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This is for a good friend of mine. He wanted one of my inlaid gold-lined bands but wanted the center to be titanium instead of my usual patterned sterling silver.
Technically, it was a lot more challenging just because you cannot solder the titanium into place-- it has to be held in mechanically. So I used a few tricks and got it figured out and this is the result. I really like how it turned out. It's very clean, and the titanium has a nice, warm earthy tone that contrasts nicely with the silver while going great with the gold. There are a lot of mass-produced titanium wedding bands out there and most of them are a dull, boring light gray tone. I will never understand why most people using titanium do not take full advantage of the rich tones that are possible with it.
Less well known than Tutankhamun's burial but equally mostly intact was the tomb of his great-grandparents, Yuya and Thuya, the parents of Queen Tiye (and grandparents of Akhenaten).As the in-laws of Pharaoh Amenophis III they were given a burial in the Valley of the Kings, and though smaller than most royal tombs it nonetheless yielded a treasure-trove of artefacts when it was discovered in 1905.
The tomb had been entered by robbers in antiquity but they were presumably disturbed as the mummies were still intact within their coffins and the funerary goods including a large amount of furniture also remained. It was the most complete ancient Egyptian tomb discovered until Tutankhamun's seventeen years later.
For more on this remarkable couple and their tomb see below:-
My wife bought this pretty inlaid soapstone trinket box at a craft fair many years ago. I keep my mother's engagement and eternity ring in it together with her brooch which my father bought for his mother when he was in China about 1922.
"The third George room features a particularly beautiful inlaid marble fireplace that was made for the 9th Earl by John Richter in the late 18th Century. Above this hangs Saint Gregory by Carlo Saraceni, no. 313. This is franked by a magnificent pair of still life flower paintings by Guiseppe Recco (1634-1695), and the monumental canvasses The Death of Seneca, no. 406 and The Rape of Europa, no. 397, are both by the Neapolitan artist Luca Giordano (1632-1705)." - info from the Burghley House mini guide.
"Burghley House is a grand sixteenth-century English country house near Stamford, Lincolnshire. It is a leading example of the Elizabethan prodigy house, built and still lived in by the Cecil family. The exterior largely retains its Elizabethan appearance, but most of the interiors date from remodellings before 1800. The house is open to the public and displays a circuit of grand and richly furnished state apartments. Its park was laid out by Capability Brown.
The house is on the boundary of the civil parishes of Barnack and St Martin's Without in the Peterborough unitary authority of Cambridgeshire. It was formerly part of the Soke of Peterborough, an historic area that was traditionally associated with Northamptonshire. It lies 0.9 miles (1.4 km) south of Stamford and 10 miles (16 km) northwest of Peterborough city centre.
The house is now run by the Burghley House Preservation Trust, which is controlled by the Cecil family.
Burghley was built for Sir William Cecil, later 1st Baron Burghley, who was Lord High Treasurer to Queen Elizabeth I of England, between 1555 and 1587, and modelled on the privy lodgings of Richmond Palace. It was subsequently the residence of his descendants, the Earls, and since 1801, the Marquesses of Exeter. Since 1961, it has been owned by a charitable trust established by the family.
Lady Victoria Leatham, antiques expert and television personality, followed her father, Olympic gold-medal winning athlete, IAAF President and MP, David Cecil, the 6th Marquess, by running the house from 1982 to 2007. The Olympic corridor commemorates her father. Her daughter, Miranda Rock, is now the most active live-in trustee. However, the Marquessate passed it in 1988 to Victoria's uncle, Martin Cecil, 7th Marquess of Exeter, and then to his son, William Michael Anthony Cecil, both Canadian ranchers on land originally bought by the 5th Marquess, who have not lived at Burghley.
The house is one of the main examples of stonemasonry and proportion in sixteenth-century English Elizabethan architecture, reflecting the prominence of its founder, and the lucrative wool trade of the Cecil estates. It has a suite of rooms remodelled in the baroque style, with carvings by Grinling Gibbons. The main part of the house has 35 major rooms, on the ground and first floors. There are more than 80 lesser rooms and numerous halls, corridors, bathrooms, and service areas.
