Bran Castle (Romanian: Castelul Bran), situated near Bran and in the immediate vicinity of Braşov, is a national monument and landmark in Romania. The fortress is situated on the border between Transylvania and Wallachia, on DN73. Commonly known as "Dracula's Castle" (although it is one among several locations linked to the Dracula legend, including Poenari Castle and Hunyad Castle), it is often erroneously referred to as the home of the title character in Bram Stoker's Dracula. There is, however, no evidence that Stoker knew anything about this castle, which has only tangential associations with Vlad III, voivode of Wallachia, the putative inspiration for Dracula. As discovered by the Dutch author Hans Corneel de Roos,[1] the location Bram Stoker actually had in mind for Castle Dracula while writing his novel was an empty mountain top, Mount Izvorul Călimanului, 2,033 metres (6,670 ft) high, located in the Transylvanian Călimani Alps near the former border with Moldavia. Stoker's description of Dracula's crumbling fictional castle also bears no resemblance to Bran Castle.

 

The castle is now a museum open to tourists, displaying art and furniture collected by Queen Marie.[2] Tourists can see the interior individually or by a guided tour. At the bottom of the hill is a small open-air museum park exhibiting traditional Romanian peasant structures (cottages, barns, etc.) from across the country.

 

In 1212, Teutonic Knights built the wooden castle of Dietrichstein as a fortified position in the Burzenland at the entrance to a mountain pass through which traders had travelled for more than a millennium, but in 1242 it was destroyed by the Mongols. The first documented mentioning of Bran Castle is the act issued by Louis I of Hungary on 19 November 1377, giving the Saxons of Kronstadt (Brașov) the privilege to build the stone castle on their own expense and labor force; the settlement of Bran began to develop nearby. In 1438–1442, the castle was used in defense against the Ottoman Empire, and later became a customs post on the mountain pass between Transylvania and Wallachia. It is believed the castle was briefly held by Mircea the Elder of Wallachia (r. 1386–1395, 1397–1418) during whose period the customs point was established. The Wallachian ruler Vlad Țepeș (Vlad the Impaler; 1448–1476) does not seem to have had a significant role in the history of the fortress, although he passed several times through the Bran Gorge. Bran Castle belonged to the Hungarian Kings but due to the failure of King Vladislas II (r. 1471–1516) to repay loans, the city of Brasov regained possession of the fortress in 1533. Bran played a militarily strategic role up to the mid-18th century.[4]

 

In 1920 the Treaty of Trianon deprived Hungary of Transylvania, and the castle became a royal residence within the Kingdom of Romania. It became the favorite home and retreat of Queen Marie, who ordered its extensive renovation conducted by the Czech architect Karel Zdeněk Líman. The castle was inherited by her daughter Princess Ileana who ran a hospital there in World War II: it was later seized by the communist regime with the expulsion of the royal family in 1948.[3]

 

In 2005, the Romanian government passed a special law allowing restitution claims on properties illegally expropriated, such as Bran, and thus a year later the castle was awarded ownership to American Dominic von Habsburg, the son and heir of Princess Ileana.[5][6]

 

In September 2007, an investigation committee of the Romanian Parliament stated that the retrocession of the castle to Archduke Dominic was illegal, as it broke the Romanian law on property and succession.[7] However, in October 2007 the Constitutional Court of Romania rejected the parliament's petition on the matter. In addition, an investigation commission of the Romanian government issued a decision in December 2007 reaffirming the validity and legality of the restitution procedures used and confirming that the restitution was made in full compliance with the law.[8][9]

 

On 18 May 2009, the Bran Castle administration was transferred from the government to the administration of Archduke Dominic and his sisters Maria-Magdalena Holzhausen and Elisabeth Sandhofer. On 1 June 2009, the Habsburgs opened the refurbished castle to the public as the first private museum of the country and disclosed with Bran Village a joint strategic concept to maintain their domination in the Romanian tourist circuit and to safeguard the economic base in the region.

Vinovia or Vinovium was a Roman fort and settlement situated just over 1 mile (1.6 km) to the north of the town of Bishop Auckland on the banks of the River Wear in County Durham, England. The fort was the site of a hamlet until the late Middle Ages, but the modern-day village of Binchester is about 2 miles (3 km) to the east, near Spennymoor. The ruins are now known as the Binchester Roman Fort.

 

Not much is yet known about pre-Roman settlement in the immediate area. The fort was probably established around AD 79 to guard the crossing of the River Wear by Dere Street, the main Roman road between York, Hadrian's Wall and Scotland, and also the fort's via principalis. Sitting atop a hill 15 metres (49 ft) above the Wear, Binchester was the largest Roman fort in County Durham. The land was cleared of trees and brush and a huge levelling fill laid down on the plateau before construction of the fort began. Archaeologists found four coins of Vespasian that seem to corroborate that initial building was related to Agricola's march northward into the territory of the Brigantes. Two phases of timber structures, most likely barrack blocks, were constructed atop the levelling deposit. Much later, perhaps centuries later, buildings inside the fort were levelled and reconstructed in stone. These included a commandant's house at the heart of the fort and a well-appointed baths building, both of which went through several phases of development.

 

It is not entirely clear which garrison units would have called Binchester home. The cuneus Frisorum Vinoviensium and the equites catafractariorum have been mentioned in inscriptions from the site. The cavalry units of the ala Vettonum, a cohort of Frisian soldiers, and part of the Sixth Legion might also have stayed here at some point in its history. In fact, it may have been men from the Legio VI Victrix who built the original fort.

 

An extensive civilian settlement (vicus) existed to the north and west of the fort, the remains of which are buried under the pastures of Binchester Hall Farm. The southern part of the fort is now beneath Binchester Hall, while some of the defences were destroyed in a landslip in the 19th century. Part of the stone bridge used by Dere Street to cross the River Wear can still be seen when the river is low. In 2007, several mausolea were found to the north of the vicus.

 

Although the Roman occupation of Britain ended officially around 410, the area around Binchester seems to have remained occupied by the local population. By the early 6th century, a small Anglo-Saxon cemetery had been founded, and the demolition of the fort's buildings for reclamation of the materials had started, some of which were eventually used in the construction of the nearby 7th-century Escomb Church. A hamlet and manor house survived at Binchester until the late Middle Ages. The site of the manor house is now occupied by the 17th-century Binchester Hall.

 

The remains of the fort have been known to antiquarians and historians since the 16th century. In 1552, John Leland wrote that Roman coins had been uncovered in nearby ploughed fields, while William Camden, in 1586, mentioned the remains of some walls could still then be seen. A bath-house was found in 1815 when a farm cart accidentally fell into part of a hypocaust. The ruins did not fare well under the early 19th-century occupants of Binchester Hall. In 1828, "altars, urns, and other relics" were robbed out and taken away to be used as props inside coal pits in the area. The fort and surrounding land passed from private ownership to that of the Anglican Church in 1836.

 

The first archaeological excavations took place between 1878 and 1880, under the auspices of John Proud of Bishop Auckland and the Reverend Robert Eli Hooppell of Byers Green, investigating the bath-house, some of the fort's defences, and parts of the surrounding settlement. However, Hooppell claimed that "(virtually) everything of note found at Binchester before 1879 has perished, or been scattered beyond hope of recovery." Hooppell had workmen excavate the eastern rampart of the fort where they uncovered a portion of Dere Street which functioned as the fort's Via Principalis. They also explored the vicus, uncovering several plain buildings. In 1891, the installation of modern water pipes in the area caused destruction to the northeast corner of the fort, particularly the rampart, Dere Street, and a few vicus houses, but did uncover a large Roman altar dedicated by Pomponius Donatus "beneficiarius of the governor" to Jupiter and the Matres Ollototae (three Celtic mother goddesses originally from the continent).

 

In 1937, Kenneth Steer undertook some excavations around the fort's defences as part of his archaeology degree at Durham University. There he found evidence for post-Roman buildings overlying these ditches, suggesting that the vicus continued as a small settlement after the fort was actively occupied. He was also able to identify an early Agricolan fort under a later one dating to about the 3rd century. Further work continued in 1955 and between 1964 and 1972 when the bath suite was re-excavated and mostly cleared. The 1960s were also the period that the archaeological site came under the guardianship of Durham County Council. In 1971, rescue excavation at the northwestern end of Binchester Hall found around six successive layers of timber barracks.

 

A long-term program of excavation begun by the Bowes Museum for Durham County Council ran from 1976–1980, and then again from 1986–1988. It focused primarily upon the baths suite and the attached commandant's house, uncovering several phases of activity. The first was the construction of the original courtyard house presumably used by the commandant of the fort, built sometime after the middle of the 4th century atop two previous smaller stone buildings, also presumably praetoria. It had attractive decor and was meant for a single occupant. Later, but also perhaps in the 4th century, a detached bath suite was built adjoining the house, necessitating the demolition of part of the earlier building. It had three rooms: a warm room, a hot room, and a hot room with two plunge baths. The excavators understood this bath building to be for the use of the commandant only. Still later, the house seems to have lost its singular occupant. Rooms were subdivided and several self-contained units were created in what was originally a large house. The baths received a flagstone court, a triple-arched gateway, and a small anteroom, and it is suggested that the reorganisation of both structures meant the baths were opened to the entire regiment at the fort. A coin of the usurper Magnentius, minted between 350 and 360, may provide a terminus post quem for these renovations. The baths and house then fell on rough times. Lack of maintenance of the baths can be seen archaeologically in the next period, and in the house, the rooms come to be used for industry, including blacksmithing, lime slaking, and animal butchery. A midden dug in a channel around most of the building held a great deal of animal bones and debris. Finally, the collapse of a few walls and part of the roof of the baths seems to have heralded the end for the complex some time in the post-Roman period. However, the entire fort seems to have been used as a cemetery from the mid-6th to the 11th centuries. A Saxon woman was found buried in the rubble caused by the roof collapse.

 

Around 4.7 hectares (12 acres) of the vicus were mapped with a geophysical survey in 2004. Along with previous surveys, a picture began to emerge of a quite extensive civilian settlement lying under the fields to the east of the fort, where Hooppell had done his early test trenches. This led to David Mason, the County Archaeologist, suggesting to the Channel 4 archaeological television programme Time Team that Binchester could provide a fertile ground for investigation. In April 2007, the production company came and spent three days excavating and extending the area surveyed by geophysical means. Apart from discovering more remains of the larger, earlier fort, the programme also found a row of three military mausolea, "the first to have been found in Britain for 150 years." Time Team also identified that the vicus also extended to the north of the fort. The Binchester programme was broadcast on Channel 4 on 13 January 2008, ending Time Team's involvement with the site.

 

In 2009, a test season was conducted in July where the team opened a trench at the north-east corner of the fort. The first full season of these new excavations was in 2010, with the team opening trenches both inside the fort and outside in the vicus. At Durham University, the principal investigators of the project were Richard Hingley and David Petts. At Stanford University, the principal investigators were Michael Shanks, Gary Devore, Melissa Chatfield, and David Platt.

 

In 2018, a six-week dig involving 60 archaeologists and volunteers unearthed a road, carved images and several industrial buildings from the Roman era

 

Dating aspects of the fort and vicus of Binchester is quite difficult given the limited modern archaeological exploration that has occurred on the site. Most of the floors investigated inside the fort have been of opus signinum, and kept relatively clean during their life. A few coins have been found under floor deposits, but these often only give a terminus post quem, and coins stop becoming reliable diagnostic items in the 5th century, although settlement in and around Binchester surely lasted into the early Medieval period. Modern investigation of the vicus has been non-existent or fruitless in the search for datable finds. It is hoped that the current excavations might inform more about the chronology of the site.

 

Roman Britain was the territory that became the Roman province of Britannia after the Roman conquest of Britain, consisting of a large part of the island of Great Britain. The occupation lasted from AD 43 to AD 410.

 

Julius Caesar invaded Britain in 55 and 54 BC as part of his Gallic Wars. According to Caesar, the Britons had been overrun or culturally assimilated by the Belgae during the British Iron Age and had been aiding Caesar's enemies. The Belgae were the only Celtic tribe to cross the sea into Britain, for to all other Celtic tribes this land was unknown. He received tribute, installed the friendly king Mandubracius over the Trinovantes, and returned to Gaul. Planned invasions under Augustus were called off in 34, 27, and 25 BC. In 40 AD, Caligula assembled 200,000 men at the Channel on the continent, only to have them gather seashells (musculi) according to Suetonius, perhaps as a symbolic gesture to proclaim Caligula's victory over the sea. Three years later, Claudius directed four legions to invade Britain and restore the exiled king Verica over the Atrebates. The Romans defeated the Catuvellauni, and then organized their conquests as the province of Britain. By 47 AD, the Romans held the lands southeast of the Fosse Way. Control over Wales was delayed by reverses and the effects of Boudica's uprising, but the Romans expanded steadily northward.

 

The conquest of Britain continued under command of Gnaeus Julius Agricola (77–84), who expanded the Roman Empire as far as Caledonia. In mid-84 AD, Agricola faced the armies of the Caledonians, led by Calgacus, at the Battle of Mons Graupius. Battle casualties were estimated by Tacitus to be upwards of 10,000 on the Caledonian side and about 360 on the Roman side. The bloodbath at Mons Graupius concluded the forty-year conquest of Britain, a period that possibly saw between 100,000 and 250,000 Britons killed. In the context of pre-industrial warfare and of a total population of Britain of c. 2 million, these are very high figures.

 

Under the 2nd-century emperors Hadrian and Antoninus Pius, two walls were built to defend the Roman province from the Caledonians, whose realms in the Scottish Highlands were never controlled. Around 197 AD, the Severan Reforms divided Britain into two provinces: Britannia Superior and Britannia Inferior. During the Diocletian Reforms, at the end of the 3rd century, Britannia was divided into four provinces under the direction of a vicarius, who administered the Diocese of the Britains. A fifth province, Valentia, is attested in the later 4th century. For much of the later period of the Roman occupation, Britannia was subject to barbarian invasions and often came under the control of imperial usurpers and imperial pretenders. The final Roman withdrawal from Britain occurred around 410; the native kingdoms are considered to have formed Sub-Roman Britain after that.

 

Following the conquest of the Britons, a distinctive Romano-British culture emerged as the Romans introduced improved agriculture, urban planning, industrial production, and architecture. The Roman goddess Britannia became the female personification of Britain. After the initial invasions, Roman historians generally only mention Britain in passing. Thus, most present knowledge derives from archaeological investigations and occasional epigraphic evidence lauding the Britannic achievements of an emperor. Roman citizens settled in Britain from many parts of the Empire.

 

History

Britain was known to the Classical world. The Greeks, the Phoenicians and the Carthaginians traded for Cornish tin in the 4th century BC. The Greeks referred to the Cassiterides, or "tin islands", and placed them near the west coast of Europe. The Carthaginian sailor Himilco is said to have visited the island in the 6th or 5th century BC and the Greek explorer Pytheas in the 4th. It was regarded as a place of mystery, with some writers refusing to believe it existed.

 

The first direct Roman contact was when Julius Caesar undertook two expeditions in 55 and 54 BC, as part of his conquest of Gaul, believing the Britons were helping the Gallic resistance. The first expedition was more a reconnaissance than a full invasion and gained a foothold on the coast of Kent but was unable to advance further because of storm damage to the ships and a lack of cavalry. Despite the military failure, it was a political success, with the Roman Senate declaring a 20-day public holiday in Rome to honour the unprecedented achievement of obtaining hostages from Britain and defeating Belgic tribes on returning to the continent.

 

The second invasion involved a substantially larger force and Caesar coerced or invited many of the native Celtic tribes to pay tribute and give hostages in return for peace. A friendly local king, Mandubracius, was installed, and his rival, Cassivellaunus, was brought to terms. Hostages were taken, but historians disagree over whether any tribute was paid after Caesar returned to Gaul.

 

Caesar conquered no territory and left no troops behind, but he established clients and brought Britain into Rome's sphere of influence. Augustus planned invasions in 34, 27 and 25 BC, but circumstances were never favourable, and the relationship between Britain and Rome settled into one of diplomacy and trade. Strabo, writing late in Augustus's reign, claimed that taxes on trade brought in more annual revenue than any conquest could. Archaeology shows that there was an increase in imported luxury goods in southeastern Britain. Strabo also mentions British kings who sent embassies to Augustus, and Augustus's own Res Gestae refers to two British kings he received as refugees. When some of Tiberius's ships were carried to Britain in a storm during his campaigns in Germany in 16 AD, they came back with tales of monsters.

 

Rome appears to have encouraged a balance of power in southern Britain, supporting two powerful kingdoms: the Catuvellauni, ruled by the descendants of Tasciovanus, and the Atrebates, ruled by the descendants of Commius. This policy was followed until 39 or 40 AD, when Caligula received an exiled member of the Catuvellaunian dynasty and planned an invasion of Britain that collapsed in farcical circumstances before it left Gaul. When Claudius successfully invaded in 43 AD, it was in aid of another fugitive British ruler, Verica of the Atrebates.

 

Roman invasion

The invasion force in 43 AD was led by Aulus Plautius,[26] but it is unclear how many legions were sent. The Legio II Augusta, commanded by future emperor Vespasian, was the only one directly attested to have taken part. The Legio IX Hispana, the XIV Gemina (later styled Martia Victrix) and the XX (later styled Valeria Victrix) are known to have served during the Boudican Revolt of 60/61, and were probably there since the initial invasion. This is not certain because the Roman army was flexible, with units being moved around whenever necessary. The IX Hispana may have been permanently stationed, with records showing it at Eboracum (York) in 71 and on a building inscription there dated 108, before being destroyed in the east of the Empire, possibly during the Bar Kokhba revolt.

 

The invasion was delayed by a troop mutiny until an imperial freedman persuaded them to overcome their fear of crossing the Ocean and campaigning beyond the limits of the known world. They sailed in three divisions, and probably landed at Richborough in Kent; at least part of the force may have landed near Fishbourne, West Sussex.

 

The Catuvellauni and their allies were defeated in two battles: the first, assuming a Richborough landing, on the river Medway, the second on the river Thames. One of their leaders, Togodumnus, was killed, but his brother Caratacus survived to continue resistance elsewhere. Plautius halted at the Thames and sent for Claudius, who arrived with reinforcements, including artillery and elephants, for the final march to the Catuvellaunian capital, Camulodunum (Colchester). Vespasian subdued the southwest, Cogidubnus was set up as a friendly king of several territories, and treaties were made with tribes outside direct Roman control.

 

Establishment of Roman rule

After capturing the south of the island, the Romans turned their attention to what is now Wales. The Silures, Ordovices and Deceangli remained implacably opposed to the invaders and for the first few decades were the focus of Roman military attention, despite occasional minor revolts among Roman allies like the Brigantes and the Iceni. The Silures were led by Caratacus, and he carried out an effective guerrilla campaign against Governor Publius Ostorius Scapula. Finally, in 51, Ostorius lured Caratacus into a set-piece battle and defeated him. The British leader sought refuge among the Brigantes, but their queen, Cartimandua, proved her loyalty by surrendering him to the Romans. He was brought as a captive to Rome, where a dignified speech he made during Claudius's triumph persuaded the emperor to spare his life. The Silures were still not pacified, and Cartimandua's ex-husband Venutius replaced Caratacus as the most prominent leader of British resistance.

 

On Nero's accession, Roman Britain extended as far north as Lindum. Gaius Suetonius Paulinus, the conqueror of Mauretania (modern day Algeria and Morocco), then became governor of Britain, and in 60 and 61 he moved against Mona (Anglesey) to settle accounts with Druidism once and for all. Paulinus led his army across the Menai Strait and massacred the Druids and burnt their sacred groves.

 

While Paulinus was campaigning in Mona, the southeast of Britain rose in revolt under the leadership of Boudica. She was the widow of the recently deceased king of the Iceni, Prasutagus. The Roman historian Tacitus reports that Prasutagus had left a will leaving half his kingdom to Nero in the hope that the remainder would be left untouched. He was wrong. When his will was enforced, Rome[clarification needed] responded by violently seizing the tribe's lands in full. Boudica protested. In consequence, Rome[clarification needed] punished her and her daughters by flogging and rape. In response, the Iceni, joined by the Trinovantes, destroyed the Roman colony at Camulodunum (Colchester) and routed the part of the IXth Legion that was sent to relieve it. Paulinus rode to London (then called Londinium), the rebels' next target, but concluded it could not be defended. Abandoned, it was destroyed, as was Verulamium (St. Albans). Between seventy and eighty thousand people are said to have been killed in the three cities. But Paulinus regrouped with two of the three legions still available to him, chose a battlefield, and, despite being outnumbered by more than twenty to one, defeated the rebels in the Battle of Watling Street. Boudica died not long afterwards, by self-administered poison or by illness. During this time, the Emperor Nero considered withdrawing Roman forces from Britain altogether.

 

There was further turmoil in 69, the "Year of the Four Emperors". As civil war raged in Rome, weak governors were unable to control the legions in Britain, and Venutius of the Brigantes seized his chance. The Romans had previously defended Cartimandua against him, but this time were unable to do so. Cartimandua was evacuated, and Venutius was left in control of the north of the country. After Vespasian secured the empire, his first two appointments as governor, Quintus Petillius Cerialis and Sextus Julius Frontinus, took on the task of subduing the Brigantes and Silures respectively.[38] Frontinus extended Roman rule to all of South Wales, and initiated exploitation of the mineral resources, such as the gold mines at Dolaucothi.

 

In the following years, the Romans conquered more of the island, increasing the size of Roman Britain. Governor Gnaeus Julius Agricola, father-in-law to the historian Tacitus, conquered the Ordovices in 78. With the XX Valeria Victrix legion, Agricola defeated the Caledonians in 84 at the Battle of Mons Graupius, in north-east Scotland. This was the high-water mark of Roman territory in Britain: shortly after his victory, Agricola was recalled from Britain back to Rome, and the Romans initially retired to a more defensible line along the Forth–Clyde isthmus, freeing soldiers badly needed along other frontiers.

