also attracted digital start-ups, with 25,000 now employed in the digital sector.

 

Early history

Photograph showing a moorland view. The moor is covered in heather of varying shades of brown. Stones are scattered across the moor. In the middle distance there is a rock outcrop atop a small hill. Behind it is a larger hill with a flat top.

Carl Wark, an Iron Age hill fort in southwest Sheffield.

The earliest known evidence of human occupation in the Sheffield area was found at Creswell Crags in Derbyshire to the east of the city. Artefacts and rock art found in caves at this site have been dated by archaeologists to the late Upper Palaeolithic period, at least 12,800 years ago. Other prehistoric remains found in Sheffield include a Mesolithic "house"—a circle of stones in the shape of a hut-base dating to around 8000 BC, found at Deepcar, in the northern part of the city. This has been ascribed to the Maglemosian culture. (grid reference SK 2920 9812). The site's culture has similarities to Star Carr in North Yorkshire, but gives its name to unique "Deepcar type assemblages" of microliths in the archaeology literature. A cup and ring-marked stone was discovered in Ecclesall Woods in 1981, and has been dated to the late Neolithic or Bronze Age periods. It, and an area around it of 2 m diameter, is a scheduled ancient monument.

 

During the Bronze Age (about 1500 BC) tribes sometimes called the Urn people started to settle in the area. They built numerous stone circles, examples of which can be found on Ash Cabin Flat, Froggatt Edge and Hordron Edge (Hordron Edge stone circle). Two Early Bronze Age urns were found at Crookes in 1887, and three Middle Bronze Age barrows found at Lodge Moor (both suburbs of the modern city).

 

Iron Age

During the British Iron Age the area became the southernmost territory of the Pennine tribe called the Brigantes. It is this tribe who in around 500 BC are thought to have constructed the hill fort that stands on the summit of a steep hill above the River Don at Wincobank, in what is now northeastern Sheffield. Other Iron Age hill forts in the area are Carl Wark on Hathersage Moor to the southwest of Sheffield, and one at Scholes Wood, near Rotherham. The rivers Sheaf and Don may have formed the boundary between the territory of the Brigantes and that of a rival tribe called the Corieltauvi who inhabited a large area of the northeastern Midlands.

 

Roman Britain

The Roman invasion of Britain began in AD 43. By 51 the Brigantes had submitted to the clientship of Rome, eventually being placed under direct rule in the early 70s. Few Roman remains have been found in the Sheffield area. A minor Roman road linking the Roman forts at Templeborough and Navio at Brough-on-Noe possibly ran through the centre of the area covered by the modern city, and Icknield Street is thought to have skirted its boundaries. The routes of these roads within this area are mostly unknown, although sections of the former were thought, by Hunter and Leader, be visible between Redmires and Stanage on an ancient road known as the Long Causeway. In recent years some scholars have cast doubt on this, with an initial survey of Barber Fields, Ringinglow, suggesting the Roman Road took a route over Burbage Edge. The remains of a Roman road, possibly linked to the latter, were discovered in Brinsworth in 1949.

 

In April 1761, tablets or diplomas dating from the Roman period were found in the Rivelin Valley south of Stannington, close to what was possibly the course of the Templeborough to Brough-on-Noe road. These tablets included a grant of citizenship and land or money to a retiring Roman auxiliary of the Sunuci tribe of Belgium.

 

To . . . . . . . . the son of Albanus, of the tribe of the Sunuci, late a foot soldier in the first cohort of the Sunuci commanded by M. Junius Claudianus.

 

In addition there have been finds dating from the Roman period on Walkley Bank Road, which leads onto the valley bottom.

 

There have been small finds of Roman coins throughout the Sheffield area, for example 30 to 40 Roman coins were found near the Old Great Dam at Crookesmoor, 19 coins were found near Meadowhall in 1891, 13 in Pitsmoor in 1906, and ten coins were found at a site alongside Eckington cemetery in December 2008. Roman burial urns were also found at Bank Street near Sheffield Cathedral, which, along with the name of the old lane behind the church (Campo Lane[n 2]), has led to speculation that there may have been a Roman camp at this site. It is unlikely that the settlement that grew into Sheffield existed at this time. In 2011 excavations revealed remains of a substantial 1st or 2nd century AD Roman rural estate centre, or 'villa' on what is believed to be a pre-existing Brigantian farmstead site at Whirlow Hall Farm in South-west Sheffield.

 

Following the departure of the Romans, the Sheffield area may have been the southern part of the Celtic kingdom of Elmet, with the rivers Sheaf and Don forming part of the boundary between this kingdom and the kingdom of Mercia. Gradually, Anglian settlers pushed west from the kingdom of Deira. The Britons of Elmet delayed this English expansion into the early part of the 7th century. An enduring Celtic presence within this area is evidenced by the settlements called Wales and Waleswood close to Sheffield—the word Wales derives from the Germanic word Walha, and was originally used by the Anglo-Saxons to refer to the native Britons.

 

The origins of Sheffield

The name Sheffield is Old English in origin. It derives from the River Sheaf, whose name is a corruption of shed or sheth, meaning to divide or separate. Field is a generic suffix deriving from the Old English feld, meaning a forest clearing. It is likely then that the origin of the present-day city of Sheffield is an Anglo-Saxon settlement in a clearing beside the confluence of the rivers Sheaf and Don founded between the arrival of the Anglo-Saxons in this region (roughly the 6th century) and the early 9th century.

 

The names of many of the other areas of Sheffield likely to have been established as settlements during this period end in ley, which signifies a clearing in the forest, or ton, which means an enclosed farmstead. These settlements include Heeley, Longley, Norton, Owlerton, Southey, Tinsley, Totley, Treeton, Wadsley, and Walkley.

 

The earliest evidence of this settlement is thought to be the shaft of a stone cross dating from the early 9th century that was found in Sheffield in the early 19th century. This shaft may be part of a cross removed from the church yard of the Sheffield parish church (now Sheffield Cathedral) in 1570. It is now kept in the British Museum.

 

A document from around the same time, an entry for the year 829 in the Anglo-Saxon Chronicle, refers to the submission of King Eanred of Northumbria to King Egbert of Wessex at the hamlet of Dore (now a suburb of Sheffield): "Egbert led an army against the Northumbrians as far as Dore, where they met him, and offered terms of obedience and subjection, on the acceptance of which they returned home". This event made Egbert the first Saxon to claim to be king of all of England.

 

The latter part of the 9th century saw a wave of Norse (Viking) settlers and the subsequent establishment of the Danelaw. The names of hamlets established by these settlers often end in thorpe, which means a farmstead. Examples of such settlements in the Sheffield area are Grimesthorpe, Hackenthorpe, Jordanthorpe, Netherthorpe, Upperthorpe, Waterthorpe, and Woodthorpe. By 918 the Danes south of the Humber had submitted to Edward the Elder, and by 926 Northumbria was under the control of King Æthelstan.

 

In 937 the combined armies of Olaf Guthfrithson, Viking king of Dublin, Constantine, king of Scotland and Owain ap Dyfnwal, king of the Cumbrians, invaded England. The invading force was met and defeated by an army from Wessex and Mercia led by King Æthelstan at the Battle of Brunanburh. The location of Brunanburh is unknown, but some historians have suggested a location between Tinsley in Sheffield and Brinsworth in Rotherham, on the slopes of White Hill. After the death of King Athelstan in 939 Olaf Guthfrithson invaded again and took control of Northumbria and part of Mercia. Subsequently, the Anglo-Saxons, under Edmund, re-conquered the Midlands, as far as Dore, in 942, and captured Northumbria in 944.