In the seventeenth century, the open loggias around the ground floor were enclosed. Although the house was built in the floor plan shape of the Letter E, in honour of Queen Elizabeth, it is now missing its north-west wing. During the period of the 9th Earl's ownership, and under the guidance of the famous landscape architect, Capability Brown, the south front was raised to alter the roof line, and the north-west wing was demolished to allow better views of the new parkland. A chimney-piece after the design of Venetian printmaker Giovanni Battista Piranesi was also added during his tenure.
The so-called "Hell Staircase" and its neighbour "The Heaven Room" has substantial ceiling paintings by Antonio Verrio, between 1697 and 1699. The walls to the "Hell Staircase" are by Thomas Stothard, who completed the work about a century later. The Bow Room is decorated with wall and ceiling paintings by Louis Laguerre." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Gyeongju (South Korea) '25
Tomb of King Michu, Gyeongju, 4th-5th Century (Silla Dynasty)
Statue of a Victorious Youth (Greek), 300–100 B.C.E., bronze with inlaid copper, 151.5 x 70 x 27.9 cm (Getty Villa Museum)
Intricate stonework meets symbolic storytelling in this detailed photograph of a marble mosaic floor from the Library of Congress’s Thomas Jefferson Building in Washington, D.C. At the center of the composition is a circular inlay featuring a gold bison—rendered in precise, stylized form—set within a deep brown stone medallion ringed by white and surrounded by chevron-patterned marble tiles. The craftsmanship, geometry, and rich color palette offer a compelling perspective on how flooring in civic architecture can convey meaning while enhancing the visual experience of a space.
The bison, central to this image, carries layered cultural significance. Long a symbol of the American frontier and resilience, its placement within the Library of Congress suggests a reverence for national heritage and natural history. Positioned proudly in mid-stride, the gold figure gleams against the dark background, emphasizing its deliberate placement in a temple of knowledge and national identity. The bison speaks not only to the American landscape but also to the endurance and strength of the republic.
Surrounding the medallion, the floor’s design features chevrons of reddish-brown, charcoal gray, and rose-colored marbles—each cut with precision and veined with natural patterns. These materials intersect at strong angles, creating a dynamic sense of movement and guiding the viewer’s eye inward. The pale cream marble banding between colors offers definition and contrast, making the symmetry of the design stand out even more. Above the chevrons, a glimpse of an ornate mosaic border composed of golden vines and ivory tendrils hints at the surrounding richness of the room’s full layout.
This kind of architectural flooring is typical of Beaux-Arts civic design, where nothing is incidental. Every detail—from the materials to the motifs—was selected to reinforce the cultural and intellectual aspirations of the building. Marble of varying origins was brought together in this space not only for its visual appeal, but to evoke permanence, opulence, and a timeless connection to classical ideals.
What makes this photograph especially powerful is its ability to isolate and elevate a detail that might be easily overlooked in the grander sweep of the building’s interiors. By focusing closely on the floor, the image invites viewers to slow down and notice how much narrative and symbolism is embedded in even the most humble surface—underfoot and yet worthy of reverence.
The Library of Congress isn’t just a place to house books. It’s a national statement carved in stone, painted in fresco, and inlaid in marble. This floor detail, with its bold geometry and golden bison, reminds us that every inch of the Jefferson Building was designed with intent—meant to inspire awe and reflect the ideals of a nation devoted to art, learning, and history.
One of the many beautiful painted, gilded and inlaid wooden furnishings found in Tutankhamun's tomb.
The most celebrated part of the Cairo Museum's collection has for the best part of a century been the incomparable treasures of Tutankhamun's tomb housed in two long galleries on the upper floor. The greatest archaeological discovery of all time, the virtually intact tomb of the young pharaoh was discovered in 1922 in the Valley of the Kings, undisturbed since antiquity owing to the King's relative obscurity.