 

For much of the history of Roman Britain, a large number of soldiers were garrisoned on the island. This required that the emperor station a trusted senior man as governor of the province. As a result, many future emperors served as governors or legates in this province, including Vespasian, Pertinax, and Gordian I.

 

Roman military organisation in the north

In 84 AD

In 84 AD

 

In 155 AD

In 155 AD

 

Hadrian's Wall, and Antonine Wall

There is no historical source describing the decades that followed Agricola's recall. Even the name of his replacement is unknown. Archaeology has shown that some Roman forts south of the Forth–Clyde isthmus were rebuilt and enlarged; others appear to have been abandoned. By 87 the frontier had been consolidated on the Stanegate. Roman coins and pottery have been found circulating at native settlement sites in the Scottish Lowlands in the years before 100, indicating growing Romanisation. Some of the most important sources for this era are the writing tablets from the fort at Vindolanda in Northumberland, mostly dating to 90–110. These tablets provide evidence for the operation of a Roman fort at the edge of the Roman Empire, where officers' wives maintained polite society while merchants, hauliers and military personnel kept the fort operational and supplied.

 

Around 105 there appears to have been a serious setback at the hands of the tribes of the Picts: several Roman forts were destroyed by fire, with human remains and damaged armour at Trimontium (at modern Newstead, in SE Scotland) indicating hostilities at least at that site.[citation needed] There is also circumstantial evidence that auxiliary reinforcements were sent from Germany, and an unnamed British war of the period is mentioned on the gravestone of a tribune of Cyrene. Trajan's Dacian Wars may have led to troop reductions in the area or even total withdrawal followed by slighting of the forts by the Picts rather than an unrecorded military defeat. The Romans were also in the habit of destroying their own forts during an orderly withdrawal, in order to deny resources to an enemy. In either case, the frontier probably moved south to the line of the Stanegate at the Solway–Tyne isthmus around this time.

 

A new crisis occurred at the beginning of Hadrian's reign): a rising in the north which was suppressed by Quintus Pompeius Falco. When Hadrian reached Britannia on his famous tour of the Roman provinces around 120, he directed an extensive defensive wall, known to posterity as Hadrian's Wall, to be built close to the line of the Stanegate frontier. Hadrian appointed Aulus Platorius Nepos as governor to undertake this work who brought the Legio VI Victrix legion with him from Germania Inferior. This replaced the famous Legio IX Hispana, whose disappearance has been much discussed. Archaeology indicates considerable political instability in Scotland during the first half of the 2nd century, and the shifting frontier at this time should be seen in this context.

 

In the reign of Antoninus Pius (138–161) the Hadrianic border was briefly extended north to the Forth–Clyde isthmus, where the Antonine Wall was built around 142 following the military reoccupation of the Scottish lowlands by a new governor, Quintus Lollius Urbicus.

 

The first Antonine occupation of Scotland ended as a result of a further crisis in 155–157, when the Brigantes revolted. With limited options to despatch reinforcements, the Romans moved their troops south, and this rising was suppressed by Governor Gnaeus Julius Verus. Within a year the Antonine Wall was recaptured, but by 163 or 164 it was abandoned. The second occupation was probably connected with Antoninus's undertakings to protect the Votadini or his pride in enlarging the empire, since the retreat to the Hadrianic frontier occurred not long after his death when a more objective strategic assessment of the benefits of the Antonine Wall could be made. The Romans did not entirely withdraw from Scotland at this time: the large fort at Newstead was maintained along with seven smaller outposts until at least 180.

 

During the twenty-year period following the reversion of the frontier to Hadrian's Wall in 163/4, Rome was concerned with continental issues, primarily problems in the Danubian provinces. Increasing numbers of hoards of buried coins in Britain at this time indicate that peace was not entirely achieved. Sufficient Roman silver has been found in Scotland to suggest more than ordinary trade, and it is likely that the Romans were reinforcing treaty agreements by paying tribute to their implacable enemies, the Picts.

 

In 175, a large force of Sarmatian cavalry, consisting of 5,500 men, arrived in Britannia, probably to reinforce troops fighting unrecorded uprisings. In 180, Hadrian's Wall was breached by the Picts and the commanding officer or governor was killed there in what Cassius Dio described as the most serious war of the reign of Commodus. Ulpius Marcellus was sent as replacement governor and by 184 he had won a new peace, only to be faced with a mutiny from his own troops. Unhappy with Marcellus's strictness, they tried to elect a legate named Priscus as usurper governor; he refused, but Marcellus was lucky to leave the province alive. The Roman army in Britannia continued its insubordination: they sent a delegation of 1,500 to Rome to demand the execution of Tigidius Perennis, a Praetorian prefect who they felt had earlier wronged them by posting lowly equites to legate ranks in Britannia. Commodus met the party outside Rome and agreed to have Perennis killed, but this only made them feel more secure in their mutiny.

 

The future emperor Pertinax (lived 126–193) was sent to Britannia to quell the mutiny and was initially successful in regaining control, but a riot broke out among the troops. Pertinax was attacked and left for dead, and asked to be recalled to Rome, where he briefly succeeded Commodus as emperor in 192.

 

3rd century

The death of Commodus put into motion a series of events which eventually led to civil war. Following the short reign of Pertinax, several rivals for the emperorship emerged, including Septimius Severus and Clodius Albinus. The latter was the new governor of Britannia, and had seemingly won the natives over after their earlier rebellions; he also controlled three legions, making him a potentially significant claimant. His sometime rival Severus promised him the title of Caesar in return for Albinus's support against Pescennius Niger in the east. Once Niger was neutralised, Severus turned on his ally in Britannia; it is likely that Albinus saw he would be the next target and was already preparing for war.

 

Albinus crossed to Gaul in 195, where the provinces were also sympathetic to him, and set up at Lugdunum. Severus arrived in February 196, and the ensuing battle was decisive. Albinus came close to victory, but Severus's reinforcements won the day, and the British governor committed suicide. Severus soon purged Albinus's sympathisers and perhaps confiscated large tracts of land in Britain as punishment. Albinus had demonstrated the major problem posed by Roman Britain. In order to maintain security, the province required the presence of three legions, but command of these forces provided an ideal power base for ambitious rivals. Deploying those legions elsewhere would strip the island of its garrison, leaving the province defenceless against uprisings by the native Celtic tribes and against invasion by the Picts and Scots.

 

The traditional view is that northern Britain descended into anarchy during Albinus's absence. Cassius Dio records that the new Governor, Virius Lupus, was obliged to buy peace from a fractious northern tribe known as the Maeatae. The succession of militarily distinguished governors who were subsequently appointed suggests that enemies of Rome were posing a difficult challenge, and Lucius Alfenus Senecio's report to Rome in 207 describes barbarians "rebelling, over-running the land, taking loot and creating destruction". In order to rebel, of course, one must be a subject – the Maeatae clearly did not consider themselves such. Senecio requested either reinforcements or an Imperial expedition, and Severus chose the latter, despite being 62 years old. Archaeological evidence shows that Senecio had been rebuilding the defences of Hadrian's Wall and the forts beyond it, and Severus's arrival in Britain prompted the enemy tribes to sue for peace immediately. The emperor had not come all that way to leave without a victory, and it is likely that he wished to provide his teenage sons Caracalla and Geta with first-hand experience of controlling a hostile barbarian land.

 

Northern campaigns, 208–211

An invasion of Caledonia led by Severus and probably numbering around 20,000 troops moved north in 208 or 209, crossing the Wall and passing through eastern Scotland on a route similar to that used by Agricola. Harried by punishing guerrilla raids by the northern tribes and slowed by an unforgiving terrain, Severus was unable to meet the Caledonians on a battlefield. The emperor's forces pushed north as far as the River Tay, but little appears to have been achieved by the invasion, as peace treaties were signed with the Caledonians. By 210 Severus had returned to York, and the frontier had once again become Hadrian's Wall. He assumed the title Britannicus but the title meant little with regard to the unconquered north, which clearly remained outside the authority of the Empire. Almost immediately, another northern tribe, the Maeatae, went to war. Caracalla left with a punitive expedition, but by the following year his ailing father had died and he and his brother left the province to press their claim to the throne.

 

As one of his last acts, Severus tried to solve the problem of powerful and rebellious governors in Britain by dividing the province into Britannia Superior and Britannia Inferior. This kept the potential for rebellion in check for almost a century. Historical sources provide little information on the following decades, a period known as the Long Peace. Even so, the number of buried hoards found from this period rises, suggesting continuing unrest. A string of forts were built along the coast of southern Britain to control piracy; and over the following hundred years they increased in number, becoming the Saxon Shore Forts.

 

During the middle of the 3rd century, the Roman Empire was convulsed by barbarian invasions, rebellions and new imperial pretenders. Britannia apparently avoided these troubles, but increasing inflation had its economic effect. In 259 a so-called Gallic Empire was established when Postumus rebelled against Gallienus. Britannia was part of this until 274 when Aurelian reunited the empire.

 

Around the year 280, a half-British officer named Bonosus was in command of the Roman's Rhenish fleet when the Germans managed to burn it at anchor. To avoid punishment, he proclaimed himself emperor at Colonia Agrippina (Cologne) but was crushed by Marcus Aurelius Probus. Soon afterwards, an unnamed governor of one of the British provinces also attempted an uprising. Probus put it down by sending irregular troops of Vandals and Burgundians across the Channel.

 

The Carausian Revolt led to a short-lived Britannic Empire from 286 to 296. Carausius was a Menapian naval commander of the Britannic fleet; he revolted upon learning of a death sentence ordered by the emperor Maximian on charges of having abetted Frankish and Saxon pirates and having embezzled recovered treasure. He consolidated control over all the provinces of Britain and some of northern Gaul while Maximian dealt with other uprisings. An invasion in 288 failed to unseat him and an uneasy peace ensued, with Carausius issuing coins and inviting official recognition. In 293, the junior emperor Constantius Chlorus launched a second offensive, besieging the rebel port of Gesoriacum (Boulogne-sur-Mer) by land and sea. After it fell, Constantius attacked Carausius's other Gallic holdings and Frankish allies and Carausius was usurped by his treasurer, Allectus. Julius Asclepiodotus landed an invasion fleet near Southampton and defeated Allectus in a land battle.

 

Diocletian's reforms

As part of Diocletian's reforms, the provinces of Roman Britain were organized as a diocese governed by a vicarius under a praetorian prefect who, from 318 to 331, was Junius Bassus who was based at Augusta Treverorum (Trier).

 

The vicarius was based at Londinium as the principal city of the diocese. Londinium and Eboracum continued as provincial capitals and the territory was divided up into smaller provinces for administrative efficiency.

 

Civilian and military authority of a province was no longer exercised by one official and the governor was stripped of military command which was handed over to the Dux Britanniarum by 314. The governor of a province assumed more financial duties (the procurators of the Treasury ministry were slowly phased out in the first three decades of the 4th century). The Dux was commander of the troops of the Northern Region, primarily along Hadrian's Wall and his responsibilities included protection of the frontier. He had significant autonomy due in part to the distance from his superiors.

 

The tasks of the vicarius were to control and coordinate the activities of governors; monitor but not interfere with the daily functioning of the Treasury and Crown Estates, which had their own administrative infrastructure; and act as the regional quartermaster-general of the armed forces. In short, as the sole civilian official with superior authority, he had general oversight of the administration, as well as direct control, while not absolute, over governors who were part of the prefecture; the other two fiscal departments were not.

 

The early-4th-century Verona List, the late-4th-century work of Sextus Rufus, and the early-5th-century List of Offices and work of Polemius Silvius all list four provinces by some variation of the names Britannia I, Britannia II, Maxima Caesariensis, and Flavia Caesariensis; all of these seem to have initially been directed by a governor (praeses) of equestrian rank. The 5th-century sources list a fifth province named Valentia and give its governor and Maxima's a consular rank. Ammianus mentions Valentia as well, describing its creation by Count Theodosius in 369 after the quelling of the Great Conspiracy. Ammianus considered it a re-creation of a formerly lost province, leading some to think there had been an earlier fifth province under another name (may be the enigmatic "Vespasiana"), and leading others to place Valentia beyond Hadrian's Wall, in the territory abandoned south of the Antonine Wall.

 

Reconstructions of the provinces and provincial capitals during this period partially rely on ecclesiastical records. On the assumption that the early bishoprics mimicked the imperial hierarchy, scholars use the list of bishops for the 314 Council of Arles. The list is patently corrupt: the British delegation is given as including a Bishop "Eborius" of Eboracum and two bishops "from Londinium" (one de civitate Londinensi and the other de civitate colonia Londinensium). The error is variously emended: Bishop Ussher proposed Colonia, Selden Col. or Colon. Camalodun., and Spelman Colonia Cameloduni (all various names of Colchester); Gale and Bingham offered colonia Lindi and Henry Colonia Lindum (both Lincoln); and Bishop Stillingfleet and Francis Thackeray read it as a scribal error of Civ. Col. Londin. for an original Civ. Col. Leg. II (Caerleon). On the basis of the Verona List, the priest and deacon who accompanied the bishops in some manuscripts are ascribed to the fourth province.

 

In the 12th century, Gerald of Wales described the supposedly metropolitan sees of the early British church established by the legendary SS Fagan and "Duvian". He placed Britannia Prima in Wales and western England with its capital at "Urbs Legionum" (Caerleon); Britannia Secunda in Kent and southern England with its capital at "Dorobernia" (Canterbury); Flavia in Mercia and central England with its capital at "Lundonia" (London); "Maximia" in northern England with its capital at Eboracum (York); and Valentia in "Albania which is now Scotland" with its capital at St Andrews. Modern scholars generally dispute the last: some place Valentia at or beyond Hadrian's Wall but St Andrews is beyond even the Antonine Wall and Gerald seems to have simply been supporting the antiquity of its church for political reasons.

 

A common modern reconstruction places the consular province of Maxima at Londinium, on the basis of its status as the seat of the diocesan vicarius; places Prima in the west according to Gerald's traditional account but moves its capital to Corinium of the Dobunni (Cirencester) on the basis of an artifact recovered there referring to Lucius Septimius, a provincial rector; places Flavia north of Maxima, with its capital placed at Lindum Colonia (Lincoln) to match one emendation of the bishops list from Arles;[d] and places Secunda in the north with its capital at Eboracum (York). Valentia is placed variously in northern Wales around Deva (Chester); beside Hadrian's Wall around Luguvalium (Carlisle); and between the walls along Dere Street.

 

4th century

Emperor Constantius returned to Britain in 306, despite his poor health, with an army aiming to invade northern Britain, the provincial defences having been rebuilt in the preceding years. Little is known of his campaigns with scant archaeological evidence, but fragmentary historical sources suggest he reached the far north of Britain and won a major battle in early summer before returning south. His son Constantine (later Constantine the Great) spent a year in northern Britain at his father's side, campaigning against the Picts beyond Hadrian's Wall in the summer and autumn. Constantius died in York in July 306 with his son at his side. Constantine then successfully used Britain as the starting point of his march to the imperial throne, unlike the earlier usurper, Albinus.

 

In the middle of the century, the province was loyal for a few years to the usurper Magnentius, who succeeded Constans following the latter's death. After the defeat and death of Magnentius in the Battle of Mons Seleucus in 353, Constantius II dispatched his chief imperial notary Paulus Catena to Britain to hunt down Magnentius's supporters. The investigation deteriorated into a witch-hunt, which forced the vicarius Flavius Martinus to intervene. When Paulus retaliated by accusing Martinus of treason, the vicarius attacked Paulus with a sword, with the aim of assassinating him, but in the end he committed suicide.

 

As the 4th century progressed, there were increasing attacks from the Saxons in the east and the Scoti (Irish) in the west. A series of forts had been built, starting around 280, to defend the coasts, but these preparations were not enough when, in 367, a general assault of Saxons, Picts, Scoti and Attacotti, combined with apparent dissension in the garrison on Hadrian's Wall, left Roman Britain prostrate. The invaders overwhelmed the entire western and northern regions of Britannia and the cities were sacked. This crisis, sometimes called the Barbarian Conspiracy or the Great Conspiracy, was settled by Count Theodosius from 368 with a string of military and civil reforms. Theodosius crossed from Bononia (Boulogne-sur-Mer) and marched on Londinium where he began to deal with the invaders and made his base.[ An amnesty was promised to deserters which enabled Theodosius to regarrison abandoned forts. By the end of the year Hadrian's Wall was retaken and order returned. Considerable reorganization was undertaken in Britain, including the creation of a new province named Valentia, probably to better address the state of the far north. A new Dux Britanniarum was appointed, Dulcitius, with Civilis to head a new civilian administration.

 

Another imperial usurper, Magnus Maximus, raised the standard of revolt at Segontium (Caernarfon) in north Wales in 383, and crossed the English Channel. Maximus held much of the western empire, and fought a successful campaign against the Picts and Scots around 384. His continental exploits required troops from Britain, and it appears that forts at Chester and elsewhere were abandoned in this period, triggering raids and settlement in north Wales by the Irish. His rule was ended in 388, but not all the British troops may have returned: the Empire's military resources were stretched to the limit along the Rhine and Danube. Around 396 there were more barbarian incursions into Britain. Stilicho led a punitive expedition. It seems peace was restored by 399, and it is likely that no further garrisoning was ordered; by 401 more troops were withdrawn, to assist in the war against Alaric I.

 

End of Roman rule

The traditional view of historians, informed by the work of Michael Rostovtzeff, was of a widespread economic decline at the beginning of the 5th century. Consistent archaeological evidence has told another story, and the accepted view is undergoing re-evaluation. Some features are agreed: more opulent but fewer urban houses, an end to new public building and some abandonment of existing ones, with the exception of defensive structures, and the widespread formation of "dark earth" deposits indicating increased horticulture within urban precincts. Turning over the basilica at Silchester to industrial uses in the late 3rd century, doubtless officially condoned, marks an early stage in the de-urbanisation of Roman Britain.

 

The abandonment of some sites is now believed to be later than had been thought. Many buildings changed use but were not destroyed. There was a growing number of barbarian attacks, but these targeted vulnerable rural settlements rather than towns. Some villas such as Chedworth, Great Casterton in Rutland and Hucclecote in Gloucestershire had new mosaic floors laid around this time, suggesting that economic problems may have been limited and patchy. Many suffered some decay before being abandoned in the 5th century; the story of Saint Patrick indicates that villas were still occupied until at least 430. Exceptionally, new buildings were still going up in this period in Verulamium and Cirencester. Some urban centres, for example Canterbury, Cirencester, Wroxeter, Winchester and Gloucester, remained active during the 5th and 6th centuries, surrounded by large farming estates.

 

Urban life had generally grown less intense by the fourth quarter of the 4th century, and coins minted between 378 and 388 are very rare, indicating a likely combination of economic decline, diminishing numbers of troops, problems with the payment of soldiers and officials or with unstable conditions during the usurpation of Magnus Maximus 383–87. Coinage circulation increased during the 390s, but never attained the levels of earlier decades. Copper coins are very rare after 402, though minted silver and gold coins from hoards indicate they were still present in the province even if they were not being spent. By 407 there were very few new Roman coins going into circulation, and by 430 it is likely that coinage as a medium of exchange had been abandoned. Mass-produced wheel thrown pottery ended at approximately the same time; the rich continued to use metal and glass vessels, while the poor made do with humble "grey ware" or resorted to leather or wooden containers.

 

Sub-Roman Britain

Towards the end of the 4th century Roman rule in Britain came under increasing pressure from barbarian attacks. Apparently, there were not enough troops to mount an effective defence. After elevating two disappointing usurpers, the army chose a soldier, Constantine III, to become emperor in 407. He crossed to Gaul but was defeated by Honorius; it is unclear how many troops remained or ever returned, or whether a commander-in-chief in Britain was ever reappointed. A Saxon incursion in 408 was apparently repelled by the Britons, and in 409 Zosimus records that the natives expelled the Roman civilian administration. Zosimus may be referring to the Bacaudic rebellion of the Breton inhabitants of Armorica since he describes how, in the aftermath of the revolt, all of Armorica and the rest of Gaul followed the example of the Brettaniai. A letter from Emperor Honorius in 410 has traditionally been seen as rejecting a British appeal for help, but it may have been addressed to Bruttium or Bologna. With the imperial layers of the military and civil government gone, administration and justice fell to municipal authorities, and local warlords gradually emerged all over Britain, still utilizing Romano-British ideals and conventions. Historian Stuart Laycock has investigated this process and emphasised elements of continuity from the British tribes in the pre-Roman and Roman periods, through to the native post-Roman kingdoms.

 

In British tradition, pagan Saxons were invited by Vortigern to assist in fighting the Picts, Scoti, and Déisi. (Germanic migration into Roman Britannia may have begun much earlier. There is recorded evidence, for example, of Germanic auxiliaries supporting the legions in Britain in the 1st and 2nd centuries.) The new arrivals rebelled, plunging the country into a series of wars that eventually led to the Saxon occupation of Lowland Britain by 600. Around this time, many Britons fled to Brittany (hence its name), Galicia and probably Ireland. A significant date in sub-Roman Britain is the Groans of the Britons, an unanswered appeal to Aetius, leading general of the western Empire, for assistance against Saxon invasion in 446. Another is the Battle of Deorham in 577, after which the significant cities of Bath, Cirencester and Gloucester fell and the Saxons reached the western sea.

 

Historians generally reject the historicity of King Arthur, who is supposed to have resisted the Anglo-Saxon conquest according to later medieval legends.

 

Trade

During the Roman period Britain's continental trade was principally directed across the Southern North Sea and Eastern Channel, focusing on the narrow Strait of Dover, with more limited links via the Atlantic seaways. The most important British ports were London and Richborough, whilst the continental ports most heavily engaged in trade with Britain were Boulogne and the sites of Domburg and Colijnsplaat at the mouth of the river Scheldt. During the Late Roman period it is likely that the shore forts played some role in continental trade alongside their defensive functions.