 

The Domesday Book of 1086, which was compiled following the Norman Conquest of 1066, contains the earliest known reference to the districts around Sheffield as the manor of "Hallun" (or Hallam). This manor retained its Saxon lord, Waltheof, for some years after the conquest. The Domesday Book was ordered written by William the Conqueror so that the value of the townships and manors of England could be assessed. The entries in the Domesday Book are written in a Latin shorthand; the extract for this area begins:

 

TERRA ROGERII DE BVSLI

M. hi Hallvn, cu XVI bereuvitis sunt. XXIX. carucate trae

Ad gld. Ibi hb Walleff com aula...

Translated it reads:

 

LANDS OF ROGER DE BUSLI

Photograph showing an old stone church with a short wide tower. The view is taken from a graveyard, there is a large tomb stone in the foreground and the church is surrounded by trees.

 

The remains of Beauchief Abbey.

In Hallam, one manor with its sixteen hamlets, there are twenty-nine carucates [~14 km2] to be taxed. There Earl Waltheof had an "Aula" [hall or court]. There may have been about twenty ploughs. This land Roger de Busli holds of the Countess Judith. He has himself there two carucates [~1 km2] and thirty-three villeins hold twelve carucates and a half [~6 km2]. There are eight acres [32,000 m2] of meadow, and a pasturable wood, four leuvae in length and four in breadth [~10 km2]. The whole manor is ten leuvae in length and eight broad [207 km2]. In the time of Edward the Confessor it was valued at eight marks of silver [£5.33]; now at forty shillings [£2.00].

In Attercliffe and Sheffield, two manors, Sweyn had five carucates of land [~2.4 km2] to be taxed. There may have been about three ploughs. This land is said to have been inland, demesne [domain] land of the manor of Hallam.

The reference is to Roger de Busli, tenant-in-chief in Domesday and one of the greatest of the new wave of Norman magnates. Waltheof, Earl of Northumbria had been executed in 1076 for his part in an uprising against William I. He was the last of the Anglo-Saxon earls still remaining in England a full decade after the Norman conquest. His lands had passed to his wife, Judith of Normandy, niece to William the Conqueror. The lands were held on her behalf by Roger de Busli.

 

The Domesday Book refers to Sheffield twice, first as Escafeld, then later as Scafeld. Sheffield historian S. O. Addy suggests that the second form, pronounced Shaffeld, is the truer form, as the spelling Sefeld is found in a deed issued less than one hundred years after the completion of the survey. Addy comments that the E in the first form may have been mistakenly added by the Norman scribe.

 

Roger de Busli died around the end of the 11th century, and was succeeded by a son, who died without an heir. The manor of Hallamshire passed to William de Lovetot, the grandson of a Norman baron who had come over to England with the Conqueror. William de Lovetot founded the parish churches of St Mary at Handsworth, St Nicholas at High Bradfield and St. Mary's at Ecclesfield at the start of the 12th century in addition to Sheffield's own parish church. He also built the original wooden Sheffield Castle, which stimulated the growth of the town.

 

Also dating from this time is Beauchief Abbey, which was founded by Robert FitzRanulf de Alfreton. The abbey was dedicated to Saint Mary and Saint Thomas Becket, who had been canonised in 1172. Thomas Tanner, writing in 1695, stated that it was founded in 1183. Samuel Pegge in his History of Beauchief Abbey notes that Albinas, the abbot of Derby, who was one of the witnesses to the charter of foundation, died in 1176, placing foundation before that date.

 

Medieval Sheffield

Following the death of William de Lovetot, the manor of Hallamshire passed to his son Richard de Lovetot and then his son William de Lovetot before being passed by marriage to Gerard de Furnival in about 1204. The de Furnivals held the manor for the next 180 years. The fourth Furnival lord, Thomas de Furnival, supported Simon de Montfort in the Second Barons' War. As a result of this, in 1266 a party of barons, led by John de Eyvill, marching from north Lincolnshire to Derbyshire passed through Sheffield and destroyed the town, burning the church and castle.

 

A new stone castle was constructed over the next four years and a new church was consecrated by William de Wickwane the Archbishop of York around 1280. In 1295 Thomas de Furnival's son (also Thomas) was the first lord of Hallamshire to be called to Parliament, thus taking the title Lord Furnivall. On 12 November 1296 Edward I granted a charter for a market to be held in Sheffield on Tuesday each week. This was followed on 10 August 1297 by a charter from Lord Furnival establishing Sheffield as a free borough.

 

The Sheffield Town Trust was established in the Charter to the Town of Sheffield, granted in 1297. De Furnival, granted land to the freeholders of Sheffield in return for an annual payment, and a Common Burgery administrated them. The Burgery originally consisted of public meetings of all the freeholders, who elected a Town Collector. Two more generations of Furnivals held Sheffield before it passed by marriage to Sir Thomas Nevil and then, in 1406, to John Talbot, the first Earl of Shrewsbury.

 

The Bishops' House.

In 1430 the 1280 Sheffield parish church building was pulled down and replaced. Parts of this new church still stand today and it is now Sheffield city centre's oldest surviving building, forming the core of Sheffield Cathedral. Other notable surviving buildings from this period include the Old Queen's Head pub in Pond Hill, which dates from around 1480, with its timber frame still intact, and Bishops' House and Broom Hall, both built around 1500.

 

Post-medieval Sheffield

The fourth Earl of Shrewsbury, George Talbot took up residence in Sheffield, building the Manor Lodge outside the town in about 1510 and adding a chapel to the Parish Church c1520 to hold the family vault. Memorials to the fourth and sixth Earls of Shrewsbury can still be seen in the church. In 1569 George Talbot, the sixth Earl of Shrewsbury, was given charge of Mary, Queen of Scots. Mary was regarded as a threat by Elizabeth I, and had been held captive since her arrival in England in 1568.

 

Talbot brought Mary to Sheffield in 1570, and she spent most of the next 14 years imprisoned in Sheffield Castle and its dependent buildings. The castle park extended beyond the present Manor Lane, where the remains of Manor Lodge are to be found. Beside them is the Turret House, an Elizabethan building, which may have been built to accommodate the captive queen. A room, believed to have been the queen's, has an elaborate plaster ceiling and overmantel, with heraldic decorations.[58] During the English Civil War, Sheffield changed hands several times, finally falling to the Parliamentarians, who demolished (slighted) the castle in 1648.

 

The Industrial Revolution brought large-scale steel making to Sheffield in the 18th century. Much of the medieval town was gradually replaced by a mix of Georgian and Victorian buildings. Large areas of Sheffield's city centre have been rebuilt in recent years, but among the modern buildings, some old buildings have been retained.

 

Industrial Sheffield

Sheffield developed after the industrial revolution because of its geography.

 

Fast-flowing rivers, such as the Sheaf, the Don and the Loxley, made it an ideal location for water-powered industries to develop. Raw materials, like coal, iron ore, ganister and millstone grit for grindstones, found in the nearby hills, were used in cutlery and blade production.

