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MTA Chair & CEO Janno Lieber unveils
a strategic action plan, “Extending Transit’s Reach,” to enhance bike, pedestrian, and micromobility access at and near MTA facilities during a press conference at Franklin Ave. & Fulton St. on Wednesday, Jan 11, 2023.
(Marc A. Hermann / MTA)
figura para hacer el flash extender largo 20cm , ancho 12,5 cm altura 9cm , hay dos medidas diferentes la de 9,7 y 12,7 porque estos lados van por encima de la de 9 cm ,una vez que lo tengan dibujado hagan unos cortes con un cutter en las lineas marcadas todos los bordes despues pasar el cutter levemente por las lineas del centro ,las de 20 cm como si cortaran la mitad del carton para poder doblarlo , abajo no hay medidas solo el numero 1 y 2 porque esa medida va a depender del modelo de flash que tengan el tamaño de la cabeza del flash , las dos lenguetas de carton que sobresalen abajo con el numero 2 una va arriba del flash y la otra abajo , en los bordes le puse un plastico en angulo para darle un poco de firmeza y el interior esta forrado con papel aluminio ese de cocina primero lo arrugan despues lo estiran y se pega , se arruga para que la luz sea uniforme , si lo colocan asi tal como viene puede crear reflejos
Nestlé's Peter Brabeck-Letmathe and Secretary General of the IFRC Bekele Geleta, jointly signed the third partnership agreement at the World Meteorological Organization in Geneva, Switzerland.
In the years before continental holidays became the norm the SMT bus company provided a huge selection of extended and day tours throughout Scotland and England. So popular did they become that up to 100 coaches were allocated during the peak summer season. Most departures left from Edinburgh or Glasgow but some day tours also left from provincial towns such as Bathgate and Musselburgh.
The extended tours attracted high patronage, in particular that to Strathpeffer and the North West Highlands, which gave two departures per week. Seen amongst the bracken and purple heather of Glen Affric is B466A, a 1953 AEC Regal Mk IV, with luxurious 38 seat Alexander coachwork. The Regal is working a 7-day tour which would cost the 'holidaymaker' £19.10s (£19.50p) at the time of this scene in 1959. This price which today sounds more than a bargain, was all inclusive - meals, excursions and hotels. SMT, by then Scottish Omnibuses, chose only the most experienced drivers to crew these tours, and in turn the drivers guarded the 'privilege' with considerable acumen, with younger drivers getting a chance only of day or afternoon tours. B466A - attached to New Street garage remained for some years afterwards on tour-work before being withdrawn in 1966.
"We need to be more responsive to students who struggle to stay engaged in learning and we must extend those who have unique and exceptional learning abilities.
“Gifted and talented children come from all walks of life. Giving them the chance to extend themselves within the public education system will result in all our children being offered the opportunity to succeed."
Nanaia Mahuta is a New Zealand Member of Parliament, writing here in support of Gifted Awareness Week. Read more at www.labour.org.nz/news/government-must-support-our-gifted...
Background image CC BY Enrique Flouret. See www.flickr.com/photos/photoshoproadmap/3368543801/
Yaquina Head Outstanding Natural Area extends out from the Oregon coast, one mile into the Pacific Ocean. Standing 93 feet tall at the westernmost point of the basalt headland, the lighthouse has guided ships and their supplies along the west coast since 1873. Last year, the Yaquina Head Lighthouse underwent a preservation project that lasted about 90 days.
The offshore islands are a year-round refuge for harbor seals and a spring-summer home for thousands of nesting seabirds. Gray whales can be spotted during their annual migrations to Mexico (late fall-early winter) and Alaska (late winter-early spring). During the summer months, some gray whales take the opportunity to feed in the shallow waters around the headland.
Cobble Beach is compiled of millions of round basalt rocks that produce an applause-like sound as the waves roll in. When the tide is low a vibrant ocean floor is revealed—pools of colorful animals including orange sea stars, purple sea urchins, and giant green anemones.
The Dallas Arts District's "Spotlight Sunday" on October 18
Festivities to celebrate the opening of the new AT&T Performing Arts Center include a day of free admission and extended hours. Enjoy performances in the exhibition All the World’s a Stage, tours family experiences, and much more.
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The Dallas Arts District
2200 Ross Ave
Dallas, TX 75201
(214) 744-6642
The Dallas Arts District is a unique, 68-acre, 19-block neighborhood in the heart of the city. A rare jewel that is the centerpiece of the region’s cultural life, the District is home to some of the finest architecture in the world. Enhancing the downtown Dallas skyline are buildings by Pritzker Prize winners I.M. Pei, Renzo Piano, Norman Foster, Rem Koolhaas and AIA “Gold Medal” recipient Edward Larrabee Barnes.
Our neighborhood is a center for innovative architecture, world-class exhibits, exemplary cultural programming and much more. We are restaurants, hotels, churches, residences and even the world headquarters of 7-Eleven.
This website is designed to help you explore the many facets of the district. And whether you are coming from around the corner or from around the world, we hope you will find your trip enjoyable and your experience unparalleled.
We look forward to sharing with you the works of art, the performances, the cuisine and the vibrancy of the Dallas Arts District.
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Dallas Museum of Art
The Dallas Museum of Art ranks among leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs.
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Nasher Sculpture Center
The Nasher Sculpture Center opened in 2003 as the first institution in the world dedicated exclusively to the exhibition of modern and contemporary sculpture with a collection of global significance at its foundation.
www.nashersculpturecenter.org/
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Trammell Crow Center and Crow Collection of Asian Art
The Trammell and Margaret Crow Collection of Asian Art is nestled like a small jewel in Dallas’ Arts District, offering visitors a glimpse of a world possessing serene beauty and spirituality in the heart of a bustling city.
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Belo Mansion
The current home of the Dallas Bar Association, the Belo Mansion was built c. 1890 by Coleonel A. H. Belo, founder of the Dallas Morning News.
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Cathedral Shrine of the Virgin of Guadalupe
The city’s oldest Catholic parish, this High Victorian Gothic cathedral is the second busiest Catholic cathedral in the nation.
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Morton H. Meyerson Symphony Center
Since its grand opening celebration, the legendary rich sound of the Meyerson’s Eugene McDermott Concert Hall has made it a premier destination for the world’s finest soloists and conductors.
www.dallasculture.org/meyersonSymphonyCenter/
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AT&T Performing Arts Center Margot and Bill Winspear Opera House
With transparent, soaring 60-foot glass walls revealing views of the Grand Lobby and a café open throughout the day, the Winspear Opera House is a destination for all.
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AT&T Performing Arts Center Dee and Charles Wyly Theatre
The world’s only vertical theatre, the innovative design of the Wyly Theatre creates ultimate performance flexibility.
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Booker T. Washington High School for the Visual and Performing Arts
The school’s dual emphasis on arts and academics has produced a stellar list of famous graduates including Grammy Award®-winners Norah Jones, Erykah Badu and jazz trumpeter Roy Hargrove.
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St. Paul United Methodist Church
St. Paul United Methodist Church was founded in 1873 by freed slaves from Mississippi, Louisiana and Texas.
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One Arts Plaza
One Arts Plaza is a multiuse structure comprised of residences, corporate offices and retail, the first of three buildings on over 10 acres at the eastern edge of the Dallas Arts District.
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Dallas Black Dance Theatre
Dallas Black Dance Theatre is the city’s oldest continuously operating dance company.
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AT&T Performing Arts Center Elaine D. and Charles A. Sammons Park
Weaving together the Winspear Opera House, Wyly Theatre, Strauss Square and City Performance Hall, the ten-acre park stretches from Woodall Rodgers Freeway to Ross Avenue, and is the first public park in the Dallas Arts District.
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Inside the AT&T Performing Arts Center Margot and Bill Winspear Opera House
Central SMT extended Bristol FLF6LX BL335 HGM 335E owned by Stagecoach and seen at the Stagecoach North West open day at Lillyhall depot 24th May 2003.
Schweiz / Wallis - Matterhorn
seen on the way from Riffelsee to Riffelalp
gesehen auf dem Weg vom Riffelsee zur Riffelalp
The Matterhorn (/ˈmætərhɔːrn/, German: [ˈmatɐˌhɔʁn]; Italian: Cervino, [tʃerˈviːno]; French: Cervin, [sɛʁvɛ̃]; Romansh: Mont(e) Cervin(u)) is a mountain of the Alps, straddling the main watershed and border between Switzerland and Italy. It is a large, near-symmetric pyramidal peak in the extended Monte Rosa area of the Pennine Alps, whose summit is 4,478 metres (14,692 ft) high, making it one of the highest summits in the Alps and Europe. The four steep faces, rising above the surrounding glaciers, face the four compass points and are split by the Hörnli, Furggen, Leone/Lion, and Zmutt ridges. The mountain overlooks the Swiss town of Zermatt, in the canton of Valais, to the northeast; and the Italian town of Breuil-Cervinia in the Aosta Valley to the south. Just east of the Matterhorn is Theodul Pass, the main passage between the two valleys on its north and south sides, which has been a trade route since the Roman Era.
The Matterhorn was studied by Horace-Bénédict de Saussure in the late eighteenth century, and was followed by other renowned naturalists and artists, such as John Ruskin, in the 19th century. It remained unclimbed after most of the other great Alpine peaks had been attained and became the subject of an international competition for the summit. The first ascent of the Matterhorn was in 1865 from Zermatt by a party led by Edward Whymper, but during the descent, a sudden fall claimed the lives of four of the seven climbers. This disaster, later portrayed in several films, marked the end of the golden age of alpinism. The north face was not climbed until 1931 and is among the three biggest north faces of the Alps, known as "The Trilogy". The west face, the highest of the Matterhorn's four faces, was completely climbed only in 1962. It is estimated that over 500 alpinists have died on the Matterhorn, making it one of the deadliest peaks in the world.
The Matterhorn is mainly composed of gneisses (originally fragments of the African Plate before the Alpine orogeny) from the Dent Blanche nappe, lying over ophiolites and sedimentary rocks of the Penninic nappes. The mountain's current shape is the result of cirque erosion due to multiple glaciers diverging from the peak, such as the Matterhorn Glacier at the base of the north face. Sometimes referred to as the Mountain of Mountains (German: Berg der Berge), it has become an indelible emblem of the Alps in general. Since the end of the 19th century, when railways were built in the area, the mountain has attracted increasing numbers of visitors and climbers. Each year, numerous mountaineers try to climb the Matterhorn from the Hörnli Hut via the northeast Hörnli ridge, the most popular route to the summit. Many trekkers also undertake the 10-day-long circuit around the mountain. The Matterhorn has been part of the Swiss Federal Inventory of Natural Monuments since 1983.
Names
The name Matterhorn derives from the German words Matte ("meadow") and Horn ("horn"), and is often translated as "the peak of the meadows".
In the Schalbetter map, printed by Sebastian Münster in 1545, the valley is labelled Mattertal, but the mountain has the Latin name Mons Silvius as well as the German name Augstalberg, in concord with the Aosta Valley (German Augstal). The 1548 map by Johannes Stumpf gives only Mons Silvius.
The French name Cervin, from which the Italian term Cervino derives, stems from the Latin Mons Silvanus (or Mons Sylvanus), where silva means "forest"; this was corrupted to Selvin and then Servin. The change of the first letter "s" to "c" is attributed to Horace Bénédict de Saussure, who thought the word was related to "deer" (French: cerf and Italian: cervo).
Josias Simler hypothesized in De Alpibus Commentarius (1574) that the name Mons Silvius was readopted by T. G. Farinetti: "Silvius was probably a Roman leader who sojourned with his legions in the land of the Salassi and the Seduni, and perhaps crossed the Theodul Pass between these two places. This Silvius may have been that same Servius Galba whom Caesar charged with the opening up of the Alpine passes, which from that time onward traders have been wanting to cross with great danger and grave difficulty. Servius Galba, in order to carry out Caesar's orders, came with his legions from Allobroges (Savoy) to Octodurum (Martigny) in the Valais, and pitched his camp there. The passes which he had orders to open from there could be no other than the St. Bernard, the Simplon, the Theodul, and the Moro; it therefore seems likely that the name of Servius, whence Silvius and later Servin, or Cervin, was given in his honour to the famous pyramid." It is unknown when the new name of Servin, or Cervin, replaced the old, from which it seems to be derived.
The Matterhorn is also named Gran Bècca ("big mountain") by the Valdôtains and Horu by the local Walliser German speaking people.
Because of its recognizable shape, many other similar mountains around the world were named or nicknamed the 'Matterhorn' of their respective countries or mountain ranges.
Height
The Matterhorn has two distinct summits, situated at either end of a 100-metre-long (330 ft) exposed rocky crest which forms the Italian/Swiss border. In August 1792, the Genevan geologist and explorer Horace Bénédict de Saussure made the first measurement of the Matterhorn's height, using a sextant and a 50-foot-long (15 m) chain spread out on the Theodul glacier. He calculated its height as 4,501.7 m (14,769 ft). In 1868 the Italian engineer Felice Giordano measured a height of 4,505 m (14,780 ft) by means of a mercury barometer, which he had taken to the summit. The Dufour map, which was afterwards followed by the Italian surveyors, gave 4,482 m (14,705 ft) as the height of the Swiss summit.
In 1999, the summit height was precisely determined to be at 4,477.54 m (14,690 ft) above sea level by using Global Positioning System technology as part of the TOWER Project (Top of the World Elevations Remeasurement) and to an accuracy of less than one centimetre, which allows future changes to be tracked.
The topographic prominence of the Matterhorn is 1,042 metres (3,419 ft) as the ridge connecting it with a higher summit (in this case the Weisshorn, which is the culminating point of the range west of the Mattertal valley) sinks to a height of 3,436 m (11,273 ft) at the Col Durand, a saddle between the Pointe de Zinal and the Mont Durand. The topographic isolation is 13.9 km (8.6 mi), as the nearest point of higher elevation is the one-metre (3 ft 3 in) higher Western Liskamm
Considering mountains with a topographic prominence of at least 300 m (980 ft), the Matterhorn is the sixth-highest summit in the Alps and Europe outside the Caucasus Mountains. It is the fifth-highest summit of Valais and Switzerland and the third highest summit of the Aosta Valley and Italy. Locally, it is the third-highest summit in the municipality of Zermatt and the highest summit in the municipality of Valtournenche. On the official International Climbing and Mountaineering Federation list of Alpine four-thousanders, which also includes subsidiary summits of higher mountains such as the nearby Monte Rosa, the Matterhorn is the 12th highest summit in the Alps.
Geography
The Matterhorn has a pyramidal shape with four faces nearly facing the four compass points. Three of them (north, east and west) are on the Swiss side of the border and watershed (Mattertal valley) and one of them (south) is on the Italian side of the border (Valtournenche valley). The north face overlooks the Ober Gabelhorn (7 km away) across the Zmutt Glacier and valley (above Zermatt), the east face overlooks the Gorner Glacier system between the Gornergrat and Monte Rosa (respectively 10 and 17 km away) across the Theodul Pass, the west face overlooks the upper basin of the Zmutt Glacier between the Dent Blanche and the Dent d'Hérens (respectively 7 and 4 km away) and the south face fronts the resort town of Breuil-Cervinia and overlooks a good portion of the Valtournenche. The Matterhorn does not form a perfect square pyramid, as the north and south faces are wider than the west and east faces. Moreover, the latter faces do not actually meet on the summit but are connected by a 100-metre-long horizontal west–east ridge between the north and south faces.