 

Exports to Britain included: coin; pottery, particularly red-gloss terra sigillata (samian ware) from southern, central and eastern Gaul, as well as various other wares from Gaul and the Rhine provinces; olive oil from southern Spain in amphorae; wine from Gaul in amphorae and barrels; salted fish products from the western Mediterranean and Brittany in barrels and amphorae; preserved olives from southern Spain in amphorae; lava quern-stones from Mayen on the middle Rhine; glass; and some agricultural products. Britain's exports are harder to detect archaeologically, but will have included metals, such as silver and gold and some lead, iron and copper. Other exports probably included agricultural products, oysters and salt, whilst large quantities of coin would have been re-exported back to the continent as well.

 

These products moved as a result of private trade and also through payments and contracts established by the Roman state to support its military forces and officials on the island, as well as through state taxation and extraction of resources. Up until the mid-3rd century, the Roman state's payments appear to have been unbalanced, with far more products sent to Britain, to support its large military force (which had reached c. 53,000 by the mid-2nd century), than were extracted from the island.

 

It has been argued that Roman Britain's continental trade peaked in the late 1st century AD and thereafter declined as a result of an increasing reliance on local products by the population of Britain, caused by economic development on the island and by the Roman state's desire to save money by shifting away from expensive long-distance imports. Evidence has been outlined that suggests that the principal decline in Roman Britain's continental trade may have occurred in the late 2nd century AD, from c. 165 AD onwards. This has been linked to the economic impact of contemporary Empire-wide crises: the Antonine Plague and the Marcomannic Wars.

 

From the mid-3rd century onwards, Britain no longer received such a wide range and extensive quantity of foreign imports as it did during the earlier part of the Roman period; vast quantities of coin from continental mints reached the island, whilst there is historical evidence for the export of large amounts of British grain to the continent during the mid-4th century. During the latter part of the Roman period British agricultural products, paid for by both the Roman state and by private consumers, clearly played an important role in supporting the military garrisons and urban centres of the northwestern continental Empire. This came about as a result of the rapid decline in the size of the British garrison from the mid-3rd century onwards (thus freeing up more goods for export), and because of 'Germanic' incursions across the Rhine, which appear to have reduced rural settlement and agricultural output in northern Gaul.

 

Economy

Mineral extraction sites such as the Dolaucothi gold mine were probably first worked by the Roman army from c. 75, and at some later stage passed to civilian operators. The mine developed as a series of opencast workings, mainly by the use of hydraulic mining methods. They are described by Pliny the Elder in his Natural History in great detail. Essentially, water supplied by aqueducts was used to prospect for ore veins by stripping away soil to reveal the bedrock. If veins were present, they were attacked using fire-setting and the ore removed for comminution. The dust was washed in a small stream of water and the heavy gold dust and gold nuggets collected in riffles. The diagram at right shows how Dolaucothi developed from c. 75 through to the 1st century. When opencast work was no longer feasible, tunnels were driven to follow the veins. The evidence from the site shows advanced technology probably under the control of army engineers.

 

The Wealden ironworking zone, the lead and silver mines of the Mendip Hills and the tin mines of Cornwall seem to have been private enterprises leased from the government for a fee. Mining had long been practised in Britain (see Grimes Graves), but the Romans introduced new technical knowledge and large-scale industrial production to revolutionise the industry. It included hydraulic mining to prospect for ore by removing overburden as well as work alluvial deposits. The water needed for such large-scale operations was supplied by one or more aqueducts, those surviving at Dolaucothi being especially impressive. Many prospecting areas were in dangerous, upland country, and, although mineral exploitation was presumably one of the main reasons for the Roman invasion, it had to wait until these areas were subdued.

 

By the 3rd and 4th centuries, small towns could often be found near villas. In these towns, villa owners and small-scale farmers could obtain specialist tools. Lowland Britain in the 4th century was agriculturally prosperous enough to export grain to the continent. This prosperity lay behind the blossoming of villa building and decoration that occurred between AD 300 and 350.

 

Britain's cities also consumed Roman-style pottery and other goods, and were centres through which goods could be distributed elsewhere. At Wroxeter in Shropshire, stock smashed into a gutter during a 2nd-century fire reveals that Gaulish samian ware was being sold alongside mixing bowls from the Mancetter-Hartshill industry of the West Midlands. Roman designs were most popular, but rural craftsmen still produced items derived from the Iron Age La Tène artistic traditions. Britain was home to much gold, which attracted Roman invaders. By the 3rd century, Britain's economy was diverse and well established, with commerce extending into the non-Romanised north.

 

Government

Further information: Governors of Roman Britain, Roman client kingdoms in Britain, and Roman auxiliaries in Britain

Under the Roman Empire, administration of peaceful provinces was ultimately the remit of the Senate, but those, like Britain, that required permanent garrisons, were placed under the Emperor's control. In practice imperial provinces were run by resident governors who were members of the Senate and had held the consulship. These men were carefully selected, often having strong records of military success and administrative ability. In Britain, a governor's role was primarily military, but numerous other tasks were also his responsibility, such as maintaining diplomatic relations with local client kings, building roads, ensuring the public courier system functioned, supervising the civitates and acting as a judge in important legal cases. When not campaigning, he would travel the province hearing complaints and recruiting new troops.

 

To assist him in legal matters he had an adviser, the legatus juridicus, and those in Britain appear to have been distinguished lawyers perhaps because of the challenge of incorporating tribes into the imperial system and devising a workable method of taxing them. Financial administration was dealt with by a procurator with junior posts for each tax-raising power. Each legion in Britain had a commander who answered to the governor and, in time of war, probably directly ruled troublesome districts. Each of these commands carried a tour of duty of two to three years in different provinces. Below these posts was a network of administrative managers covering intelligence gathering, sending reports to Rome, organising military supplies and dealing with prisoners. A staff of seconded soldiers provided clerical services.

 

Colchester was probably the earliest capital of Roman Britain, but it was soon eclipsed by London with its strong mercantile connections. The different forms of municipal organisation in Britannia were known as civitas (which were subdivided, amongst other forms, into colonies such as York, Colchester, Gloucester and Lincoln and municipalities such as Verulamium), and were each governed by a senate of local landowners, whether Brythonic or Roman, who elected magistrates concerning judicial and civic affairs. The various civitates sent representatives to a yearly provincial council in order to profess loyalty to the Roman state, to send direct petitions to the Emperor in times of extraordinary need, and to worship the imperial cult.

 

Demographics

Roman Britain had an estimated population between 2.8 million and 3 million people at the end of the second century. At the end of the fourth century, it had an estimated population of 3.6 million people, of whom 125,000 consisted of the Roman army and their families and dependents.[80] The urban population of Roman Britain was about 240,000 people at the end of the fourth century. The capital city of Londinium is estimated to have had a population of about 60,000 people. Londinium was an ethnically diverse city with inhabitants from the Roman Empire, including natives of Britannia, continental Europe, the Middle East, and North Africa. There was also cultural diversity in other Roman-British towns, which were sustained by considerable migration, from Britannia and other Roman territories, including continental Europe, Roman Syria, the Eastern Mediterranean and North Africa. In a study conducted in 2012, around 45 percent of sites investigated dating from the Roman period had at least one individual of North African origin.

 

Town and country

During their occupation of Britain the Romans founded a number of important settlements, many of which survive. The towns suffered attrition in the later 4th century, when public building ceased and some were abandoned to private uses. Place names survived the deurbanised Sub-Roman and early Anglo-Saxon periods, and historiography has been at pains to signal the expected survivals, but archaeology shows that a bare handful of Roman towns were continuously occupied. According to S.T. Loseby, the very idea of a town as a centre of power and administration was reintroduced to England by the Roman Christianising mission to Canterbury, and its urban revival was delayed to the 10th century.

 

Roman towns can be broadly grouped in two categories. Civitates, "public towns" were formally laid out on a grid plan, and their role in imperial administration occasioned the construction of public buildings. The much more numerous category of vici, "small towns" grew on informal plans, often round a camp or at a ford or crossroads; some were not small, others were scarcely urban, some not even defended by a wall, the characteristic feature of a place of any importance.

 

Cities and towns which have Roman origins, or were extensively developed by them are listed with their Latin names in brackets; civitates are marked C

 

Alcester (Alauna)

Alchester

Aldborough, North Yorkshire (Isurium Brigantum) C

Bath (Aquae Sulis) C

Brough (Petuaria) C

Buxton (Aquae Arnemetiae)

Caerleon (Isca Augusta) C

Caernarfon (Segontium) C

Caerwent (Venta Silurum) C

Caister-on-Sea C

Canterbury (Durovernum Cantiacorum) C

Carlisle (Luguvalium) C

Carmarthen (Moridunum) C

Chelmsford (Caesaromagus)

Chester (Deva Victrix) C

Chester-le-Street (Concangis)

Chichester (Noviomagus Reginorum) C

Cirencester (Corinium) C

Colchester (Camulodunum) C

Corbridge (Coria) C

Dorchester (Durnovaria) C

Dover (Portus Dubris)

Exeter (Isca Dumnoniorum) C

Gloucester (Glevum) C

Great Chesterford (the name of this vicus is unknown)

Ilchester (Lindinis) C

Leicester (Ratae Corieltauvorum) C

Lincoln (Lindum Colonia) C

London (Londinium) C

Manchester (Mamucium) C

Newcastle upon Tyne (Pons Aelius)

Northwich (Condate)

St Albans (Verulamium) C

Silchester (Calleva Atrebatum) C

Towcester (Lactodurum)

Whitchurch (Mediolanum) C

Winchester (Venta Belgarum) C

Wroxeter (Viroconium Cornoviorum) C

York (Eboracum) C

 

Religion

The druids, the Celtic priestly caste who were believed to originate in Britain, were outlawed by Claudius, and in 61 they vainly defended their sacred groves from destruction by the Romans on the island of Mona (Anglesey). Under Roman rule the Britons continued to worship native Celtic deities, such as Ancasta, but often conflated with their Roman equivalents, like Mars Rigonemetos at Nettleham.

 

The degree to which earlier native beliefs survived is difficult to gauge precisely. Certain European ritual traits such as the significance of the number 3, the importance of the head and of water sources such as springs remain in the archaeological record, but the differences in the votive offerings made at the baths at Bath, Somerset, before and after the Roman conquest suggest that continuity was only partial. Worship of the Roman emperor is widely recorded, especially at military sites. The founding of a Roman temple to Claudius at Camulodunum was one of the impositions that led to the revolt of Boudica. By the 3rd century, Pagans Hill Roman Temple in Somerset was able to exist peaceably and it did so into the 5th century.

 

Pagan religious practices were supported by priests, represented in Britain by votive deposits of priestly regalia such as chain crowns from West Stow and Willingham Fen.

 

Eastern cults such as Mithraism also grew in popularity towards the end of the occupation. The London Mithraeum is one example of the popularity of mystery religions among the soldiery. Temples to Mithras also exist in military contexts at Vindobala on Hadrian's Wall (the Rudchester Mithraeum) and at Segontium in Roman Wales (the Caernarfon Mithraeum).

 

Christianity

It is not clear when or how Christianity came to Britain. A 2nd-century "word square" has been discovered in Mamucium, the Roman settlement of Manchester. It consists of an anagram of PATER NOSTER carved on a piece of amphora. There has been discussion by academics whether the "word square" is a Christian artefact, but if it is, it is one of the earliest examples of early Christianity in Britain. The earliest confirmed written evidence for Christianity in Britain is a statement by Tertullian, c. 200 AD, in which he described "all the limits of the Spains, and the diverse nations of the Gauls, and the haunts of the Britons, inaccessible to the Romans, but subjugated to Christ". Archaeological evidence for Christian communities begins to appear in the 3rd and 4th centuries. Small timber churches are suggested at Lincoln and Silchester and baptismal fonts have been found at Icklingham and the Saxon Shore Fort at Richborough. The Icklingham font is made of lead, and visible in the British Museum. A Roman Christian graveyard exists at the same site in Icklingham. A possible Roman 4th-century church and associated burial ground was also discovered at Butt Road on the south-west outskirts of Colchester during the construction of the new police station there, overlying an earlier pagan cemetery. The Water Newton Treasure is a hoard of Christian silver church plate from the early 4th century and the Roman villas at Lullingstone and Hinton St Mary contained Christian wall paintings and mosaics respectively. A large 4th-century cemetery at Poundbury with its east–west oriented burials and lack of grave goods has been interpreted as an early Christian burial ground, although such burial rites were also becoming increasingly common in pagan contexts during the period.

 

The Church in Britain seems to have developed the customary diocesan system, as evidenced from the records of the Council of Arles in Gaul in 314: represented at the council were bishops from thirty-five sees from Europe and North Africa, including three bishops from Britain, Eborius of York, Restitutus of London, and Adelphius, possibly a bishop of Lincoln. No other early sees are documented, and the material remains of early church structures are far to seek. The existence of a church in the forum courtyard of Lincoln and the martyrium of Saint Alban on the outskirts of Roman Verulamium are exceptional. Alban, the first British Christian martyr and by far the most prominent, is believed to have died in the early 4th century (some date him in the middle 3rd century), followed by Saints Julius and Aaron of Isca Augusta. Christianity was legalised in the Roman Empire by Constantine I in 313. Theodosius I made Christianity the state religion of the empire in 391, and by the 5th century it was well established. One belief labelled a heresy by the church authorities — Pelagianism — was originated by a British monk teaching in Rome: Pelagius lived c. 354 to c. 420/440.

 

A letter found on a lead tablet in Bath, Somerset, datable to c. 363, had been widely publicised as documentary evidence regarding the state of Christianity in Britai

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厳しい修行を経て、自らの体をミイラ化し、仏として崇拝されるようになった僧侶のことです。特に真言宗系の寺院で多く見られ、家族葬のファミーユによると、飢饉や疫病で苦しむ人々を救うために、自ら命を捧げたと言われています。

 

Are you an "immediate Buddha"?

 

It is a monk who became worshiped as a Buddha after rigorous training with his body turned into a mummy.

 

It is especially common in Shingon sect temples, and according to the family funeral Famille, it is said that he sacrificed his life to save people suffering from famine and plague.

Senior Airman Sawyer Ezzell, a crew chief for the 123rd Maintenance Group, 123rd Airlift Wing, services the liquid oxygen system of a Kentucky Air National Guard C-130 Hercules aircraft at Aviano Air Base, Italy, on May 15, 2019, as part of Immediate Response 2019. The annual exercise is focused on allied airborne forces’ ability to quickly and effectively respond to crisis situations as an interoperable, multinational team. (U.S. Air National Guard photo by Staff Sgt. Joshua Horton)

 

The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.

 

www.emergencyrooms.org

 

Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.

Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.

An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.

From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.

 

The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.

 

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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa

venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...

 

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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST

 

www.emergencyrooms.org/biennalist.html

 

Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )

 

please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk

www.colonel.dk

 

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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni

 

Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,

Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,

Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,

Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore

Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe

the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay

 

Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.

 

please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk

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lists of artists participating at the Venice Biennale

 

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

 

Andorra

Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer

Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De Grandis

Venue: Arsenale di Venezia, Nappa 90

 

Angola

Artist: Edson Chagas

Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Venue: Palazzo Cini, San Vio, Dorsoduro 864

 

Argentina

Artist: Nicola Costantino

Commissioner: Magdalena Faillace

Curator: Fernando Farina

Venue: Pavilion at Arsenale

 

Armenia

Artist: Ararat Sarkissian

Commissioner: Ministry of Culture

Curator: Arman Grogoryan

Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.

 

Australia

Artist: Simryn Gill

Commissioner: Simon Mordant

Deputy Commissioner: Penelope Seidler

Curator: Catherine de Zegher

Venue: Pavilion at Giardini

 

Austria

Artist: Mathias Poledna

Commissioner/Curator: Jasper Sharp

Venue: Pavilion at Giardini

 

Azerbaijan

Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov

Commissioner: Heydar Aliyev Foundation

Curator: Hervé Mikaeloff

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

Bahamas

Artist: Tavares Strachan

Commissioner: Nalini Bethel, Ministry of Tourism

Curators: Jean Crutchfield, Robert Hobbs

Deputy Curator: Stamatina Gregory

Venue: Arsenale, Tese Cinquecentesche

 

Bangladesh

Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School

Commissioner/Curator: Francesco Elisei.

Curator: Fabio Anselmi.

Venue: Officina delle Zattere, Dorsoduro 947

 

Bahrain

Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia

Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture

Curator: Melissa Enders-Bhatiaa

Venue: Pavilion at Arsenale

 

Belgium

Artist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture

Curator: J. M. Coetzee

Deputy Curator: Philippe Van Cauteren

Venue: Pavilion at Giardini

 

Bosnia and Herzegovina

Artist: Mladen Miljanovic

Commissioners: Sarita Vujković, Irfan Hošić

Venue: Palazzo Malipiero, San Marco

 

Brazil

Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo

Curator: Luis Pérez-Oramas

Deputy Curator: André Severo

Venue: Pavilion at Giardini

 

Canada

Artist: Shary Boyle

Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada

Curator: Josée Drouin-Brisebois

Venue: Pavilion at Giardini

 

Central Asia

Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

Venue: Palazzo Malipiero, San Marco 3199-3201

 

Chile

Artist: Alfredo Jaar

Commissioner: CNCA, National Council of Culture and the Arts

Curator: Madeleine Grynsztejn

Venue: Pavilion at Arsenale

 

China

Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG)

Curator: Wang Chunchen

Venue: Pavilion at Arsenale

 

Costa Rica

Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco Elisei

Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Venue: Ca’ Bonvicini, Santa Croce

 

Croatia

Artist: Kata Mijatovic

Commissioner/Curator: Branko Franceschi.

Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919

 

Cuba

Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone

Commissioner: Miria Vicini

Curators: Jorge Fernández Torres, Giacomo Zaza

Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17

 

Cyprus

Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister

Commissioner: Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou

Curator: Raimundas Malašauskas

 

Czech Republic & Slovak Republic

Artists: Petra Feriancova, Zbynek Baladran

Commissioner: Monika Palcova

Curator: Marek Pokorny

Venue: Pavilion at Giardini

 

Denmark

Artist: Jesper Just in collaboration with Project Projects

Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh

Curator: Lotte S. Lederballe Pedersen

Venue: Pavilion at Giardini

 

Egypt

Artists: Mohamed Banawy, Khaled Zaki

Commissioner: Ministry of Culture

Venue: Pavilion at Giardini

 

Estonia

Artist: Dénes Farkas

Commissioner: Maria Arusoo

Curator: Adam Budak

Venue: Palazzo Malipiero, San Marco 3199, San Samuele

 

Finland

Artist: Antti Laitinen

Commissioner: Raija Koli

Curators: Marko Karo, Mika Elo, Harri Laakso

Venue: Pavilion at Giardini

 

France

Artist: Anri Sala

Commissioner: Institut français

Curator: Christine Macel

Venue: Pavilion of Germany at the Giardini

 

Georgia

Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze

Commissioner: Marine Mizandari, First Deputy Minister of Culture

Curator: Joanna Warsza

Venue: Pavilion at Arsenale

 

Germany

Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh

Commissioner/Curator: Susanne Gaensheimer

Venue: Pavilion of France at Giardini

 

Great Britain

Artist: Jeremy Deller

Commissioner: Andrea Rose

Curator: Emma Gifford-Mead

Venue: Pavilion at Giardini

 

Greece

Artist: Stefanos Tsivopoulos

Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports

Curator: Syrago Tsiara

Venue: Pavilion at Giardini

 

Holy See

Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro

Curator: Antonio Paolucci

Venue: Pavilion at Arsenale

 

Hungary

Artist: Zsolt Asztalos

Commissioner: Kunstahalle (Art Hall)

Curator: Gabriella Uhl

Venue: Pavilion at Giardini

 

Iceland

Artist: Katrín Sigurðardóttir

Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa

Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596

 

Indonesia

Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Commissioner: Soedarmadji JH Damais

Deputy Commissioner: Achille Bonito Oliva

Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

Venue: Pavilion at Arsenale

 

Iraq

Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)

Deputy Commissioner: Vittorio Urbani

Curator: Jonathan Watkins.

Venue: Ca' Dandolo, San Tomà, Venezia

 

Ireland

Artist: Richard Mosse

Commissioner, Curator: Anna O’Sullivan

Venue: Fondaco Marcello, San Marco 3415

 

Israel

Artist: Gilad Ratman

Commissioners: Arad Turgeman, Michael Gov

Curator: Sergio Edelstein

Venue: Pavilion at Giardini

 

Italy

Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa

Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi

Venue: Italian Pavilion, Tese delle Vergini at Arsenale

 

Ivory Coast

Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis

Curator: Yacouba Konaté

Venue: Spiazzi, Arsenale, Castello 3865

 

Japan

Artist: Koki Tanaka

Commissioner: The Japan Foundation

Curator: Mika Kuraya

Venue: Pavilion at Giardini

 

Kenya

Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti

Commissioner: Paola Poponi

Curators: Sandro Orlandi, Paola Poponi

Venue: Caserma Cornoldi, Castello 4142 and San Servolo island

 

Korea (Republic of)

Artist: Kimsooja

Commissioner/Curator: Seungduk Kim

Deputy Commissioner: Kyungyun Ho

Venue: Pavilion at Giardini

 

Kosovo

Artist: Petrit Halilaj

Commissioner: Erzen Shkololli

Curator: Kathrin Rhomberg

Venue: Pavilion at Arsenale

 

Kuwait

Artists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)

Curator: Ala Younis

Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova

 

Latin America

Istituto Italo-Latino Americano

Artists:

Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.

Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski

 

Commissioner: Sylvia Irrazábal

Curator: Alfons Hug

Deputy Curator: Paz Guevara

Venue: Pavilion at Arsenale

 

Latvia

Artists: Kaspars Podnieks, Krišs Salmanis

Commissioners: Zane Culkstena, Zane Onckule

Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

Venue: Pavilion at Arsenale

 

Lebanon

Artist: Akram Zaatari

Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)

Curators: Sam Bardaouil, Till Fellrath

Venue: Pavilion at Arsenale

 

Lithuania

Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister

Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute

Curator: Raimundas Malašauskas

Venue: Palasport Arsenale, Calle San Biagio 2132, Castello

 

Luxembourg

Artist: Catherine Lorent

Commissioner: Clément Minighetti

Curator: Anna Loporcaro

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

Macedonia

Artist: Elpida Hadzi-Vasileva

Commissioner: Halide Paloshi

Curator: Ana Frangovska

Venue: Scuola dei Laneri, Santa Croce 113/A

 

Maldives

Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler

Commissioner: Ministry of Tourism, Arts & Culture

Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled

Ramadan)

Deputy Curators: Maren Richter, Camilla Boemio

Venue: Gervasuti Foundation, Via Garibaldi

 

Mexico

Artist: Ariel Guzik

Commissioner: Gastón Ramírez Feltrín

Curator: Itala Schmelz

Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo

 

Montenegro

Artist: Irena Lagator Pejovic

Commissioner/Curator: Nataša Nikcevic

Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor

 

The Netherlands

Artist: Mark Manders

Commissioner: Mondriaan Fund

Curator: Lorenzo Benedetti

Venue: Pavilion at Giardini

 

New Zealand

Artist: Bill Culbert

Commissioner: Jenny Harper

Deputy Commissioner: Heather Galbraith

Curator: Justin Paton

Venue: Santa Maria della Pietà, Calle della Pietà, Castello

 

Nordic Pavilion (Finland, Norway)

 

Finland:

Artist: Terike Haapoja

Commissioner: Raija Koli

Curators: Marko Karo, Mika Elo, Harri Laakso

Venue: Pavilion at Giardini

 

Norway:

Artists: Edvard Munch, Lene Berg

Commissioner: Office for Contemporary Art Norway (OCA)

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa

 

Paraguay

Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi

Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck

Curator: Osvaldo González Real

Venue: Palazzo Carminati, Santa Croce 1882

 

Poland

Artist: Konrad Smolenski

Commissioner: Hanna Wróblewska

Curators: Agnieszka Pindera, Daniel Muzyczuk

Venue: Pavilion at Giardini

 

Portugal

Artist: Joana Vasconcelos

Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal

Curator: Miguel Amado

Venue: Riva dei Partigiani

 

Romania

Artists: Maria Alexandra Pirici, Manuel Pelmus

Commissioner: Monica Morariu

Deputy Commissioner: Alexandru Damian

Curator: Raluca Voinea

Venue: Pavilion at Giardini

 

Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan

Commissioner: Monica Morariu

Deputy Commissioner: Alexandru Damian

Curator: Anca Mihulet

Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214

 

Russia

Artist: Vadim Zakharov

Commissioner: Stella Kasaeva

Curator: Udo Kittelmann

Venue: Pavilion at Giardini

 

Serbia

Artists: Vladimir Peric, Miloš Tomic

Commissioner: Maja Ciric

Venue: Pavilion at Giardini

 

Singapore

Cancelled the participation

 

Slovenia

Artist: Jasmina Cibic

Commissioner: Blaž Peršin

Curator: Tevž Logar

Venue: Galleria A+A, San Marco 3073

 

South Africa

Contemporary South African Art and the Archive

Commissioner: Saul Molobi

Curator: Brenton Maart

Venue: Pavilion at Arsenale

 

Spain

Artist: Lara Almarcegui

Commissioner/Curator: Octavio Zaya

Venue: Pavilion at Giardini

 

Switzerland

Artist: Valentin Carron

Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo

Curator: Giovanni Carmine

Venue: Pavilion at Giardini

 

Syrian Arab Republic

Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti

Curator: Duccio Trombadori

Venue: Isola di San Servolo

 

Taiwan

Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU

Curator: Esther Lu

Organizer: Taipei Fine Arts Museum

Venue: Palazzo delle Prigioni, Castello 4209, San Marco

 

Thailand

Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Commissioner: Office of Contemporary Art and Culture, Ministry of Culture

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Venue: Santa Croce 556

 

Turkey

Artist: Ali Kazma

Commissioner: Istanbul Foundation for Culture and Arts

Curator: Emre Baykal

Venue: Pavilion at Arsenale

 

Tuvalu

Artist: Vincent J.F.Huang

Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour

Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih

Venue: Forte Marghera, via Forte Marghera, 30

 

Ukraine

Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna

Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano

 

United Arab Emirates

Artist: Mohammed Kazem

Commissioner: Dr. Lamees Hamdan

Curator: Reem Fadda

Venue: Pavilion at Arsenale, Sale d'Armi

 

Uruguay

Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale

Curators: Carlos Capelán, Verónica Cordeiro

Venue: Pavilion at Giardini

 

USA

Artist: Sarah Sze

Commissioners/Curators: Carey Lovelace, Holly Block

Venue: Pavilion at Giardini

 

Venezuela

Colectivo de Artistas Urbanos Venezolanos

Commissioner: Edgar Ernesto González

Curator: Juan Calzadilla

Venue: Pavilion at Giardini

 

Zimbabwe

Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota

Commissioner: Doreen Sibanda

Curator: Raphael Chikukwa

Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701

 

---

  

Avoid The Distractions...

And Focus On The Close At Hand.

Immediate focus on the horses head

"Winnie"

FOR IMMEDIATE RELEASE

Friday 12th September 2008

 

Contact: Bronwen Hyde

Email: propaganda@bronwenhyde.com

  

**Press Release**

 

She Took Her Own Picture

--- 44 female artists from across the world have come together online to self-publish a collection of photographic self portraits---

 

The group of women, most whom have never met each other, have collaborated through a photo-sharing website where they share their work online, to produce a book of their self-portraits.

 

She Took Her Own Picture: Selections from the Female Self Portrait Artists' Support Group will be available this Friday, 12th September 2008. The unique venture comes as a first for women's photographic self-portraiture today.

 

Self-publishing the book through Blurb.com, the artists hope the book will serve as a prototype to target suitable art publishers and make the book available on a wider basis, with the aim of donating a percentage of the profits to women's causes.

 

The participants, both amateurs and professionals, range in age and origin and hail from North and Latin America, the UK and Ireland, Australia, the Caribbean, Oceania, and all over Europe. These 44 women however, are only a small percentage of over 1000 female self-portrait artists who congregate in the Female Self Portrait Artists' Support Group, a group on Flickr started by Laurel Fiszer from Ireland, where the idea for a book of work first began. The group was set up to provide a "collective of women photographers who strengthen their friendship by sharing inspired, artistic, and well-executed photographs".

 

"Laurel's primary goal," says Natalie J. McCarthy, writer of the introduction to the book, "was to create a place online where female photographers could share self-portraits and receive constructive criticism in a supportive, encouraging, and non-judgmental environment.

 

"She noticed that female self-portrait photographers were often seen as narcissistic princesses who had to defend their work against an onslaught of criticism — most of which was not directed toward the photograph's technical merits."

 

The group argues that the female self-portrait has proved to offer women artists a powerful opportunity: the chance to categorically refute antiquated notions of the woman's role as an art object, and to create a new, empowered vision of the female model. She Took Her Own Picture, whilst constructed upon this feminist foundation, also presents a collection of first-rate photography.

 

"At the end of the day", says McCarthy, "they bring you into their circle of friends and share their art with you".

  

For more information, please visit:

 

• The Book: 'She Took Her Own Picture'

 

• The Female Self Portrait Artists' Support Group

FOR IMMEDIATE RELEASE - Group Art Show

 

Post-It Show 4 at GR2, December 5, 2009 - January 13, 2010

Reception: Saturday, December 5, 6:30 pm - 10:00 pm

 

GR2

2062 Sawtelle Blvd.

Los Angeles, CA 90025

gr2.net

(310) 445 - 9276

 

Giant Robot is proud to present Post-It Show 4 at GR2. Curated by artists Mark Todd and Esther Pearl Watson, the show is slated to feature nearly 2,000 works by noted contributors for only $20. These pieces will be on standard-sized 3" x 3" Post-It ® notes. (Larger sizes of 4" x 4" and 6" x 6" will cost a bit more.)

 

More than 125 artists will participate, including the following:

 

APAK!, Andrice Arp, T. Edward Bak, Scott Bakal, Gary Baseman, Drew Beckmeyer, Marc Bell, Mike Bertino, John Black, Jill Bliss, Jon Boam, Aaron Brown, Jeffrey Brown, Chris Buzelli, Brian Cairns, Lilli Carre, Christine Castro, Martin Cendreda, Katherine Chiu, Chris Cilla, Greg Clarke, Josh Cochran, Tim Cochran, Allison Cole, Jen Corace, Jennifer Daniel, Eleanor Davis, Luke Davis, Skinner Davis, Vanessa Davis, Ryan De La Hoz, Bob Dob, Doodles, Seth Drenner, Evah Fan, Korin Faught, Nina Frankel, Shannon Freshwater, Jordan Fu, Matt Furie, Nicholas Gazin, Leif Goldberg, Frieda Gossett, Katherine Guillen, Peter Hamlin, Lisa Hanawalt, Pam Henderson, Tim Hensley, Jaime Hernandez, Ryan Heshka, Paul Hornschemier, David Horvath, Mina Horvath, Patrick Hruby, Rama Hughes, Yellena James, Jeaux Janovsky, Levon Jihanian, Hellen Jo, Mark Johns, Sun Min Kim, Kinoko, Olaf LaDousse, Travis Lampe, Will Laren, Le Merde, Daniel Lim, Ben Marra, Jacob McGraw, James McShane, Brendan Monroe, Mark Murphy, Kiyoshi Nakazawa, Tom Neely, Andrew Neyer, Tru Nguyen, Anders Nilsen, Saelee Oh, Martin Ontiveros, Christina Paulos, Carlos Ramos, Luke Ramsey, Ron Rege, Jesse Reklaw, Joe Rocco, Zachary Rossman, Johnny Ryan, Souther Salazar, Brooks Salzwadel, Scrappers, Chris von Szombathy, Raymond Sohn, Zack Soto, Bwana Spoons, STO, JJ Stratford, Deth P. Sun, Shirl Sun, Team Macho, Daria Tessler, Peter Thompson, Jeremy Tinder, Aiyana Udesen, Steven Weissman, Gilian Wilson, Ben Wolfinsohn, Connie Wong, Jamie Zollars, and MANY MORE

 

A reception for Todd, Watson, and many of the artists will be held from 6:30 - 10:00 on Saturday, December 5. For more information about the artists, the show, GR2, or Giant Robot magazine, please contact:

 

Eric Nakamura

Giant Robot Owner/Publisher

eric@giantrobot.com

(310) 479-7311

© photo by Paul Wright

 

Immediate vintage clothing shop in Brighton which attracts indie kids, punks, skins and mods.

 

Immediate Clothing

34 Sydney Street

Brighton

BN1 4EP

 

Original Youkleptein

Grand Canyon National Park News Release

Release date: Immediate

 

Contact(s): Kirby-Lynn Shedlowski

Phone number: 928-638-7958

Date: October 15, 2014

 

Grand Canyon, Arizona – A bat recently removed from an area along the Colorado River within Grand Canyon National Park has tested positive for rabies. All visitors to Grand Canyon, including those who are recreating in the backcountry and on the Colorado River, are reminded to be aware of their surroundings and be alert to potential interactions with bats or other wild animals.

 

Those individuals who are camping in the backcountry and along the river should strongly consider using a tent while sleeping to prevent any contact with bats or other wildlife. As a precautionary measure, anyone who comes into contact with a bat should notify a park employee and see a healthcare provider as soon as possible. Rabies is preventable if medical treatment (called post-exposure prophylaxis or PEP) is given following an exposure to a rabid animal, but is almost always fatal if PEP is not given prior to the development of symptoms.

 

Rabies is a serious disease that can kill both animals and humans. Humans usually get rabies through contact with an infected animal’s saliva, such as a bite or scratch. All mammals are susceptible to rabies, including bats, skunks, and foxes. In particular, rabies should be considered in animals that exhibit unusual or aggressive behavior or are not afraid of humans.

 

Grand Canyon National Park would like to remind visitors about the following things they can do to protect themselves from rabies:

 

- If you see sick or erratic behaving wildlife, do not approach or touch them. Notify a park employee or call the park’s 24-hour emergency communications center at 928-638-7805.

- In areas where pets are allowed, make sure that pets are vaccinated and kept on a leash at all times.

- Teach your children to tell you if they were bitten or scratched by an animal.

- Anyone who has had contact with a bat or other wild animal in the park should notify a park employee as soon as possible.

- Visitors are reminded to observe and appreciate wildlife from a distance.

 

Rabid bats have been documented in all 48 continental states. Cases of rabies in animals are reported in Coconino County, Arizona each year; including the two bats found positive earlier this year within Grand Canyon National Park. According to the Centers for Disease Control and Prevention (CDC), “Recent data suggest that transmission of rabies virus can occur from minor, seemingly unimportant, or unrecognized bites from bats. Human and domestic animal contact with bats should be minimized, and bats should never be handled by untrained and unvaccinated persons or be kept as pets.” Additional information can be found at www.cdc.gov/rabies/exposure/animals/bats.html.

 

Grand Canyon National Park is working with the Coconino County Public Health Services District and the National Park Service Office of Public Health and Wildlife Health Branch to protect the health and safety of visitors and wildlife in the park by testing any sick or dead wildlife.

 

Photo: Small Townsend's big-eared bat (Corynorhinus townsendii) colony, Shawn Thomas, NPS

My immediate thought this round was Valentine's Day, because Tweety is a hopeless romantic. I made two different photos, but I don't think the first one is as good and I had to photoshop the background lmfao. I tried really hard to make this like one of those cute school Valentine's day parties, but I didn't have a whole lot that I could use to set the theme.

December 30, 2009

 

FOR IMMEDIATE RELEASE – JEF AEROSOL “ALL SHOOK UP” NYC DEBUT AT AD HOC GALLERY JANUARY 29TH.

******************************************************************

For more information please contact:

Email: info@adhocart.org; Telephone: 917.602.2153; Web: www.adhocart.org

 

All Shook Up: Jef Aerosol

January 29 - February 21, 2010

Opening Reception - Friday, January 29, 2010, 6-10pm

 

Ad Hoc Art

43 Bogart Street

Brooklyn, New York 11206

(via subway take the L Train to Morgan Avenue Station)

 

******************************************************************

Ad Hoc Art presents international stencil master Jef Aerosol in New York City for “All Shook Up”, a stunning show of cultural icons by a Street Artist with 30 years in the game.

 

The show with Ad Hoc Art, a gallery widely regarded as one of Street Art’s polestars, features brand new stenciled works as well as the now-classic pieces that have made Jef Aerosol’s name itself iconic; on paper, wood, and found objects.

 

A true originator who helped spark what is now known as “Street Art” when he sprayed his first stencil series across the city of Tours, France one night in 1982, the self-taught Aerosol has continuously rocked the streets with his oversized portraits and helped define a new public art nomenclature with other French artists like Blek Le Rat, Miss Tic, and Speedy Graphito.

 

Steadily from the ’80s to the ’10s Aerosol has cut and sprayed stunning portraits of his heroes; cultural icons who stand undiminished by the hype. They connect directly with the masses and shake public opinion with humor and provocation; Strummer, Cash, Vicious, Hendrix, Bowie, Bardot, Cobain, Lennon, Smith, Jagger – all brainy agitators and vixens cut and sprayed in stark layers of black, grey and white. And each with Aerosol’s signature hot red arrows affixed nearby for exclamation.

 

In Street Art and in the gallery, Aerosol has not purely focused on those well-known personages. Among the faces you’ll find a number of self-portraits and portrayals of the more anonymous among us such as those living and working in the streets.

 

Like the best photographers, Aerosol catches the instant of truth in his portraits, and reveals a universal humanity in each subject. “In my work I love to call up my feelings and emotions to honor these modern day heroes who have fed my life with their music, art and ideas. This new show is a powerful and vivid collection of these inspirations that I am really excited to bring to New York for the first time," Jef Aerosol.

 

Three decades of getting up on walls in cities including Paris, London, Lisbon, Chicago, New York, Bejing, Venice, Amsterdam, Rome, Zurich, Berlin, Dublin, and Tokyo have given him all the “street cred” Jef Aerosol will ever need.

 

Sighted in numerous books and by authors like Tristan Manco (Stencil Graffiti, Street Logos), blogs like Wooster Collective and Brooklyn Street Art, and newspapers like The New York Times as one of the lynchpins in the stencil art movement that came to be called “street art”, Jef Aerosol’s work has become a perennial favorite of collectors. His work resides in hundreds of private collections, has exhibited in numerous galleries in Europe, the U.S. and Australia (list below), and is regularly auctioned with Bonhams (London, New-York), Artcurial (Paris), Drouot (Paris), and Dreweats (London).

 

In 2007 Aerosol published a gallery of portraits in VIP Very Important Pochoirs (éditions Alternatives, Paris, 2007).

 

Galleries where the work of Jef Aerosol has been shown include: Galerie Brugier-Rigail (Paris), Galerie Raison d'Art (Lille), Signal Gallery (London), Zozimus Gallery (Dublin), Art Partner Galerie (Brussels), Galerie Anne Vignial (Paris), Galerie Storme (Lille), Galerie Onega (Paris), Carmichael Gallery (Los Angeles), ATM Gallery (Berlin), and Famous When Dead Gallery (Melbourne).

  

The Entente Cordiale, in English, Cordial Agreement, was a series of agreements signed on 8 April 1904 between the United Kingdom and the French Republic which saw a significant improvement in Anglo-French relations. Beyond the immediate concerns of colonial expansion addressed by the agreement, the signing of the Entente Cordiale marked the end of almost a thousand years of intermittent conflict between the two states and their predecessors, and replaced the modus vivendi that had existed since the end of the Napoleonic Wars in 1815 with a more formal agreement.

 

Obverse

 

Crowned mature head of Queen Elizabeth II facing right (effigy known as the "Fourth Portrait"). The Queen wears the "Girls of Great Britain and Ireland" diamond tiara, a wedding gift from Queen Mary (Her Majesty's grandmother) in 1947 - which she also has on the Machin and the Gottwald portraits.

 

In tiny letters below the head, the artist's initials IRB (for Ian Rank-Broadley). Around the effigy is the monarch's legend and the date: ELIZABETH · II D · G · REG · F · D FIVE POUNDS. Translated from Latin: Elizabeth the Second, by the Grace of God, Queen, Defender of the Faith, followed by the value and denomination in English.

 

Reverse

 

The reverse shows the combined figures of Britannia (holding a trident) and Marianne, the female personifications of Great Britain and France respectively, with the words ENTENTE CORDIALE and the anniversary dates 1904 and 2004 around.

 

Need numismatic photography for your auctions, books, advertising or promotion? Check out our huge online gallery of numismatic images and get a quote today at HipShot photography

FOR IMMEDIATE RELEASE: Next

 

Generation Computer Key necklace

 

fully modernizes the glass tile

 

pendant.

 

Capitola Girl Jewelry announced its release of the next generation in glass tile pendants, the Silicon Gallies collection. These modernized glass tile pendants run on an 18" silver and black beaded chain, and incorporate a silver plated hook-and-eye clasp to make closure security a real snap.

 

Designed to ensure that clients remain highly satisfied, computer keys are spaced on-center to provide style, precision and accurate placement around the neck.

 

Specifications:

 

~ Upcycled laptop computer keys (black)

~ Round hand cut glass tile (Just under 2" in diameter)

~ Large sterling silver Aanraku bail

~ 18" silver seed bead and black bugle bead chain

~ Silver plated hook and eye clasp

 

-------------------------------------------------------

Silicon Gallies - Next Generation Glass Tile Pendant - Laptop Computer Key Necklace by Capitola Girl Jewelry is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.

September 2013

Thank you all for watching and enjoy!

December 30, 2009

 

FOR IMMEDIATE RELEASE – JEF AEROSOL “ALL SHOOK UP” NYC DEBUT AT AD HOC GALLERY JANUARY 29TH.

******************************************************************

For more information please contact:

Email: info@adhocart.org; Telephone: 917.602.2153; Web: www.adhocart.org

 

All Shook Up: Jef Aerosol

January 29 - February 21, 2010

Opening Reception - Friday, January 29, 2010, 6-10pm

 

Ad Hoc Art

43 Bogart Street

Brooklyn, New York 11206

(via subway take the L Train to Morgan Avenue Station)

 

******************************************************************

Ad Hoc Art presents international stencil master Jef Aerosol in New York City for “All Shook Up”, a stunning show of cultural icons by a Street Artist with 30 years in the game.

 

The show with Ad Hoc Art, a gallery widely regarded as one of Street Art’s polestars, features brand new stenciled works as well as the now-classic pieces that have made Jef Aerosol’s name itself iconic; on paper, wood, and found objects.

 

A true originator who helped spark what is now known as “Street Art” when he sprayed his first stencil series across the city of Tours, France one night in 1982, the self-taught Aerosol has continuously rocked the streets with his oversized portraits and helped define a new public art nomenclature with other French artists like Blek Le Rat, Miss Tic, and Speedy Graphito.

 

Steadily from the ’80s to the ’10s Aerosol has cut and sprayed stunning portraits of his heroes; cultural icons who stand undiminished by the hype. They connect directly with the masses and shake public opinion with humor and provocation; Strummer, Cash, Vicious, Hendrix, Bowie, Bardot, Cobain, Lennon, Smith, Jagger – all brainy agitators and vixens cut and sprayed in stark layers of black, grey and white. And each with Aerosol’s signature hot red arrows affixed nearby for exclamation.

 

In Street Art and in the gallery, Aerosol has not purely focused on those well-known personages. Among the faces you’ll find a number of self-portraits and portrayals of the more anonymous among us such as those living and working in the streets.

 

Like the best photographers, Aerosol catches the instant of truth in his portraits, and reveals a universal humanity in each subject. “In my work I love to call up my feelings and emotions to honor these modern day heroes who have fed my life with their music, art and ideas. This new show is a powerful and vivid collection of these inspirations that I am really excited to bring to New York for the first time," Jef Aerosol.

 

Three decades of getting up on walls in cities including Paris, London, Lisbon, Chicago, New York, Bejing, Venice, Amsterdam, Rome, Zurich, Berlin, Dublin, and Tokyo have given him all the “street cred” Jef Aerosol will ever need.