 

As early as the 14th century, Sheffield was noted for the production of knives:

 

Ay by his belt he baar a long panade,

And of a swerd ful trenchant was the blade.

A joly poppere baar he in his pouche;

Ther was no man, for peril, dorste hym touche.

A Sheffeld thwitel baar he in his hose.

Round was his face, and camus was his nose;

 

— Geoffrey Chaucer, The Reeve's Tale from The Canterbury Tales

 

By 1600 Sheffield was the main centre of cutlery production in England outside London, and in 1624 The Company of Cutlers in Hallamshire was formed to oversee the trade. Examples of water-powered blade and cutlery workshops from around this time can be seen at the Abbeydale Industrial Hamlet and Shepherd Wheel museums in Sheffield.

 

Around a century later, Daniel Defoe in his book A tour thro' the whole island of Great Britain, wrote:

 

This town of Sheffield is very populous and large, the streets narrow, and the houses dark and black, occasioned by the continued smoke of the forges, which are always at work: Here they make all sorts of cutlery-ware, but especially that of edged-tools, knives, razors, axes, &. and nails; and here the only mill of the sort, which was in use in England for some time was set up, (viz.) for turning their grindstones, though now 'tis grown more common. Here is a very spacious church, with a very handsome and high spire; and the town is said to have at least as many, if not more people in it than the city of York.

 

Sheffield area.

In the 1740s Benjamin Huntsman, a clock maker in Handsworth, invented a form of the crucible steel process for making a better quality of steel than had previously been available. At around the same time Thomas Boulsover invented a technique for fusing a thin sheet of silver onto a copper ingot producing a form of silver plating that became known as Sheffield plate. Originally hand-rolled Old Sheffield Plate was used for making silver buttons. Then in 1751 Joseph Hancock, previously apprenticed to Boulsover's friend Thomas Mitchell, first used it to make kitchen and tableware. This prospered and in 1762–65 Hancock built the water-powered Old Park Silver Mills at the confluence of the Loxley and the Don, one of the earliest factories solely producing an industrial semi-manufacture. Eventually Old Sheffield Plate was supplanted by cheaper electroplate in the 1840s. In 1773 Sheffield was given a silver assay office. In the late 18th century, Britannia metal, a pewter-based alloy similar in appearance to silver, was invented in the town.

 

Huntsman's process was only made obsolete in 1856 by Henry Bessemer's invention of the Bessemer converter, but production of crucible steel continued until well into the 20th century for special uses, as Bessemer's steel was not of the same quality, in the main replacing wrought iron for such applications as rails. Bessemer had tried to induce steelmakers to take up his improved system, but met with general rebuffs, and finally was driven to undertake the exploitation of the process himself. To this end he erected steelworks in Sheffield. Gradually the scale of production was enlarged until the competition became effective, and steel traders generally became aware that the firm of Henry Bessemer & Co. was underselling them to the extent of £20 a ton. One of Bessemer's converters can still be seen at Sheffield's Kelham Island Museum.

 

Stainless steel was discovered by Harry Brearley in 1912, at the Brown Firth Laboratories in Sheffield. His successor as manager at Brown Firth, Dr William Hatfield, continued Brealey's work. In 1924 he patented '18-8 stainless steel', which to this day is probably the most common alloy of this type.

 

These innovations helped Sheffield to gain a worldwide recognition for the production of cutlery; utensils such as the bowie knife were mass-produced and shipped to the United States. The population of the town increased rapidly. In 1736 Sheffield and its surrounding hamlets held about 7000 people, in 1801 there were 60,000, and by 1901, the population had grown to 451,195.

 

This growth spurred the reorganisation of the governance of the town. Prior to 1818, the town was run by a mixture of bodies. The Sheffield Town Trust and the Church Burgesses, for example, divided responsibility for the improvement of streets and bridges. By the 19th century both organisations lacked funds and struggled even to maintain existing infrastructure.[52] The Church Burgesses organised a public meeting on 27 May 1805 and proposed to apply to Parliament for an act to pave, light and clean the city's streets. The proposal was defeated.

 

The idea of a Commission was revived in 1810, and later in the decade Sheffield finally followed the model adopted by several other towns in petitioning for an Act to establish an Improvement Commission. This eventually led to the Sheffield Improvement Act 1818, which established the Commission and included several other provisions. In 1832 the town gained political representation with the formation of a Parliamentary borough. A municipal borough was formed by an Act of Incorporation in 1843, and this borough was granted the style and title of "City" by letters patent in 1893.

 

In 1832 an outbreak of cholera killed 402 people, including John Blake, the Master Cutler. Another 1,000 residents were infected by the disease. A memorial to the victims stands in Clay Wood where the victims of the outbreak are buried.

 

From the mid-18th century, a succession of public buildings were erected in the town. St Paul's Church, now demolished, was among the first, while the old Town Hall and the present Cutlers' Hall were among the major works of the 19th century. The town's water supply was improved by the Sheffield Waterworks Company, who built reservoirs around the town. Parts of Sheffield were devastated when, following a five-year construction project, the Dale Dyke dam collapsed on Friday 11 March 1864, resulting in the Great Sheffield Flood.

 

Sheffield's transport infrastructure was also improved. In the 18th century turnpike roads were built connecting Sheffield with Barnsley, Buxton, Chesterfield, Glossop, Intake, Penistone, Tickhill, and Worksop. In 1774 a 2-mile (3.2 km) wooden tramway was laid at the Duke of Norfolk's Nunnery Colliery. The tramway was destroyed by rioters, who saw it as part of a plan to raise the price of coal. A replacement tramway that used L-shaped rails was laid by John Curr in 1776 and was one of the earliest cast-iron railways. The Sheffield Canal opened in 1819 allowing the large-scale transport of freight.

 

This was followed by the Sheffield and Rotherham Railway in 1838, the Sheffield, Ashton-under-Lyne and Manchester Railway in 1845, and the Midland Railway in 1870. The Sheffield Tramway was started in 1873 with the construction of a horse tram route from Lady's Bridge to Attercliffe. This route was later extended to Brightside and Tinsley, and further routes were constructed to Hillsborough, Heeley, and Nether Edge. Due to the narrow medieval roads the tramways were initially banned from the town centre. An improvement scheme was passed in 1875; Pinstone Street and Leopold Street were constructed by 1879, and Fargate was widened in the 1880s. The 1875 plan also called for the widening of the High Street; disputes with property owners delayed this until 1895.

 

Steel production in the 19th century involved long working hours, in unpleasant conditions that offered little or no safety protection. Friedrich Engels in his The Condition of the Working Class in England in 1844 described the conditions prevalent in the city at that time:

 

In Sheffield wages are better, and the external state of the workers also. On the other hand, certain branches of work are to be noticed here, because of their extraordinarily injurious influence upon health. Certain operations require the constant pressure of tools against the chest, and engender consumption in many cases; others, file-cutting among them, retard the general development of the body and produce digestive disorders; bone-cutting for knife handles brings with it headache, biliousness, and among girls, of whom many are employed, anæmia. By far the most unwholesome work is the grinding of knife-blades and forks, which, especially when done with a dry stone, entails certain early death. The unwholesomeness of this work lies in part in the bent posture, in which chest and stomach are cramped; but especially in the quantity of sharp-edged metal dust particles freed in the cutting, which fill the atmosphere, and are necessarily inhaled. The dry grinders' average life is hardly thirty-five years, the wet grinders' rarely exceeds forty-five.