The Matterhorn's faces are steep, and only small patches of snow and ice cling to them; regular avalanches send the snow down to accumulate on the glaciers at the base of each face, the largest of which are the Tiefmattengletscher to the west, part of the Zmutt Glacier, and the Matterhorn Glacier to the north. Smaller glaciers lie at the base of the south face (the Lower Matterhorn Glacier) and the east face (unnamed). In this area, the border between Switzerland and Italy coincides with the main Alpine watershed, separating the drainage basin of the Rhone on the north (Mediterranean Sea) and that of the Po on the south (Adriatic Sea). The north side is drained by the Zmuttbach (west and north faces) and the Gornera through the Furggbach (east face), tributaries of the Rhone through the (Matter) Vispa. The south side and face is drained by the Marmore torrent, a tributary of the Po through the Dora Baltea (or Doire baltée). The Theodul Pass, located on the watershed between the Matterhorn and the Breithorn, at 3,295 metres, is the easiest passage between the two valleys and countries (the slightly lower Furggjoch not being used as a pass). The pass was used as a crossover and trade route for the Romans and the Romanised Celtic population Salassi between 100 BCE and 400 CE. The area is now heavily glaciated and covered on the north side by the Theodul Glacier.
Well-known faces are the east and north, visible from the area of Zermatt, although mostly hidden from the Mattertal by the chain of the Weisshorn. The east face is 1,000 metres high and, because it is "a long, monotonous slope of rotten rocks", presents a high risk of rockfall, making its ascent dangerous. The north face is 1,200 metres high and is one of the most dangerous north faces in the Alps, in particular for its risk of rockfall and storms. The south face, well visible from the Valtournenche, is 1,350 metres high and offers many different routes. The west face, the highest at 1,400 metres, has the fewest ascent routes and lies in a more remote area than the other faces.
The four main ridges separating the four faces are the main climbing routes. The least difficult technical climb and the usual climbing route, the Hörnli ridge (Hörnligrat), lies between the east and north faces and is aligned towards the Oberrothorn above Zermatt. To its west lies the Zmutt ridge (Zmuttgrat), between the north and west faces and aligned towards the Wandfluehorn; this is, according to Collomb, "the classic route up the mountain, its longest ridge, also the most disjointed." The Lion ridge (Cresta del Leone / Arête du lion), lying between the south and west faces and aligned towards the Dent d'Hérens is the Italian normal route and goes across Pic Tyndall; Collomb comments, "A superb rock ridge, the shortest on the mountain, now draped with many fixed ropes, but a far superior climb compared with the Hörnli." Finally the south side is separated from the east side by the Furggen ridge (Furggengrat), which is aligned towards the Klein Matterhorn. It is, according to Collomb, "the hardest of the ridges [...] the ridge still has an awesome reputation but is not too difficult in good conditions by the indirect finish".
While the Matterhorn is the culminating point of the Valtournenche on the south, it is only one of the many 4000 metres summits of the Mattertal valley on the north. Its height is exceeded by four major summits: the Weisshorn (4,505 m), the Dom (4,545 m), the Liskamm (4,527 m) and the second-highest in the Alps, Monte Rosa (4,634 m). This section of the Pennine Alps, including the Matterhorn, the Zinalrothorn, the Dent Blanche, the Dent d'Hérens, the Breithorn, the Strahlhorn, the Rimpfischhorn and the Alphubel, concentrates most of western Europe's highest mountains and forms a crown of peaks around Zermatt. The deeply glaciated region between the Matterhorn and Monte Rosa (named Dent Blanche-Matterhorn-Monte Rosa) is listed in the Federal Inventory of Landscapes and Natural Monuments since 1983.
Weather
The Matterhorn is an isolated mountain. Because of its position on the main Alpine watershed and its great height, the Matterhorn is exposed to rapid weather changes. In addition, the steep faces of the mountain and its isolated location make it prone to banner clouds formation, with the air flowing around the mountain producing condensation of the air on the lee side and also creating vortices.
Geology
The Matterhorn's pyramid is composed of Paleozoic rocks, which were thrusted over the Matterhorn's Mesozoic base during the Cenozoic. Quaternary glaciation and weathering give the mountain its current shape.
Apart from the base of the mountain, the Matterhorn is composed of gneiss belonging to the Dent Blanche klippe, an isolated part of the Austroalpine nappes, lying over the Penninic nappes. The Austroalpine nappes are part of the Apulian plate, a small continent that broke up from Africa before the Alpine orogeny. For this reason, the Matterhorn has been popularized as an African mountain. The Austroalpine nappes are mostly common in the Eastern Alps.
The Swiss explorer and geologist Horace-Bénédict de Saussure, inspired by the view of the Matterhorn, anticipated modern theories of geology:
What power must have been required to shatter and to sweep away the missing parts of this pyramid; for we do not see it surrounded by heaps of fragments; one only sees other peaks - themselves rooted to the ground - whose sides, equally rent, indicate an immense mass of débris, of which we do not see any trace in the neighbourhood. Doubtless, this is that débris which, in the form of pebbles, boulders, and sand, fills our valleys and our plains.
Formation
The formation of the Matterhorn (and the whole Alpine range) started with the break-up of the Pangaea continent 200 million years ago into Laurasia (containing Europe) and Gondwana (containing Africa). While the rocks constituting the nearby Monte Rosa remained in Laurasia, the rocks constituting the Matterhorn found themselves in Gondwana, separated by the newly formed Tethys Ocean.
100 million years ago the extension of the Tethys Ocean stopped and the Apulian plate broke from Gondwana and moved toward the European continent. This resulted in the closure of the western Tethys by subduction under the Apulian plate (with the Piemont-Liguria Ocean first and Valais Ocean later). The subduction of the oceanic crust left traces still visible today at the base of the Matterhorn (accretionary prism). The orogeny itself began after the end of the oceanic subduction when the European continental crust collided with the Apulian continent, resulting in the formation of nappes.
The Matterhorn acquired its characteristic pyramidal shape in much more recent times as it was caused by natural erosion over the past million years. At the beginning of alpine orogeny, the Matterhorn was only a rounded mountain like a hill. Because its height is above the snowline, its flanks are covered by ice, resulting from the accumulation and compaction of snow. During the warmer period of summer, part of the ice melts and seeps into the bedrock. When it freezes again, it fractures pieces of rock because of its dilatation (freeze-thaw), forming a cirque. Four cirques led to the shape of the mountain.
Rocks
Most of the base of the mountain lies in the Tsaté nappe, a remnant of the Piedmont-Liguria oceanic crust (ophiolites) and its sedimentary rocks. Up to 3,400 metres the mountain is composed of successive layers of ophiolites and sedimentary rocks. From 3,400 metres to the top, the rocks are gneisses from the Dent Blanche nappe (Austroalpine nappes). They are divided into the Arolla series (below 4,200 m) and the Valpelline zone (the summit). Other mountains in the region (Weisshorn, Zinalrothorn, Dent Blanche, Mont Collon) also belong to the Dent Blanche nappe.
Tourism and trekking
Since the eighteenth century, the Alps have attracted more and more people and fascinated generations of explorers and climbers. The Matterhorn remained relatively little known until 1865, but the successful ascent followed by the tragic accident of the expedition led by Edward Whymper caused a rush on the mountains surrounding Zermatt.
The construction of the railway linking the village of Zermatt from the town of Visp started in 1888. The first train reached Zermatt on 18 July 1891 and the entire line was electrified in 1930. Since 1930 the village is directly connected to St. Moritz by the Glacier Express panoramic train. However, there is no connection with the village of Breuil-Cervinia on the Italian side. Travellers have to hire mountain guides to cross the 3,300-metre-high glaciated Theodul Pass, separating the two resorts. The town of Zermatt remains almost completely free of internal combustion vehicles and can be reached by train only. (Apart from the local police service which uses a Volkswagen car, and the refuse collection lorry, only electric vehicles are used locally).
Rail and cable-car facilities have been built to make some of the summits in the area more accessible. The Gornergrat railway, reaching a record altitude of 3,100 metres, was inaugurated in 1898. Areas served by cable car are the Unterrothorn and the Klein Matterhorn (Little Matterhorn) (3,883 m, highest transportation system in Europe). The Hörnli Hut (3,260 m), which is the start of the normal route via the Hörnli ridge, is easily accessible from Schwarzsee (2,600 m) and is also frequented by hikers. The Zermatt and Breuil-Cervinia resorts function as separate ski resort all year round and are connected by skilifts over the Theodul Pass. In 2015 it was expected that there would be constructed a cable car link between Testa Grigia (or Tête grise) and Klein Matterhorn. It will finally provide a link between the Swiss and Italian side of the Matterhorn.
The Matterhorn Museum (Zermatt) relates the general history of the region from alpinism to tourism. In the museum, which is in the form of a reconstituted mountain village, the visitors can relive the first and tragic ascent of the Matterhorn and see the objects that belonged to the protagonists.
The Tour of the Matterhorn can be effected by trekkers in about 10 days. Considered by some as one of the most beautiful treks in the Alps, it follows many ancient trails that have linked the Swiss and Italian valleys for centuries. The circuit includes alpine meadows, balcony trails, larch forests and glacial crossings. It connects six valleys embracing three different cultures: the German-speaking high Valais, the French-speaking central Valais and the bilingual French/Italian-speaking Aosta Valley. Good conditions are necessary to circumnavigate the peak. After reaching Zinal from Zermatt by the Augstbord and Meiden passes, the trekker crosses the Col de Sorebois and the Col de Torrent before arriving at Arolla. Then the Arolla Glacier and the Col Collon must be crossed on the way to Prarayer, followed by the Col de Valcournera to Breuil-Cervinia. In the last and highest section, the Theodul Pass must be crossed before returning to Zermatt. In total, seven passes between 2,800 and 3,300 metres must be crossed on relatively difficult terrain.
As of 2015, almost two million visitors arrive at Zermatt annually. An average of around twelve people per year have died on Matterhorn in the ten years from 2005 to 2015.
Climbing history
The Matterhorn was one of the last of the main Alpine mountains to be ascended, not because of its technical difficulty, but because of the fear it inspired in early mountaineers. The first serious attempts were all from the Italian side, although, despite appearances, the southern routes are technically harder. The main figures were Jean-Antoine Carrel and his uncle Jean-Jacques Carrel, from the Valtournenche area, who made the first attempts in 1857 and 1858, reaching 3,800 m (12,500 ft) on the latter occasion. In July 1860, three brothers from Liverpool attempted the mountain, Alfred, Charles and Sandbach Parker, but they turned back at about 3,500 m (11,500 ft). In August of the same year, Jean-Jacques Carrel returned to guide, with Johann Joseph Bennen , Vaughan Hawkins and John Tyndall to about 3,960 m (12,990 ft) before turning back. In 1861 the Carrels managed to reach the Crête du Coq at 4,032 m (13,228 ft). In July 1862, Jean-Antoine, together with César Carrel, accompanied as porters (sic) John Tyndall, Anton Walters and J.J. Bennen to Matterhorn's Shoulder at 4,248 m (13,937 ft), which was subsequently named Pic Tyndall in honor of the client.
Edward Whymper joined the efforts in August 1861, but in his first 7 attempts with a variety of companions could only reach a maximum height of 4,100 m (13,500 ft). However, on 14 July 1865, in what is considered the last ascent of the golden age of alpinism, he was able to reach the summit by an ascent of the Hörnli ridge in Switzerland, guided by the famed French mountaineer Michel Croz and the Swiss father and son Peter Taugwalder Sr. and Jr., and accompanied by the British gentlemen Charles Hudson, Lord Francis Douglas, Douglas Robert Hadow. Upon descent, Hadow, Croz, Hudson and Douglas fell to their deaths on the Matterhorn Glacier, and all but Douglas (whose body was never found) are buried in the Zermatt churchyard.
Just three days later, on 17 July 1865, Jean-Antoine Carrel and Jean-Baptiste Bich reached the summit from the Italian side.
Before the first ascent
In the summer of 1860, Edward Whymper came across the Matterhorn for the first time. He was an English artist and engraver who had been hired by a London publisher to make sketches of the mountains in the region of Zermatt. Although the unclimbed Matterhorn had a mixed reputation among British mountaineers, it fascinated Whymper. Whymper's first attempt was in August 1861, from the village of Breuil on the south side. In Châtillon he hired a Swiss guide, who remained anonymous in his accounts, and in Valtournanche he almost hired Jean-Antoine Carrel as well, but, disliking the looks of Carrel's uncle, he changed his mind. The Carrels decided to give Matterhorn a try by themselves again, and caught up with Whymper at nightfall. Whymper now had "a strong inclination to engage the pair; but, finally, decided against it" and the Carrels went alone to reach a new high on Matterhorn of 4,032 m (13,228 ft) the next day. Whymper and his guide camped one more night on the Col du lion (= Col Tournanche) 3,479 m (11,414 ft) and were forced to turn around only an hour above this pass the day after.
In 1862 Whymper made further attempts, still from the south side, on the Lion ridge (or Italian ridge), where the route seemed easier than the Hörnli ridge (the normal route today). On his own, he reached above 4,000 metres, but was injured on his way down to Breuil. In July John Tyndall with Johann Joseph Bennen and another guide overcame most of the difficulties of the ridge that seemed so formidable from below and successfully reached the main shoulder; but at a point not very far below the summit they were stopped by a deep cleft that defied their utmost efforts. The Matterhorn remained unclimbed.
Whymper returned to Breuil in 1863, persuading Carrel to join forces with him and try the mountain once more via the Italian ridge. On this attempt, however, a storm soon developed and they were stuck halfway to the summit. They remained there for 26 hours in their tent before giving up. Whymper did not make another attempt for two years.
In the decisive year 1865, Whymper returned with new plans, deciding to attack the Matterhorn via its south face instead of the Italian ridge. On 21 June, Whymper began his ascent with Swiss guides, but halfway up they experienced severe rockfall; although nobody was injured, they decided to give up the ascent. This was Whymper's seventh attempt.
During the following weeks, Whymper spent his time climbing other mountains in the area with his guides, before going back to Breuil on 7 July. Meanwhile, the Italian Alpine Club was founded and its leaders, Felice Giordano and Quintino Sella, established plans to conquer the Matterhorn before any non-Italian could succeed. Felice Giordano hired Carrel as a guide. He feared the arrival of Whymper, now a rival, and wrote to Quintino Sella
I have tried to keep everything secret, but that fellow whose life seems to depend on the Matterhorn is here, suspiciously prying into everything. I have taken all the best men away from him; and yet he is so enamored of the mountain that he may go with others...He is here in the hotel and I try to avoid speaking to him.
Just as he did two years before, Whymper asked Carrel to be his guide, but Carrel declined; Whymper was also unsuccessful in hiring other local guides from Breuil. When Whymper discovered Giordano and Carrel's plan, he left Breuil and crossed the Theodul Pass to Zermatt to hire local guides. He encountered Lord Francis Douglas, a Scottish mountaineer, who also wanted to climb the Matterhorn. They arrived later in Zermatt in the Monte Rosa Hotel, where they met two other British climbers — the Reverend Charles Hudson and his young and inexperienced companion, Douglas Robert Hadow — who had hired the French guide Michel Croz to try to make the first ascent. These two groups decided to join forces and try the ascent of the Hörnli ridge. They hired another two local guides, a father and son, both named Peter Taugwalder.
First ascent
Whymper and party left Zermatt early in the morning of 13 July 1865, heading to the foot of the Hörnli ridge, which they reached 6 hours later (approximately where the Hörnli Hut is situated today). Meanwhile, Carrel and six other Italian guides also began their ascent of the Italian ridge.
Despite its appearance, Whymper wrote that the Hörnli ridge was much easier to climb than the Italian ridge:
We were now fairly upon the mountain, and were astonished to find that places which from the Riffel, or even from the Furggen Glacier, looked entirely impracticable, were so easy that we could run about.