 

Sighted in numerous books and by authors like Tristan Manco (Stencil Graffiti, Street Logos), blogs like Wooster Collective and Brooklyn Street Art, and newspapers like The New York Times as one of the lynchpins in the stencil art movement that came to be called “street art”, Jef Aerosol’s work has become a perennial favorite of collectors. His work resides in hundreds of private collections, has exhibited in numerous galleries in Europe, the U.S. and Australia (list below), and is regularly auctioned with Bonhams (London, New-York), Artcurial (Paris), Drouot (Paris), and Dreweats (London).

 

In 2007 Aerosol published a gallery of portraits in VIP Very Important Pochoirs (éditions Alternatives, Paris, 2007).

 

Galleries where the work of Jef Aerosol has been shown include: Galerie Brugier-Rigail (Paris), Galerie Raison d'Art (Lille), Signal Gallery (London), Zozimus Gallery (Dublin), Art Partner Galerie (Brussels), Galerie Anne Vignial (Paris), Galerie Storme (Lille), Galerie Onega (Paris), Carmichael Gallery (Los Angeles), ATM Gallery (Berlin), and Famous When Dead Gallery (Melbourne).

  

A U.S. Army Paratrooper assigned to Chosen Company, 2nd Battalion, 503rd Infantry Regiment, 173rd Airborne Brigade, talks to a Italian Paratooper during a tactical road march towards their objective during Exercise Immediate Response at Cerklje ob Krki airbase, Slovenia, May 14, 2019. Exercise Immediate Response is a multinational exercise co-led by Croatian Armed Forces, Slovenian Armed Forces, and U.S. Army Europe. The logistics-focused exercise is designed to test and improve the ability to move forces and equipment rapidly from one location to another. The exercise will improve readiness and interoperability among participating allied and partner nations. (U.S. Army Reserve photo by Staff Sgt. Austin Berner)

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

  

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by

craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

 

Seen @ the start of the 2014 HCVS London to Brighton run - Crystal Palace. Richard at the wheel. Chivers - Being taken to the new owners in 1961 "HCVC"

 

CE 6065, or as she is more widely known, the 'Chivers', is a Leyland Subsidy 4-Tonner built in 1919.

The Leyland 4-Tonner was built to War Department specification and entered for War Office Trials to determine its suitability for acceptance into the Subsidy Scheme prior to World War 1. Following acceptance into the scheme, it quickly became known as the Subsidy Model, as did similar models by other manufacturers.

  

Leyland built something in the region of 6,500 for the war effort, with the majority allocated to the Royal Flying Corps (RFC) and the Royal Naval Air Service (RNAS). When the RFC and RNAS combined in 1918 to form the Royal Air Force (RAF), the Leyland became universally known as the 'RAF' type. By 1919 the model had been renamed Model G 36hp.

  

The immediate post-war period was one of some confusion, so it is not possible to determine whether or not CE 6065 was originally intended for the War Office. The cessation of hostilities on 11 November 1918 certainly drastically reduced the numbers of new vehicles required by the War Office, but new vehicles were still required. The Armistice was only a ceasefire and the opportunity was taken to begin to re-equip for the unlikely event of the Armistice not holding. It was not until June 28 1919 that the signing of the Treaty of Versailles finally ended the war.

  

The Ministry of Supply had in November 1918 orders with all the manufacturers for new vehicles and although production was continuous, vehicles were ordered in batches. Ministry of Supply records show that orders in progress were honoured, but not always, depending on the manufacturer and orders not yet started were cancelled but, again, not always. My inclination is that CE 6065 may have been originally intended for the Ministry of Supply but was never delivered to the military.

  

CE 6065

 

Although CE 6065 was built in 1919, the registration date is not until 11 January 1921.

  

A Chivers' employee considers that Chivers' buying policy at the time would have been to buy chassis cabs directly from Leyland. Chivers bought a batch of seven Leylands at this time, so is possible that the gap between build and registration was due to them being stockpiled and not registered until the bodies had been built. Alternatively, the original registration may have been 1919 and was changed when the vehicle was entered into the 'CE' register in 1921 for taxation purposes to comply with the 1920 Road Traffic Act. Chivers were based at Histon near Cambridge, hence the Cambridgeshire registration number.

  

At the time, Chivers operated their own sawmill and bought all the timber for bodies and packing cases as round timber. Teams of skilled body builders built the bodies for the horse drawn vehicles and as motor vehicles began to infiltrate the fleet, their bodies were built following the same traditional methods.

  

Each team was led by the 'Setterout' and no drawings appear to have ever existed. The only part of the bodybuilding contracted out was the signwriting, which was done by Mr Swainland, from Swainlands of Cambridge.

  

CE 6065 was used to deliver jams and jellies to shops, covering a wide radius of Cambridge. Regular journeys for the Leyland fleet were Birmingham, London, the Eastern Counties and occasional trunk work to York. Depending on the number of shops, each journey was of one or two days duration and a trailer was sometimes used with some of the Leylands. Whether CE 6065 was equipped for a trailer is not known.

  

What is apparent, from conversations with old Chivers employees, is that the 4 tons carrying capacity was regarded very much as a guideline and not a set limit.

  

The livery on CE 6065 was the same when built by Chivers in 1921 as it is today. All the Chivers Leylands carried the same livery, although in subsequent years, the livery on at least one, and probably all of them was changed.

  

Although fitted with brackets for sprags, there is doubt whether they were ever fitted to CE 6065. It is known that seven hessian sacks containing grey painted sprags were delivered with the Leylands, which Chivers' storeman, Mr J Chapman, recalls languishing in the stores. Chivers at the time had their own well-equipped workshops and a policy of regular maintenance and refurbishment, so it appears they were regarded as not necessary, rather than time not being available to fit them. Founded in 1920 by a Mr Woods, Chivers' workshops consisted of main workshops in the main factory area with a wheelwrights shop and paint shop across the road.

The Royal Commission on Transport in 1928 under the chairmanship of Sir Arthur Griffith Boscawen issued a report effectively restricting solid-tyred lorries to 12mph, while allowing 20mph for pneumatic-tyred lorries. This resulted in the Chivers fleet being converted to pneumatics on the front axle in their own workshops.

  

Converting each lorry to pneumatics involved removing the body in the wheelwrights shop for refurbishment and re-painting, with the signwriting still entrusted to Mr Swainland. It was at this time that the livery was changed from the old 'Chivers and Sons' livery to 'Chivers Olde English Marmalade'. The chassis was then rolled across the road for converting and complete refurbishment at the same time.

  

With its new lease of life, CE 6065 continued on shop delivery work until 1937 or possibly as late as 1938. It is believed that Harry Chapman was the regular driver, although Ernie Fewell and Elijah Ives also took a turn. Chivers' policy appears to have been to allocate a driver to a make of lorry rather than individual lorry. Leyland drivers would only have driven Leylands, Tillings Stevens drivers, only Tillings etc.

  

When CE 6065 was retired from delivery work, the body was removed and a 400 or 500 gallon tank was fitted. In this guise CE 6065 supplemented the Chivers Works Fire Brigade and was stationed at Hasinfield Farm. At the time, Chivers were large landowners, owning many farms in the area. The majority of fires were hayricks, necessitating the transport of water to the fire and in addition to CE 6065 a 3000 gallon tank was fitted to an Albion chassis. As well as dealing with fires on their own land, the Chivers' Brigade was responsible for all fires in the Histon area and supplemented the Cambridgeshire County Fire Service when required.

After 10 years fighting fires and over 25 years active service, CE 6065 was finally retired and left to deteriorate in her own time at Hasinfield Farm.

  

When Oswald Chivers, later Sir Oswald, determined in the mid 1950's that some of the company's old vehicles were to be restored, CE 6065 was not intended for preservation. Instead, a Leyland fire engine, an open staircase double deck Leyland bus (believed the last with a petrol engine) and an Aveling and Porter steam roller were restored.

  

Bill Edbrooke, Chivers' Transport Engineer and Manager from 1955 to 1960, later discovered CE 6065, still happily disappearing into the earth at Hasinfield Farm, and put forward proposals for its rescue. The response was that the budget for preservation had been spent and no more would be forthcoming. Bill, however, persevered and eventually secured a budget of £1000 with the proviso that not a single penny more would be spent.

  

CE 6065 was returned to the workshops where it was completely stripped down and restored by Chivers' workshop staff under Bill's supervision. With all mechanical parts refurbished and ten coats of ICI paint, the rolling chassis was completed and attention turned to the body.

  

A new body was built from scratch, using as far as possible the same method and materials as in 1921. This was supervised by one of the original body builders as no drawings existed, although a lightweight floor replaced the original in the interests of saving weight as no load was intended to be carried.

  

The resultant body differs slightly to that originally carried by CE 6065, although the style does match that carried by one of her sisters in 1921. The original seven Leylands in 1921 had three different body styles, depending on which team built them, although the differences were very slight and mainly confined to the canopy shape.

  

All the work was carried out by Chivers' staff except the hand painting of the Coats of Arms on the body. Even with a budget of £1000, it was necessary to allocate time spent on it to vehicles in the modern fleet in order to remain within budget and ensure CE 6065's completion in 1959.

  

Originally restored with pneumatics, CE 6065 was rallied extensively in the Eastern Counties by the workshop staff. It was at one of these rallies that information about a suitable axle for solids became available. That axle was retrieved from a Lancashire field and the search for suitable wheels began.

  

It transpired that the Dunlop Rim and Wheel Company still had the original drawings and they made two new wheels and presented them to Chivers free of charge. This enabled CE 6065 to be returned to its 1921 specification.

  

In 1960, Chivers and Sons became part of the Schweppes Group and the fate of CE 6065 again hung in the balance. Just as Bill Edbrooke had previously ensured her survival, this time Mr Frank Harper, who was Schweppes' Transport Engineer at the time, was entirely responsible for her safety.

  

Schweppes had ordered the disposal of all the old vehicles acquired from Chivers. CE 6065 was originally offered to Leyland Motors, who declined the offer, as did the British Transport Commission and various museums. With no new home able to be found, Schweppes ordered the scrapping of CE 6065, an action delayed by Frank Harper.

  

John Scott, a Schweppes manager and vintage car enthusiast, mentioned to Lord Montagu the plight of CE 6065 at a car rally. Lord Montagu suggested that the newly formed Historic Commercial Vehicle Club might be interested.

  

As a result of that meeting, Frank Harper drove CE 6065 from Clapham to Brighton on the inaugural London to Brighton Run in 1962. On Brighton seafront, Frank presented CE 6065 to Lord Montagu who accepted it on behalf of H.C.V.C. and a letter was placed on file at Schweppes head office confirming the presentation.

  

From that moment on, CE 6065 became universally known as the 'Chivers'.

  

Housed initially in a museum at Measham, the Chivers was soon relocated to Carlton Coalville where it joined the club's Leyland Titan. From here it attended rallies in the East Anglia region and was a regular entrant on the London to Brighton Run.

  

In the early 1970's some remedial paintwork repairs were carried out and the Chivers spent time in the custody of the Yorkshire Area, attending many local rallies and completing the Trans Pennine Run. By the mid-70's it was housed again at Carlton Coalville. In 1979, the Chivers was moved to the Chiltern Area for the duration of one rally season, where it remained until being retired to the British Commercial Vehicle Museum around 1990.

  

The Chiver's retirement was rudely interrupted when it was removed from the BCVM in early 2011 for a thorough examination and some remedial work by Seb Marshall in preparation for the 50th running of the London to Brighton run. Some twenty years after her last appearance, the Chivers once again graced Madeira Drive.

  

The summer of 2011 was spent at Milestones Museum at Basingstoke, Hampshire where it ventured out onto the HCVS South Midlands Ridgeway Run, and the Thornycroft Society's Hampshire Road Run from Milestones among other local events. It is pleasing to see that, half a century after her original restoration, she still attracts great interest and admiration and provides a great presence for the HCVS wherever she is displayed.

  

Specification

  

Engine: 34hp 4 cylinder petrol.

Transmission: 4 speed gearbox with reverse gear. Ferodo lined cone clutch. Double reduction bevel rear axle.

Brakes: Handbrake to rear wheels. There are reports of a water cooled transmission brake, but none seem to have been used on Subsidy models.

Body: Wood and Thamescloth construction with 3 seat cab, open to front and sides.

Length: Internal, 13'2" - external, 14'0" including tailboard.

Width: Internal, 6'1" - external, 6'7".

Height: Internal, 6'2" - overall, 10'8".

Overall dimensions: Length: 22'7" Width: 6'8" Wheelbase: 13'10"

Unladen weight: 4 tons 19 cwt.

Engine number: 8009

Chassis number 9514

Date first registered: 11 January 1921.

  

Immediate departure

 

Canon S90

In the immediate years after nationalisation in 1948, British Railways built up a small and eclectic collection of prototype mainline diesel, electric and gas turbine locomotives, presented in a uniform black and silver livery. Whilst much valuable experience was gained from these prototypes, the pilot scheme designs that followed were very different; and, more surprisingly, the subsequent production orders were often for new, untried types. One such design was the odd-looking and ill-fated 'Co-Bo' (later Class 28) assembled by Metropolitan Vickers, which had previously supplied locomotives of a more conventional design to CIE in Ireland (albeit with the same troublesome Crossley power units). This fictional image shows an example of the latter in the early British Railways livery - perhaps if such a locomotive had been taken into the prototype fleet, the Class 28 would have been a very different animal (12-Dec-10)?

 

All rights reserved; not to be posted on Facebook or anywhere else without prior written permission. Please follow the link below for additional information about my work and the techniques used:

www.flickr.com/photos/northernblue109/6046035749/in/set-7...

 

Created for Ruby’s Treasures Stock Challenge #11

Source image girl with thanks to Rubyblossom

Source background, courtain, with thanks to Rubyblossom

Make It Interesting ~ Challenge #3

Starter image dog with thanks to Klearchos Kapoutsis

texture by SkeletalMess

background is the FOTOLIA free downloads

balcony photo by Shoofly-Stock

 

177/365

The top seagull was stealing food from the one below; the punishment was swift and immediate

  

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16 April 2012

 

FOR IMMEDIATE RELEASE

 

---------------------------------------------------------------------- -----------------------------

PR Contacts:

 

Press: Kay Fairey (Eng/Jap) or Xandrah Sciavo (Eng)

General questions: Leah McCullough (Eng/Spa)

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THE ASHRAYA PROJECT

 

“Giving hope and love to the children of India”

 

May 5th - June 4th 2012

 

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SCHEDULE OF EVENTS

 

• Thu. May 3rd: Opening to Bloggers and Press

 

• Sat. May 5th:

 

10.00 am SLT: 1st Fashion Show featuring the exclusive creations of the Fashion Fair

12.00 pm SLT: Interview to Virginia Lupindo “How Ashraya changed my life”

12.30 pm SLT: Celebration Party with Djs

6.00 pm SLT: 2nd Fashion Show featuring the exclusive creations of the Fashion Fair

 

• Sun. May 6th: Official Opening of The Ashraya Project Fashion Fair

 

• Sun. May 13th, 11.00 pm SLT: Ga-Go SL Ver. Concert

 

• Fri. May 18th, 2.00 pm SLT: Mankind Tracer Concert

 

• Mon. May 28th, 12.00 pm SLT: Official Opening of The Ashraya Project Art Expo

 

• Mon. June 4th, 12.00 pm SLT: Closing Party and Auctions

 

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DJs schedule will be announced soon

 

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ABOUT ASHRAYA

 

Ashraya is an organization based in India which operates with the purpose of providing aid to Indian children in need and abused women through the implementation of various projects.

 

From the organization’s website:

 

"Ashraya", meaning 'Shelter' has brought hope and love into the lives of several hundred children and women, over many years. Founded and registered in 1982, the Bangalore based organization is dedicated to finding solutions for children within the frame work of their own biological families, or in adoptive homes. Initially, the organization’s main function was to work with and rehabilitate destitute, poor and abandoned children. It has now extended its services to the family as a whole.”

 

(www.ashraya.net)

 

As is true in so many nations throughout our world, the quality of care for institutionalized children suffers due to lack of resources and financial support. When founded, Ashraya’s purpose was to improve the quality of care for these children.

 

The organization operates under the firm belief that such institutions are best only as temporary placement for children, and adoption has become a large piece of Ashraya’s mission. Through the important work done here, hundreds of children are placed with their forever families and are able to enjoy happiness and a bright future.

 

Education is highly valued by Ashraya, and that is why the organization also supports endeavors to provide schooling to children who would not otherwise be able to learn to read and write.

 

By helping children lead safe, happy lives and providing them with the important tools that a solid education can bring, Ashraya continues to improve the world, one young life at a time.

 

Read Ashraya success stories here:

 

ashraya.net/subpages/Success.html

 

---------------------------------------------------------------------- ------------------------------

 

ABOUT OUR PROJECT

 

Our focus with this project will be to come to the aid of the many Indian children who need us today through the sponsorship of basic needs items as well as study programs. By participating in The ASHRAYA PROJECT, you too may help to provide food for a day or even a week, a pair of shoes, or clothing.

It is our hope that through our donations, we are able to help fund the education for as many children as possible. This, we believe, is a worthwhile cause.

 

Plans are currently underway for this exciting event which will open on May 5, 2012, with a KICKOFF CELEBRATION PARTY and two FASHION SHOWS featuring a live showcase of exclusive items which will be available at the FASHION FAIR running from May 6 until June 4.

Each vendor participating in the fair has agreed to offer at least one exclusive item, and the full proceeds for these exclusive items will be donated to Ashraya.

 

Throughout the month, we are planning various live performances for your enjoyment, and the event will close with the ART EXPO from May 28 until June 4, at which exclusive artistic creations from many talented artists on the grid will be featured and even available for purchase.

An ongoing raffle will also run during the event at which participants can win a variety of prizes ranging from personal styling sessions to photo shoots.

 

Our event will be held at two sims which have been graciously donated to us by BONAIRE ESTATES, and we are excited to be partnering with them for what promises to be an incredible project. The LM of the sims will be sent soon.

 

So many of the grid’s top designers have joined our team and will be participating as vendors in the fashion fair, and we are pleased to announce that we still have some spots available to add even more designers.

If you are interested in participating as designer, please contact Anna Sapphire for your application.

The complete list of the designers participating in The ASHRAYA PROJECT FASHION FAIR will be announced April 20.

 

---------------------------------------------------------------------- ------------------------------

 

For more information, please visit the following sites:

 

The Ashraya Project

ashrayaproject.wordpress.com/

 

Ashraya

www.ashraya.net

 

Neelbagh Rural Residential School

www.ashraya.net/subpages/Sponsorship.html

 

The Ashraya Project Team

 

Founder

 

Anna Sapphire

 

Team Members

 

Arialee Miles

Carley Benazzi

Daniele Eberhardt

Jax Aster

Kay Fairey

Leah McCullough

Xandrah Sciavo

 

Builder

 

Setsuna Infinity

 

---------------------------------------------------------------------- ------------------------------

 

Sponsored by

 

Avenue Magazine

BeStyle Magazine

Bonaire Estates

BOSL Radio

Haute Magazine

L’Homme Magazine

Maniera Magazine

The Best Of SL Magazine

---------------------------------------------------------------------- ------------------------------

kalanchoe blossfeldiana - also called Florist Kalanchoe.

 

I ordered a bag of plants from WholeFoods with a recent food curbside delivery. This is what I got! I planned to use this flowering plant outside, now I think I am fine with keeping it inside. I think I will order seeds for outside!

 

FOR IMMEDIATE RELEASE: December 1, 2019

Contact: TFL Management (thefashionloft)

 

The Fashion Loft Celebrates the End of 2019 With a Holiday Event

 

On December 7, The Fashion Loft will host its third annual Holiday Hunt in Second Life. The event was created to show our appreciation for the creators who have supported TFL this year, as well as a way to promote main store shopping.

 

Using a HUD, hunters will be able to teleport to participating stores, and find hunt items for 1 L. This year, due to popular demand, stores will also offer a sales item for 99 L for the duration of our event.

 

To kick things off, The Fashion Loft will host an Opening Day party at TFL Headquarters on Saturday, December 7 from 2 - 4 PM SLT.

 

================

 

About The Fashion Loft

 

The Fashion Loft prides itself on being a home for bloggers, content creators, fashionistas, models, and photographers. Since 2016, TFL has provided events, shows, contests, and other activities that brings the fashion community together.

 

Inworld: maps.secondlife.com/secondlife/Isle%20of%20Creation/160/2...

Website: thefashionloftofsl.wordpress.com/

Facebook: www.facebook.com/thefashionloftsl/

Flickr: www.flickr.com/groups/thefashionloftsl/

Twitter: twitter.com/TFL_SL

2-16-08

 

My name is Lori Zarlenga- Blaquiere. I was born on September 14, 1961 in the state of Rhode Island. I am writing to you for your immediate help. My life is in immediate danger from orders issued by President George W. Bush and Rhode Island Governor Donald Carcieri to

assassinate/murder me. You can contact me at my email LoriZarlenga@gmail.com and

my space.com/lorizz Also, you can find me on “google” by entering my name as keyword. My case is legitimate. Please do not disregard my case.

 

I have evidence and tapes on top officials and law enforcement among others to support my

claims. The current Rhode Island Senators Sheldon Whitehouse , Senator Jack Reed and former Senator Lincoln Chafee, among others are covering up and will not help me.

 

I posted a diary on the Daily Kos website on August 12, 2007 with regard to my life being in immediate danger from orders issued by President George W. Bush and Rhode Island Governor Donald Carcieri to assassinate/murder me.

 

I continued to stay on the Daily Kos website until sometime after 5:00 am and received

comments from the Daily Kos members community. The Daily Kos has over 1 million

members on their website.

  

On August 12, 2007, I was uploading exhibits, photos, and evidence to the Daily Kos members that support my claims against the United States Government et al.

  

On August 12, 2007 at approximately between 5:00 am & 6:00 am a West Warwick

Police officer came out to my house at 101 Border Street West Warwick, R.I. and violently banged at the doors at my house and continued to violently bang at the doors of my house for a long period of time in a terrorizing manner. The West Warwick Police Officer was given orders to stop me from getting the truth out to the American public .