 

Sheffield became one of the main centres for trade union organisation and agitation in the UK. By the 1860s, the growing conflict between capital and labour provoked the so-called 'Sheffield Outrages', which culminated in a series of explosions and murders carried out by union militants. The Sheffield Trades Council organised a meeting in Sheffield in 1866 at which the United Kingdom Alliance of Organised Trades—a forerunner of the Trades Union Congress (TUC)—was founded.

 

The 20th century to the present

In 1914 Sheffield became a diocese of the Church of England, and the parish church became a cathedral. During the First World War the Sheffield City Battalion suffered heavy losses at the Somme and Sheffield itself was bombed by a German zeppelin.

 

The recession of the 1930s was only halted by the increasing tension as the Second World War loomed. The steel factories of Sheffield were set to work making weapons and ammunition for the war. As a result, once war was declared, the city once again became a target for bombing raids. In total there were 16 raids over Sheffield, but it was the heavy bombing over the nights of 12 and 15 December 1940 (now known as the Sheffield Blitz) when the most substantial damage occurred. More than 660 people died and numerous buildings were destroyed.

 

Following the war, the 1950s and 1960s saw many large scale developments in the city. The Sheffield Tramway was closed, and a new system of roads, including the Inner Ring Road, were laid out. Also at this time many of the old slums were cleared and replaced with housing schemes such as the Park Hill flats, and the Gleadless Valley estate.

 

In February 1962, the city was devastated by the Great Sheffield Gale. Extremely localised high winds across the city, reaching up to 97 mph (156 km/h), killed four people, injured more than 400, and damaged more than 150,000 houses across the city, leaving thousands homeless.

 

Sheffield's traditional manufacturing industries (along with those of many other areas in the UK), declined during the 20th century. In the 1980s, it was the setting for two films written by locally-born Barry Hines: Looks and Smiles, a 1981 film that portrayed the depression that the city was enduring, and Threads, a 1984 television film that simulated a nuclear winter in Sheffield after a warhead is dropped to the east of the city.

 

The building of the Meadowhall shopping centre on the site of a former steelworks in 1990 was a mixed blessing, creating much needed jobs but speeding the decline of the city centre. Attempts to regenerate the city were kick-started by the hosting of the 1991 World Student Games and the associated building of new sporting facilities such as the Sheffield Arena, Don Valley Stadium and the Ponds Forge complex. Sheffield began construction of a tram system in 1992, with the first section opening in 1994.

 

Starting in 1995, the Heart of the City Project has seen public works in the city centre: the Peace Gardens were renovated in 1998, the Millennium Gallery opened in April 2001, and a 1970s town hall extension was demolished in 2002 to make way for the Winter Garden, which opened on 22 May 2003. A series of other projects grouped under the title Sheffield One aim to regenerate the whole of the city centre.

 

Sheffield was particularly hard hit during the 2007 United Kingdom floods and the 2010 'Big Freeze'. The 2007 flooding on 25 June caused millions of pounds worth of damage to buildings in the city and led to the loss of two lives. Many landmark buildings such as Meadowhall and the Hillsborough Stadium flooded due to being close to rivers that flow through the city. In 2010, 5,000 properties in Sheffield were identified as still being at risk of flooding. In 2012 the city narrowly escaped another flood, despite extensive work by the Environment Agency to clear local river channels since the 2007 event. In 2014 Sheffield Council's cabinet approved plans to further reduce the possibility of flooding by adopting plans to increase water catchment on tributaries of the River Don. Another flood hit the city in 2019, resulting in shoppers being contained in Meadowhall Shopping Centre.

 

Between 2014 and 2018, there were disputes between the city council and residents over the fate of the city's 36,000 highway trees. Around 4,000 highway trees have since been felled as part of the ‘Streets Ahead’ Private Finance Initiative (PFI) contract signed in 2012 by the city council, Amey plc and the Department for Transport to maintain the city streets. The tree fellings have resulted in many arrests of residents and other protesters across the city even though most felled trees in the city have been replanted, including those historically felled and not previously replanted. The protests eventually stopped in 2018 after the council paused the tree felling programme as part of a new approach developed by the council for the maintenance of street trees in the city.

 

In July 2013 the Sevenstone project, which aimed to demolish and rebuild a large part of the city centre, and had been on hold since 2009, was further delayed and the company developing it was dropped. The city council is looking for partners to take a new version of the plan forwards. In April 2014 the council, together with Sheffield University, proposed a plan to reduce the blight of empty shops in the city centre by offering them free of charge to small businesses on a month-by-month basis.

 

In December 2022, thousands of homes in Hillsborough and Stannington were left without a gas supply for more than a week following a serious failure of the local network. Sheffield City Council declared a major incident as temperatures dropped below freezing in unheated homes, and aid was distributed to local residents.

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Exploitant : Transdev Rambouillet

Réseau : SITERR

Ligne : Express 12

Lieu : Gare de Saint-Quentin-en-Yvelines (Montigny-le-Bretonneux, F-78)

Lien TC Infos : tc-infos.fr/id/33169

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Exploitant : RATP

Réseau : RATP

Ligne : 85

Lieu : Mairie de Saint-Ouen (Saint-Ouen-sur-Seine, F-93)

Lien TC Infos : tc-infos.fr/id/6199

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Woodpeckers are part of the bird family Picidae, which also includes the piculets, wrynecks and sapsuckers. Members of this family are found worldwide, except for Australia, New Guinea, New Zealand, Madagascar and the extreme polar regions. Most species live in forests or woodland habitats, although a few species are known that live in treeless areas, such as rocky hillsides and deserts, and the Gila woodpecker specialises in exploiting cacti.

 

Members of this family are chiefly known for their characteristic behaviour. They mostly forage for insect prey on the trunks and branches of trees, and often communicate by drumming with their beaks, producing a reverberatory sound that can be heard at some distance. Some species vary their diet with fruits, birds' eggs, small animals, tree sap, human scraps, and carrion. They usually nest and roost in holes that they excavate in tree trunks, and their abandoned holes are of importance to other cavity-nesting birds. They sometimes come into conflict with humans when they make holes in buildings or feed on fruit crops, but perform a useful service by their removal of insect pests on trees.

 

The Picidae are one of nine living families in the order Piciformes, the others being barbets (comprising three families), toucans, toucan-barbets, and honeyguides, which (along with woodpeckers) comprise the clade Pici, and the jacamars and puffbirds in the clade Galbuli. DNA sequencing has confirmed the sister relationships of these two groups. The family Picidae includes about 240 species arranged in 35 genera. Almost 20 species are threatened with extinction due to loss of habitat or habitat fragmentation, with one, the Bermuda flicker, being extinct and a further two possibly being so.

 

General characteristics

Woodpeckers include the tiny piculets, the smallest of which appears to be the bar-breasted piculet at 7.5 cm (3.0 in) in length and a weight of 8.9 g (0.31 oz). Some of the largest woodpeckers can be more than 50 cm (20 in) in length. The largest surviving species is the great slaty woodpecker, which weighs 430 g (15 oz) on average and up to 563 g (19.9 oz), and measures 45 to 55 cm (18 to 22 in), but the extinct imperial woodpecker, at 55 to 61 cm (22 to 24 in), and ivory-billed woodpecker, around 48 to 53 cm (19 to 21 in) and 516 g (18.2 oz), were probably both larger.