After camping for the night, Whymper and party started on the ridge. According to Whymper:
The whole of this great slope was now revealed, rising for 3,000 feet like a huge natural staircase. Some parts were more, and others were less, easy; but we were not once brought to a halt by any serious impediment, for when an obstruction was met in front it could always be turned to the right or left. For the greater part of the way there was, indeed, no occasion for the rope, and sometimes Hudson led, sometimes myself. At 6.20 we had attained a height of 12,800 feet and halted for half an hour; we then continued the ascent without a break until 9.55, when we stopped for fifty minutes, at a height of 14,000 feet.
When the party came close to the summit, they had to leave the ridge for the north face because "[the ridge] was usually more rotten and steep, and always more difficult than the face". At this point of the ascent Whymper wrote that the less experienced Hadow "required continual assistance". Having overcome these difficulties the group finally arrived in the summit area, with Croz and Whymper reaching the top first.
The slope eased off, and Croz and I, dashing away, ran a neck-and-neck race, which ended in a dead heat. At 1.40 p.m. the world was at our feet, and the Matterhorn was conquered. Hurrah! Not a footstep could be seen.
Precisely at this moment, Carrel and party were approximatively 400 metres below, still dealing with the most difficult parts of the Italian ridge. When seeing his rival on the summit, Carrel and party gave up on their attempt and went back to Breuil.
After building a cairn, Whymper and party stayed an hour on the summit. Then they began their descent of the Hörnli ridge. Croz descended first, then Hadow, Hudson and Douglas, the elder Taugwalder, Whymper, with the younger Taugwalder coming last. They climbed down with great care, only one man moving at a time. Whymper wrote:
As far as I know, at the moment of the accident no one was actually moving. I cannot speak with certainty, neither can the Taugwalders, because the two leading men were partially hidden from our sight by an intervening mass of rock. Poor Croz had laid aside his axe, and in order to give Mr. Hadow greater security was absolutely taking hold of his legs and putting his feet, one by one, into their proper positions. From the movements of their shoulders it is my belief that Croz, having done as I have said, was in the act of turning round to go down a step or two himself; at this moment Mr. Hadow slipped, fell on him, and knocked him over.
The weight of the falling men pulled Hudson and Douglas from their holds and dragged them down the north face. The Taugwalders and Whymper were left alive when the rope linking Douglas to the elder Taugwalder broke. They were stunned by the accident and for a time could not move until the younger Taugwalder descended to enable them to advance. When they were together Whymper asked to see the broken rope and saw that it had been employed by mistake as it was the weakest and oldest of the three ropes they had brought. They frantically looked, but in vain, for traces of their fallen companions. They continued their descent, including an hour in the dark, until 9.30 p.m. when a resting place was found. The descent was resumed at daybreak and the group finally reached Zermatt, where a search of the victims was quickly organized. The bodies of Croz, Hadow and Hudson were found on the Matterhorn Glacier, but the body of Douglas was never found. Although the elder Taugwalder was accused of cutting the rope to save himself and his son, the official inquest found no proof of this.
Second ascent
On 16 July, two days after the first ascent and the catastrophe, Jean-Antoine Carrel set out to crown Whymper's victory by proving that the Italian side was not unconquerable. He was accompanied by Amé Gorret, a priest who had shared with him the first attempt on the mountain back in 1857. Jean-Baptiste Bich and Jean-Augustin Meynet completed the party. Giordano would have joined them, but Carrel refused absolutely to take him with them; he said he would not have the strength to guide a traveller, and could neither answer for the result nor for any one's life. After hearing Sunday mass at the chapel of Breuil, the party started. Amé Gorret has described this ascent with enthusiasm: "At last we crossed the Col du Lion and set foot upon the pyramid of the Matterhorn!" On the following day, the 17th, they continued the ascent and reached Tyndall's flagstaff. "We were about to enter unknown country," wrote Gorret, "for no man had gone beyond this point." Here opinions were divided; Gorret suggested ascending by the ridge and scaling the last tower straight up. Carrel was inclined to traverse to the west of the peak, and thence go up on the Zmutt side. Naturally the wish of Carrel prevailed, for he was the leader and had not lost the habit of command, notwithstanding his recent defeat.
They made the passage of the enjambée, and traversed the west face to reach the Zmutt ridge. A false step made by one of the party and a fall of icicles from above warned them to return to the direct line of ascent, and the traverse back to the Lion ridge was one of the greatest difficulty. A falling stone injured Gorret in the arm.
At last they reached the base of the final tower. "We stood," wrote Gorret, "in a place that was almost comfortable. Although it was not more than two yards wide, and the slope was one of 75 percent, we gave it all kinds of pleasant names : the corridor, the gallery, the railroad, &c., &c." They imagined all difficulties were at an end; but a rock couloir, which they had hitherto not observed, lay between them and the final bit of ridge, where progress would be perfectly easy. It would have been unwise for all four to descend into the couloir, because they did not know where to fix the rope that would be needed on their return. Time pressed: it was necessary to reduce the numbers of the party; Gorret sacrificed himself, and Meynet stopped with him. Very soon afterwards Carrel and Bich were finally on the top. Meanwhile, Giordano at Breuil was writing in his diary as follows: "Splendid weather; at 9.30 saw Carrel and his men on the Shoulder, after that saw nothing more of them. Then much mist about the summit. Lifted a bit about 3.30, and we saw our flag on the western summit of the Matterhorn."
Other ascents
Ridges
The first direct ascent of the Italian (south-west) ridge as it is climbed today was by J. J. and J. P. Maquignaz on 13 September 1867.Julius Elliott made the second ascent via the Hörnli (north-east) ridge in 1868, and later that year the party of John Tyndall, J. J. and J. P. Maquignaz was the first to traverse the summit by way of the Hörnli and Italian ridges. On 22 August 1871, while wearing a white print dress, Lucy Walker became the first woman to reach the summit of the Matterhorn, followed a few weeks later by her rival Meta Brevoort. The first winter ascent of the Hörnli ridge was by Vittorio Sella with guides J. A. Carrel, J. B. Carrel and L. Carrel on 17 March 1882, and its first solo ascent was made by W. Paulcke in 1898. The first winter solo ascent of the Hörnli ridge was by G. Gervasutti in 1936.
The Zmutt (north-west) ridge was first climbed by Albert F. Mummery, Alexander Burgener, J. Petrus and A. Gentinetta on 3 September 1879. Its first solo ascent was made by Hans Pfann in 1906, and the first winter ascent was made by H. Masson and E. Petrig on 25 March 1948.
The last of the Matterhorn's four ridges to be ascended was the Furggen (south-east) ridge. M. Piacenza with guides J. J. Carrel and J. Gaspard on 9 September 1911, climbed most of the ridge but bypassed the overhangs near the top to the south. Not until 23 September 1942, during the Second World War, did Alfredo Perino, along with guides Louis Carrel (nicknamed "The Little Carrel") and Giacomo Chiara, climb the complete ridge and the overhangs directly.
In 1966, René Arnold and Joseph Graven made the first solo enchainement of the four Matterhorn ridges in 19.5 hours. Beginning at the 3,300m Bossi Bivouac hut, the pair followed the normal route up the Furggen Ridge and then descended the Hornli Ridge. After crossing the Matterhorn Glacier at the base of the north face, they ascended the Zmutt Ridge and then descended the Italian (Lion) Ridge to the village of Breuil. In 1985, Marco Barmasse repeated their achievement, but this time his route included the first solo ascent of the Furggen overhangs. He completed the enchainement, reaching the Abruzzi Hut after 15 hours.
On 20 August 1992, Italian alpinist Hans Kammerlander and Swiss alpine guide Diego Wellig climbed the Matterhorn four times in just 23 hours and 26 minutes. The route they followed was: Zmutt ridge–summit–Hörnli ridge (descent)–Furggen ridge–summit–Lion ridge (descent)–Lion ridge–summit–Hörnli ridge (descent)–Hörnli ridge–summit–Hörnli Hut (descent). However the Italian route (Lion Ridge), was not climbed from Duca degli Abruzzi Refuge at 2802 m, but from Carrel Hut, at 3830 m, both uphill and downhill.
In 1995, Bruno Brunod climbed Matterhorn from the village Breuil-Cervinia in 2 h 10 min. and from Breuil-Cervinia to Matterhorn and back, in 3:14:44
On 21 August 2013, the Spanish mountain runner Kilian Jornet broke Brunod's record as it took him 1 hour, 56 min to the top from Breuil-Cervinia - a round-trip time of 2 hours 52 minutes to return to his starting point.
Faces
William Penhall and guides made the first (partial) ascent of the west face, the Matterhorn's most hidden and unknown, one hour after Mummery and party's first ascent of the Zmutt ridge on 3 September 1879. It was not until 1962 that the west face was completely climbed. The ascent was made on 13 August by Renato Daguin and Giovanni Ottin. In January 1978 seven Italian alpine guides made a successful winter climb of Daguin and Ottin's highly direct, and previously unrepeated, 1962 route. But a storm came during their ascent, bringing two metres of snow to Breuil-Cervinia and Zermatt, and their accomplishment turned bitter when one of the climbers died during the descent.
The north face, before it was climbed in 1931, was one of the last great big wall problems in the Alps. To succeed on the north face, good climbing and ice-climbing technique and route-finding ability were required. Unexpectedly it was first climbed by the brothers Franz and Toni Schmid on 31 July – 1 August 1931. They reached the summit at the end of the second day, after a night of bivouac. Because they had kept their plans secret, their ascent was a complete surprise. In addition, the two brothers had travelled by bicycle from Munich and after their successful ascent they cycled back home again. The first winter ascent of the north face was made by Hilti von Allmen and Paul Etter on 3-4 February 1962. Its first solo ascent was made in five hours by Dieter Marchart on 22 July 1959. Walter Bonatti climbed the "North Face Direct" solo on 18-22 February 1965. The same year, Yvette Vaucher became the first woman to climb the north face. Bonatti's direct route was not repeated solo until 29 years later, in winter 1994 by Catherine Destivelle.
Ueli Steck set the record time in climbing the north face (Schmid route) of Matterhorn in 2009 with a time of 1 hour 56 minutes.
After Bonatti's climb, the best alpinists were still preoccupied with one last great problem: the "Zmutt Nose", an overhang lying on the right-hand side of the north face. In July 1969 two Italians, Alessandro Gogna and Leo Cerruti, attempted to solve the problem. It took them four days to figure out the unusual overhangs, avoiding however its steepest part. In July 1981 the Swiss Michel Piola and Pierre-Alain Steiner surmounted the Zmutt Nose by following a direct route, the Piola-Steiner.
The first ascent of the south face was made by Enzo Benedetti with guides Louis Carrel and Maurice Bich on 15 October 1931, and the first complete ascent of the east face was made by Enzo Benedetti and G. Mazzotti with guides Louis and Lucien Carrel, Maurice Bich and Antoine Gaspard on 18-19 September 1932.
Casualties on the Matterhorn
The four men lost in 1865 have not been the only fatalities on the Matterhorn. In fact, several climbers die each year due to a number of factors including the scale of the climb and its inherent dangers, inexperience, falling rocks, and overcrowded routes. The Matterhorn is thus amongst the deadliest mountains in the world. By the late 1980s, it was estimated that over 500 people have died whilst attempting its summit since the 1865 ascent, with an average of about 12 deaths each year.
In the 2000s, there was a trend of fewer people dying each year on the mountain. This has been attributed partly to a greater awareness of the risks, and also due to the fact that a majority of climbers now use local guides. However, in the summer of 2018, at least ten people died on the mountain.
Here is a list of people who died on the mountain whose bodies were not recovered until later:
1954 French skier Henri le Masne went missing on the Matterhorn. In 2005 remains were found, identified as le Masne in 2018
1970 Two Japanese climbers missing; remains found after 45 years in 2015
1979 British climber missing; remains found after 34 years in 2014
2014 Japanese hiker missing; remains found 2018
2016 Two British climbers missing; remains found 2016
Legacy: beginning of mountain culture
The first ascent of the Matterhorn changed mountain culture. Whymper’s book about his first ascent, Scrambles Amongst the Alps, published in 1871, was a worldwide bestseller. Tourists began to visit Switzerland in the summer to see the Alps and often hired locals as guides. With the beginning of alpine skiing in the early 20th century, tourists began traveling to Switzerland in winter also. Mountaineering, in part, helped transform Switzerland’s mountain regions from poor rural areas to tourist destinations. This combination of mountain climbing, skiing and tourism, was used in the western United States, creating Sun Valley, Vail, Jackson Hole, and other mountain towns around the world.
Climbing routes
Today, all ridges and faces of the Matterhorn have been ascended in all seasons, and mountain guides take a large number of people up the northeast Hörnli route each summer. In total, up to 150 climbers attempt the Matterhorn each day during summer. By modern standards, the climb is fairly difficult (AD Difficulty rating), but not hard for skilled mountaineers according to French climbing grades. There are fixed ropes on parts of the route to help. Still, it should be remembered that several climbers may die on the mountain each year.
The usual pattern of ascent is to take the Schwarzsee cable car up from Zermatt, hike up to the Hörnli Hut elev. 3,260 m (10,700 ft), a large stone building at the base of the main ridge, and spend the night. The next day, climbers rise at 3:30 am so as to reach the summit and descend before the regular afternoon clouds and storms come in. The Solvay Hut located on the ridge at 4,003 m (13,133 ft) can be used only in a case of emergency.
Other popular routes on the mountain include the Italian (Lion) ridge (AD+ Difficulty rating) and the Zmutt ridge (D Difficulty rating). The four faces, as well as the Furggen ridge, constitute the most challenging routes to the summit. The north face is amongst the six most difficult faces of the Alps, as well as ‘The Trilogy’, the three hardest of the six, along with the north faces of the Eiger and the Grandes Jorasses (TD+ Difficulty rating).
Overcrowding on the several routes have become an issue and guides and local authorities have struggled with how to regulate the numbers. In 2015 the Hörnli hut became the first mountain shelter in Europe to limit beds.
History
Aegidius Tschudi, one of the earliest Alpine topographers and historians, was the first to mention the region around the Matterhorn in his work, De Prisca ac Vera Alpina Raethi, published in Basel in 1538. He approached the Matterhorn as a student when in his Alpine travels he reached the summit of the Theodul Pass but he does not seem to have paid any particular attention to the mountain itself.
The Matterhorn remained unstudied for more than two centuries, until a geologist from Geneva, Horace Benedict de Saussure, travelled to the mountain, which filled him with admiration. However, de Saussure was not moved to climb the mountain, and had no hope of measuring its altitude by taking a barometer to its summit. "Its precipitous sides," he wrote, "which give no hold to the very snows, are such as to afford no means of access." Yet his scientific interest was kindled by "the proud peak which rises to so vast an altitude, like a triangular obelisk, that seems to be carved by a chisel." His mind intuitively grasped the causes which gave the peak its present precipitous form: the Matterhorn was not like a perfected crystal; the centuries had laboured to destroy a great part of an ancient and much larger mountain. On his first journey de Saussure had come from Ayas to the Col des Cimes Blanches, from where the Matterhorn first comes into view; descending to Breuil, he ascended to the Theodul Pass. On his second journey, in 1792, he came to the Valtournanche, studying and describing it; he ascended to the Theodul Pass, where he spent three days, analysing the structure of the Matterhorn, whose height he was the first to measure, and collecting stones, plants and insects. He made careful observations, from the sparse lichen that clung to the rocks to the tiny but vigorous glacier fly that fluttered over the snows and whose existence at such heights was mysterious. At night he took refuge under the tent erected near the ruins of an old fort at the top of the pass. During these days he climbed the Klein Matterhorn (3,883 metres), which he named the Cime Brune du Breithorn.