   

I Lori Ann Zarlenga state that on August 21, 2007, a West Warwick Police vehicle came

up behind the vehicle where I was located in the back seat with my 5 year

old granddaughter and my mother Victoria Zarlenga who was seated on the passenger

side and my son Michael Zarlenga who was driving the vehicle on Cowesett Avenue

West Warwick, R.I.

 

I Lori Ann Zarlenga state that the police officers proceeded to get out of their police

vehicles with their guns drawn and aimed at the vehicle where I was located in the back

seat of the vehicle along with my 5 year old granddaughter, my mother and son .

  

The Coventry police, East Greenwich Police, the Rhode Island State Police, and the West

Warwick Police were on the scene.

   

I Lori Ann Zarlenga state that a West Warwick Police Officer pulled me out of the

vehicle where I was located in the back seat near my 5 year old granddaughter, with my

mother and son in the front seat of the vehicle.

I Lori Ann Zarlenga state that the Police proceeded to slam me to the ground and force

handcuffs on me and force me in the back seat of the West Warwick Police Vehicle.

  

I repeatedly asked the West Warwick Police Officer why the police forced handcuffs on

me and forced me in the back seat of the police vehicle, but the West Warwick Police

Officer repeatedly ignored me.

   

I continued to ask the West Warwick Police Officer why the police forced handcuffs on

me and forced me in the back seat of the police vehicle, he then stated to me that he was

trying to protect me .

   

While I was in the West Warwick Police vehicle, I observed police officers saluting to

each other with regard to capturing me.

 

While I was in the back seat of the West Warwick Police vehicle, a West Warwick Police

Officer asked me if I was injured and if I needed to go to the hospital inorder to lure me

into consenting to go to the hospital.

  

I stated to the West Warwick Police officer that I did not need to go to the hospital.

The West Warwick Police Officer told me that the fire rescue was going to take me to the

hospital for a psych evaluation.

    

I stated to the West Warwick Police officer that I did not want to go to the hospital and

that I did not need a pych evaluation. However, the West Warwick Police Officer told me

that I had to get into the Fire Rescue and go to the hospital. As a result, I had no other

choice but be taken by fire rescue to Kent County Memorial Hospital for a psych

evaluation without my consent.

  

My mother told me that the police officers apologized to her and stated to my mother

that they made a mistake .

  

I was subsequently taken by ambulance and transferred

to Land mark Medical Center without my consent and held hostage in lock down mental

health unit against my will. All of the evidence that was in my favor was ignored

by the doctors, social workers, and psychiatrist at Kent County Memorial Hospital and

Landmark Medical Center. The doctors, social workers, and psychiatrist at Kent County

Memorial Hospital and Land mark Medical Center manipulated and skewed the true facts

to cause me harm in connection with helping law enforcement and United States

Government from preventing me from exposing the truth to the American people and

my case continuing on Appeal with regard to the criminal acts committed by law

enforcement and the United States Government.

  

My Mother stated to the psychiatrist and nurses at Landmark Medical Center that I was

not delusional or paranoid and that I have never been a danger to myself or others and

that I have no history of mental health, and that I have never had a history of being

prescribed psychiatric medication and that I did not need psychiatric medication

my complaints against law enforcement are legitimate.

However, Dr. Elahi disregarded my mother statements and proceeded to contact his lawyer to

discuss whether or not he should discharge me, despite all evidence in my favor.

  

My family member stated to me that nurses at Landmark Medial Center made

statements about being disgusted with Dr. Shahid Elahi for consulting with his lawyer

with regard to whether or not to discharge me and delaying my discharge.

   

The nurses at Landmark Medical Center stated to me that I did not belong at Landmark

Medical Center Mental Health Unit

  

I have never had a history of mental illness.

   

On September 4, 2007, I was discharged from Landmark Medical Center.

  

I have never had a history of being targeted by the United States Government, Federal

and State law enforcement, among others prior to my L-tryptophan lawsuit.

       

In August of 2007, I had an Appeal pending in the First Circuit United States Court of

Appeals with regard to my December 7, 2006 Complaint against the United States

Government et al. As a result, of being held hostage in the hospital from August 21, 2007

to September of 2007, along with intimidation from law enforcement, among others in

connection with the United States Government I was unable to respond important

deadlines set by the First Circuit United States Court of Appeals . As a result, my Appeal with the First Circuit United States Court of Appeals is in default/dismissed for lack of

diligent prosecution.

    

As a result of my ingestion of contaminated L-tryptophan manufactured by Showa

Denko K.K., I developed a disease Eosinphilia Myalgia Syndrome. There are

approximately 5,000 people who ingested contaminated L-tryptophan

manufactured by Showa Denko K.K., and developed a disease Eosinphilia Myalgia

Syndrome. There maybe more unreported cases of Eosinphilia Myalgia

Syndrome caused by ingestion of contaminated L-tryptophan .

   

The L-tryptophan problem is the fault of the FDA due to lack of enforcement of 172.320,

among other violations of the FDA rules. Therefore, the FDA permitted the continued

illegal use of L-tryptophan.

  

If the FDA had enforced action against Showa Denko K.K., for violation of the FDA

rules mentioned herein, then L-tryptophan would not have been on the market and sold

to the American Public and caused death and illnesses associated with the sales of L-

tryptophan .

    

On October 25, 1995, I filed a products liability lawsuit against the Defendants

Showa Denko, K.K., Showa Denko America, Inc. General Nutrition Centers (GNC), et al. in

the State of Rhode Island Superior Court.

  

My case was transferred to Rhode Island District Court, (Blaquiere v. Showa Denko, K.K.,

Showa Denko America, Inc. General Nutrition Centers (GNC), et al., C.A.No.1:95-629 ).

  

My case was subsequently transferred for discovery to (MDL) United States District Court

Columbia, South Carolina, C. A. No. 3:96-361-0.

  

My case (Blaquiere v. Showa Denko, K.K., Showa Denko America, Inc. General

Nutrition Centers (GNC), et al., (C.A.No.1:95-629 ) was remanded to Rhode Island

District Court in 2003.

 

I hired a lawyer Dennis S. Mackin in 2000/2001 who used my case to file discovery

motions in the(MDL) United States District Court Columbia, South Carolina, (C. A. No. 3:96-

361-0), damaging to the defendant ShowaDenkoK.K.,their lawyers,Cleary,Gottlieb,Steen,and

Hamilton, and the United States Government.

  

My former lawyer Dennis Mackin was paid off to withdraw from my case and to

not go forward with the discovery motions and depositions damaging to Showa

Denko K.K., their lawyers, and the United States Government.

       

The discovery sought in my case that my former attorney Dennis Mackin filed in 2001 in the(MDL) United States District Court Columbia, South Carolina, (C. A. No. 3:96-361-0) was to demonstrate that Showa Denko K.K. and its attorneys have been involved in a continuing conspiracy to not only circumvent the discovery process, but to manipulate any scientific examination of Showa Denko K.K.’s reckless and wanton conduct”.

 

The United States Government wiretapped my phones, hacked my computers, surviellanced me during my L-tryptophan litigation and to the present. The United States Government obstructed justice, unlawfully sabotage my case inside and outside of the court system at every level.

   

My former attorney Dennis Mackin stated in his October 12, 2001 Reply of Plaintiff to Defendant's Motion to Qaush Deposition of Kenneth Rabin , that "additional questions must be answered about political pressure brought to bear upon members of the South Carolina Congressional delegation."" What information was given to Senator Thurmond, Senator Hollings and Congressman Ravenell?"

   

Documents made by Showa Denko K.K. included a budget attached to their public

relation scheme which was an amount determined for congressional

contracts, including the South Carolina delegation which was for 16, 000.00.

   

My former attorney Dennis Mackin stated in his motions that, “ The research of

this Eosinophilia Myalgia Syndrome has been twisted by the endless

manipulations by Showa Denko K.K and their lawyers,Cleary,Gottlieb,Steen,and

Hamilton and their confederates”. “ Worst of all, the scientific literature now

contains representations by shills for Showa Denko K.K. that will cause erroneous

medical science in the future”.

 

The United States Government is involved in the cover up .

   

My former attorney Dennis Mackin informed me that a promoter of an EMS

 

support group was being surveillanced and that anyone that who was viewed as a

 

threat was being surveillanced and intelligence was gathered .

  

The defendant Showa Denko K.K. a corrupt corporate giant, their corrupt lawyers,

and the United States Government conspired with all the courts at every level to

sabotage my case and the L-tryptophan litigation.

 

Showa Denko K.K., their lawyers, and the United States Government view me as

a threat, since my lawsuit still remains open that is damaging against Showa

Denko K.K. and General Nutrition Centers (GNC), among others. Also, Showa Denko K.K., their lawyers, and the United States Government, President George W. Bush and Rhode Island Governor Donald Carcieri fear the threat of civil and criminal action against them for their unlawful criminal activities.

  

I pose a threat to Showa Denko K.K. and the United States Government since,

my L-tryptophan lawsuit could re-open previous settlements entered into by

2,000- 5,000 L-tryptophan litigants on the basis of fraudulent inducement and the

United States Government's involvement in the cover up.

 

They were entered into by L-tryptophan Plaintiffs who were unaware of the defendants fraudulent concealment and the United States Government's cover up.

 

Showa Denko K.K., the United States Government, President George W. Bush and

Rhode Island Governor Donald Carcieri fear a movie being made and publicizing

their criminal activities which has continued to date.

    

President George W. Bush's father former President George H. W. Bush Sr. was

President of the United States from 1989 to 1993 during the Eosiophilia Myalgia Syndrome epidemic.

  

I filed a Complaint on December 7, 2006 against the United States Government et al. in

the United States District Court of Rhode Island, CA. No. 06-534 ML. My complaint is

pending in the First Circuit Court of Appeals. The United States Government have hired

my family, among others as informants to surveillance and gather intelligence on me.

  

At the time that I filed my December 7, 2006 complaint against a number of defendants

who are employed by the United States Government, I was unaware of orders issued by

President George W. Bush and Rhode Island Governor Donald Carcieri to assasinate/

murder me.

   

I spoke to a state senator with regard to my circumstances of law enforcement on the state and federal level that have harassed, targeted, survillenced me and have come out to my house and follow me on a daily basis. Also, the West Warwick police have even parked at my grandchild’s school shortly after I exposed President George W. Bush orders to assassinate/murder me.

  

The state senator stated to me that federal law enforcement, the Attorney General of the United States, and the Department of Justice are employed by President George W. Bush.

 

Moreover, my case is not isolated by a small number of police and law enforcement targeting and surveillanceing me. There are to many law enforcement and police and government officials organized at the highest level on the federal and local level that have targeted and surviellanced me. The state senator stated that the orders to murder me are coming from the President George W. Bush .

 

Further, the Rhode Island State Police who have been targeting and surviellancing me are given orders from Rhode Island Governor Donald Carcieri

   

In June or July of 2007, President George W. Bush came to Rhode Island and went on a

private helicopter ride with Rhode Island Governor Donald Carcieri and had discussions.

      

Shortly after I filed my December 7, 2006 complaint against the United States

Government et al, two key defendants named in my complaint retired Captain Gregory

Johnson of the West Warwick Police Department and Supervisory Special Agent

Nicholas Murphy of the Federal Bureau of investigation of R.I., and there may be others

who have also retired.

  

I am targeted, followed, and surveillanced by police officers, among others in the towns and places I travel in the state of Rhode Island and out of the state of Rhode Island on a daily basis.

 

The level of intensity and the number of police targeting, surviellancing, and following me has increased after I filed my December 7, 2006 complaint. And now since I have exposed President George W. Bush who issued orders to assassinate/murder me, the level of intensity and the number of police surviellacing and following me has further increased.

  

My telephones are wiretapped. The United States Government is hacking my computers.

The Federal Bureau of investigation, among others covered up the investigation of the hacking of my computers.

  

The Federal Bureau of investigation, United States Attorneys Office , Attorney Generals office, Department of Justice, among others are covering up and aware of the fact that I was kidnapped and assaulted by a Warwick Police Officer Joseph Mee on January 22, 2006 that was organized at the highest level of United States Government to assassinate/ murder me.

   

Further, law enforcement, among others are covering up the fact that on December 15, 2005 and December 16, 2005, Captain Gregg Johnson and Officer Patrick Kelly and the Kent County Memorial Hospital Emergency Room Staff violated my constitutional rights and deprived me of liberty against my will and without my consent to cause me harm in connection with the United States Government and Showa Denko K.K.

  

On April 14, 2006, I spoke to Laura Lineberry who is Condalezza Rice's personal assistant. Laura Lineberry informed me that she could not help me with regard to my circumstances mentioned herein, and that I should leave a message with the Representative of Secretary of State. I left a message with the Representative of Secretary of State, but no one returned my call.

  

On April 14, 2006, I contacted the White House comments department in Washington, DC for help with regard to my circumstances mentioned herein, and spoke to a young lady number(77) who stated she would pass on my comments to her supervisor and that her supervisor would summarize my comments and give it to President Bush. On April 14, 2006, I was unaware that President George W. Bush issued orders to assassinate/ murder me.

  

President George W. Bush, Condalezza Rice's office , nor anyone associated with the White House, responded in any way shape or form to my plea for help with regard to my circumstances mentioned herein.

 

I have evidence of my telephone calls to the White House, among others.

 

The IP Addresses with regard to the hacking of my computers have been traced to Washington, D.C.

         

You can view my complaint at pacer.psc.uscourts.gov.

 

My login is: lz0129 My password is 3y6!pomz ( party name is under my married name of Blaquiere) December 8, 2006 thru December 8, 2007 is the date you would use to view my complaint, since December 8, 2006 is the date my complaint was entered by the United States District Court of Rhode Island.

 

The United States District Court of Rhode Island omitted my supporting exhibits on

Pacer website and have intentionally obstructed my case and deprived me of a fair judicial process, inorder to protect and insulate the United States Government et al.

   

UNITED STATES GOVERNMENT DOES NOT INITIATE ACTION AGAINST SHOWA DENKO K.K. FOR THE FOLLOWING VIOLATIONS:

    

The L-tryptophan problem is the fault of the FDA due to lack of enforcement of 172.320, among other

 

violations of the FDA rules. Therefore, the FDA permitted the continued illegal use of L-tryptophan.

  

If the FDA had enforced action against Showa Denko K.K.,for violation of the FDA rules mentioned

 

herein, then L-tryptophan would not have been on the market and sold to the American Public and

 

caused death and illnesses associated with the sales of L-tryptophan in violation of the FDA rule.

     

In 1970 FDA considered L-tryptophan (amino acids) , when used as nutrients or dietary supplements, to

 

be generally recognized as safe (GRAS) for those uses, and published that fact in the code of Federal

 

Regulations.

   

In 1972 FDA engaged in rule making to withdraw and remove approximately twenty amino acids

 

including L-tryptophan from the GRAS list ( generally recognized as safe) and to regulate them as

 

approved food additives that could not be sold without FDA's prior approval in the form of a food

 

additive petition, (37 Fed. Reg. 6938; April 6, 1972).

    

In 1973 FDA promulgated a binding substantive rule that is presently on the books, the Food additive

 

regulation that makes all amino acids, when used as components of dietary supplements,

 

unsafe food additives that violate the adulteration provisions of Act. 21 C.F.R. 172. 320.

    

In 1977, FDA seized L-tryptophan tablets on the grounds that the L-tryptophan that they contained

 

was an unapproved food additive. The court, however, found for the manufacturer of the tablets

 

because L-tryptophan was still on the FDA's GRAS list, (FDA had failed to remove it after the 1973

 

rulemaking), and the manufacturer was acting in accordance with the FDA's regulation.

   

In 1977, FDA deleted the listing of twenty amino acids that were the subject of the 1973 rulemaking

 

form the GRAS list, ( 42 Fed. Reg. 56720; October 28, 1977).

  

The FDA never renewed its regulatory action against dietary supplements containing L-tryptophan .

   

The food additive regulation that the FDA adopted in 1973 does not list (approve) L-tryptophan for

 

this use, and foods that contain unapproved food additive are deemed to be adulterated (21 U.S.C. 342

 

(a) (2) (c)).

  

FDA has not brought an action since 1977 against an L-tryptophan dietary supplement.

    

The FDA sought to enforce the rule prohibiting the use of amino acids in dietary supplements in two

 

seizure actions against products containing L-tryptophan. Those seizure actions were not successful.

 

The U.S. Government voluntarily dismissed the second lawsuit because the lawsuit was controlled by

 

a very hostile judge and the government feared that it would obtain an adverse ruling that would

 

insulate all dietary supplements from regulation under the food additive provisions of the act.

  

The FDA has not made any efforts to regulate amino acids since 1982. FDA ignored the food additive

 

regulations since 1982. In 1990, there was evidence showing that 30 amino acids other than L-

 

tryptophan were being sold by at least 22 companies.

    

The FDA has failed to date to bring charges against Showa Denko K.K. Showa Denko K.K. was in

 

violation of the FDA Food additive regulation that makes all amino acids, when used as components of

 

dietary supplements, unsafe food additives that violate the adulteration provisions of Act. 21

 

C.F.R. 172. 320. FDA should have gone after Showa Denko K.K. on an adulteration charge that the

 

L-tryptophan in the supplements is an unapproved food additive under 21 U.S.C. 342 (a) (2) (c).

 

Also, FDA failed to bring charges against Showa Denko K.K. with regard to L-

 

tryptophan being unfit for food, ( 21 U.S.C. 342 (a) (3). L-trytophan associated with illness

 

Eosinophilia Myalgia Syndrome, is unfit for food.

  

The FDA could have gone after L-tryptophan supplements as drugs. The FDA could have

 

developed evidence that L-tryptophan used for therapeutic purposes to combat sleeplessness and PMS

 

which is what L-tryptophan was advertized for is considered a drug and the FDA finding L-tryptophan

 

had not met the FDA's rational food supplement test would permit the FDA to bring drug charges

 

against the product under either 21 U.S.C. 321(g) (1) (B) or (c), National Nutritional Foods

 

Association v. Mathews, 557 F.2nd 325, 334 ( 2d Cir. 1977).

  

If the FDA had enforced action against Showa Denko K.K.,for violation of the FDA rules mentioned

 

herein, then L-tryptophan would not have been on the market and sold to the American Public and

 

caused death and illnesses associated with the sales of L-tryptophan in violation of the FDA rule.

       

On the Rhode Island ACLU website, there is a lawsuit against the United States

Government for Illegally surviellacing individuals attending a peace group in Rhode

Island and in other states.

 

The United States Government has files on these peace groups and have labeled these

peace group individuals as a threat because their simply anti-war.

 

The illegal acts of our United States Government is not an example of democracy, it is a

Dictatorship ruled by a dictator President George W. Bush who has committed crimes

against humanity and has violated our human rights.

  

Representative John Conyers Jr, was the Chairman re: the July 18, 1991 hearing on the FDA oversight of L-tryptophan. Representative John Conyers Jr, is currently the Chairman of the U.S.

House of Representatives Committee on the Judiciary who can call for an investigation and immediate congressional hearings into this matter.

  

Please help me by writing to congress and. to investigate and call for immediate congressional hearings into this matter. Also, contact Rhode Island Senator Sheldon Whitehouse and Senator Jack Reed to investigate and call for congressional hearings into this matter. If the American people place enough political pressure to investigate and call for congressional hearings into this matter, then an investigation into this matter will go forward and the truth will be exposed to the American people.

 

Also, please contact Senate Majority Leader, Senator Harry Reid, Senate Judiciary Chairman Patrick Leahy of Vermont, Senator Arlen Specter, Senator Charles E. Schumer, Senator Joseph R. Biden Jr., Senator John McCain, Senator Hillary Clinton, Senator Barack Obama, and all members of the Senate to call for investigation and congressional hearings with regard to law enforcement engaged in an ongoing organized crime to assassinate/murder me by orders issued by President George W. Bush.

 

President George W. Bush has scammed the American people into believing that the Iraq

war is a "just war" and that the United States military are fighting for democracy,

freedom and for our safety here at home, and yet at the same time President George W.

Bush is committing the worst crimes in american history against innocent american

citizens.

    

Please expedite the above and contact me at my email: LoriZarlenga@hotmail.com

  

You can view documents and obtain information about L-tryptophan and Eosinophilia Myalgia Syndrome on the National EMS Support Group website at www.nemsn.org

  

You can find me at myspace.com/lorizz

  

Also, you can find me at my website www.tiptopwebsite.com/lorizz.

  

I posted a letter explaining in more detail on my website and on my space.com/lorizz

  

If you have any questions or want to view my exhibits that support my December 7, 2006 complaint filed in the United States District Court of Rhode Island, then you can e-mail me and I will send you attachments you can view .

    

Thank You, Lori Zarlenga

  

Release Date: For Immediate Release

 

Contact: MaryEllen Snyder, maryellen_snyder@nps.gov , 724-329-8131

 

*Western PA National Parks Invite Everyone to #FindYourPark during **the*

 

* Centennial Birthday Weekend*

 

Farmington, PA – The National Park Service invites visitors of all ages to

join in the celebration of its 100th birthday this weekend. With special

events across the country, and free admission to all 412 national parks

from August 25 through August 28, the NPS is encouraging everyone to

#FindYourPark / #EncuentraTuParque

for the centennial. On August 25, 1916,

President Woodrow Wilson signed the act that created the National Park

Service “to conserve the scenery and the natural and historic objects and

the wild life therein and to provide for the enjoyment of the same in such

manner and by such means as will leave them unimpaired for the enjoyment of

future generations.”

 

To make it easier for visitors to #FindYourPark entrance fees will be

waived nationwide including at the three Western PA National Park Sites

that charge an entrance fee; this includes Fort Necessity National

Battlefield, Johnstown Flood National Memorial and Allegheny Portage

Railroad National Historic Site. Flight 93 National Memorial and Friendship

Hill NHS are fee-free year round. All entrance fees are waived from August

25 through August 28 to encourage everyone to visit a nearby Park and

celebrate the NPS 100th birthday.