 

The plumage of woodpeckers varies from drab to conspicuous. The colours of many species are based on olive and brown and some are pied, suggesting a need for camouflage; others are boldly patterned in black, white, and red, and many have a crest or tufted feathers on their crowns. Woodpeckers tend to be sexually dimorphic, but differences between the sexes are generally small; exceptions to this are Williamson's sapsucker and the orange-backed woodpecker, which differ markedly. The plumage is moulted fully once a year apart from the wrynecks, which have an additional partial moult before breeding.

 

Woodpeckers, piculets, and wrynecks all possess characteristic zygodactyl feet, consisting of four toes, the first (hallux) and the fourth facing backward and the second and third facing forward. This foot arrangement is good for grasping the limbs and trunks of trees. Members of this family can walk vertically up tree trunks, which is beneficial for activities such as foraging for food or nest excavation. In addition to their strong claws and feet, woodpeckers have short, strong legs. This is typical of birds that regularly forage on trunks. Exceptions are the black-backed woodpecker and the American and Eurasian three-toed woodpeckers, which have only three toes on each foot. The tails of all woodpeckers, except the piculets and wrynecks, are stiffened, and when the bird perches on a vertical surface, the tail and feet work together to support it.

 

Woodpeckers have strong bills that they use for drilling and drumming on trees, and long, sticky tongues for extracting food (insects and larvae). Woodpecker bills are typically longer, sharper, and stronger than the bills of piculets and wrynecks, but their morphology is very similar. The bill's chisel-like tip is kept sharp by the pecking action in birds that regularly use it on wood. The beak consists of three layers; an outer sheath called rhamphotheca, made of scales formed from keratin proteins, an inner layer of bone which has a large cavity and mineralised collagen fibers, and a middle layer made of porous bone which connects the two other layers.

 

Furthermore, the tongue bone (or hyoid bone) of the woodpecker is very long, and winds around the skull through a special cavity, thereby cushioning the brain. Combined, this anatomy helps the beak absorb mechanical stress. Species of woodpecker and flicker that use their bills in soil or for probing as opposed to regular hammering tend to have longer and more decurved bills. Due to their smaller bill size, many piculets and wrynecks forage in decaying wood more often than woodpeckers. Their long, sticky tongues, which possess bristles, aid these birds in grabbing and extracting insects from deep within a hole in a tree. The tongue was reported to be used to spear grubs, but more detailed studies published in 2004 have shown that the tongue instead wraps around the prey before being pulled out.

  

Diagram showing the hyoid bone of Dendrocopos major

Many of the foraging, breeding, and signaling behaviors of woodpeckers involve drumming and hammering using their bills. To prevent brain damage from the rapid and repeated powerful impacts, woodpeckers have a number of physical features that protect their brains. These include a relatively small and smooth brain, narrow subdural space, little cerebrospinal fluid surrounding it to prevent it from moving back and forth inside the skull during pecking, the orientation of the brain within the skull (which maximises the contact area between the brain and the skull) and the short duration of contact. The skull consists of strong but compressible, sponge-like bone, which is most concentrated in the forehead and the back of the skull. Another anatomical adaptation of woodpeckers is the enormously elongated hyoid bone which subdivides, passes on either side of the spinal column and wraps around the brain case, before ending in the right nostril cavity. It plays the role of safety-belt.

 

Computer simulations have shown that 99.7% of the energy generated in pecking is stored in the form of strain energy, which is distributed throughout the bird's body, with only a small remaining fraction of the energy going into the brain. The pecking also causes the woodpecker's skull to heat up, which is part of the reason why they often peck in short bursts with brief breaks in between, giving the head some time to cool. During the millisecond before contact with wood, a thickened nictitating membrane closes, protecting the eye from flying debris.[ These membranes also prevent the retina from tearing. Their nostrils are also protected; they are often slit-like and have special feathers to cover them. Woodpeckers are capable of repeated pecking on a tree at high decelerations on the order of 10,000 m/s2 (33,000 ft/s2) (1000 g).[

 

Some large woodpeckers such as Dryocopus have a fast, direct form of flight, but the majority of species have a typical undulating flight pattern consisting of a series of rapid flaps followed by a swooping glide. Many birds in the genus Melanerpes have distinctive, rowing wing-strokes while the piculets engage in short bursts of rapid direct flight.

 

Distribution, habitat, and movements

Woodpeckers have a mostly cosmopolitan distribution, although they are absent from Australasia, Madagascar, and Antarctica. They are also absent from some of the world's oceanic islands, although many insular species are found on continental islands. The true woodpeckers, subfamily Picinae, are distributed across the entire range of the family. The Picumninae piculets have a pantropical distribution, with species in Southeast Asia, Africa, and the Neotropics, with the greatest diversity being in South America. The second piculet subfamily, the Sasiinae, contains the African piculet and two species in the genus Sasia that are found in Southeast Asia. The wrynecks (Jynginae) are found exclusively in the Old World, with the two species occurring in Europe, Asia, and Africa.

 

Most woodpeckers are sedentary, but a few examples of migratory species are known, such as the rufous-bellied woodpecker, yellow-bellied sapsucker, and Eurasian wryneck, which breeds in Europe and west Asia and migrates to the Sahel in Africa in the winter. More northerly populations of Lewis's woodpecker, northern flicker, Williamson's sapsucker, red-breasted sapsucker, and red-naped sapsucker all move southwards in the fall in North America. Most woodpecker movements can be described as dispersive, such as when young birds seek territories after fledging, or eruptive, to escape harsh weather conditions. Several species are altitudinal migrants, for example the grey-capped pygmy woodpecker, which moves to lowlands from hills during winter. The woodpeckers that do migrate, do so during the day.

 

Habitat requirements

Overall, woodpeckers are arboreal birds of wooded habitats. They reach their greatest diversity in tropical rainforests, but occur in almost all suitable habitats, including woodlands, savannahs, scrublands, and bamboo forests. Even grasslands and deserts have been colonised by various species. These habitats are more easily occupied where a small number of trees exist, or in the case of desert species like the Gila woodpecker, tall cacti are available for nesting. Some are specialists and are associated with coniferous or deciduous woodlands, or even, like the acorn woodpecker, with individual tree genera (oaks in this case). Other species are generalists and are able to adapt to forest clearance by exploiting secondary growth, plantations, orchards, and parks. In general, forest-dwelling species need rotting or dead wood on which to forage.

 

Several species are adapted to spending a portion of their time feeding on the ground, and a very small minority have abandoned trees entirely and nest in holes in the ground. The ground woodpecker is one such species, inhabiting the rocky and grassy hills of South Africa, and the Andean flicker is another.

 

The Swiss Ornithological Institute has set up a monitoring program to record breeding populations of woodland birds. This has shown that deadwood is an important habitat requirement for the black woodpecker, great spotted woodpecker, middle spotted woodpecker, lesser spotted woodpecker, European green woodpecker, and Eurasian three-toed woodpecker. Populations of all these species increased by varying amounts from 1990 to 2008. During this period, the amount of deadwood in the forest increased and the range of the white-backed woodpecker enlarged as it extended eastwards. With the exception of the green and middle-spotted woodpeckers, the increase in the amount of deadwood is likely to be the major factor explaining the population increase of these species.