Tutankhamun was born Tutankhaten, son and successor of the 'heretic' pharaoh Akhenaten who dispensed with Egypt's centuries old religion in favour of his new god, the sun disk he called Aten. At Akhenaten's death Tutankhaten was only nine years old and early in his reign was persuaded to restore Egypt's religion and traditions, abandoning the cult of Aten and restoring the prominence of Amun, god of Thebes, thus changing his name to Tutankhamun. His early death barely a decade later and association with his reviled father led to the young pharaoh sharing his fate in being struck from the records and lists of Kings (an act of damnatio memoriae), thus his tomb itself was quickly forgotten and hidden beneath later structures whilst those of more famous rulers were stripped bare, probably within decades.
Howard Carter's discovery of the still sealed tomb in 1922 caused a sensation, nothing so complete had ever been found before. The tomb itself was small by pharaonic standards, prepared in a hurry as the king died in his late teens with two main chambers and a further two side chambers crammed with artworks, treasures and furnishings, along with the king's body sealed within four gilded-wooden shrines, three superbly rich coffins and the incomparable golden mask upon his head. Better still, the pharaoh's reign in the 18th Dynasty coincided with a particularly high period for artistic achievement, meaning that so much was of the highest quality. One can only imagine the riches that must have disappeared from the much larger tombs of the more famous rulers, compared to this tiny treasure-trove!
Tutankhamun's collection has resided in Cairo's Egyptian Museum ever since its discovery, but by the end of 2018 will have moved again to the new Grand Egyptian Museum in Giza (currently being prepared for partial opening later this year). The treasures will be displayed in their entirety for the first time, and many pieces have already been transferred. This visit offered us a last opportunity to view most of the major pieces in their central Cairo home for one last time.
For more on the 'obscure' pharaoh who millennia later became Egypt's most celebrated, see the link below:-
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Discovered in the Valley of the Kings in Luxor,
Egypt in 1922. Artefacts moved to the Egyptian
Museum in Cairo at the time of excavation. The
entire collection is currently in the process of
transferring to the Grand Egyptian Museum in
Cairo.
Inventory:
JE 60690.1,2
SR 1/ 3300.1,2
Carter 266-g(c).1,2
GEM 470-A&B
Title: Gold Inlaid Canopic Coffinette of
Tutankhamun Dedicated to Imseti and Isis: Lid
and Box
By artist: Unknown
Date: 18th Dynasty of the New Kingdom
Medium: Gold
Colored Glass
Carnelian
Size: H 39.50 cm
W 11.00 cm
Patron: Sayf al-Din Qalawun (al-Malik al-Mansour Sayf al-Din Qala'un (duck) al-Alfi al-Salihili al-Najmi al-Ala'i) c.1222-1290, a Tater or Mongol from the lower Volta, Bahri Mamluk sultan of Egypt & Syria (r.1279–1290).
Construction & Artisan Supervisor: 'Alam al-Din Sanjar al-Shuja'i al-Mansuri, an amir of Qalawun.
Islamic Monument #43
This inlaid mosaic floor, with 56 differing patterned panels, is a one-of-a-kind in Italy. It was built from the 14th to the 16th centuries. They have been preserved partly because the floor is uncovered only for 6 - 10 weeks a year.
Some of the many beautiful gilded and inlaid wooden figures found in Tutankhamun's tomb.
The most celebrated part of the Cairo Museum's collection has for the best part of a century been the incomparable treasures of Tutankhamun's tomb housed in two long galleries on the upper floor. The greatest archaeological discovery of all time, the virtually intact tomb of the young pharaoh was discovered in 1922 in the Valley of the Kings, undisturbed since antiquity owing to the King's relative obscurity.