 

August 25 through August 28 – our birthday weekend – will be a nationwide

celebration of national parks, and we’re inviting everyone to the party,” said

National Park Service Director Jonathan B. Jarvis. “We like to think that

we look pretty good for 100, and with so many events and activities to

commemorate this milestone, we hope all Americans will join us to celebrate

the breathtaking landscapes and inspiring history in our nation’s parks and

public lands. Whether it is in a distant state or in your own community,

there are hundreds of ways and places to find your park!”

 

On Thursday August 25, to celebrate the NPS Birthday with a bang, Fort

Necessity NB Rangers and volunteers will fire reproduction artillery pieces to

commemorate the 100th Birthday of the National Park Service. These

historic weapons demonstrations will take place at 11:00 a.m., 1:00 p.m.

and 3:00 p.m. Friendship Hill NHS Rangers and volunteers will celebrate the

creation of the National Park Service by offering special NPS Centennial

themed guided tours of the Gallatin House throughout the day.

 

Flight 93 National Memorial Park Rangers will present the “Discovery Table”

and other special NPS Centennial programs from 10:00 a.m. to 3:00 p.m. on

Thursday, Saturday and Sunday in the Learning Center. The Children’s

Discovery Table helps younger visitors understand the story of Flight 93

and the Memorial that honors the passengers and crew through tangible

objects. At all five Western PA National Park Service sites children are

invited to celebrate the National Park Services 100th birthday during the

upcoming weekend by participating in free special Centennial Junior Ranger

programs at each Park. Any Junior Ranger who completes all five of the

National Parks of Western Pennsylvania Junior Ranger Programs will earn a

special 2016 patch. To learn more check out Centennial Junior Ranger

Program.

  

On Saturday, August 27, at Johnstown Flood National Memorial there will be

a free, special program, presented at 7:00 pm in the Visitor Center

Auditorium entitled “Evening on the Lake: Judge John W. Kephart’s

Connection to the South Fork Fishing and Hunting Club.” Susie Huber, of the

Cambria County Historical Society, will discuss the papers of PA Supreme

Court Justice John W. Kephart. Approximately 12 years after the Johnstown

Flood of 1889, Kephart, a young lawyer was assigned to “wrap up” business

at the site of the Clubhouse and grounds of the South Fork Fishing &

Hunting Club. This presentation will include the opportunity for visitors

to view never before displayed original Club records and new evidence as to

the ownership of the cottages on grounds.

 

To continue the national park adventure beyond these entrance fee free

days, the $80 America the Beautiful National Parks and Federal Recreation

Lands Pass allows unlimited

entrance to more than 2,000 sites, including all national parks, throughout

the year. There are also a variety of free or discounted passes

available for senior

citizens, current military members, fourth grade students, and disabled

citizens.

 

About the Western PA National Parks: Visit the parks website Western PA

National Parks ,

Facebook pages, email WEPAinformation@NPS.gov or call MaryEllen Snyder at

724-329-8131 for more information on the events planned in the five

National Parks in Western PA.

 

About the National Park Service. More than 20,000 National Park Service

employees care for America's 412 national parks and work with communities

across the nation to help preserve local history and create close-to-home

recreational opportunities. Visit us at www.nps.gov, on Facebook at

www.facebook.com/nationalparkservice, Twitter at

www.twitter.com/natlparkservice, and YouTube at

www.youtube.com/nationalparkservice.

 

www.nps.gov

MaryEllen Snyder, Management Assistant

National Park Service/Western Pennsylvania Parks

Fort Necessity National Battlefield

One Washington Parkway

Farmington, PA 15437

724-329-8131 - office

724-812-7814 - cell

Medical Support Vehicle 596, the latest type of Station With Immediate First Aid Treatment (SWIFT) in service with SCDF.

 

These trucks are mobile treatment centres capable of providing medical attention to multiple casualties prior to evacuation to a hospital.

In the immediate post WW II era the British manufacturing industry’s main priority was the export market to help with the balance of payments crisis resulting from the cost of liberating Europe from the Third Reich. Long waiting lists for new vehicles for domestic hauliers meant that ex-WD vehicles like this 1943 Leyland Hippo were an attractive alternative. Here, the ever resourceful Oliver Hart has added a second steering axle to make a maximum capacity eight-wheel tipper.

 

This painting is in oils on a 24″×18 canvas board.

 

Please remember this image is protected by International copyright law..

 

You may download any image for personal or non-commercial use only.

 

Fiat Ducato 42 Maxi Multijet Power - Emergency Amulance .

 

Presumably on hire to East of England Ambulance Service NHS Trust , but I am not 100% sure .

 

Dunmow Road , Bishop’s Stortford , Hertfordshire .

 

Saturday evening 27th-June-2020 .

Immediate history

Repetitive non-events

Arbitrate a dialogue

 

Slovenian Joint Terminal Attack Controllers (JTAC) direct close air support during a live fire mission at Pocek Range, Slovenia during exercise immediate Response 16. The live fire event combined JTACs from multiple allied and partner nations, artillery, mortars, and close air support from American F-16s and Slovenian PC-9s.

Austin buses were never common in their home market, but some export success was achieved in the immediate post-war years with products proudly branded as ‘Austin of England’. Four normal-control K4 buses with the later ‘Loadstar’ bonnet style were bodied on Malta. Brincat-bodied 3252, which started out as a Mosta bus, is represented here in the merged Mosta-Naxxar livery. It survived as FBY 704 until 2003, outliving the other three Loadstars by a considerable margin and becoming something of a celebrity in its final years. It was sadly scrapped in 2005 after a period of storage at Marsa Creek. The other three Loadstars were Aquilina-bodied 2593 (Y-0567), which served the Mellieha route and lasted until 1990; and 974 and 2150, which served the Zejtun and Cospicua routes respectively (13-Apr-11)..

 

All rights reserved. For the avoidance of doubt, this means that it would be a criminal offence to post this image on Facebook or elsewhere (please post a link instead). Follow the link below for terms and conditions, additional information about my work; and to request work from me:

www.flickr.com/photos/northernblue109/6046035749/in/set-7...

  

Immediate access to business loans here shieldfunding.com.

Irish Dominicans killed during the Penal Days

CHRONOLOGICAL LIST OF IRISH DOMINICANS EXECUTED UNDER THE PENAL LAWS

The massacres of the communities of Derry and Coleraine rank as the worst events. These massacres are not accurately dated and are surmised to have been in the immediate aftermath of the Flight of the Earls (14th of September, 1607). The date is somewhat symbolic in that the 14th of September is the feast of the Holy Cross – the main feast of the Irish Province of the Order of Friars Preachers. Sligo and Tralee bear the name as too did the convents of Dublin, Waterford and Limerick. Today these houses celebrate the feast of Saint Saviour on the 6th of August, the feast of the Transfiguration.Originally the feast of the Holy Cross was believed to have been the patronage of the Province.

 

Felix O'Connor, one of the later martyrs was Prior of Sligo but would not, naturally, have been buried in the cloister above. He died in prison in Dublin in 1689.

 

The period covers the seventeenth century; the most virulent persecution of Catholics and Protestant Dissenters in the United Kingdom. Apart from the massacres at Derry and Coleraine most of the events recorded took place during the reign of Charles the First and the later Cromwellian Conquest of Ireland. After the death of Cromwell and the restoration of the British monarchy all recorded deaths happened in prison and not by public execution.

 

EXECUTIONS IN THE REIGN OF ELIZABETH I (1558)

fr. Peter O’Ferge & 20 companions, O.P. - in Derry; stone and massacred c.1600

fr. The entire community of 32 friars, O.P. - in Colraine hanged c.1600

2 unnamed priest and 7 novices thrown overboard off Clare during deportation, 1602

 

EXECUTIONS IN THE REIGN OF JAMES STUART (1603)

Mr. John Burke, T.O.S.D., lay Dominican, hanged in Limerick in 1606

fr. William O'Luin, O.P. – priest in Derry hanged in 1607

fr. John O'Luin, O.P. – priest in Derry hanged in 1607

fr. Donagh O’Luin, O.P. - Prior of Derry, hanged in 1608

fr. William MacGollen, O.P. – priest in Coleraine hanged in 1614

fr. Arthur MacGeohegan, O.P. – priest hanged in 1633

 

EXECUTIONS IN THE REIGN OF CHARLES STUART (1625)

fr. Peter O'Higgins, O.P. - Prior of Naas, hanged in 1641

fr. Raymond Keogh, O.P. - Prior of Roscommon, hanged in 1642

fr. Cormac MacEgan, O.P. - laybrother, hanged in 1642

fr. Richard Barry, O.P. - Prior of Cashel, executed in 1647

fr. John O'Flaverty, O.P. - Prior of Coleraine, executed in 1647

Ms. Margaret of Cashel, T.O.S.D., lay Dominican, slain in 1647

fr. David Fox, O.P. - laybrother in Killmallock, hanged in 1648

fr. Donald O'Neaghten, O.P. - laybrother in Roscommon, hanged in 1648

fr. Gerald Fitzgerald, O.P. - priest in Killmallock, hanged in 1648

fr. James O'Reilly, O.P. - priest in Waterford, hanged in 1648

 

EXECUTIONS IN THE TIME OF OLIVER CROMWELL (1649, Lord Protector 1653)

fr. Peter Costello, O.P. - Prior of Strade, executed in 1649

fr. Richard Overton, O.P. - sub-Prior of Athy, beheaded in 1649

fr. Stephen Petit, O.P. - Prior of Mullingar, executed in 1649

fr. William Lynch, O.P. - priest in Strade, executed in 1649

fr. Dominick Dillon, O.P. - Prior of Urlar, beheaded in 1649

fr. Myles McGrath, O.P. - hanged in Clonmel in 1650

fr. Ambrose Aeneas O'Cahill, O.P. - priest in Cork, beheaded in 1651

fr. James Moran, O.P. - laybrother executed in 1651

fr. James Woulf, O.P. - priest in Limerick, hanged in 1651

fr. Terence Albert O’Brien, O.P. - Bishop of Emly, hanged in 1651

fr. Vincent Gerard Dillon, O.P. - priest in Athenry, died in prison in 1651

fr. Thomas O'Higgins, O.P. - priest in Clonmel, hanged in 1651

fr. William O'Connor, O.P. - priest in Clonmel, hanged in 1651

fr. Donatus ‘Niger’ Duff, O.P. - laybrother executed in 1651

fr. Edmund O'Beirne, O.P. - priest of Roscommon, beheaded in 1651

fr. Laurence O'Ferral, O.P. - Prior of Longford, hanged in 1651

fr. Bernard O'Ferral, O.P. - priest in Longford, hanged in 1651

fr. Stephen Petit, O.P. – priest in Athenry hanged in 1651 (same name as Mullingar man in 1649)

fr. John Collins, O.P. – priest in Limerick, hanged in 1614

fr. John O'Quillen, O.P. - priest in Athenry, executed in 1652

fr. Hugh MacGoill, O.P. - priest in Rathbran, executed in 1653

fr. David Roche, O.P. - Prior of Glentworth, deported to Barbados and died in 1653

fr. Bernard O'Kelly, O.P. - laybrother in Roscommon, hanged in 1653

fr. Thaddeus Moriarty, O.P. - Prior of Tralee, hanged in 1653

Ms. Honoria de Burgo, T.O.S.D., lay Dominican at Burrishoole, died on the run in 1653

Ms. Honoria Magaen, T.O.S.D., lay Dominican at Burrishoole, died on the run in 1653

fr. James O’Reilly, O.P. – priest in Coleraine, killed by soldiers in 1656

fr. John O’Laghlin, O.P. – Prior of Derry, strangled and beheaded in 1657

 

EXECUTIONS IN THE TIME OF RICHARD CROMWELL (1658)

none

 

DEATHS IN THE REIGN OF CHARLES STUART (1660)

fr. Raymond O'Moore, O.P. - priest in Dublin, died in prison in 1665

fr. Felix O'Connor, O.P. - Prior of Sligo, died in prison in 1679

 

DEATHS IN THE REIGN OF JAMES STUART (1685)

fr. John O'Morrogh, O.P. - Prior of Cork, died in prison in 1702

fr. Clement O'Callaghan, O.P. - Prior of Derry, died in prison in 1704

fr. Daniel MacDonald, O.P. - priest of Urlar, died in prison in 1707

fr. Felix MacDonald, O.P. - priest in Tulsk, died in prison in 1707

fr. Dominick MacEgan., O.P. - priest in Tralee, died in prison in 1713

fr. John Keating, O.P. - priest in Louvain (Leuven) died in prison in 1703

 

42 of this list had their cause opened on 17th of March, 1918 by William the Archbishop of Dublin. Beatification was granted to Terence Albert O’Brien and Peter O’Higgins by Pope John Paul II on the 27th of September, 1992.

 

This 1938 booklet titled ‘The Protection Of Your Home Against Air Raids’ was found under the stairs of a house, 77 years after it was issued to the nation, prior to the outbreak of the Second World War the following year.

 

A Home Office publication, it covered aspects that required immediate consideration, if and when a war was declared, in the event of an air raid, and included extra precautions with respect to bombs and gas, along with a final section on simple first aid supplies.

 

The mood of the time is clearly evident from the publication, and it is hard to imagine the fear and anxiety the population would have had at this point, let alone when war was declared and fighting took a hold throughout Europe and much of the world.

 

A fascinating read on the simplistic measures that were meant to save people during these hostile times.

 

Originally constructed in the immediate north-western periphery of the town, today Villa Coronini Cronberg is in the heart of the city of Gorizia. Executed probably on a plan by architect Giulio Baldigara at the end of 16th century, on behalf of Carl Zengraf, the residence is characterized by a massive body developed on three floors with its nineteenth-century wing and loggia.

 

Today the Villa Coronini Cronberg is a relevant cultural entity. not only for the city of Gorizia, but for the entire Friuli Venezia Giulia Region. The severe facade of the palace finds a number of ornaments in the porch supported by four 2nd century powerful diorite's columns and in the airy terrace with two orders of arches. The terrace connects the villa to the chapel of 17th century where the last descendants of the counts Coronini Cronberg are buried. Counts Coronini Cronberg's family line, of Bergamo origin, concluded in September 1990 with the death of count Guglielmo Coronini, a fascinating man of versatile culture and artistic sensitivity; also a passionate researcher and collector.

The park in English style of the Coronini villa (nearly 12.5 acres wide) is open every day from dawn to sunset, free of charges.

  

The Louvre Palace (French: Palais du Louvre, [palɛ dy luvʁ]), often referred to simply as the Louvre, is an iconic French palace located on the Right Bank of the Seine in Paris, occupying a vast expanse of land between the Tuileries Gardens and the church of Saint-Germain l'Auxerrois. Originally a defensive castle, it has served numerous government-related functions in the past, including intermittently as a royal residence between the 14th and 18th centuries. It is now mostly used by the Louvre Museum, which first opened there in 1793.

 

Whereas the area had been inhabited for thousands of years,[1] the Louvre's history starts around 1190 with its first construction as a castle defending the western front of the Wall of Philip II Augustus in the city wall. The Louvre's oldest section still standing above ground, its Lescot Wing, dates from the late 1540s, when Francis I started the replacement of the medieval castle with a new design inspired by classical antiquity and Italian Renaissance architecture. Most parts of the current building were constructed in the 17th and 19th centuries.[2][3]

 

For more than three centuries, the history of the Louvre has been closely intertwined with that of the Tuileries Palace, created to the west of the Louvre by Catherine de' Medici in 1564 and finally demolished in 1883. The Tuileries was the main seat of French executive power during the last third of that period, from the return of Louis XVI and his court from Versailles in October 1789 until the palace was set on fire during the Paris Commune of 1871. The Pavillon de Flore and Pavillon de Marsan, which used to respectively mark the southern and northern ends of the Tuileries, are now considered part of the Louvre Palace. The Carrousel Garden, first created in the late 19th century in what used to be the great courtyard of the Tuileries (or Cour du Carrousel), is now considered part of the Tuileries Garden. A less high-profile but historically significant dependency of the Louvre was to its immediate east, the Hôtel du Petit-Bourbon, appropriated by the monarchy following the betrayal of the Constable of Bourbon in 1523 and mostly demolished in October 1660 to give way to the Louvre's expansion.[4]: 37  The last remains of the Petit-Bourbon were cleared in the 1760s.

 

General description

This sections provides a summary description of the present-day complex and its main constituent parts.

 

The Louvre Palace is situated on the right bank of the Seine, between the Quai François Mitterrand to its south, the avenue du Général-Lemonnier to its west (thus named since 1957; formerly rue des Tuileries and Avenue Paul-Déroulède, converted into an underpass in 1987–1989[5]), the Rue de Rivoli to its north, and the Place du Louvre to its east. The complex occupies about 40 hectares with buildings distributed around two main open spaces: the eastern Cour Carrée (square courtyard), which is closed by four wings that form the square of its name, and the central Cour Napoléon, which is open on its western side, beyond the thoroughfare known as Place du Carrousel, towards the Carrousel Garden and the rest of the Tuileries Garden.

 

The Louvre is slightly askew of the Historic Axis (Axe historique), a roughly eight-kilometer (five-mile) architectural line bisecting the city. The axis begins with the Louvre courtyard, at a point now symbolically marked by a lead copy of Bernini's equestrian statue of Louis XIV, and runs west along the Champs-Élysées to La Défense and slightly beyond.

 

Since 1988, the Louvre Pyramid in the middle of the Cour Napoléon has marked the center of the Louvre complex. At the same time, the Louvre Museum has adopted a toponymy developed by the Carbone Smolan Agency to refer to the three clusters of buildings that surround that central focus point:[6]

 

To the east, the "Sully Wing" is the square-shaped set of buildings that surrounds the Cour Carrée, named after Maximilien de Béthune, Duke of Sully. It includes the 16th-century Lescot Wing and the footprint of the Medieval Louvre whose remains are displayed underground;

To the south, the "Denon Wing" is the array of buildings between the Cour Napoléon and the Seine, named after the Louvre's first director Vivant Denon. the Louvre's southwestern wing is the Aile de Flore. The long Grande Galerie runs on the first floor for much of the length of this building, on the Seine-facing side.

To the north, the "Richelieu Wing" is the almost-symmetrical array of buildings between the Cour Napoléon and the rue de Rivoli, named after Cardinal Richelieu. Its western extension alongside rue de Rivoli is the Aile de Rohan, itself continued by the Aile de Marsan.

The Louvre Museum occupies most of the palace's space, but not all of it. The main other users are at the building's two western tips: in the southwestern Aile de Flore, the École du Louvre and Center for Research and Restoration of Museums of France (C2RMF); and in the northwestern Aile de Marsan, the Musée des Arts Décoratifs. In total, some 51,615 square meters (555,000 square feet) in the palace complex are devoted to public exhibition floor space.

 

Many sections of the Louvre are referred to as "wings" (ailes) and "pavilions" (pavillons) – typically, the pavilions are the blocks at either the end or the center of a wing. In the Louvre's context, the word "wing" does not denote a peripheral location: the Lescot Wing, in particular, was built as the Louvre's main corps de logis. Given the Louvre wings' length and the fact that they typically abutted parts of the city with streets and private buildings, several of them have passageways on the ground floor which in the Louvre's specific context are called guichets.

 

The origin of the name Louvre is unclear. French historian Henri Sauval, probably writing in the 1660s, stated that he had seen "in an old Latin-Saxon glossary, Leouar is translated castle" and thus took Leouar to be the origin of Louvre.[7] According to Keith Briggs, Sauval's theory is often repeated, even in recent books, but this glossary has never been seen again, and Sauval's idea is viewed as obsolete. Briggs suggests that H. J. Wolf's proposal in 1969 that Louvre derives instead from Latin Rubras, meaning "red soil", is more plausible.[8] David Hanser suggests instead that the word may come from French louveterie, a "place where dogs were trained to chase wolves"

 

Beyond the name of the palace itself, the toponymy of the Louvre can be treacherous. Partly because of the building's long history and links to changing politics, different names have applied at different times to the same structures or rooms. For example, what used to be known in the 17th and 18th centuries the Pavillon du Milieu or Gros Pavillon is now generally referred to as Pavillon de l'Horloge, or Pavillon Sully (especially when considered from the west), or also Pavillon Lemercier after the architect Jacques Lemercier who first designed it in 1624. In some cases, the same name has designated different parts of the building at different times. For example, in the 19th century, the Pavillon de la Bibliothèque referred to what was later called the Porte Jean-Goujon (still later, Porte Barbet-de-Jouy), on the south side of the Grande Galerie facing the Seine, before becoming the name for the main pavilion of the Richelieu Wing On the rue de Rivoli, its exact symmetrical point from the Louvre Pyramid. The main room on the first floor of the Lescot Wing has been the Salle Haute, Grande Salle, Salle des Gardes,[10]: 11  Salle d'Attente,[11] in the 16th and 17th centuries. It was fragmented into apartments during the 18th century, then recreated in the early 19th and called successively Salle Royale,[10]: 9  Salle des Séances Royales[12] or Salle des Etats (the latter also being the name of two other ceremonial rooms, created in the 1850s and 1860s respectively);[10]: 9  then as part of the museum, salle des terres cuites, after 1871 Salle La Caze in honor of donor Louis La Caze, Salle des Bronzes, and since 2021 Salle Etrusque. The room immediately below, now known as Salle des Caryatides, has also been called Salle Basse, Salle Basse des Suisses,[13]: 71  Grande Salle, Salle des Gardes, Salle des Antiques (from 1692 to 1793), and Salle des Fleuves[14]: 189  in the past, among other names.