The first inquirers began to come to the Matterhorn. There is a record of a party of Englishmen who in the summer of 1800 crossed the Great St. Bernard Pass, a few months after the passage of Bonaparte; they came to Aosta and thence to Valtournenche, slept at the chalets of Breuil, and traversed the Theodul Pass, which they called Monte Rosa. The Matterhorn was to them an object of the most intense and continuous admiration.
The Matterhorn is mentioned in a guide-book to Switzerland by Johann Gottfried Ebel, which was published in Zürich towards the end of the eighteenth century, and translated into English in 1818. The mountain appeared in it under the three names of Silvius, Matterhorn, and Mont Cervin, and was briefly described as one of the most splendid and wonderful obelisks in the Alps. On Zermatt there was a note: "A place which may, perhaps, interest the tourist is the valley of Praborgne (Zermatt); it is bounded by huge glaciers which come right down into the valley; the village of Praborgne is fairly high, and stands at a great height above the glaciers; its climate is almost as warm as that of Italy, and plants belonging to hot countries are to be found there at considerable altitudes, above the ice."
William Brockedon, who came to the region in 1825, considered the crossing of the Theodul Pass from Breuil to Zermatt a difficult undertaking. He gave, however, expression to his enthusiasm on the summit. When he arrived exhausted on the top of the pass, he gazed "on the beautiful pyramid of the Cervin, more wonderful than aught else in sight, rising from its bed of ice to a height of 5,000 feet, a spectacle of indescribable grandeur." In this "immense natural amphitheatre, enclosed from time immemorial by snow-clad mountains and glaciers ever white, in the presence of these grand walls the mind is overwhelmed, not indeed that it is unable to contemplate the scene, but it staggers under the immensity of those objects which it contemplates."
Those who made their way up through the Valtournanche to the foot of the mountain were few in number. W. A. B. Coolidge, a diligent collector of old and new stories of the Alps, mentions that during those years, besides Brockedon, only Hirzel-Escher of Zürich, who crossed the Theodul Pass in 1822, starting from Breuil, accompanied by a local guide. The greater number came from the Valais up the Visp valley to Zermatt. In 1813, a Frenchman, Henri Maynard, climbed to the Theodul Pass and made the first ascent of the Breithorn; he was accompanied by numerous guides, among them J. M. Couttet of Chamonix, the same man who had gone with de Saussure to the top of the Klein Matterhorn in 1792. The writings of these pioneers make much mention of the Matterhorn; the bare and inert rock is gradually quickened into life by men's enthusiasm. "Stronger minds," remarked Edward Whymper, "felt the influence of the wonderful form, and men who ordinarily spoke or wrote like rational beings, when they came under its power seemed to quit their senses, and ranted and rhapsodised, losing for a time all common forms of speech."
Among the poets of the Matterhorn during these years (1834 to 1840) were Elie de Beaumont, a famous French geologist; Pierre Jean Édouard Desor, a naturalist of Neuchâtel, who went up there with a party of friends, two of whom were Louis Agassiz and Bernhard Studer. Christian Moritz Engelhardt, who was so filled with admiration for Zermatt and its neighbourhood that he returned there at least ten times (from 1835 to 1855), described these places in two valuable volumes, drew panoramas and maps, and collected the most minute notes on the mineralogy and botany of the region. Zermatt was at that time a quiet little village, and travellers found hospitality at the parish priest's, or at the village doctor's.
In 1841 James David Forbes, professor of natural philosophy at the University of Edinburgh, came to see the Matterhorn. A philosopher and geologist, and an observant traveller, he continued the work of De Saussure in his journeys and his writings. He was full of admiration for the Matterhorn, calling it the most wonderful peak in the Alps, unsealed and unscalable. These words, pronounced by a man noted among all his contemporaries for his thorough knowledge of mountains, show what men's feelings then were towards the Matterhorn, and how at a time when the idea of Alpine exploration was gaining ground in their minds, the Matterhorn stood by itself as a mountain apart, of whose conquest it was vain even to dream. And such it remained till long after this; as such it was described by John Ball twenty years later in his celebrated guide-book. Forbes ascended the Theodul Pass in 1842, climbed the Breithorn, and came down to Breuil; as he descended from the savage scenery of the Matterhorn, the Italian landscapes of the Valtournanche seemed to him like paradise. Meanwhile, Gottlieb Samuel Studer, the geographer, together with Melchior Ulrich, was describing and mapping the topographical features of the Zermatt peaks.
Rodolphe Töpffer, who first accompanied and guided youth to the Alps for purposes of education and amusement, began his journeys in 1832, but it is only in 1840 that he mentions the Matterhorn. Two years later Töpffer and his pupils came to Zermatt. He has described this journey of his in a chapter entitled Voyage autour du Mont Blanc jusqu'à Zermatt, here he sings a hymn of praise to the Matterhorn, comparing its form with a "huge crystal of a hundred facets, flashing varied hues, that softly reflects the light, unshaded, from the uttermost depths of the heavens". Töpffer's book was illustrated by Alexandre Calame, his master and friend, with drawings of the Matterhorn, executed in the romantic style of the period. It is an artificial mountain, a picture corresponding rather with the exaggerated effect it produces on the astonished mind of the artist, than with the real form of the mountain.
About this time there came a man who studied the Matterhorn in its structure and form, and who sketched it and described it in all its parts with the curiosity of the artist and the insight of the scientist. This was John Ruskin, a new and original type of philosopher and geologist, painter and poet, whom England was enabled to create during that period of radical intellectual reforms, which led the way for the highest development of her civilisation. Ruskin was the Matterhorn's poet par excellence. He went to Zermatt in 1844, and it is to be noticed as a curious fact, that the first time he saw the Matterhorn it did not please him. The mountain on its lofty pedestal in the very heart of the Alps was, perhaps, too far removed from the ideal he had formed of the mountains; but he returned, studied and dreamt for long at its feet, and at length he pronounced it "the most noble cliff in Europe." Ruskin was no mountaineer, nor a great friend to mountaineering; he drew sketches of the mountains merely as an illustration of his teaching of the beauty of natural forms, which was the object of his whole life. In his work on Modern Painters he makes continual use of the mountains as an example of beauty and an incentive to morality. The publication of Ruskin's work certainly produced a great impression at the time on educated people in England, and a widespread desire to see the mountains.
It is a fragment of some size; a group of broken walls, one of them overhanging; crowned with a cornice, nodding some hundred and fifty feet over its massive flank, three thousand above its glacier base, and fourteen thousand above the sea, — a wall truly of some majesty, at once the most precipitous and the strongest mass in the whole chain of the Alps, the Mont Cervin.
Other men of high attainments followed, but in the years 1850 scientists and artists were about to be succeeded by real climbers and the passes and peaks around Zermatt were explored little by little. In the preface to the first volume of the Alpine Journal, which appeared in 1863, the editor Hereford Brooke George wrote that: "While even if all other objects of interest in Switzerland should be exhausted, the Matterhorn remains (who shall say for how long?) unconquered and apparently invincible." Whymper successfully reached the summit in 1865, but four men perished on the descent. The English papers discussed it with bitter words of blame; a German newspaper published an article in which Whymper was accused of cutting the rope between Douglas and Taugwalder, at the critical moment, to save his own life.
In 1890 the Federal Government was asked simultaneously by the same contractor for a concession for the Zermatt-Gornergrat railway, and for a Zermatt-Matterhorn one. The Gornergrat railway was constructed in 1896-1898 and has been working since August 1898, but there has been no more talk of the other. The project essentially consisted of a line which went up to the Hörnli, and continued thence in a rectilinear tunnel about two kilometres long, built under the ridge, and issuing near the summit on the Zmutt side. Sixty years later in 1950, Italian engineer Count Dino Lora Totino planned a cable car on the Italian side from Breuil-Cervinia to the summit. But the Alpine Museum of Zermatt sent a protest letter with 90,000 signatures to the Italian government. The latter declared the Matterhorn a natural wonder worthy of protection and refused the concession to the engineer.
2015 marked the 150th anniversary of the first ascent. Events and festivities were held throughout the year. A completely renewed Hörnli Hut opened the same year in the month of July.
In 2020, during the COVID-19 pandemic, light artist Gerry Hofstetter started projecting country flags and messages of endurance onto the mountain peak as part of a nightly series designed to show support and spread hope for everyone suffering and those fighting the pandemic.
Other mountains
Hundreds of other mountains have been compared with the Matterhorn, either for their resemblance to it or because of their apparent inaccessibility.
Mountains named after the Matterhorn
Little Matterhorn (1,480 m), Australia
Matterhorn (1,600 m), in Antarctica
Matterhorn (3,305 m), in Nevada
Matterhorn Peak (3,744 m), in California
Matterhorn Peak (4,144 m), in Colorado
Matterhorn Peak (2,636 m), in British Columbia
Neny Matterhorn (1,125 m), Antarctica
In culture
During the 20th century, the Matterhorn and the story of the first ascent in particular, inspired various artists and film producers such as Luis Trenker and Walt Disney. Large-scale replicas can be found at Disneyland and Window of the World. In 2021, a Matterhorn-related attraction opened in the Swiss Museum of Transport, enabling visitors to climb it virtually from the Solvay Hut to the summit.
Designed in 1908 by Emil Cardinaux, a leading poster artist of the time, the Matterhorn poster for the Zermatt tourist office is often considered the first modern poster. It has been described as a striking example of a marriage of tourism, patriotism and popular art. It served as decoration in many Swiss military hospices during the war in addition to be found in countless middle-class living rooms. Another affiche depicting the Matterhorn was created by Cardinaux for the chocolate brand Toblerone in the 1920s. The image of the Matterhorn first appeared on Toblerone chocolate bars in 1960. Since then, the Matterhorn has become a reference that still inspires graphic artists today and has been used extensively for all sort of publicity and advertising.
Paintings
The Matterhorn (1849), John Ruskin
The Matterhorn (1867), Albert Bierstadt
Matterhorn (1879), Edward Theodore Compton
Le Cervin (1892), Félix Vallotton
Filmography
Struggle for the Matterhorn (1928)
The Mountain Calls (1938)
The Challenge (1938)
Climbing the Matterhorn (1947)
Third Man on the Mountain (1959)
Im Banne des Berges (2015)[90]
Soarin' Around the World/Soaring Over the Horizon (2016)
The Horn (2016) - Documentary series following the mountain rescue teams in the Swiss Alps.
(Wikipedia)
Das Matterhorn (italienisch Monte Cervino oder Cervino, französisch Mont Cervin oder Le Cervin, walliserdeutsch Hore oder Horu) ist mit 4478 m ü. M. einer der höchsten Berge der Alpen. Wegen seiner markanten Gestalt und seiner Besteigungsgeschichte ist das Matterhorn einer der bekanntesten Berge der Welt. Für die Schweiz ist es ein Wahrzeichen und eine der meistfotografierten Touristenattraktionen.
Der Berg steht in den Walliser Alpen zwischen Zermatt und Breuil-Cervinia. Ost-, Nord- und Westwand liegen auf schweizerischem, die Südwand auf italienischem Staatsgebiet.
Wissenswertes über das Matterhorn vermittelt das Matterhorn Museum in Zermatt.
Geschichte des Namens
Im Allgemeinen kamen im Gebirge die Bergspitzen erst spät zu ihren Namen, die daruntergelegenen Passübergänge und Alpen jedoch meist früher. So nannte Johannes Schalbetter 1545 den heutigen Theodulpass als «Mons Siluius» (deutsch übersetzt Salasser-berg) oder deutsch Augsttalberg. Mit Augsttal ist dabei das Tal von Aosta (lateinisch Augusta Praetoria Salassorum) gemeint, das Aostatal.
«Siluius» wurde dann sehr wahrscheinlich volksetymologisch falsch interpretiert über vermeintlich lateinisch «silvius» und «silvanus» zu französisch und italienisch «Cervin/Cervin(i)». 1581 wurde das Matterhorn erstmals als Mont Cervin erwähnt, wie später Mons Silvanus und Mons Silvius. Im Jahr 1682 nannte Anton Lambien das heutige Matterhorn Matter Dioldin h[orn] (Matterhornspitze) zur Abgrenzung vom gleichnamigen Pass, der bis Mitte des 19. Jahrhunderts (beispielsweise auf der Dufourkarte) noch «Matterjoch» genannt wurde.
In der Lokalbevölkerung wird der Berg auch einfach ds Hore («das Horn», Zermatter Dialekt) oder ds Horu («das Horn», Oberwalliser Dialekt) genannt.
Geologie
Das Matterhorn ist ein Karling, und seine charakteristische Form entstand durch Erosion und Gletscherschliff in den Eiszeiten. Das Matterhorn ist Teil der Dent-Blanche-Decke des Unter-Ostalpins, also eines weit nach Westen auf die penninischen Decken der Westalpen aufgeschobenen Trümmerstücks eines ostalpinen Deckgesteins. Die untere Gesteinsschicht des Matterhorns, die bis zur Höhe der Hörnlihütte reicht, ist penninisch, also westalpin. Das im Vergleich dazu kleine Horn selbst sitzt auf dieser Basis auf und gehört zur Dent-Blanche-Decke, und zwar der untere Teil bis zur «Schulter» zur Arolla-Serie aus Orthogneisen und Metagabbros und der oberste Teil zur Valpelline-Serie aus hochmetamorphen Paragneisen der Dent-Blanche-Decke. Einfach ausgedrückt, besteht das Matterhorn aus zwei verschiedenen, schräg aufeinanderliegenden Gesteinspaketen. Der heutige Matterhorngletscher entstand erst wieder im Pessimum der Völkerwanderungszeit nach dem Optimum der Römerzeit.
Eine Besonderheit ist die charakteristische «Matterhorn-Wolke». Sie ist ein herausragendes Beispiel für einen Wolkentyp, den Meteorologen als Bannerwolke bezeichnen: Wie eine mächtige Fahne bildet sich die Wolke auf der windabgewandten Seite (Lee-Seite) des Gipfels als fast ständiger Begleiter des Berges. Die plausibelste Erklärung für ihr Entstehen ist die folgende: Das Matterhorn überragt das umgebende Gebirge wie ein Turm, so dass sich an ihm Leewirbel bilden, die feuchte Luft aus dem Tal nach oben führen, wo es zur Kondensation und Wolkenbildung kommt. Ist das Gipfelniveau erreicht, so wird die Wolke von einem waagerechten Ast des Leewirbels erfasst, der zu der typischen Fahnen-Form führt (Leewirbel-Hypothese).
Erstbesteigungen
Seit 1857 wurden mehrere erfolglose Versuche unternommen, das Matterhorn zu besteigen, zumeist von der italienischen Seite her. 1862 erstieg John Tyndall mit den Führern Johann Josef Benet, Anton Walter, Jean-Jacques und Jean-Antoine Carrel erstmals die Südwestschulter, den heutigen Pic Tyndall. Die Fortsetzung des Aufstiegs entlang des Liongrates erschien ihnen unmöglich.
Dem Erstbesteiger des Matterhorns, Edward Whymper, erschien der Liongrat weiterhin als nicht machbar. Insgesamt war er bereits sieben Mal gescheitert und überlebte u. a. einen Sturz über 60 Meter. Whymper versuchte daher, seinen Freund Jean-Antoine Carrel zu einer Besteigung von der Zermatter Seite zu überreden. Carrel beharrte darauf, von Italien her aufzusteigen.