Tutankhamun was born Tutankhaten, son and successor of the 'heretic' pharaoh Akhenaten who dispensed with Egypt's centuries old religion in favour of his new god, the sun disk he called Aten. At Akhenaten's death Tutankhaten was only nine years old and early in his reign was persuaded to restore Egypt's religion and traditions, abandoning the cult of Aten and restoring the prominence of Amun, god of Thebes, thus changing his name to Tutankhamun. His early death barely a decade later and association with his reviled father led to the young pharaoh sharing his fate in being struck from the records and lists of Kings (an act of damnatio memoriae), thus his tomb itself was quickly forgotten and hidden beneath later structures whilst those of more famous rulers were stripped bare, probably within decades.
Howard Carter's discovery of the still sealed tomb in 1922 caused a sensation, nothing so complete had ever been found before. The tomb itself was small by pharaonic standards, prepared in a hurry as the king died in his late teens with two main chambers and a further two side chambers crammed with artworks, treasures and furnishings, along with the king's body sealed within four gilded-wooden shrines, three superbly rich coffins and the incomparable golden mask upon his head. Better still, the pharaoh's reign in the 18th Dynasty coincided with a particularly high period for artistic achievement, meaning that so much was of the highest quality. One can only imagine the riches that must have disappeared from the much larger tombs of the more famous rulers, compared to this tiny treasure-trove!
Tutankhamun's collection has resided in Cairo's Egyptian Museum ever since its discovery, but by the end of 2018 will have moved again to the new Grand Egyptian Museum in Giza (currently being prepared for partial opening later this year). The treasures will be displayed in their entirety for the first time, and many pieces have already been transferred. This visit offered us a last opportunity to view most of the major pieces in their central Cairo home for one last time.
For more on the 'obscure' pharaoh who millennia later became Egypt's most celebrated, see the link below:-
Displayed sword is Engraved and damascened by me, verse from Holy Quran is inlaid by pure gold! "Damascening" is also called the gold inlay work (this is not koftgiri), sword is old and made of Wootz steel... it is called Indian crucible steel, polad or foulad also.
This is Ayat-al-Kursi (The Throne Verse) in Inscription... Ayat-al-Kursi is verse 255 of the second chapter (Surah) of the Holy Quran.
Welcome your comments on my new damascening work on an old sword.
Armor in the Ann and Gabriel Barbier-Mueller Collection of Japanese Samurai Armor photographed at the Portland Art Museum.
Fortepiano. Ludwig Bösendorfer, Vienna, before 1867. Corpus ebony and maple veneered, richly inlaid with fine woods and metal. Gilded applications and sculptures. SAM 387.
The Bösendorfer company presented on the occasion of the Paris World Exhibition in 1867 two magnificent pianos whose extremely complicated manufacturing reportedly took more than two years. The draft of the exposed instrument stems from architect Grosser and is committed to the historicist period style. The gilded caryatids are reminiscent of the Great Musikvereinssaal that was built at the same time according to a design of Theophil Hansen.
Hammerflügel. Ludwig Bösendorfer, Wien, vor 1867. Corpus Ebenholz und Ahorn furniert, mit Edelhölzern und Metall reich intarsiert. Vergoldete Applikationen und Skulpturen. SAM 387.
Die Firma Bösendorfer präsentierte anläßlich der Pariser Weltausstellung im Jahr 1867 zwei Prunkklaviere, deren äußerst aufwendige Herstellung angeblich mehr als zwei Jahre in Anspruch nahm. Der Entwurf des ausgestellten Instruments stammt von Architekt Grosser und ist dem historistischen Zeitstil verpflichtet. Die vergoldeten Karyatiden erinnern an den zur gleichen Zeit nach einem Entwurf von Theophil Hansen erbauten Großen Musikvereinssaal.
Colección de instrumentos musicales antiguos
La colección de instrumentos musicales antiguos tiene la cartera más importante del mundo de los instrumentos renacentistas y barrocos. Por otra parte, asegura, mantiene y presenta numerosos instrumentos que han sido interpretados por músicos y compositores famosos. Entre las prioridades especiales de la colección están las colecciones únicas de los fortepiano vienéses, de los instrumentos de cuerda frotada de Jacob Stainer e de los instrumentos de viento-madera del Renacimiento. Utilizando los objetos de la colección de instrumentos musicales antiguos, el mundo sonoro de los compositores de la clásica vienesa puede ser completamente rastreado.