 

Sully Wing

The Sully Wing forms a square of approximately 160 m (520 ft) side length. The protruding sections at the corners and center of each side are known as pavillons. Clockwise from the northwest corner, they are named as follows: Pavillon de Beauvais (after a now-disappeared street[15]), Pavillon Marengo (after the nearby rue de Marengo), Pavillon Nord-Est (also Pavillon des Assyriens[14]: 670 ), Pavillon Central de la Colonnade (also Pavillon Saint-Germain-l'Auxerrois), Pavillon Sud-Est (also Pavillon des Egyptiens[14]: 669 ), Pavillon des Arts, Pavillon du Roi, and Pavillon de l'Horloge, the latter also known as Pavillon Sully. The section between the Pavillon du Roi and the Pavillon Sully, known as the Lescot Wing (Aile Lescot) as it was designed by architect Pierre Lescot, is the oldest standing part of the entire Louvre Palace. The section between the Pavillon Sully and the Pavillon de Beauvais, which was modeled after the Lescot Wing by architect Jacques Lemercier, is similarly known as the Lemercier Wing (Aile Lemercier). The eastern wing is the Aile de la Colonnade, named after its iconic eastern façade, the Louvre Colonnade initially designed by Charles Perrault.

 

On the southern side of the Cour Napoléon, the Denon Wing's three main pavilions are named respectively, from east to west, after Napoleon-era officials Pierre Daru, Vivant Denon and Nicolas François Mollien. Between these and the wing facing the seine are three courtyards, from east to west the Cour du Sphinx (covered as a glass atrium since 1934), Cour Visconti (ground floor covered since 2012), and Cour Lefuel. On the side of the Seine, this wing starts with the north–south Petite Galerie bordering a side garden known as the Jardin de l'Infante, and continues westwards along the Quai François Mitterrand with the Salon Carré, Grande Galerie, and Pavillon de Flore. In the middle of the Grande Galerie are the Guichets du Carrousel, a composition of three monumental arches flanked by two narrow pavilions named respectively after the Duke of Lesdiguières and Henri de La Trémoille (Pavillon Lesdiguières and Pavillon La Trémoille). Further west are the Pavillon des Sessions, a protruding structure on the northern side, the Porte des Lions, a passageway to the quay,[16] the Porte Jaujard on the north side, now the main entrance to the École du Louvre, and finally the Pavillon de Flore.[17]

 

Richelieu and Marsan Wings

Similarly, on the northern side of the Cour Napoléon are, from east to west, the pavilions named after Jean-Baptiste Colbert, Cardinal Richelieu, and Anne Robert Jacques Turgot. Between these and the rue de Rivoli are three courtyards, from east to west the Cour Khorsabad (formerly Cour de la Poste), Cour Puget (formerly Cour des Guichets or Cour de l'Horloge), and Cour Marly (formerly Cour d'Honneur or Cour du Ministre). On the side facing the rue de Rivoli, the main salient feature is the Pavillon de la Bibliothèque, which connects to the Pavillon Richelieu through the ground-floor Passage Richelieu (formerly Guichet du Ministère[3]: 102 ) between the Cour Puget and Cour Marly. Further west are the Pavillon de Rohan and the Aile de Rohan, built in the early 19th century and named after the nearby rue de Rohan [fr], then the Aile de Marsan and the Pavillon de Marsan, both rebuilt by Hector Lefuel in the 1870s.

 

Pyramid and underground spaces

The Louvre Pyramid, built in the 1980s on a design by I. M. Pei, is now the centerpiece of the entire Louvre complex. It leads to the underground Hall Napoléon which in turn serves a vast complex of underground spaces, including the Carrousel du Louvre commercial mall around an inverted pyramid further west.

 

Paris is the capital and most populous city of France. With an official estimated population of 2,102,650 residents as of 1 January 2023[2] in an area of more than 105 km2 (41 sq mi) Paris is the fourth-most populated city in the European Union and the 30th most densely populated city in the world in 2022. Since the 17th century, Paris has been one of the world's major centres of finance, diplomacy, commerce, culture, fashion, and gastronomy. For its leading role in the arts and sciences, as well as its early and extensive system of street lighting, in the 19th century, it became known as the City of Light.

 

The City of Paris is the centre of the Île-de-France region, or Paris Region, with an official estimated population of 12,271,794 inhabitants on 1 January 2023, or about 19% of the population of France, The Paris Region had a GDP of €765 billion (US$1.064 trillion, PPP) in 2021, the highest in the European Union. According to the Economist Intelligence Unit Worldwide Cost of Living Survey, in 2022, Paris was the city with the ninth-highest cost of living in the world.

 

Paris is a major railway, highway, and air-transport hub served by two international airports: Charles de Gaulle Airport (the third-busiest airport in Europe) and Orly Airport. Opened in 1900, the city's subway system, the Paris Métro, serves 5.23 million passengers daily; it is the second-busiest metro system in Europe after the Moscow Metro. Gare du Nord is the 24th-busiest railway station in the world and the busiest outside Japan, with 262 million passengers in 2015. Paris has one of the most sustainable transportation systems and is one of the only two cities in the world that received the Sustainable Transport Award twice.

 

Paris is especially known for its museums and architectural landmarks: the Louvre received 8.9. million visitors in 2023, on track for keeping its position as the most-visited art museum in the world. The Musée d'Orsay, Musée Marmottan Monet and Musée de l'Orangerie are noted for their collections of French Impressionist art. The Pompidou Centre Musée National d'Art Moderne, Musée Rodin and Musée Picasso are noted for their collections of modern and contemporary art. The historical district along the Seine in the city centre has been classified as a UNESCO World Heritage Site since 1991.

 

Paris hosts several United Nations organizations including UNESCO, and other international organizations such as the OECD, the OECD Development Centre, the International Bureau of Weights and Measures, the International Energy Agency, the International Federation for Human Rights, along with European bodies such as the European Space Agency, the European Banking Authority and the European Securities and Markets Authority. The football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris. The 80,000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros. The city hosted the Olympic Games in 1900 and 1924, and will host the 2024 Summer Olympics. The 1938 and 1998 FIFA World Cups, the 2019 FIFA Women's World Cup, the 2007 Rugby World Cup, as well as the 1960, 1984 and 2016 UEFA European Championships were also held in the city. Every July, the Tour de France bicycle race finishes on the Avenue des Champs-Élysées in Paris.

 

The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the area's major north–south trade routes crossed the Seine on the île de la Cité, which gradually became an important trading centre. The Parisii traded with many river towns (some as far away as the Iberian Peninsula) and minted their own coins.

 

The Romans conquered the Paris Basin in 52 BC and began their settlement on Paris's Left Bank. The Roman town was originally called Lutetia (more fully, Lutetia Parisiorum, "Lutetia of the Parisii", modern French Lutèce). It became a prosperous city with a forum, baths, temples, theatres, and an amphitheatre.

 

By the end of the Western Roman Empire, the town was known as Parisius, a Latin name that would later become Paris in French. Christianity was introduced in the middle of the 3rd century AD by Saint Denis, the first Bishop of Paris: according to legend, when he refused to renounce his faith before the Roman occupiers, he was beheaded on the hill which became known as Mons Martyrum (Latin "Hill of Martyrs"), later "Montmartre", from where he walked headless to the north of the city; the place where he fell and was buried became an important religious shrine, the Basilica of Saint-Denis, and many French kings are buried there.

 

Clovis the Frank, the first king of the Merovingian dynasty, made the city his capital from 508. As the Frankish domination of Gaul began, there was a gradual immigration by the Franks to Paris and the Parisian Francien dialects were born. Fortification of the Île de la Cité failed to avert sacking by Vikings in 845, but Paris's strategic importance—with its bridges preventing ships from passing—was established by successful defence in the Siege of Paris (885–886), for which the then Count of Paris (comte de Paris), Odo of France, was elected king of West Francia. From the Capetian dynasty that began with the 987 election of Hugh Capet, Count of Paris and Duke of the Franks (duc des Francs), as king of a unified West Francia, Paris gradually became the largest and most prosperous city in France.

 

By the end of the 12th century, Paris had become the political, economic, religious, and cultural capital of France.[36] The Palais de la Cité, the royal residence, was located at the western end of the Île de la Cité. In 1163, during the reign of Louis VII, Maurice de Sully, bishop of Paris, undertook the construction of the Notre Dame Cathedral at its eastern extremity.

 

After the marshland between the river Seine and its slower 'dead arm' to its north was filled in from around the 10th century, Paris's cultural centre began to move to the Right Bank. In 1137, a new city marketplace (today's Les Halles) replaced the two smaller ones on the Île de la Cité and Place de Grève (Place de l'Hôtel de Ville). The latter location housed the headquarters of Paris's river trade corporation, an organisation that later became, unofficially (although formally in later years), Paris's first municipal government.

 

In the late 12th century, Philip Augustus extended the Louvre fortress to defend the city against river invasions from the west, gave the city its first walls between 1190 and 1215, rebuilt its bridges to either side of its central island, and paved its main thoroughfares. In 1190, he transformed Paris's former cathedral school into a student-teacher corporation that would become the University of Paris and would draw students from all of Europe.

 

With 200,000 inhabitants in 1328, Paris, then already the capital of France, was the most populous city of Europe. By comparison, London in 1300 had 80,000 inhabitants. By the early fourteenth century, so much filth had collected inside urban Europe that French and Italian cities were naming streets after human waste. In medieval Paris, several street names were inspired by merde, the French word for "shit".

 

During the Hundred Years' War, Paris was occupied by England-friendly Burgundian forces from 1418, before being occupied outright by the English when Henry V of England entered the French capital in 1420; in spite of a 1429 effort by Joan of Arc to liberate the city, it would remain under English occupation until 1436.

 

In the late 16th-century French Wars of Religion, Paris was a stronghold of the Catholic League, the organisers of 24 August 1572 St. Bartholomew's Day massacre in which thousands of French Protestants were killed. The conflicts ended when pretender to the throne Henry IV, after converting to Catholicism to gain entry to the capital, entered the city in 1594 to claim the crown of France. This king made several improvements to the capital during his reign: he completed the construction of Paris's first uncovered, sidewalk-lined bridge, the Pont Neuf, built a Louvre extension connecting it to the Tuileries Palace, and created the first Paris residential square, the Place Royale, now Place des Vosges. In spite of Henry IV's efforts to improve city circulation, the narrowness of Paris's streets was a contributing factor in his assassination near Les Halles marketplace in 1610.

 

During the 17th century, Cardinal Richelieu, chief minister of Louis XIII, was determined to make Paris the most beautiful city in Europe. He built five new bridges, a new chapel for the College of Sorbonne, and a palace for himself, the Palais-Cardinal. After Richelieu's death in 1642, it was renamed the Palais-Royal.

 

Due to the Parisian uprisings during the Fronde civil war, Louis XIV moved his court to a new palace, Versailles, in 1682. Although no longer the capital of France, arts and sciences in the city flourished with the Comédie-Française, the Academy of Painting, and the French Academy of Sciences. To demonstrate that the city was safe from attack, the king had the city walls demolished and replaced with tree-lined boulevards that would become the Grands Boulevards. Other marks of his reign were the Collège des Quatre-Nations, the Place Vendôme, the Place des Victoires, and Les Invalides.

 

18th and 19th centuries

Empire, and Haussmann's renovation of Paris

Paris grew in population from about 400,000 in 1640, to 650,000 in 1780. A new boulevard named the Champs-Élysées extended the city west to Étoile, while the working-class neighbourhood of the Faubourg Saint-Antoine on the eastern side of the city grew increasingly crowded with poor migrant workers from other regions of France.

 

Paris was the centre of an explosion of philosophic and scientific activity, known as the Age of Enlightenment. Diderot and d'Alembert published their Encyclopédie in 1751, and the Montgolfier Brothers launched the first manned flight in a hot air balloon on 21 November 1783. Paris was the financial capital of continental Europe, and the primary European centre of book publishing, fashion and the manufacture of fine furniture and luxury goods.

 

In the summer of 1789, Paris became the centre stage of the French Revolution. On 14 July, a mob seized the arsenal at the Invalides, acquiring thousands of guns, and stormed the Bastille, which was a principal symbol of royal authority. The first independent Paris Commune, or city council, met in the Hôtel de Ville and elected a Mayor, the astronomer Jean Sylvain Bailly, on 15 July.

 

Louis XVI and the royal family were brought to Paris and incarcerated in the Tuileries Palace. In 1793, as the revolution turned increasingly radical, the king, queen and mayor were beheaded by guillotine in the Reign of Terror, along with more than 16,000 others throughout France. The property of the aristocracy and the church was nationalised, and the city's churches were closed, sold or demolished. A succession of revolutionary factions ruled Paris until 9 November 1799 (coup d'état du 18 brumaire), when Napoleon Bonaparte seized power as First Consul.

 

The population of Paris had dropped by 100,000 during the Revolution, but after 1799 it surged with 160,000 new residents, reaching 660,000 by 1815. Napoleon replaced the elected government of Paris with a prefect that reported directly to him. He began erecting monuments to military glory, including the Arc de Triomphe, and improved the neglected infrastructure of the city with new fountains, the Canal de l'Ourcq, Père Lachaise Cemetery and the city's first metal bridge, the Pont des Arts.

  

The Eiffel Tower, under construction in November 1888, startled Parisians—and the world—with its modernity.

During the Restoration, the bridges and squares of Paris were returned to their pre-Revolution names; the July Revolution in 1830 (commemorated by the July Column on the Place de la Bastille) brought to power a constitutional monarch, Louis Philippe I. The first railway line to Paris opened in 1837, beginning a new period of massive migration from the provinces to the city. In 1848, Louis-Philippe was overthrown by a popular uprising in the streets of Paris. His successor, Napoleon III, alongside the newly appointed prefect of the Seine, Georges-Eugène Haussmann, launched a huge public works project to build wide new boulevards, a new opera house, a central market, new aqueducts, sewers and parks, including the Bois de Boulogne and Bois de Vincennes. In 1860, Napoleon III annexed the surrounding towns and created eight new arrondissements, expanding Paris to its current limits.

 

During the Franco-Prussian War (1870–1871), Paris was besieged by the Prussian Army. Following several months of blockade, hunger, and then bombardment by the Prussians, the city was forced to surrender on 28 January 1871. After seizing power in Paris on 28 March, a revolutionary government known as the Paris Commune held power for two months, before being harshly suppressed by the French army during the "Bloody Week" at the end of May 1871.

 

In the late 19th century, Paris hosted two major international expositions: the 1889 Universal Exposition, which featured the new Eiffel Tower, was held to mark the centennial of the French Revolution; and the 1900 Universal Exposition gave Paris the Pont Alexandre III, the Grand Palais, the Petit Palais and the first Paris Métro line. Paris became the laboratory of Naturalism (Émile Zola) and Symbolism (Charles Baudelaire and Paul Verlaine), and of Impressionism in art (Courbet, Manet, Monet, Renoir).

 

20th and 21st centuries

World War, Paris between the Wars (1919–1939), Paris in World War II, and History of Paris (1946–2000)

By 1901, the population of Paris had grown to about 2,715,000. At the beginning of the century, artists from around the world including Pablo Picasso, Modigliani, and Henri Matisse made Paris their home. It was the birthplace of Fauvism, Cubism and abstract art, and authors such as Marcel Proust were exploring new approaches to literature.

 

During the First World War, Paris sometimes found itself on the front line; 600 to 1,000 Paris taxis played a small but highly important symbolic role in transporting 6,000 soldiers to the front line at the First Battle of the Marne. The city was also bombed by Zeppelins and shelled by German long-range guns. In the years after the war, known as Les Années Folles, Paris continued to be a mecca for writers, musicians and artists from around the world, including Ernest Hemingway, Igor Stravinsky, James Joyce, Josephine Baker, Eva Kotchever, Henry Miller, Anaïs Nin, Sidney Bechet and Salvador Dalí.

 

In the years after the peace conference, the city was also home to growing numbers of students and activists from French colonies and other Asian and African countries, who later became leaders of their countries, such as Ho Chi Minh, Zhou Enlai and Léopold Sédar Senghor.

  

General Charles de Gaulle on the Champs-Élysées celebrating the liberation of Paris, 26 August 1944

On 14 June 1940, the German army marched into Paris, which had been declared an "open city". On 16–17 July 1942, following German orders, the French police and gendarmes arrested 12,884 Jews, including 4,115 children, and confined them during five days at the Vel d'Hiv (Vélodrome d'Hiver), from which they were transported by train to the extermination camp at Auschwitz. None of the children came back. On 25 August 1944, the city was liberated by the French 2nd Armoured Division and the 4th Infantry Division of the United States Army. General Charles de Gaulle led a huge and emotional crowd down the Champs Élysées towards Notre Dame de Paris, and made a rousing speech from the Hôtel de Ville.

 

In the 1950s and the 1960s, Paris became one front of the Algerian War for independence; in August 1961, the pro-independence FLN targeted and killed 11 Paris policemen, leading to the imposition of a curfew on Muslims of Algeria (who, at that time, were French citizens). On 17 October 1961, an unauthorised but peaceful protest demonstration of Algerians against the curfew led to violent confrontations between the police and demonstrators, in which at least 40 people were killed. The anti-independence Organisation armée secrète (OAS) carried out a series of bombings in Paris throughout 1961 and 1962.

 

In May 1968, protesting students occupied the Sorbonne and put up barricades in the Latin Quarter. Thousands of Parisian blue-collar workers joined the students, and the movement grew into a two-week general strike. Supporters of the government won the June elections by a large majority. The May 1968 events in France resulted in the break-up of the University of Paris into 13 independent campuses. In 1975, the National Assembly changed the status of Paris to that of other French cities and, on 25 March 1977, Jacques Chirac became the first elected mayor of Paris since 1793. The Tour Maine-Montparnasse, the tallest building in the city at 57 storeys and 210 m (689 ft) high, was built between 1969 and 1973. It was highly controversial, and it remains the only building in the centre of the city over 32 storeys high. The population of Paris dropped from 2,850,000 in 1954 to 2,152,000 in 1990, as middle-class families moved to the suburbs. A suburban railway network, the RER (Réseau Express Régional), was built to complement the Métro; the Périphérique expressway encircling the city, was completed in 1973.

 

Most of the postwar presidents of the Fifth Republic wanted to leave their own monuments in Paris; President Georges Pompidou started the Centre Georges Pompidou (1977), Valéry Giscard d'Estaing began the Musée d'Orsay (1986); President François Mitterrand had the Opéra Bastille built (1985–1989), the new site of the Bibliothèque nationale de France (1996), the Arche de la Défense (1985–1989) in La Défense, as well as the Louvre Pyramid with its underground courtyard (1983–1989); Jacques Chirac (2006), the Musée du quai Branly.

 

In the early 21st century, the population of Paris began to increase slowly again, as more young people moved into the city. It reached 2.25 million in 2011. In March 2001, Bertrand Delanoë became the first socialist mayor. He was re-elected in March 2008. In 2007, in an effort to reduce car traffic, he introduced the Vélib', a system which rents bicycles. Bertrand Delanoë also transformed a section of the highway along the Left Bank of the Seine into an urban promenade and park, the Promenade des Berges de la Seine, which he inaugurated in June 2013.

 

In 2007, President Nicolas Sarkozy launched the Grand Paris project, to integrate Paris more closely with the towns in the region around it. After many modifications, the new area, named the Metropolis of Grand Paris, with a population of 6.7 million, was created on 1 January 2016. In 2011, the City of Paris and the national government approved the plans for the Grand Paris Express, totalling 205 km (127 mi) of automated metro lines to connect Paris, the innermost three departments around Paris, airports and high-speed rail (TGV) stations, at an estimated cost of €35 billion.The system is scheduled to be completed by 2030.

 

In January 2015, Al-Qaeda in the Arabian Peninsula claimed attacks across the Paris region. 1.5 million people marched in Paris in a show of solidarity against terrorism and in support of freedom of speech. In November of the same year, terrorist attacks, claimed by ISIL, killed 130 people and injured more than 350.

 

On 22 April 2016, the Paris Agreement was signed by 196 nations of the United Nations Framework Convention on Climate Change in an aim to limit the effects of climate change below 2 °C.

 

 

Photo taken by Stefan Röhrich.

  

München-Riem

1978-05-14 (14 May 1978)

 

SU-AZY

Airbus A300B4-203

025

EgyptAir

 

SU-AZY has just landed on Riem’s runway 25 and is leaving the runway via the end. The airframe would return to Riem as D-AHLZ with Hapag-Lloyd in the early 1980s and with Condor in August 1985.

 

Information from flickr - thanks to Guido Allieri (slightly adapted):

Airbus A300B4-203 c/n 25 was delivered new to Bavaria Germanair as D-AMAZ in May 1977 for immediate leasing to Egyptair as SU-AZY. It returned to Germany to Hapag Lloyd in November 1982 as D-AHLZ. During the next years it was also shortly leased to Kuwait Airways, Capitol Air, Air Jamaica and Condor. Acquired by PIA Pakistan as AP-BCP in April 1986, the aircraft was lost on 28 September 1992 near Teenpane/Bhatte Dande, Kathmandu, Nepal, when it impacted a moutainside in bad weather (167 fatalities).

 

Registration details for this airframe:

rzjets.net/aircraft/?reg=430940

 

Accident report:

asn.flightsafety.org/asndb/325428

 

This airframe as D-AMAZ with EgyptAir ca. 1977:

www.flickr.com/photos/154191970@N03/37243252526

 

D-AMAZ with EgyptAir at FRA in 1977 (Bavaria Germanair’s D-AMAX in the background):

www.planepictures.net/a/161/24/1601217388.jpg

 

SU-AZY with EgyptAir at HAJ in May 1981 (pulled out of the hangar with the nose gear lifted up):

cdn.plnspttrs.net/33860/su-azy-egyptair-airbus-a300b4-2c_...

 

D-AHLZ leased to Capitol at LAX in September 1984 (Hapag-Lloyd cheatline, Capitol titles):

www.flickr.com/photos/steelhead2010/36434349206

 

D-AHLZ leased to Condor at DUS in 1985 (hybrid livery with the blue part of Hapag-Lloyd’s livery remaining):

www.airhistory.net/photo/509628/D-AHLZ

 

This airframe as AP-BCP with Pakistan International (PIA) at CPH in July 1991:

www.flickr.com/photos/157369642@N02/38602569821

 

AP-BCP with Pakistan International (PIA) at FCO in February 1992 (later colours):

www.flickr.com/photos/guidojet/50537993092

  

Scan from Kodachrome slide.