Im Juli 1865 erfuhr Whymper zufällig von einem Gastwirt in Breuil-Cervinia, dass Carrel sich – ohne Whymper zu benachrichtigen – wieder zum Liongrat aufgemacht hatte. Whymper fühlte sich getäuscht und eilte nach Zermatt, um dort eine Gruppe für einen sofortigen Versuch über den Hörnligrat zusammenzustellen. Am 14. Juli 1865 gelang der 7er-Seilschaft Whympers die Erstbesteigung. Die Gruppe stieg über den Hörnligrat auf die Schulter; weiter oben, im Bereich der heutigen Fixseile, wich sie in die Nordwand aus. Edward Whymper erreichte als erster den Gipfel, weil er sich vor dem Gipfel vom Seil losschnitt und vorauslief. Ihm folgten der Bergführer Michel Croz (aus Chamonix), Reverend Charles Hudson, Lord Francis Douglas, D. Robert Hadow (alle aus England) sowie die Zermatter Bergführer Peter Taugwalder Vater und Peter Taugwalder Sohn. Sie sahen Carrel und seine Gruppe weit unterhalb am Pic Tyndall.
Beim Abstieg der Erstbesteiger stürzten die vorderen vier der Seilschaft (Croz, Hadow, Hudson und Douglas) noch oberhalb der «Schulter» über die Nordwand tödlich ab. Josef Marie Lochmatter brach ab dem 15. Juli 1865 mehrmals mit Rettungsmannschaften auf, um den vier Abgestürzten Erste Hilfe zu leisten. Am 19. Juli barg ein Bergungstrupp die Leichen von Croz, Hadow und Hudson auf dem Matterhorngletscher. Douglas' Leiche wurde nie gefunden.
Am 17. Juli gelang auch Carrel zusammen mit Jean-Baptiste Bich und Amé Gorret der Aufstieg über den Liongrat bis zum Gipfel. Die drei traversierten vom Nordende der italienischen Schulter durch die oberste Westwand auf den Zmuttgrat (sog. Galleria Carrel) und schlossen die Besteigung über diesen ab.
Runde Jahrestage der Erstbesteigung des Matterhorns sind feierlich begangen worden. So zeigte das Schweizer Fernsehen zum 100. Jahrestag am 14. Juli 1965 eine internationale Live-Sendung einer Matterhornbesteigung mit Beteiligung von Berg-Reportern der BBC und der RAI. Am 30. Juni 1965 zeigte das Schweizer Fernsehen den eigens produzierten Dokumentarfilm Bitterer Sieg: Die Matterhorn Story (Regie: Gaudenz Meili). Anlässlich des 150. Jahrestages wurde am 14. Juli 2015 auf dem Bahnhofplatz in Zermatt eine Countdown-Uhr aufgebaut, im Dezember 2014 wurde im Zentrum der Stadt («Matterhorn Plaza») ein Treffpunkt für das Jubiläumsjahr ins Leben gerufen.
Am 22. Juli 1871, sechs Jahre nach Whymper, bestieg die britische Alpinistin Lucy Walker als erste Frau das Matterhorn. 1869 hatten Isabella Straton und Emmeline Lewis Lloyd als reine Frauenseilschaft die Besteigung versucht; sie scheiterten kurz vor dem Gipfel. 1871 bestieg auch Anna Voigt aus Frankfurt das Matterhorn; sie war damals eine der ersten Frauen in der Sektion Frankfurt am Main des Deutschen Alpenvereins. Yvette Vaucher (* 1929) ist die erste Frau, die die Nordwand des Matterhorns bestiegen hat.
Routen
Der am weitaus häufigsten begangene Aufstiegsweg ist der Hörnligrat von Zermatt aus über die Hörnlihütte (Nordostgrat, ZS+). Er stellt den sogenannten Normalweg, also den leichtesten Aufstieg, dar. Auf 4003 Metern Höhe, nordöstlich unterhalb des Gipfels, gibt es als Biwak für Notfälle, wie Wettersturz und Zeitverzug, die von der Hörnlihütte aus betreute Solvayhütte mit zehn Notlagern. Weitere Aufstiegsrouten gibt es am Südwestgrat über den kirchendachartigen Pic Tyndall (auch Liongrat oder Italienerweg genannt, ZS+), am Nordwestgrat (Zmuttgrat, S) und am Südostgrat (Furggengrat, SS, wenig begangen). Auch durch die abweisende Nordwand verläuft eine Aufstiegsroute, die hin und wieder von Spezialisten, z. B. Walter Bonatti, gewählt wird.
(Wikipedia)
(further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am....
Line 1 was extended to Osdorp, the Leidsestraat became a pedestrian only thoroughfare. At the intersections with the canals were about a dozen traffic signs to contemplate. The 689 is an infamous tramcar with a history of a serious accident and being torched during riots.
© Henk Graalman 10045
proportions look mostly ok in this position, but I'm going to have to make everything smaller, starting with the height of the boot.
Flores is one of the Lesser Sunda Islands, an island arc with an estimated area of 14,300 km² extending east from the Java island of Indonesia. The population was 1,831,000 in the 2010 census and the largest town is Maumere. Flores is Portuguese (as well as Spanish) for "flowers".
Flores is located east of Sumbawa and Komodo and west of Lembata and the Alor Archipelago. To the southeast is Timor. To the south, across the Sumba strait, is Sumba and to the north, beyond the Flores Sea, is Sulawesi.
On 12 December 1992, an earthquake measuring 7.8 on the Richter scale occurred, killing 2,500 people in and around Maumere, including islands off the North coast.
HOMO FLORESIENSIS
In September 2004, at Liang Bua Cave in western Flores, paleoanthropologists discovered small skeletons that they described as a previously unknown hominin species, Homo floresiensis. These are informally named hobbits and appear to have stood about 1 m tall. The most complete individual (LB1) is dated as 18,000 years old.
HISTORY
Portuguese traders and missionaries came to Flores in the 16th century, mainly to Larantuka and Sikka. Their influence is still discernible in Sikka's language, culture and religion.
The Dominican order was extremely important in this island, as well as in the neighbouring islands of Timor and Solor. When in 1613 the Dutch attacked the Fortress of Solor, the population of this fort, led by the Dominicans, moved to the harbor town of Larantuka, on the eastern coast of Flores. This population was mixed, of Portuguese and local islanders descent and Larantuqueiros, Topasses (people that wear heats) or, as Dutch knew them, the 'Black Portuguese' (Swarte Portugueezen).
The Larantuqueiros or Topasses became the dominant sandalwood trading people of the region for the next 200 years. This group used Portuguese as the language for worship, Malay as the language of trade and a mixed dialect as mother tongue. This was observed by William Dampier, an English privateer visiting the Island in 1699:
These [the Topasses] have no Forts, but depend on their Alliance with the Natives: And indeed they are already so mixt, that it is hard to distinguish whether they are Portuguese or Indians. Their Language is Portuguese; and the religion they have, is Romish. They seem in Words to acknowledge the King of Portugal for their Sovereign; yet they will not accept any Officers sent by him. They speak indifferently the Malayan and their own native Languages, as well as Portuguese.
In 1846, Dutch and Portuguese initiated negotiations towards delimiting the territories but these negotiations led nowhere. In 1851 the new governor of Timor, Solor and Flores, Lima Lopes, faced with an impoverished administration, agreed to sell eastern Flores and the nearby islands to the Dutch in return for a payment of 200,000 Florins. Lima Lopes did so without the consent of Lisbon and was dismissed in disgrace, but his agreement was not rescinded and in 1854 Portugal ceded all its historical claims on Flores. After this, Flores became part of the territory of Dutch East Indies.
During World War II a Japanese invasion force landed at Reo on 14 May 1942 and occupied Flores.
After the war Flores became part of independent Indonesia.
ADMINISTRATION
Flores is part of the East Nusa Tenggara province. The island along with smaller minor islands are split into eight regencies (local government districts); from west to east these are: Manggarai Barat (West Manggarai), Manggarai Tengah (Central Manggarai), Manggarai Timur (East Manggarai), Ngada, Nagekeo, Ende, Sikka and Flores Timur (East Flores). Flores has 39.1% of the East Nusa Tenggara provincial population as of 2010, and the most Indonesians of all islands in the province.
It is the island with the 9th most Indonesians. Among all islands containing Indonesian territory, it is the 10th most populous after Java, Sumatra, Borneo, Sulawesi, New Guinea, Bali, Madura, Lombok, and Timor.
FLORA AND FAUNA
The west coast of Flores is one of the few places, aside from the island of Komodo itself, where the Komodo dragon can be found in the wild, and is part of Komodo National Park, a UNESCO World Heritage Site. Kelimutu National Park is the second national park designated on Flores to protect endangered species. The Flores giant rat is also endemic to the island, and Verhoeven's giant tree rat was formerly present. These giant rodents are considered examples of island gigantism.
Flores was also the habitat of several extinct dwarf forms of the proboscidean Stegodon, the most recent (Stegodon florensis insularis) disappearing approximately 12,000 years ago. It is speculated by scientists that limited resources and an absence of advanced predators made the few megafaunal species that reached the island subject to insular dwarfism.
CULTURE
There are many languages spoken on the island of Flores, all of them belonging to the Austronesian family. In the centre of the island in the districts of Ngada, Nagekeo, and Ende there is what is variously called the Central Flores Dialect Chain or the Central Flores Linkage. Within this area there are slight linguistic differences in almost every village. At least six separate languages are identifiable. These are from west to east: Ngadha, Nage, Keo, Ende, Lio and Palu'e, which is spoken on the island with the same name of the north coast of Flores. Locals would probably also add So'a and Bajawa to this list, which anthropologists have labeled dialects of Ngadha.
The peoples of Flores are almost entirely Roman Catholic Christians, whereas most other Indonesians are Muslim. As a consequence, Flores may be regarded as surrounded by a religious border. The prominence of Catholicism on the island results from its colonisation by Portugal. In other parts of Indonesia with significant Christian populations, such as the Maluku Islands and Sulawesi, the geographical divide is less rigid and Muslims and Christians sometimes live side by side. Flores thereby also has less religious violence that has sporadically occurred in other parts of Indonesia. There are several churches on the island.
TOURISM
The most famous tourist attraction in Flores is Kelimutu, a volcano containing three colored lakes, located in the district of Ende close to the town of Moni. These crater lakes are in the caldera of a volcano, and fed by a volcanic gas source, resulting in highly acidic water. The colored lakes change colors on an irregular basis, depending on the oxidation state of the lake from bright red through green and blue.
There are snorkelling and diving locations along the north coast of Flores, most notably Maumere and Riung. However, due to the destructive practice of local fishermen using bombs to fish, and locals selling shells to tourists, combined with the after effects of a devastating tsunami in 1992, the reefs have slowly been destroyed.
Labuan Bajo (on the western tip of Flores) is a town often used by tourists as a base to visit Komodo and Rinca. Labuanbajo also attracts scuba divers, as whale sharks inhabit the waters around Labuanbajo.
The Luba and Bena villages include traditional houses in Flores, Bena is also noted for its Stone Age megaliths.
Larantuka, on the isle's eastern end, is known for its Holy Week festivals.
ECONOMY
In addition to tourism, the main economic activities on Flores are agriculture, fishing and seaweed production. The primary food crops being grown on Flores are rice, maize, sweet potato and cassava, while the main cash crops are coffee, coconut, candle nut and cashew. Flores is one of the newest origins for Indonesian coffee. Previously, most Arabica coffee (Coffea arabica) from Flores was blended with other origins. Now, demand is growing for this coffee because of its heavy body and sweet chocolate, floral and woody notes.
WIKIPEDIA
The Neo-Renaissance Palace Žofín is one of the most important cultural and social centers in Prague. There are taking place concerts, congresses and balls. The Great Hall of the Žofín Palace regularly welcomes the greatest personalities from both domestic and international economic, political and cultural circles. In November 1882, the cycle of the symphonic poem "My Home" by Friedrich Smetana was performed for the first time.
Object history
On the island were built before 1817 baths, dye works and also a restaurant. In 1830 bought the island the miller Václav Novotný. He built a house here in the years 1836 - 1837 and instead of the old restaurant a one-storey building in the neo-Renaissance style with a concert and public hall according to the plans of the architect Carl Pollak. Thus the building and the whole island, which was connected to the shore by a wooden bridge, became one of the most important centers of political, cultural and social life. The new building was officially opened in 1837 with a ball. On June 2, 1848, a Slav congress took place, on which also appeared Ludovít Štúr. To commemorate this event, the Slovenian student associations in Prague built a memorial placard hanging on the building in 1936. In 1925 the island was renamed to Slovanský ostrov (Slavic Island) after a Slav congress. The island became famous for its formal dances. This name was given for balls whose yield was used to support Czech national institutions. In the years 1841 and 43 also Božena Němcová danced here. The building was home to Pan-Slavic bazaars and exhibitions. In 1899, for example, it was an assembly against the destruction of Prague's sights in the reconstruction of Prague organized by Vilém Mrštík. Most of all well-known have been the concerts which, for example, were given by Franz Liszt, Hector Berlioz, Zdeněk Fibich, Pyotr Ilyich Tchaikovsky, and in 1863 conducted here his concerto Richard Wagner who allegedly was the first to direct with his back to the audience. For the first time, the future violin virtuoso Jan Kubelík appeared here, and for the first time sounded here Smetana's Má vlast (Czech pronunciation: [maː vlast], meaning "My homeland" in the Czech language) in full length. In 1840, the Žofín Academy was founded here, a major Czech-German music association. Often, the choir association Hlahol also played here, in 1878 Antonín Dvořák performed his first independent concert. There is also a memorial tablet to the Ukrainian politician and writer Ivan Jakovyč Frank on the wall, who appeared here (1891) and translated books of Czech writers. Zdeněk Fibich and Julius and Eduard Grégr also have a commemorative plaque on the building.
In 1884 the whole island was bought by the Prague community. It decided to rebuild and expand the building. The old building was no longer enough to meet the needs and interests of the people of Prague. The project was designed by the young architect Jindřich Fialka. A new two-storey building in the Neo-Renaissance style was built, from the old one only the basement and a part of the parterre in the north remained. The baths in front of the building were demolished in 1928. Fialka's architecture was extended by architect Achille Wolf, who added a restaurant to the building and expanded the Great Hall. Adjacent to the square building in the north is a single-storey part with entrances and a staircase, to the south there is a terrace. The windows, which are closed with a semicircle, are separated by pilasters. The saddle roof from 1885 has a metal roof covered with copper sheet. A three-armed staircase leads to the main hall. On the first floor, arose a foyer, a drawing-room and a new Great Hall with a coffered ceiling and with paintings by František Ludvík Duchoslav. Four fields of figures are painted by Viktor Oliva, showing what they did here: music, dance, food, sports. The Great Hall accommodates 580 spectators, the small hall 150 and the Lord mayor's parlor is for 80 persons. A rarity is that the building has no insulation from below, it is based on oak beams. Around the object are ventilation caves and in the basement a draw well. When the underwater rises, the pumps begin to work.
Between 1991 and 1994, the total reconstruction was carried out by architect Tomáš Šantavý and engineer Alexander Döbert. The ceiling paintings were also restored. The building was officially opened in 1994. Today, Žofín is one of the most important cultural and social centers in Prague.
Das Neorenaissance Palais Žofín ist eines der bedeutendsten kulturellen und gesellschaftlichen Zentren in Prag. Es finden hier Konzerte, Kongresse und Bälle statt. Der Große Saal des Palais Žofín begrüßt regelmäßig die größten Persönlichkeiten aus der heimischen und internationalen Wirtschafts-, Politik- und Kulturszene. Im November 1882 wurde hier erstmals der Zyklus des symphonischen Gedichts „Meine Heimat“ von Friedrich Smetana aufgeführt.