La mayoría de la cartera es originaria de la posesión de los Habsburgo. El conjunto básico histórico de la colección de Ambras incluyendo instrumentos musicales del siglo 16 ofrece a los visitantes información sobre los instrumentos musicales más antiguos de Europa. La colección se expande continuamente a través de compras, regalos y préstamos. En las matinés de la colección de instrumentos musicales antiguos, los visitantes pueden los instrumentos, siempre que su estado de conservación lo permite, no sólamente ver sino también escuchar.
Sammlung Alter Musikinstrumente
Die Sammlung Alter Musikinstrumente verfügt über den weltweit bedeutendsten Bestand an Renaissance- und Barockinstrumenten. Darüber hinaus verwahrt, pflegt und präsentiert sie zahlreiche Instrumente, die von berühmten Musikern und Komponisten gespielt wurden. Zu den besonderen Sammlungsschwerpunkten zählen die einzigartigen Bestände der Wiener Hammerklaviere, der Streichinstrumente Jacob Stainers und der Holzblasinstrumente der Renaissance. Die Klangwelt der Komponisten der Wiener Klassik lässt sich anhand der Objekte der Sammlung alter Musikinstrumente lückenlos nachvollziehen.
Der Großteil der Bestände stammt ursprünglich aus Habsburgischem Besitz. Der historische Kernbestand aus der Sammlung Ambras, der Musikinstrumente aus dem 16. Jahrhundert umfasst, bietet den Besuchern Information zu den ältesten erhaltenen europäischen Musikinstrumenten. Die Sammlung wird durch Ankäufe, Schenkungen und Leihgaben kontinuierlich erweitert. In den Matineen der Sammlung alter Musikinstrumente können die Besucher die Instrumente, sofern es deren konservatorischer Zustand erlaubt, nicht nur sehen, sondern auch hören.
www.khm.at/besuchen/sammlungen/sammlung-alter-musikinstru...
Gold. Trialeti. 18th-17th century BC.
Made on a lathe from a single piece of gold. Doulble wall body is decorated with volute-shaped applications and inlaid with cornelian and lapis lazuli. The bottom is inlaid with amber and jet.
Bronze chariot inlaid with ivory
2nd quarter of the 6th century B.C.
Scenes from the life of the Greek hero Achilles
In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art. The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude. The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery.
...On the Italian peninsula, the largest number of chariots come from Etruria and the surrounding regions. They are datable between the second half of the eighth and the fifth centuries B.C. and represent several varieties. None seems to have been used for fighting in battle. Most came to light in tombs; after serving in life, they were buried with their owners, male and also female. The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger. The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.
...The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses. The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull. The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car. While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation. The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services. Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.
After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete. The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.
[Met Museum]
In the Metropolitan Museum of Art, 5th Avenue, New York
This bronze head was broken from a full-length statue and probably depicts a prince or local ruler. The eyes of this statue were originally inlaid with contrasting materials, and the lips were inlaid with copper.
This head belongs to a type of portraiture depicting Hellenistic rulers that became popular in the wake of Alexander the Great. Designed as propaganda to legitimize the ruler and emphasize dynastic connections, these portraits were often highly idealized images of their subjects, with even features, thick hair, and smooth skin; they bear an intentional similarity to each other. Even with its idealized features, the statue gives off an aura of power and command, showing the Roman concern with expressing personality through portraiture.
Roman, bronze, 1st c. BCE
Made in Asia Minor
Getty Villa Museum (73.AB.8)
As the afternoon fog began to roll in, theTaj Mahal was cast in a dreamy light. The Taj Mahal is truly a wonderous sight. Photographs can not do it justice The Taj Mahal is a masoleum and memorial that was built in Agra, India by Mughal emperor Shah Jahan in memory of his favorite wife, Mumtaz Mahal, who died during the birth of their fourteenth child. Contruction took place from about 1632 until approximately 1653, employing about twenty thousand workers. It was built out of marble with semiprecious stones inlaid as decoration. The central dome has a diameter of 58 feet and rises to 213 feet.