 

Behavior

Most woodpeckers live solitary lives, but their behavior ranges from highly antisocial species that are aggressive towards their own kind, to species that live in groups. Solitary species defend such feeding resources as a termite colony or fruit-laden tree, driving away other conspecifics and returning frequently until the resource is exhausted. Aggressive behaviors include bill pointing and jabbing, head shaking, wing flicking, chasing, drumming, and vocalizations. Ritual actions do not usually result in contact, and birds may "freeze" for a while before they resume their dispute. The colored patches may be flouted, and in some instances, these antagonistic behaviors resemble courtship rituals.

 

Group-living species tend to be communal group breeders.[25] In addition to these species, a number of species may join mixed-species foraging flocks with other insectivorous birds, although they tend to stay at the edges of these groups. Joining these flocks allows woodpeckers to decrease their anti-predator vigilance and increase their feeding rate. Woodpeckers are diurnal, roosting at night inside holes and crevices. In many species the roost will become the nest-site during the breeding season, but in some species they have separate functions; the grey-and-buff woodpecker makes several shallow holes for roosting which are quite distinct from its nesting site. Most birds roost alone and will oust intruders from their chosen site, but the Magellanic woodpecker and acorn woodpecker are cooperative roosters.

 

Drumming is a form of nonvocal communication used by most species of woodpeckers, and involves the bill being repeatedly struck on a hard surface with great rapidity. After a pause, the drum roll is repeated, with each species having a pattern that is unique in the number of beats in the roll, the length of the roll, the length of the gap between rolls, and the cadence. The drumming is mainly a territorial call, equivalent to the song of a passerine. Woodpeckers choose a surface that resonates, such as a hollow tree, and may use man-made structures such as gutters and downpipes. Drumming serves for the mutual recognition of conspecifics and plays a part in courtship rituals. Individual birds are thought to be able to distinguish the drumming of their mates and those of their neighbors. Drumming can be reliably used to distinguish between multiple species in a region, even if those species are phenotypically similar. Cadence (or the mean number of drum beats per second) is heavily conserved within species. Comparative analyses within species between distant geographic populations have shown that cadence is heavily conserved across species' respective ranges, indicating that there likely are not 'dialects' as seen in passerine song. Drumming in woodpeckers is controlled by a set of nuclei in the forebrain that closely resemble the brain regions that underlie song learning and production in many songbirds. A 2023 study revealed a strong association between extractive foraging and relative brain size across the Family Picidae, indicating that a larger brain does not necessarily result in more powerful drumming abilities, but is implicated in foraging behaviors, as the act of sensing and retrieving wood-boring larvae from woody substrates likely requires an increase in sensory and motor control capabilities.

 

Calls

Woodpeckers do not have such a wide range of songs and calls as do passerine birds, and the sounds they make tend to be simpler in structure. Calls produced include brief, high-pitched notes, trills, rattles, twittering, whistling, chattering, nasal churrs, screams, and wails. These calls are used by both sexes in communication and are related to the circumstances of the occasion; these include courtship, territorial disputes, and alarm calls. Each species has its own range of calls, which tend to be in the 1.0 to 2.5 kHz range for efficient transmission through forested environments. Mated couples may exchange muted, low-pitched calls, and nestlings often issue noisy begging calls from inside their nest cavity. The wrynecks have a more musical song, and in some areas, the song of the newly arrived Eurasian wryneck is considered to be the harbinger of spring. The piculets either have a song consisting of a long, descending trill, or a descending series of two to six (sometimes more) individual notes, and this song alerts ornithologists to the presence of the birds, as they are easily overlooked.

 

Diet and feeding

Most woodpecker species feed on insects and other invertebrates living under bark and in wood, but overall, the family is characterized by its dietary flexibility, with many species being both highly omnivorous and opportunistic. The diet includes ants, termites, beetles and their larvae, caterpillars, spiders, other arthropods, bird eggs, nestlings, small rodents, lizards, fruit, nuts, and sap. Many insects and their grubs are taken from living and dead trees by excavation. The bird may hear sounds from inside the timber indicating where creating a hole would be productive. Crustaceans, molluscs, and carrion may be eaten by some species, including the great spotted woodpecker, and bird feeders are visited for suet and domestic scraps.

 

Other means are also used to garner prey. Some species, such as the red-naped sapsucker, sally into the air to catch flying insects, and many species probe into crevices and under bark, or glean prey from leaves and twigs. The rufous woodpecker specialises in attacking the nests of arboreal ants, and the buff-spotted woodpecker feeds on and nests in termite mounds. Other species, such as the wrynecks and the Andean flicker, feed wholly or partly on the ground.

 

Ecologically, woodpeckers help to keep trees healthy by keeping them from suffering mass infestations. The family is noted for its ability to acquire wood-boring grubs from the trunks and branches, whether the timber is alive or dead. Having hammered a hole into the wood, the prey is extracted by use of a long, barbed tongue. Woodpeckers consume beetles that burrow into trees, removing as many as 85% of emerald ash borer larvae from individual ash trees.

 

The ability to excavate allows woodpeckers to obtain tree sap, an important source of food for some species. Most famously, the sapsuckers (genus Sphyrapicus) feed in this fashion, but the technique is not restricted to these, and others such as the acorn woodpecker and white-headed woodpecker also feed on sap. The technique was once thought to be restricted to the New World, but Old World species, such as the Arabian woodpecker and great spotted woodpecker, also feed in this way.

 

Breeding

All members of the family Picidae nest in cavities, nearly always in the trunks and branches of trees, well away from the foliage. Where possible, an area of rotten wood surrounded by sound timber is used. Where trees are in short supply, the gilded flicker and ladder-backed woodpecker excavate holes in cactus, and the Andean flicker and ground woodpecker dig holes in earth banks. The campo flicker sometimes chooses termite mounds, the rufous woodpecker prefers to use ants' nests in trees and the bamboo woodpecker specialises in bamboos. Woodpeckers also excavate nest holes in residential and commercial structures and wooden utility poles.

 

Woodpeckers and piculets excavate their own nests, but wrynecks do not, and need to find pre-existing cavities. A typical nest has a round entrance hole that just fits the bird, leading to an enlarged vertical chamber below. No nesting material is used, apart from some wood chips produced during the excavation; other wood chips are liberally scattered on the ground, thus providing visual evidence of the site of the nest. Many species of woodpeckers excavate one hole per breeding season, sometimes after multiple attempts. It takes around a month to finish the job and abandoned holes are used by other birds and mammals that are cavity nesters unable to excavate their own holes.

 

Cavities are in great demand for nesting by other cavity nesters, so woodpeckers face competition for the nesting sites they excavate from the moment the hole becomes usable. This may come from other species of woodpecker, or other cavity-nesting birds such as swallows and starlings. Woodpeckers may aggressively harass potential competitors, and also use other strategies to reduce the chance of being usurped from their nesting sites; for example, the red-crowned woodpecker digs its nest in the underside of a small branch, which reduces the chance that a larger species will take it over and expand it.