Objekt geschichte
Auf der Insel wurden vor 1817 Bäder, Färbereien und ebenfalls eine Gaststätte erbaut. Im Jahr 1830 kaufte die Insel der Müller Václav Novotný. Er baute hier in den Jahren 1836 – 1837 ein Haus und an Stelle der alten Gaststätte ein einstöckiges Gebäude im Neurenaissancestil mit einem Konzert- und Gesellschaftssaal nach den Plänen vom Architekten Carl Pollak. So wurden das Gebäude und die ganze Insel, die mit dem Ufer mit einer Holzbrücke verbunden war, eines der bedeutendsten Zentren des politischen, kulturellen und gesellschaftlichen Lebens. Das neue Gebäude wurde 1837 feierlich mit einem Ball eröffnet. Am 2. Juni 1848 fand hier ein Slawenkongress statt, auf dem auch Ludovít Štúr auftrat. Zur Erinnerung an dieses Ereignis stifteten im Jahr 1936 die slowenischen Studentenvereine in Prag eine Gedenktafel, die am Gebäude hängt. Im Jahr 1925 wurde die Insel nach einem Slawenkongress auf Slovanský ostrov (Slawische Insel) umbenannt. Die Insel wurde für ihre Volkskränzchen berühmt. So bezeichnete man Bälle, derer Ertrag tschechische Volksinstitutionen unterstützte. In den Jahren 1841 und 43 tanzte hier auch Božena Němcová. Im Gebäude fanden panslawische Basare und Ausstellungen statt. Im Jahr 1899 war es z. B. eine Versammlung gegen Zerstörung der Prager Sehenswürdigkeiten bei der Sanierung Prags, die Vilém Mrštík organisierte. Bekannt waren vor allem Konzerte: es konzertierten hier z. B. Franz Liszt, Hector Berlioz, Zdeněk Fibich, Pjotr Iljitsch Tschaikowski, im Jahr 1863 dirigierte hier sein Konzert Richard Wagner, der als überhaupt der erste mit dem Rücken zum Publikum dirigiert habe. Zum ersten Mal trat hier der zukünftige Geigenvirtuose Jan Kubelík auf und zum ersten Mal erklang hier ganzes Smetanas Mein Vaterland. 1840 wurde hier die Žofín-Akademie gegründet, ein bedeutender tschechisch-deutscher Musikverein. Oft konzertierte hier auch der Chorverein Hlahol, 1878 hatte sein erstes eigenständiges Konzert Antonín Dvořák. Am Gebäude ist auch eine Gedenktafel an den ukrainischen Politiker und Schriftsteller Ivan Jakovyč Frank, der hier auftrat (1891) und der Bücher tschechischer Schriftsteller übersetzte. Eine Gedenktafel am Gebäude haben auch Zdeněk Fibich und Julius und Eduard Grégr.
Im Jahr 1884 kaufte die ganze Insel die Prager Gemeinde. Sie entschloss sich das Gebäude umzubauen und zu erweitern. Das alte Gebäude reichte den Bedürfnissen und Interessen der Prager nicht mehr. Das Projekt war vom jungen Architekten Jindřich Fialka. Es wurde ein neues zweistöckiges Gebäude in der Neurenaissance erbaut, von dem alten blieb nur das Souterrain erhalten und ein Teil des Parterres im Norden. Die Bäder vor dem Gebäude wurden im Jahr 1928 niedergerissen. Fialkas Architektur erweiterte der Architekt Achille Wolf, der das Gebäude um ein Restaurant ergänzte und den großen Saal erweiterte. Am quadratischen Gebäude liegt im Norden ein einstöckiges Teil mit Eingangsräumen und einer Treppe an, im Süden ist es eine Terrasse. Die mit Halbkreis abgeschlossenen Fenster sind mit Pilaster abgetrennt. Das Satteldach aus dem Jahr 1885 hat einen Dachstuhl aus Metall, bedeckt ist mit Kupferblech. In den Hauptsaal führt eine dreiarmige Treppe. Im ersten Stock entstanden ein Foyer, ein Salon und ein neuer großer Saal mit einer Kassettendecke und Deckenstuck und mit Malereien von František Ludvík Duchoslav. Vier Figurenfelder sind von Viktor Oliva gemalt. Sie zeigen das, was man hier betrieb: Musik, Tanz, Essen, Sport. Der große Saal nimmt 580 Zuschauer auf, der kleine Saal 150 und der Oberbürgermeistersalon ist für 80 Personen. Eine Rarität ist, dass das Gebäude keine Isolation von unten hat, es liegt auf einer Grundlage aus Eichenbalken. Um das Objekt herum sind Lüftungshöhlen und im Souterrain ein Schöpfbrunnen. Wenn das Unterwasser steigt, die Pumpen beginnen zu arbeiten.
In den Jahren 1994 – 1991 wurde die Gesamtrekonstruktion nach dem Projekt vom Architekten Tomáš Šantavý und Ingenieur Alexander Döbert durchgeführt. Die Deckenmalereien wurden auch restauriert. Das Gebäude wurde 1994 feierlich eröffnet. Heute ist Žofín eines der bedeutendsten kulturellen und gesellschaftlichen Zentren Prags.
Sited on the west bank of Cedar Lake in Minneapolis, this house evolved out of a consideration for and a direct engagement with the surrounding landscape. A series of low stone walls provide the foundation for the house and emerge from the body of the house to define three courtyards, each with a specific materiality: the eye court (wispy grasses, crab apples and winterberry), the body court (stone pavers), and the mind court (river stones). The eye court provides visual relief from the compressed entry sequence defined by a cantilevered roof plane. The body court allows the inhabitants a physical place to directly engage in outdoor activities, and the mind court offers a spiritual space in which one can contemplate the wonders of nature from a sheltered location.
My own rendition of the needed changes to the HAS Master Plan for IAH circa 2020-2040ish:
Extend EA and EB across Will Clayton Pkwy down to new runway 9R/27L for use as primary from there to the ramp bypassing congestion at SF and the current 9/27 traffic flow..
Begin disassembly of current Continental Maintenance Facilities for moving to gigantic new high tech state of the art hangars inspired by Boeing's Renton Airframe Assembly Plant... located between the 9's (dark grey is building size.) has enough room for 15 heavies (747,A340,777) simultaniously in hangar or sectionalized for C/D checks and painting under same roof.
Create new high tech FBO with hangar space for any corporate Business Jet at end of 9R/27L...
Build new automated jet wash system that can be quickly configured to wash any aircraft of any size. Will be able to wash any heavy within the turn time of most transoceanic flights. Inspired from Tokyo Narita International Airport's Automated Jet Wash System...
Expand Rental Car Center to double current size, leaving enough room for every car of every type and more companies..
New Next Generation FAA TRACON Facilities at the west interior corner of the new 9R/27L, accessed by same road as the Rental Car Circle with ramp space for "Flight Check" test aircraft regional maintenace, testing, and staging. New Air Rescue & Fire Fighting (ARFF) Station with Air Disaster Preparedness Training Facility (burn pit) adjacent to property.
Remove hangar for room to build Southern Taxiway Overpass SW..
Realign WC to end at CC for direct connection to new runway 8C/26C.Extend CC around to FA and extend FB for two way passage off of the active..
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Layout is Adaptation of the M1DG KIAH scenery for FS9
A mix up between here and Allhallows meant that shots from here were edited and posted as coming from Allhallows. Those have now been deleted, and will be reposted as being from Snodalnd.
I feel better disposed towards Snodland after this visit, as I received a warm welcome on Heritage day, and despite some major renovations going on, the wardens were clearly very proud of their church, and very happy the work to the tower and plasterwork was being carried out. And extolling me to return later in the year when the work is completed.
I intend to.
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In an awkward position, cut off from its village by the railway and bypass and somewhat compromised by the adjoining paper mill. The present church has been extended from its thirteenth century origins, most noticeably by the addition of a tall tower in the fifteenth century. There is a rood loft staircase in the south wall and on a pillar nearby can still be seen an unusual fourteenth-century Crucifixion painted on the stonework within an incised outline. The church was over-restored by Blomfield in 1870 and suffered damage in the Second World War when the medieval glass was destroyed. Fragments that survived have been assembled where possible. New windows were installed, including the thirty-six symbols of the saints in the east window by Hugh Easton (1953), and the Becket Pilgrim window by Moira Forsyth (1966). A large memorial in the south aisle commemorates Thomas Waghorn (d. 1850), who pioneered the overland route to India.
www.kentchurches.info/church.asp?p=Snodland
NORTHWARD from Ditton, on the western side of the Medway, a small part of Aylesford at New Hyth intervening, is Snodland, called in Domesday, ESNOILAND, and in the Textus Roffensis, SNODDINGLAND and SNODILAND.
SNODLAND lies on the western bank of the river, which is its eastern boundary opposite to Burham. The high road from Stroud to Larkfield goes through the village, which is situated about half a mile, and the church about midway from the river. It lies low, and being near the salt marshes, is not either very pleasant or very wholesome. In the southern part of the parish the stream which flows from Birling turns a pa per mill here, and thence flows into the Medway, not far from which is Snodland and New-Hyth common. In the northern part of the parish next to Lower Halling, is the hamlet of Holborough, usually called Hoborow, no doubt for Old Borough, a name implying the antiquity of this place. Many are inclined to believe, that the usual passage across the river in the time of the Romans, was from hence to Scarborough on the opposite shore. However that may be, Holborow was certainly known to them, for in queen Elizabeth's reign, an urn filled with ashes was discovered in digging for chalk on the hill above this place, a sure token of the Romans having frequented it. (fn. 1) In this hamlet Mr. John May resides in a handsome new-built house, near it there rises a small brook, which flows from hence into the Medway, at about half a mile distance. From this low and flat country, on the bank of the river, the ground rises westward up to the range of high chalk hills, where the land becomes poor and much covered with flints. Upon these hills among the woods is an estate, corruptly called Punish, for it takes its name from the family of Pouenesse, or Pevenashe, written by contraction Poneshe, who were possessed of it as high as king Henry the IIId's. reign, in queen Elizabeth's reign it was called Poynyshe, and was then in possession of the name of Brown, who held it of the bishop of Rochester as of his manor of Halling. (fn. 2) About a mile eastward from the above is a farm called Lads, which in king Edward I's. reign, and some generations afterwards, was in the possession of a family of that name, written in deeds of those times, Lad, and Le Lad.
This parish ought antiently to have contributed to the repair of the ninth pier of Rochester bridge.
Sir John Marsham, bart. and Sir Charles Bickerstaff, had a design of supplying the towns of Stroud, Rochester, and Chatham, with fresh water, by bringing it from the spring rising at the foot of Holborough hill, and others thereabouts, by a cut or channel through Halling and Cuxton thither, four miles of which was through Sir John Marsham's own lands, but after they had proceeded two miles, finding some obstructions, which could not be removed, but by an act, one was procured for the purpose in the 1st year of James II. but nothing further was afterwards done in it, for what reason does not appear.
In the year 838, king Egbert, with the consent of his son king Æthelwulf, gave to Beormod, bishop of Rochester, four plough lands at Snoddinglond and Holanbeorge, with the privilege of leaving them to whomever he pleased; and he granted that the lands should be free from all service, to which he added one mill on the stream, named Holanbeorges bourne, and on the hill belonging to the king fifty loads of wood, and likewife four denberies in the Weald. And in the year 841, Ethelwulf, king of the West Saxons, with the advice of his bishops and great men, gave to the bishop two ploughlands at Holanbeorges, in perpetual inheritance, with the like privilege, and that they should be free from all regal service.
Whilst Ælfstane was bishop of Rochester, who came to the see in 945, and died in 984, one Birtrick, a rich man, who lived at Meopham, with the consent of Elfswithe, his wife, made his testament, and gave, after their deaths, his lands at Snodland to St. Andrew's church at Rochester. (fn. 3)
The bishop of Rochester continued in the possession of this place at the time of taking the general survey of Domesday, about the 15th year of the Conqueror's reign, anno 1080, in which record it is thus entered, under the general title of that bishop's lands:
The same bishop (of Rochester) holds Esnoiland. In the time of king Edward the Confessor it was taxed at six sulings, and now at three. The arable land is six carucates. In demesne there are two carucates and ten villeins, with six borderers, having six carucates. There is a church and five servants, and three mills of forty shillings, and thirty acres of meadow, wood for the pannage of four hogs. In the time of king Edward and afterwards, it was worth six pounds, and now nine pounds.
When bishop Gundulph, soon after this, following archbishop Lanfranc's example, separated his revenue from that of his priory, this manor, together with Holborough, continued part of the bishop's possessions, and was confirmed to the church of Rochester by archbishops Anselm and Boniface.
On a taxation of the bishop's manors next year, it appeared that Holeberge was a member of the manor of Halling, and had in it one hundred and ninety-seven acres of arable land, valued at four-pence per acre at the most, as there was no marle there. That there were here fourteen acres of meadow, six acres of pasture, which were salt, and three lately made fresh, each acre at eight-pence, and the mill at twenty shillings per annum.
Hamo, bishop of Rochester, in the year 1323, new built the mill at Holbergh, with timber from Perstede, at the expence of ten pounds. (fn. 4) At which time the bishop seems to have had a park here.
The estate of Snodland with Holborow, still continue part of the possessions of the right reverend the lord bishop of Rochester. William Dalyson, esq. of West Peckham, is the present lessee of the bishop's estate in this parish.
THE FAMILY of Palmer, who bore for their arms, Argent, a chevron between three palmers scrips, sable, tasselled and buckled, or resided for some time in this parish, at a seat they possessed in it, called The courtlodge. Several of them lie buried in the church of Snodland, particularly Thomas Palmer, who married the daughter of Fitzsimond, and died anno 1407. Weaver recites his epitaph thus, now obliterated:
Palmers al our faders were
I, a Palmer, livyd here
And travylled till worne wythe age
I endyd this worlds pylgramage
On the blyst Assention day
In the cherful month of May
A thowsand wyth fowre hundryd seven
And took my jorney hense to Heuen
From him descended the Palmers, of Tottington, in Aylesford, and of Howlets, in Bekesborne, now extinct.
The Palmers were succeeded here by the Leeds's, one of whom, William Leeds, lay interred in this church, whose arms, A fess between three eagles, were engraved in brass on his tomb, but they are now torn away; to whom, in the reign of king Charles I. succeeded the Whitfields, of Canterbury. It afterwards passed into the name of Crow, and from thence to the Mays, and it is now the estate of Mr. John May, of Holborough.
VELES, alias SNODLAND, is a manor in this parish, which in the reign of king Edward I. was held as half a knight's fee, of the bishop of Rochester, by John de Pevenashe, John Harange, and Walter Lad, as coparceners, and in the 20th year of king Edward III. Richard Pevenashe, John de Melford, John Lade, and Richard le Veel, paid aid for it.
This manor seems afterwards to have been wholly vested in the family of Veel, called in deeds likewise Le Vitele, and in Latin Vitulus. After they were extinct here, it passed into the name of Blunt, and from that to Turvye, of whose heirs it was held in the latter end of the reign of king Henry VIII. by Richard Harvey. (fn. 5) It passed, after some intermediate owners, by sale to Crow, and from thence in like manner to Mr. John May, whose two sons, Mr. John and William May, of this parish, afterwards possessed it. The latter died in 1777, on which the entire fee of it became vested in his brother Mr. John May, of Holborough, the present possessor of it.