AIMG_6147
Burtonesque Home decor
Vespertine upcycled Fence town/autumn
Dutchie Wicker Laundry basket with towel, tray with Black coffee, cast iron bain de bated, 1930s refrigerator
The Loft, white flora rug, Ophelia chair Mirrored Red (Collabor88), Ophelia Chair Black (Collabor88), Baxter Dining Room set with table, Serving Dish, Place settings, Dining Chairs - (Collabor88)
The Loft and Aria Baxter Dining set including Tea Set, Sideboard, Candle Tray, Chandelier, Cake Stand (Collabor88)
Tarte Reused Birdcase, pillow stack
Striped Mocha Swing
3d Trees, spruce
Soy Wooden Bowl White sages for smoking, Vortex Window Frames A, B, C (Collabor88), Turkey feather, Mortar Bowl, Rabbit Ears and Deer Horn chairs (Collabor88), Candles with Amulet , Calderone, Bottle Potions a, b, Amethyst Cluster
Second Spaces Burton Table and Dresser (Collabor88)
Schandenfreude Orange Distressed Bethan Apothecary Cabinet, Drippy Candles (Collabor88), Boney Candales (Collabor88)
RE Blueprint Designs Art Deco Fantal Wall Light - Gold
PLAAKa Small Fig Tree
Pixel Mode Fall Harvest Wagon Wheels, Bell, Barrel Display
PILOT Romanti Candleticks
Mudhoney Zelia Pillos, Nola Rug, Gale Rug, Apothecary Cabinet
LISP Body Mirror, Cathedral Chandeliers (Collabor88)
ISON - light of fire, iron cast bowl, hand of death, elixirs, deer plate, boos and skulls
Glam Affair Home, Ballet Shoes on Pillows
Floorplan farmhouse stool, pumpking
Skye’s Enchanted Woods
Dust Bunny Studded Pumpkin (Collabor88), Small Spaces Kitchen cabinets, sink, island and melting table (Collabor88), eerie lamp (Collabor88) Ladylike Chair (Collabor88)
Dust Bunny and Tenshi pumpking stack, pumpkin planter
DRD Burtonesque Wall Decor white and black (Collabor88), Burtonesque tea set, standing lamp, quirky lamp and gothic couch, gothic care, silver frames, clocks, cabinet and book holder (Collabor88)
Botanical Aspen trees, Round Hay Bale, Rectangle Hale Bale
Ariskea Terre Automne Pumpking Batch, Fall Greetings Bench, Branches Vase, Baby Breath White, Fall Wagon
Apt B Rug v2
Kitchen and Pantry items from Tres Blah, Sari-Sari and Zaara
Apple Fall poppies/glazed vase, Mother of Pearl Inlaid Chest, Charlotte’s Pears
Thistle Antique Map
MadPea Bonsai Tree
Commoner Monogram Throw Pillow
Barnesworth Tabor Cottage
Organica Hanging Bambook HErb Planter
db Twisted Stand design clock
8f8 Storyteller’s Burea Master Bed, Study Chair, Study Desk, Old Rugs, Wall Cupboard, Cupboard, Double Bookcase Full, Direction Pose, Uncertain Destiny, Reader’s Pier, Stove
theosophy Shiba Inu Hurry Up
tres blah Eclectic Collection Charmed Books, Spring Living Pillow,
Half Deer Ravens and Deadwood Trees (Collabor88)
[ContraptioN] Musical Clock: Perpetuum Mobile
St. Hilda’s By The Sea is a small Anglican church in Sechelt. Set among the verdant green trees of the temperate rainforest, it is an eclectic mix of old and new: retired British pensioners polish the altar crystal and set out flowers for Sunday services, presided over by a gay Chinese-Canadian priest. Tai chi mixes with Celtic mysticism in a melange that is somehow stronger than its parts. And isn’t that what community is all about?