 

Members of Picidae are typically monogamous, with a few species breeding cooperatively and some polygamy reported in a few others. Polyandry, where a female raises two broods with two separate males, has also been reported in the West Indian woodpecker. Another unusual social system is that of the acorn woodpecker, which is a polygynandrous cooperative breeder where groups of up to 12 individuals breed and help to raise the young.[4] Young birds from previous years may stay behind to help raise the group's young, and studies have found reproductive success for the group goes up with group size, but individual success goes down. Birds may be forced to remain in groups due to a lack of habitat to which to disperse.

  

Great spotted woodpecker feeding its chick

A pair works together to help build the nest, incubate the eggs, and raise their altricial young. In most species, though, the male does most of the nest excavation and takes the night shift while incubating the eggs. A clutch usually consists of two to five round, white eggs. Since these birds are cavity nesters, their eggs do not need to be camouflaged and the white color helps the parents to see them in dim light. The eggs are incubated for about 11–14 days before they hatch. About 18–30 days are then needed before the chicks are fully fledged and ready to leave the nest. In most species, soon after this, the young are left to fend for themselves, exceptions being the various social species, and the Hispaniolan woodpecker, where adults continue to feed their young for several months. In general, cavity nesting is a successful strategy and a higher proportion of young is reared than is the case with birds that nest in the open. In Africa, several species of honeyguide are brood parasites of woodpeckers.

 

Systematics and evolutionary history

The Picidae are just one of nine living families in the order Piciformes. Other members of this group, such as the jacamars, puffbirds, barbets, toucans, and honeyguides, have traditionally been thought to be closely related to the woodpecker family (true woodpeckers, piculets, wrynecks, and sapsuckers). The clade Pici (woodpeckers, barbets, toucans, and honeyguides) is well supported and shares a zygodactyl foot with the Galbuli (puffbirds and jacamars). More recently, several DNA sequence analyses have confirmed that Pici and Galbuli are sister groups.

 

The name Picidae for the family was introduced by English zoologist William Elford Leach in a guide to the contents of the British Museum published in 1819. The phylogeny has been updated according to new knowledge about convergence patterns and evolutionary history. Most notably, the relationship of the Picinae genera has been largely clarified, and the Antillean piculet was found to be a surviving offshoot of protowoodpeckers. Genetic analysis supports the monophyly of the Picidae, which seem to have originated in the Old World, but the geographic origins of the Picinae is unclear. The Picumninae are returned as paraphyletic. Morphological and behavioural characters, in addition to DNA evidence, highlights genus Hemicircus as the sister group of all remaining true woodpeckers, besides a sister-group relationship between the true woodpecker tribes Dendropicini and Malarpicini.

 

The evolutionary history of this group is not well documented, but the known fossils allow some preliminary conclusions; the earliest known modern picids were piculet-like forms of the Late Oligocene, about 25 million years ago (Mya). By that time, however, the group was already present in the Americas and Europe, and they actually may have evolved much earlier, maybe as early as the Early Eocene (50 Mya). The modern subfamilies appear to be rather young by comparison; until the mid-Miocene (10–15 Mya), all picids seem to have been small or mid-sized birds similar to a mixture between a piculet and a wryneck. A feather enclosed in fossil amber from the Dominican Republic, dated to about 25 Mya, however, seems to indicate that the Nesoctitinae were already a distinct lineage by then.

 

Stepwise adaptations for drilling, tapping, and climbing head first on vertical surfaces have been suggested. The last common ancestor of woodpeckers (Picidae) was incapable of climbing up tree trunks or excavating nest cavities by drilling with its beak. The first adaptations for drilling (including reinforced rhamphotheca, frontal overhang, and processus dorsalis pterygoidei) evolved in the ancestral lineage of piculets and true woodpeckers. Additional adaptations for drilling and tapping (enlarged condylus lateralis of the quadrate and fused lower mandible) have evolved in the ancestral lineage of true woodpeckers (Hemicircus excepting). The inner rectrix pairs became stiffened, and the pygostyle lamina was enlarged in the ancestral lineage of true woodpeckers (Hemicircus included), which facilitated climbing head first up tree limbs. Genus Hemicircus excepting, the tail feathers were further transformed for specialized support, the pygostyle disc became greatly enlarged, and the ectropodactyl toe arrangement evolved. These latter characters may have facilitated enormous increases in body size in some lineages.

 

Prehistoric representatives of the extant Picidae genera are treated in the genus articles. An enigmatic form based on a coracoid, found in Pliocene deposits of New Providence in the Bahamas, has been described as Bathoceleus hyphalus and probably also is a woodpecker.

 

The following cladogram is based on the comprehensive molecular phylogenetic study of the woodpeckers published in 2017 together with the list of bird species maintained by Frank Gill, Pamela Rasmussen and David Donsker on behalf of the International Ornithological Committee (IOC). The Cuban green woodpecker in the monotypic genus Xiphidiopicus was not included in the study. The relative positions of Picumninae, Sasiinae and Picinae in the cladogram are uncertain. In the 2017 study the results depended upon which of two different statistical procedures were used to analyse the DNA sequence data. One method found that Sasiinae was sister to Picinae (as shown below), the other method found that Sasiinae was sister to a clade containing both Picumninae and Picinae

 

The woodpecker family Picidae contains 37 genera.[56] For more detail, see list of woodpecker species.

  

Cuban green woodpecker

(Xiphidiopicus percussus)

female, Cuba

 

Campo flicker

Colaptes campestris

female, Brazil

Family: Picidae

 

Subfamily: Jynginae – wrynecks

Jynx (2 species)

Subfamily: Picumninae – piculets[57]

Picumnus – piculets (26 species)

Subfamily: Sasiinae

Verreauxia – African piculet

Sasia – Asian piculets (2 species)

Subfamily: Picinae – true woodpeckers

Tribe Nesoctitini

Nesoctites – monotypic: Antillean piculet

Tribe Hemicircini

Hemicircus – 2 species

Tribe Picini

Micropternus – monotypic: rufous woodpecker

Meiglyptes – 4 species

Gecinulus – 3 species

Dinopium – 5 species (flamebacks)

Picus – 14 species

Chrysophlegma – 3 species

Pardipicus – 2 species

Geocolaptes – monotypic: ground woodpecker

Campethera – 11 species

Mulleripicus – 4 species

Dryocopus – 6 species

Celeus – 13 species

Piculus – 7 species

Colaptes – 14 species

Tribe Campephilini

Campephilus – 12 species

Blythipicus – 2 species

Reinwardtipicus – monotypic: orange-backed woodpecker

Chrysocolaptes – 9 species (flamebacks)

Tribe Melanerpini

Sphyrapicus – 4 species (sapsuckers)

Melanerpes – 24 species

Picoides – 3 species

Yungipicus – 7 species

Leiopicus – monotypic: yellow-crowned woodpecker

Dendrocoptes – 3 species

Chloropicus – 3 species

Dendropicos – 12 species

Dendrocopos – 12 species

Dryobates – 5 species

Leuconotopicus – 6 species

Veniliornis – 14 species

Xiphidiopicus – monotypic: Cuban green woodpecker

Incertae sedis fossils

Genus: †Palaeopicus (Late Oligocene of France)

†Picidae gen. et sp. indet. (Middle Miocene of New Mexico, US)

†Picidae gen. et sp. indet. (Late Miocene of Gargano Peninsula, Italy)

Genus: †Palaeonerpes (Ogallala Early Pliocene of Hitchcock County, US) – possibly dendropicine

Genus: †Pliopicus (Early Pliocene of Kansas, US) – possibly dendropicine

cf. Colaptes DMNH 1262 (Early Pliocene of Ainsworth, US) – malarpicine?