HOLLOWAY COURT is a seat in this parish, which gave name to a family that resided at it. Henry de Holeweye paid aid for it in the beginning of the reign of king Henry III. (fn. 6) His descendant, William de Holeweye possessed it in the 30th year of king Edward I. from which name it passed into that of Tilghman, who were owners of it in the reign of king Edward III. Many of whom lie buried in this church, bearing for their arms, Per fess sable and argent, a lion rampant regardant, doubled queved counterchanged, crowned, as they were painted in very old glass in the windows of this house. Their pedigree is in Vistn. co. of Kent, anno 1619.
Richard Tilghman possessed it in the reign of king Henry IV. and in his descendants it continued down to Edward Tilghman, esq. who was of Snodland, and was twice married; by his first wife he had a son, Francis, and by his second, two sons, the eldest of whom, Whetenhall Tilghman, had part of his father's lands in this parish, which continued in his descendants till about the year 1680, when they were alienated to Sir John Marsham, bart. whose descendant, the right honorable Charles, lord Romney, is the present possessor of them.
¶Francis Tilghman, only son of Edward, by his first wife, was of Snodland, and possessed Holoway-court, where he resided in the reign of king James I. but died without surviving issue. He passed away this estate by sale to Clotworthy, descended from those of that name in Devonshire, and he by will gave it to his sister's son, Mr. Thomas Williams, who alienated it to Richard Manley, esq. who resided here, and dying in 1684, was buried in this church, leaving by Martha, daughter of John Baynard, of Shorne, widow of Bonham Faunce, of St. Margaret's, Rochester one son, Charles, and a daughter, Frances, married to Dr. Robert Conny, hereafter-mentioned. He sold Holloway court to Mr. John Conny, of Rochester, surgeon, son of Robert Conny, gent. of Godmanchester, in Huntingdonshire, and bore for his arms, Sable, a fess argent, cotized or, between three conies of the second. On whose decease his eldest son, Robert Conny, of Rochester, M. D. succeeded to it, and he sold it to Thomas Pearce, esq. a commissioner of the navy, whose three sons and coheirs, Thomas, Best, and Vincent Pearce, conveyed it by sale to Mr. John May, and his eldest son, Mr John May, of Holborough, in this parish, now possesses it.
The church is dedicated to All Saints. It is a small mean building with a low pointed steeple.
The church of Snodland has ever been appendant to the manor. It has never been appropriated, but con tinues a rectory in the patronage of the right reverend the lord bishop of Rochester.
¶Much dispute having arisen between the rector of this parish, and the rector of Woldham, on the opposite side of the river Medway, concerning the tithe of fish caught within the bounds of the parish of Woldham by the parishioners of Snodland, the same was settled, with the consent of both parties, by the bishop of Rochester, 1402, as may be seen more at large in the account of the rectory of Woldham. (fn. 7)
This rectory is valued in the king's books at twenty pounds, and the yearly tenths at two pounds.
James Anderson - Partner
James joined Poppleston Allen as a solicitor in September 2003 and was made a partner in April 2006.
He has many years experience in licensing law, acting for a wide range of clients, based mainly in London, from individuals to major operators although (perhaps reflecting two of his outside interests) most of his clients are either pubs or restaurants. In the 2008 Chambers Guide, James is described as a "standout lawyer" for his work.
James won a landmark case in June 2007 for a London bar in a West End stress area, and was granted extended trading hours by Westminster City Council. It was one of the first bars or pubs in the area to be granted an extension outside core hours. He was then granted further extended hours in an Appeal against the Council in December 2007, one of only a handful of successful Appeals against Westminster in the stress areas.
James also heads up the Poppleston Allen Betting & Gaming team and has advised clients from betting shops and bingo halls to arcade operators. James has also developed a training DVD in this area for the Law Society in conjunction with the Gambling Commission.
James is also involved in a significant number of lectures and training sessions for council members, officers and other responsible authorities around the country on licensing and gambling issues.
History
Great Wall of the Qin Dynasty
Great Wall of the Han Dynasty
Great Wall of the Ming Dynasty
Map of the whole wall constructions
The Chinese were already familiar with the techniques of wall-building by the time of the Spring and Autumn Period, which began around the 8th century BC. During the Warring States Period from the 5th century BC to 221 BC, the states of Qi, Yan and Zhao all constructed extensive fortifications to defend their own borders. Built to withstand the attack of small arms such as swords and spears, these walls were made mostly by stamping earth and gravel between board frames. Qin Shi Huang conquered all opposing states and unified China in 221 BC, establishing the Qin Dynasty. Intending to impose centralized rule and prevent the resurgence of feudal lords, he ordered the destruction of the wall sections that divided his empire along the former state borders. To protect the empire against intrusions by the Xiongnu people from the north, he ordered the building of a new wall to connect the remaining fortifications along the empire's new northern frontier. Transporting the large quantity of materials required for construction was difficult, so builders always tried to use local resources. Stones from the mountains were used over mountain ranges, while rammed earth was used for construction in the plains. There are no surviving historical records indicating the exact length and course of the Qin Dynasty walls. Most of the ancient walls have eroded away over the centuries, and very few sections remain today. Later, the Han, Sui, Northern and Jin dynasties all repaired, rebuilt, or expanded sections of the Great Wall at great cost to defend themselves against northern invaders.
The Great Wall concept was revived again during the Ming Dynasty following the Ming army's defeat by the Oirats in the Battle of Tumu in 1449. The Ming had failed to gain a clear upper-hand over the Manchurian and Mongolian tribes after successive battles, and the long-drawn conflict was taking a toll on the empire. The Ming adopted a new strategy to keep the nomadic tribes out by constructing walls along the northern border of China. Acknowledging the Mongol control established in the Ordos Desert, the wall followed the desert's southern edge instead of incorporating the bend of the Huang He.
Photograph of the Great Wall in 1907
Unlike the earlier Qin fortifications, the Ming construction was stronger and more elaborate due to the use of bricks and stone instead of rammed earth. As Mongol raids continued periodically over the years, the Ming devoted considerable resources to repair and reinforce the walls. Sections near the Ming capital of Beijing were especially strong.[7]
During 1440s-1460s, the Ming also built a so-called "Liaodong Wall". Similar in function to the Great Wall (whose extension it, in a sense, was), but more basic in construction, the Liaodong Wall enclosed the agricultural heartland of the Liaodong province, protecting it potential incursions by Jurched-Mongol Oriyanghan from the northwest and the Jianzhou Jurchens from the north. While stones and tiles were used in some parts of the Liaodong Wall, most of it was in fact simply an earth dike with moats on both sides.[8]
Towards the end of the Ming Dynasty, the Great Wall helped defend the empire against the Manchu invasions that began around 1600. Under the military command of Yuan Chonghuan, the Ming army held off the Manchus at the heavily fortified Shanhaiguan pass, preventing the Manchus from entering the Chinese heartland. The Manchus were finally able to cross the Great Wall in 1644, when the gates at Shanhaiguan were opened by Wu Sangui, a Ming border general who disliked the activities of rulers of the Shun Dynasty. The Manchus quickly seized Beijing, and defeated the newly founded Shun Dynasty and remaining Ming resistance, to establish the Qing Dynasty.
Under Qing rule, China's borders extended beyond the walls and Mongolia was annexed into the empire, so construction and repairs on the Great Wall were discontinued.
Notable areas
An area of the sections of the Great Wall at Jinshanling
The following three sections are in Beijing municipality, which were renovated and which are regularly visited by modern tourists today.
* "North Pass" of Juyongguan pass, known as the Badaling. When used by the Chinese to protect their land, this section of the wall has had many guards to defend China’s capital Beijing. Made of stone and bricks from the hills, this portion of the Great Wall is 7.8 meters (25.6 ft) high and 5 meters (16.4 ft) wide.
* "West Pass" of Jiayuguan (pass). This fort is near the western edges of the Great Wall.
* "Pass" of Shanhaiguan. This fort is near the eastern edges of the Great Wall.
* One of the most striking sections of the Ming Great Wall is where it climbs extremely steep slopes. It runs 11 kilometers (7 mi) long, ranges from 5 to 8 meters (16–26 ft) in height, and 6 meters (19.7 ft) across the bottom, narrowing up to 5 meters (16.4 ft) across the top. Wangjinglou is one of Jinshanling's 67 watchtowers, 980 meters (3,215 ft) above sea level.
* South East of Jinshanling, is the Mutianyu Great Wall which winds along lofty, cragged mountains from the southeast to the northwest for approximately 2.25 kilometers (about 1.3 miles). It is connected with Juyongguan Pass to the west and Gubeikou to the east.
* 25 km west of the Liao Tian Ling stands of part of Great wall which is only 2~3 stories high. According to the records of Lin Tian, the wall was not only extremely short compared to others, but it appears to be silver. Archeologists explain that the wall appears to be silver because the stone they used were from Shan Xi, where many mines are found. The stone contains extremely high metal in it causing it to appear silver. However, due to years of decay of the Great Wall, it is hard to see the silver part of the wall today.
Another notable section lies near the eastern extremity of the wall, where the first pass of the Great Wall was built on the Shanhaiguan (known as the “Number One Pass Under Heaven”), the first mountain the Great Wall climbs. Jia Shan is also here, as is the Jiumenkou, which is the only portion of the wall that was built as a bridge. Shanhaiguan Great Wall is called the “Museum of the Construction of the Great Wall”, because of the Meng Jiang-Nu Temple, built during the Song Dynasty.
Characteristics
The Great Wall on an 1805 map
Before the use of bricks, the Great Wall was mainly built from Earth or Taipa, stones, and wood.
During the Ming Dynasty, however, bricks were heavily used in many areas of the wall, as were materials such as tiles, lime, and stone. The size and weight of the bricks made them easier to work with than earth and stone, so construction quickened. Additionally, bricks could bear more weight and endure better than rammed earth. Stone can hold under its own weight better than brick, but is more difficult to use. Consequently, stones cut in rectangular shapes were used for the foundation, inner and outer brims, and gateways of the wall. Battlements line the uppermost portion of the vast majority of the wall, with defensive gaps a little over 30 cm (one foot) tall, and about 23 cm (9 inches) wide.
Condition
The Great Wall at Mutianyu, near Beijing
The Great Wall in fog
While some portions north of Beijing and near tourist centers have been preserved and even reconstructed, in many locations the Wall is in disrepair. Those parts might serve as a village playground or a source of stones to rebuild houses and roads.[9] Sections of the Wall are also prone to graffiti and vandalism. Parts have been destroyed because the Wall is in the way of construction.[10] No comprehensive survey of the wall has been carried out, so it is not possible to say how much of it survives, especially in remote areas. Intact or repaired portions of the Wall near developed tourist areas are often frequented by sellers of tourist kitsch.
More than 60 kilometres (37 mi) of the wall in Gansu province may disappear in the next 20 years, due to erosion from sandstorms. In places, the height of the wall has been reduced from more than five meters (16.4 ft) to less than two meters. The square lookout towers that characterize the most famous images of the wall have disappeared completely. Many western sections of the wall are constructed from mud, rather than brick and stone, and thus are more susceptible to erosion.[11]
DOT Art partnered with Uptown Grand Central to present a vinyl construction banner wrap by Gera Lozano, also known as GERALUZ, along the fencing surrounding the re-construction of the 125th Street Plaza at Park Avenue in Manhattan. In 2015, GERALUZ painted a mural on the comfort station within the plaza through the DOT Art Program in partnership with Uptown Grand Central and Creative Art Works. The mural featured images of sunrises and sphinxes to symbolize Harlem's rich heritage. Uptown Grand Central invited GERALUZ back to the site to incorporate similar motifs within the banner to uplift the surrounding community during the plaza renovation. The banner design created a point of connection for the community and continued to symbolize the bright future of the neighborhood.
NYC DOT Art Program, Special Projects (2019)
In partnership with Uptown Grand Central
Harlem Sunrise Extended by Gera Lozano
Construction Fence at 125th Street Plaza, Manhattan
On the north side of the chancel is a near identical recess to one on the south wall, which contains the effigy of a knight wearing chain armour including a coif de mailles, and a belted surcoat reaching to the knees; his legs are crossed.
Next to him but outside the recess is the effigy of a lady with wimple headress.
Both effigies are of mid 13c / early 14c,, the words "Dominus (Sir) Robertus Moton" were at one time still visible on the stone surround. This kind of chain mail armour went out of usage after c 1305 - 1320s - the guide thought he could be "the late 13c Sir Robert who was first patron of the church". The lady carved in softer sandstone is thought to be of a slightly later date possibly 1320 - 1330
(The first patron Robert Moton son of William Moton was still a minor when his father died c1217. This Robert was killed on 4th August, 1265, at the battle of Evesham, fighting on the side of Simon de Montfort his overlord, and his estates were consequently forfeited. The Patent Rolls dated 12th of January, 1266. says certain lands in Peckleton were granted to Robert's widow for the maintenance of herself and her family for life. The grant was made, " by way of grace and humanity, to Juliana late the wife of Robert Moton, the king's enemy, killed at the battle of Evesham, that out of the lands of the said Robert in Pecklinton which the king lately gave to William Bagod and [which] have been extended [i.e. valued] at £11 Is. 6d. a year, she shall have 3j virgates of land with their appurtenances of the demesne, extended at 35s. a year, and 3£ virgates with their appurtenances of the villeinage extended at 30s. a year", for maintenance, as stated above.
The forfeited possessions of Robert Moton were afterwards restored to William Moton 1260 - 1318 his son and heir
William's heir was his son William c1200 - 1331 who m Joan c1337 daughter of William de la Zouch & Maud Lovell; They were the parents of Robert Moton c1337 - 1367 m Alice 1378 daughter of Sir Ralph 1st Baron Basset of Sapcote by Sibell Astley)
It may well be that these effigies, possibly as the guide says of Robert Moton & wife Julian were made later after their son William regained his estates
www.le.ac.uk/lahs/downloads/PeckletonPagesfromVolume17.pdf
www.geni.com/people/Sir-Robert-Moton-I/6000000022351069383
www.hinckleytimes.net/news/local-news/past-times-history-...
- Church of St Mary Magdalene, Peckleton Leicestershire
|| taken January 17, 2017 with Canon EOS 5D Mark III and EF100mm f/2.8 Macro USM at 100, ¹⁄₈₀ sec at f/7.1 with 1 EV, ISO 640 || Copyright 2013
This is a photograph from the Clane and Rathcoffey Parishes annual 10KM and 5KM Road Races and Fun Runs which were held in Clane village, Co. Kildare, Ireland on Sunday 19th of October at 14:30. This year's event follows on from the very successful staging last year (see link to photographs below). The organisers offer both a 5km and 10km race and the event provides an opportunity for runners, joggers, and walkers of all abilities to take part in the event. The 5KM has a particular emphasis on family entrants. There was a wonderful atmosphere around the Village as both races started and finished on the main street outside the parish hall. The directly out-and-back routes provided an opportunity for a fast time on a good course and made for a great finish line atmosphere as runners, joggers, and walkers crossed the line. Great praise must be extended to the whole organising committee who organised a very efficiently run event. The events provide some runners with an opportunity to have a final race effort session in the week leading up to the Dublin City Marathon.
Event Management and Electronic Timing was provided by Irish company Precision Timing. Their website is here with links to results from the race www.precisiontiming.net/result/racetimer
This photograph is part of a larger set of photographs taken at today's event. Photographs were taken at the start, 400 meters gone, 400 meters to go, 1km gone, and at the 9KM/4KM mark. The URL of the full set of photographs is www.flickr.com/photos/peterm7/sets/72157636717081724/
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If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary and Logistics
Participants: There were about 200 competitors combined in the two events.
Weather: The weather was very changeable for all of the events. During the 10KM race there was a heavy rain shower around the area of the 6KM mark but this didn't actually fall in the town. There was a strong headwind against competitors in the 10KM on the return part of the course between 6KM and 8KM.