Relationship with humans

In general, humans consider woodpeckers in a favourable light; they are viewed as interesting birds and fascinating to watch as they drum or forage, but their activities are not universally appreciated. Many woodpecker species are known to excavate holes in buildings, fencing, and utility poles, creating health and/or safety issues for affected structures. Such activity is very difficult to discourage and can be costly to repair.

 

Woodpeckers also drum on various reverberatory structures on buildings such as gutters, downspouts, chimneys, vents, and aluminium sheeting. Drumming is a less-forceful type of pecking that serves to establish territory and attract mates. Houses with shingles or wooden boarding are also attractive as possible nesting or roosting sites, especially when close to large trees or woodland. Several exploratory holes may be made, especially at the junctions of vertical boards or at the corners of tongue-and-groove boarding. The birds may also drill holes in houses as they forage for insect larvae and pupae hidden behind the woodwork.

 

Woodpeckers sometimes cause problems when they raid fruit crops, but their foraging activities are mostly beneficial as they control forest insect pests such as the woodboring beetles that create galleries behind the bark and can kill trees. They also eat ants, which may be tending sap-sucking pests such as mealybugs, as is the case with the rufous woodpecker in coffee plantations in India. Woodpeckers can serve as indicator species, demonstrating the quality of the habitat. Their hole-making abilities make their presence in an area an important part of the ecosystem, because these cavities are used for breeding and roosting by many bird species that are unable to excavate their own holes, as well as being used by various mammals and invertebrates.

 

The spongy bones of the woodpecker's skull and the flexibility of its beak, both of which provide protection for the brain when drumming, have provided inspiration to engineers; a black box needs to survive intact when a plane falls from the sky, and modelling the black box with regard to a woodpecker's anatomy has increased the resistance of this device to damage 60-fold.[61] The design of protective helmets is another field being influenced by the study of woodpeckers.

 

One of the accounts of the founding of Rome, preserved in the work known as Origo Gentis Romanae (unknown), refers to a legend of a woodpecker bringing food to the boys Romulus and Remus during the time they were abandoned in the wild, thus enabling them to survive and play their part in history.

 

Popular culture

Woody Woodpecker is an animated character that appeared in theatrical short films produced between 1940 and 1972.

 

The Pokémon Pikipek was introduced in the seventh generation games Pokémon Sun and Moon. In addition to being a visual homage to a pileated woodpecker, entries in the game's Pokédex encyclopedia describes the small Flying-type as analogous to its real-world counterpart. Its later forms (called "evolutions" in the series) Trumbeak and Toucannon resemble a honeyguide and toucan, respectively, perhaps as a tongue-in-cheek reference to the phylogenetic relationship woodpeckers share with these Piciformes families.

 

Status and conservation

In a global survey of the risk of extinction faced by the various bird families, woodpeckers were the only bird family to have significantly fewer species at risk than would be expected.

 

Nevertheless, several woodpeckers are under threat as their habitats are destroyed. Being woodland birds, deforestation and clearance of land for agriculture and other purposes can reduce populations dramatically. Some species adapt to living in plantations and secondary growth, or to open countryside with forest remnants and scattered trees, but some do not. A few species have even flourished when they have adapted to man-made habitats. There are few conservation projects directed primarily at woodpeckers, but they benefit whenever their habitat is conserved. The red-cockaded woodpecker has been the focus of much conservation effort in the southeastern United States, with artificial cavities being constructed in the longleaf pines they favour as nesting sites.

 

Two species of woodpeckers in the Americas, the ivory-billed woodpecker is critically endangered and the imperial woodpecker is classified as extinct in the wild, with some authorities believing them extinct, though possible but disputed ongoing sightings of ivory-billed woodpeckers have been made in the United States and a small population may survive in Cuba. A critically endangered species is the Okinawa woodpecker from Japan, with a single declining population of a few hundred birds. It is threatened by deforestation, golf course, dam, and helipad construction, road building, and agricultural development.

 

Anatomy

Woodpeckers possess many sophisticated shock-absorption mechanisms that help protect them from head injury. Micro-CT scans show that plate-like spongy bones are in the skull with an uneven distribution, highly accumulated in the forehead and occiput but not in other regions. Along with the long hyoid bone “safety belt” the woodpecker has uneven beak lengths which drastically reduce strains when compared to equal length. Models have shown that pecking force is changed to strain energy and stored into the body at around 99% absorption while 1% is in the head. The head also has many factors that reduce strain to the brain and small portions of energy are dissipated into the form of heat, therefore the pecks are always intermittent.

 

Tau protein accumulation is associated with chronic traumatic encephalopathy (CTE), and thus has been studied in sports where athletes suffer repeated concussions. Tau is important as it helps hold together and stabilize brain neurons. Woodpeckers' brains share similarities to humans with CTE showing most build-up in the frontal and temporal lobes of the brain. It is not yet known whether these accumulations are pathological or the result of behavioral changes. More research is being done on the subject and the woodpecker is a suitable animal model to study. The orientation of the brain within the skull increases the area of contact when pecking to reduce stress on the brain, and their small size helps, given the acceleration speeds.

 

Mechanical properties

Straight-line trajectory was theorized to be the reason why woodpeckers do not injure themselves, since centripetal forces were the cause of concussion, but they do not always peck in straight lines, so they produce and resist centripetal forces. Laboratory tests show that the woodpeckers' cranial bone produces a significantly higher Young's modulus and ultimate strength scores compared to other birds its size. The cranial bone has a high bone mineral density with plate-like structures that are thick with high numbers of trabeculae that are spaced closely together which all may lead to lower deformation while pecking.

 

The jaw apparatus was studied, looking into its cushioning effects. When comparing the same impact to the beak and to the forehead, the forehead experiences an impact force 1.72 times that of the beak, due to the contact time being 3.25 ms in the forehead and 4.9 ms in the beak. This is impulse momentum where impulse is the integral of force over time. The quadrate bone and joints play an important role in extending impact time, which decreases impact load to brain tissue.

 

Bio-inspired honeycomb sandwich beams are inspired by the woodpecker's skull design; this beam's goal is to withstand continuous impacts without the need of replacement. The BHSB is composed of carbon fiber-reinforced plastic (CFRP), this is to mimic the high-strength beak. Next is a rubber layer core for the hyoid bone for absorbing and spreading impact, a second core layer of aluminum honeycomb that is porous and light like the woodpecker's spongey bone for impact cushioning. The final layer is the same as the first a CFRP to act as the skull bone. Bio-inspired honeycomb sandwich beams when compared to conventional beams reduced area damage by 50–80% and carried 40 to 5% of the level of stresses in the bottom layer while having an impact-resistance efficiency 1.65 to 16.22 times higher.

Exploitant : RATP

Réseau : Navette Substitution SNCF Île-de-France

Ligne : Navette Transilien H

Lieu : Gare d'Ermont – Eaubonne (Ermont, F-95)

Lien TC Infos : tc-infos.fr/id/3929