Race Course:
This summary includes information on both the 5KM and 10KM races.
Both races start in the same place - just outside the Race HQ on the main street of the town. The races then proceed north eastwards out the Dublin Road towards Straffan and Celbridge. Just after 400 meters the races take a left up a small local road and proceeds along this road until it takes a tight left hand turn at the end of the lane at Capdoo goo.gl/maps/aPo26 (Google Streetview). The route proceeds until it shortly meets the Clane-Kilcock Road - College Road R407 goo.gl/maps/SGcPa. Both races will divert into Clane Business and Industrial Park goo.gl/maps/EQMf0 . The 5KM turns around and returns on the same route to the finish. However the 10KM race continues (taking a left) back onto College Road. Soon afterwards it passes the famous entrance to Clongowes Wood College on the right the race takes the next left (goo.gl/maps/zUhrJ) and brings runners onto the road known locally as the 'Long Road' (R408 Between Rathcoffey and Prosperous) at this point goo.gl/maps/fHKr2. The race proceeds northward until runners meet the Clane Kilcock Road once again. With the exception of the partial run into the Industrial Estate the race returns to the finish on the main street in Clane via the same route as the outward part of the route.
Location Map:
Clane Parish Hall (Race HQ) goo.gl/maps/MgakJ
Start and Finish Location of both races goo.gl/maps/0wiZp
Refreshments:
There was a really wonderful array of refreshments provided in the parish hall after the race for all participants.
Some Useful Links Associated with this Race Event
Facebook Page of the Clane and Rathcoffey Parish: www.facebook.com/ParishOfClaneRathcoffey (May require Facebook login)
Homepage of the Parish of Clane and Rathcoffey: www.claneparish.com/2013/09/parish-run-sunday-20th-octobe...
Garmin Connect GPS Trace of the 2013 Clane 10KM Race: connect.garmin.com/activity/391624847
Garmin Connect GPS Trace of the 2013 Clane 5KM Race: connect.garmin.com/activity/381169067
Boards.ie Athletics Forum Discussion on the 2013 Race: www.boards.ie/vbulletin/showthread.php?t=2057062190
Our Flickr Set of Photographs from the 2012 Clane 5KM and 10KM Races: www.flickr.com/photos/peterm7/sets/72157631820732362/
Please note: These links are provided for information purposes. Some of these links might become obselete or dead links as time passess. We cannot be responsible for the content on these external websites. All websites were checked before posting here to ensure that they 'did what they said on the tin'.
Can I use these photographs directly from Flickr on my social media account?
Yes - of course you can. Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile device will also offer you several different options for sharing this photo page on your social media outlets.
How can I get full resolution copies of these photographs?
To prevent missue of these photographs there is a watermark embedded into the images. All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution without the watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images without the watermark: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
Ana Mercedes Hernández, estudiante de 7mo. grado, de un de las 5 escuelas entregadas. Los nuevos planteles escolares ofrecerán a los alumnos las facilidades de bibliotecas, aulas de nivel inicial, rincones tecnológicos, enfermería, salón multiuso, cocina, comedor, plaza cívica y cancha, así como laboratorios de ciencias y de informática.
Foto: Raúl Pérez/Presidencia República Dominicana
Nota de prensa:
presidencia.gob.do/noticias/estudiantes-banilejos-reciben...
The Sassi di Matera, meaning "stones of Matera", are unlike any other old town because they are prehistoric cave dwellings in the Italian city of Matera, Basilicata. Situated in the old town, they are composed of the Sasso Caveoso and the later Sasso Barisano.
The "Sassi" grew in the area of Murgia Plateau, extended between Puglia and Basilicata.
Matera has gained international fame for its "Sassi". The Sassi originate from a prehistoric (troglodyte) settlement, probably one of the first human settlements in Italy. The Sassi are houses dug into the calcarenitic rock itself: many of these "houses" are really only caverns and the streets in some parts of the Sassi often are located on the rooftops of other houses. The ancient town grew in height on one slope of the ravine created by a river that is now a small stream. The ravine is known locally as "la Gravina".
In the 1950s, the government of Italy forcefully relocated most of the population of the Sassi to areas of the developing modern city. However, people continued to live in the Sassi:
Matera is the only place in the world where people can boast to be still living in the same houses of their ancestors of 9,000 years ago.
Until the late 1980s this was considered an area of poverty, since these houses were, and in most areas still are, mostly unlivable. Current local administration, however, has become more tourism-oriented, and has promoted the re-generation of the Sassi with the aid of the European Union, the government, UNESCO (Matera is Unesco World Heritage since 1993), and Hollywood.
One of the benefits of the ancient city, is that there is a great similarity in the look of the Sassi with that of ancient sites in and around Jerusalem. This has caught the eye of film directors and movie studios. Principally due to this reason the Sassi were the set of many films, as for example "The Gospel According to St. Matthew" (Pasolini, 1964), "King David" (Bruce Beresford, 1985), "The Passion of the Christ" (Gibson, 2004) and "The Nativity Story" (Hardwicke, 2006).
You have to see Matera and feel its ancient, sacred and magical atmosphere. A unique place in the world for the warm welcome of its inhabitants, always friendly with all, and also for its gastronomic specialties (such as the famous and delicious bread made in Matera). I'm Italian, but not from Matera, and after having visited it I fell in love with this city!
Look for other information on the web and visit my set named "Matera" to see other pictures...
Classic 1904 Arts and Crafts Details...Including High Cove Ceilings, Plaster Walls w/Custom Paint, Hardwood Oak Floors, Built-In Cabinets w/Columns, Large Windows w/Plantation Shutters, Original Fireplace Feature...Large, Open Living Area
Say that 5 times fast. Spend too much time on the Embarcadero and you too might decide it's a good idea to go jogging in a button down dress shirt and sweat pants.
Palace Gardens under Prague Castle (Palácové zahrady pod Pražským hradem)
This complex of interconnected historical gardens (Ledeburg, Small and Large Palffy, Kolovrat and Small Fürstenberg Garden) is situated on the southern slopes below Prague Castle. All of these palatial terrace gardens have a rich architectural decoration, decorative staircases, balustrades, scenic terraces, garden-houses and pavilions carefully integrated into the vegetation to create a picturesque whole. Concerts and social events are often held here.
The Southern slopes under the Prague Castle premises above Valdštejnská Street are the location of terrace Baroque gardens established in place of vineyards or Renaissance gardens by the spectacular noble palaces. In the direction from the square Valdštejnské náměstí towards Klárov, there are the following gardens: Ledeburg Garden, Lesser and Greater Pálffy Gardens, Kolowrat Garden, Lesser and Greater Fürstenberg Gardens. All the gardens have been restored and newly replanted. The Langweil’s model of Prague from 1826 - 1836 (today situated in the Museum of the Capital City of Prague) served as a very good model for the restoration of the gardens, as it documented their appearance most completely. All the palace terrace gardens have rich architectural decorations, decorative staircases, balustrades, observation terraces, gloriettes and pavilions composed into picturesque units together with the vegetation. During the summer seasons, they are opened for public in their representative state. Concerts and different social events are held in these gardens.
Ledeburg Garden
is located behind the Ledeburg Palace, house No. 162, and spreads on 0.18 hectares, 205 - 230 m high above sea level. It is also called the Trautmannsdorf Garden, after its founders, Marie and Leopold Trautmannsdorf. The garden was established in 1697 during a reconstruction of the palace carried out by Giovanni Santini Aichl or Giovanni Battista Alliprandi. In 1787 it was acquired by the Kolowrats, and it was modified in Baroque style by Ignác Jan Palliardi.
The garden is divided into two parts. The lower part is situated on a plane, spreading as wide as the palace, and the upper part has half the width and the slant terrain has been modified into five terraces, permeated via an extended steep staircase, terminated via a small octagonal pavilion - a gloriette, built in 1787 at the time of Josef Kolowrat. There is a sala terrena in the lower, parterre part of the garden at the Western front, which used to be decorated by wall paintings. Today, the sala terrena serves the purposes of a concert venue. On the opposite Eastern side, there is a scenery wall with a double staircase and a fountain with a statue of Hercules fighting a several-headed hydra (probably a copy of the original sculpture from the first quarter of the 18th century). There is another fountain in the central part of the green parterre area. The garden is decorated with a female act named Fertility (Plodnost) by Jan Štursa from 1920. There is a supporting wall between the lower parterre and the terraced part, which was originally decorated with Reiner’s fresco. One sundial has been preserved in the garden. By the supporting walls, there are wooden brackets with grapevine and climbing roses, and further on, there are cut evergreen hems, summer annual flowers, as well as plants in terracotta pots.
In the 1950s, there was a complete reconstruction of the garden according to a project of V. Kříž. From 1977 on, the garden was closed for emergency reasons. The last reconstruction was initiated in 1989. Over the years, several professionals participated in the project documentation regarding the garden’s rehabilitation. Their preparation resulted in a project of architect Karel Císař and his team, and the team of a garden architect Květoslav Vlček. Upon the completion of the constructional, technical, restoring and silvicultural works, the garden was festively opened for public in full glory on the 14th June 1995.
Lesser and Greater Pálffy Gardens
Both the terrace gardens of Baroque origin above the Pálffy Palace in Valdštejnská Street No. 158 were established in place of a Renaissance garden of Italian type after Jan Josef of Valdštejn united and re-built two burgess houses with gardens into a palace in 1712 - 1720. After 1731, the property was owned by the Fürstenbergs. The terrace gardens were established in 1751 by Marie Anna of Fürstenberg; we do not know the authors of the project. In 1881, the palace and the gardens were purchased by Eduard Pálffy of Erdöd, hence the name of the gardens. Both the gardens underwent significant reconstruction in the 1950s, but later they had to be modified and relieved of some unsuitable elements.
Lesser Pálffy Garden (0.07 ha) rises up above the former service wing of the palace. It was extensively rehabilitated in the years 1988 - 95 according to the project of architect Josef Lešetický and ing. Václav Pína. Agricultural restoration was realized by ing. Božena Mackovičová. Seven terrace levels of the garden are interconnected via a staircase. At the level of the lowest and the highest terraces, there is an interconnection with the neighbouring gardens - Ledeburg and Greater Pálffy Gardens. The garden has a utility character; the terraces are planted with pear-trees, apple-trees and sour cherry-trees. Grapevine climbs upon the upper supporting wall. Behind the steep staircase in the upper part, there is a small garden with medicinal plants. The Lesser Pálffy Garden was festively opened together with the Ledeburg Garden on the 14th June 1995.
Greater Pálffy Garden spreads in 8 height levels, interconnected in an axis of staircases, alternatively tunnelled and open. In the middle of the lowest terrace, there is a Baroque portal with round pool decorated with a statue of a blowing Triton. On the second terrace, there is a sundial within a Baroque portal. Underneath the clock, there is an inscription on a band: Claret in orbe dies, ac teatras, hora pete umbras - let a clear day in the world scare the gloomy shadows away. Red letters of the inscription, read as Roman numerals, give the year 1751.
There used to be a skittle alley in the garden. As Josef Dobrovský or František Palacký mention, it was a popular place for walks. In place of the original connection with the premises of Prague Castle, there is an oval marble desk, which reads that rehabilitation of the palace gardens was realized with a contribution of the Prague Heritage Fund, under the patronage of President Václav Havel and His Royal Highness Prince Charles. It was in the years 1995 - 1997 according to a project of Václav Girsa and Miloslav Hanzl; the garden modifications were carried out by Irena Bartošová. Greater Pálffy garden was festively opened on the 9th September 1997, and it was added to the observation round of the Ledeburg and the Lesser Pálffy Gardens.
Kolowrat Garden spreads on a steep hill behind the Kolowrat Palace No. 154 on an area of 0.07 hectares. It was established on the bailey of the former medieval ramparts, strengthened by supporting walls, as a terrace with fruit trees. The axis is formed by a narrow, straight staircase connecting seven terraces. In the Eastern part, there is a Baroque fountain with a gargoyle head. The garden is planted with medlars, pear-trees and apricot-trees. The garden was opened for public on the 30th August 2000, following rehabilitation according to projects of architect Václav Jirsa and Miloslav Hanzl, and silvicultural arrangements realized by architect Irena Bartošová.
Lesser Fürstenberg Garden (also the Lesser Černín Garden or the Černín Terraces) used to be a part of the lesser Fürstenberg, former Černín House, No. 155. In the mid-18th century, there used to be a Baroque terrace garden of an Italian type. When it became the property of countess Marie Barbora of Černín, born Schaffgotsche, the house went through an extensive reconstruction carried out by Ignác Jan Palliardi in the years 1784 - 88, which gave the house its current appearance, and at the same time, the architect rebuilt an older Baroque garden into an impressive Rococo terrace garden. It takes up a narrow, but long strip of the slope on the castle hill. The axis has a form of an formidable staircase leading from the gloriette to the observation pavilion, intersected by supporting walls, terraces and balustrades. The gloriette on the ground level, originally containing a bath as well, is painted with grisaille motives with a central genre painting named Swings in the nature (Houpačky v přírodě) and with allegoric paintings of four seasons in the year (perhaps by Ignác František Platzer). There are symmetrically spread orangeries on the second terrace. The staircase is terminated under the Castle’s enclosure wall by a three-piece sala terrena, an observation terrace with a loggia and with plastic stucco articulation, the front of which contains the coats of arms of the Černín and the Schaffgotsch Families. The balustrade is decorated with putti and decorative vases. The staircase leads from here to the observation pavilion with a cylindrical tower, in which Countess of Černín had her bathroom. The last landing of the staircase by the tower allows for access into the Prague Castle Southern Gardens. The garden is characteristic for its climbing roses.
Despite the relatively small extent of the garden, the combination of architectural, sculptural and painting elements with the vegetation on the terraces and the exotic plants in the orangeries provides the best possible effectiveness for the visitors. It is specifically the location under the Castle with a unique view of the town what contributes to the garden’s excellence. In 1997 - 2000, the garden was completely rehabilitated according to the project of architect Václav Jirsa and Miloslav Hanzl, with the silvicultural modifications realized by architect Irena Bartošová. The garden has been accessible for public since the 30th August 2000.
Greater Fürstenberg Garden is situated by the Fürstenberg Palace (Palace of Berka of Dubá, Netolický Palace). It was established by an unknown architect in place of the former vineyards in the 1st half of the 18th century. It consists of two parts - lower plane and rear terraces, intersected via a staircase terminated by a triaxial summer house from the mid-18th century. Modifications were made in 1790 by I. G. Palliardi, and at this time, the fountain with Neptune was founded. In 1822, the garden together with the adjoining palace was purchased by the Fürstenberg Family, and around 1860 they had architect Josef Leibl transforming it into an English park. At the same time, the lower part of the garden was also arranged, in place of the former dumping place, and a fountain was installed here with a sculpture of a boy playing with a stork. The lower plane went through a reconstruction in the 20th century, which was related to the transformation for the Polish Embassy, and the modern modifications were rather of a maintenance character. The upper terraces dilapidated due to lack of care. It was only renewed during reconstruction in the years 2006 - 2008.
The garden spreads on the surface area of 1.55 hectares, it is 130 m wide and the overall height of the ten terraces from the bottom plane amounts to 35 m. It was planted with over 3,500 flowers, 8,500 woody plants, and 2,200 roses. The newly installed lighting allows for evening visits.
www.prague.eu/en/object/places/497/palace-gardens-under-p...
Shrimp farmers, quite excited to see two farang (westerners) riding bicycles to their farm - first time ever, I'm sure. Thanks to Google Maps.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.