From the official website:
Walking the labyrinth is an ancient spiritual act that is being rediscovered during our time.
Usually constructed from circular patterns, labyrinths are based on principles of sacred geometry. Sometimes called “divine imprints”, they are found around the world as sacred patterns that have been passed down through the ages for at least 4,000 years. When a pattern of a certain size is constructed or placed on the ground, it can be used for walking meditations and rituals.
Labyrinths and their geometric cousins (spirals and mandalas) can be found in almost every religious tradition. For example, the Kabbala, or Tree of Life, is found in the Jewish mystical tradition. The Hopi Medicine Wheel, and the Man in the Maze are two forms from the Native American labyrinth traditions. The Cretan labyrinth, the remains of which can be found on the island of Crete, has seven path rings and is the oldest known labyrinth (4,000 or 5.000 years old).
In Europe, the Celts and later the early Christian Celtic Church revered labyrinths and frequently built them in natural settings. Sacred dances would be performed in them to celebrate solar and religious festivals. During the Middle Ages, labyrinths were created in churches and cathedrals throughout France and Northern Italy. These characteristically flat church or pavement labyrinths were inlaid into the floor of the nave of the church.
The Chartres Labyrinth
The labyrinth constructed at St. Hilda’s is an 11-circuit labyrinth. It is a replica of the one embedded in the floor of Chartres Cathedral in France. The design of this labyrinth, and many of the other church labyrinths in Europe, is a reworking of the ancient labyrinth design in which an equal-armed cross is emphasized and surrounded by a web of concentric circles. As with many Christian symbols, this was an adaptation of a symbol; that is known to have predated the Christian faith. This medieval variation is considered a breakthrough in design because it is less linear than the preceding, more formal, Roman design that developed from quadrant to quadrant. The medieval design made one path as long as possible, starting at the outer circumference and leading to the centre. Fraught with twists and turns, the path’s meanderings were considered symbolic representations of the Christian pilgrim’s journey to the Holy City of Jerusalem and of one’s own journey through life. This classical design is sometimes referred to as “the Chartres Labyrinth” due to the location of its best known example. The labyrinth was built at Chartres in the early 13th century (~ 1215 A.D.). No one knows the source of this classical 11-circuit labyrinth design, and much of its spiritual meaning and use has been lost.
The Chartres Labyrinth is located in the west end of the nave, the central body of the cathedral. When you walk in the main doors and look towards the high altar, you see the center of the labyrinth on the floor about 50 feet in front of you. It is approximately 42 feet in diameter and the path is 16 inches wide. At Chartres, the center of the Rose Window mirrors the center of the labyrinth. The cathedral is perfectly proportioned, so that if we put the west wall of the cathedral on hinges and folded it down on the labyrinth, the Rose Window would fit almost perfectly over the labyrinth.
Labyrinth or Maze?
The difference between a labyrinth used for meditation and mazes can be confusing. Mazes often have many entrances, dead-ends and cul-de-sacs that frequently confound the human mind. In contrast, meditation labyrinths offer only one path. By following the one path to the center, the seeker can use the labyrinth to quiet his or her mind and find peace and illumination at the center of his or her being. “As soon as one enters the labyrinth, one realizes that the path of the labyrinth serves as a metaphor for one’s spiritual journey. The walk, and all that happens on it, can be grasped through the intuitive, pattern-discerning faculty of the person walking it. The genius of this tool is that it reflects back to the seeker whatever he or she needs to discover from the perspective of a new level of conscious awareness.”
The Labyrinth is a Universal Meditation Tool
Anyone from any tradition or spiritual path can walk into the labyrinth and, through reflecting in the present moment, can benefit from it. A meditation labyrinth is one of many tools that can be used for spiritual practice. Like any tool, it is best used with a proper, good, intention. A church or temple can be used simply as a refuge from a rainstorm, but it can be so much more with a different intention. The same is true of the labyrinth. The seeker is only asked to put one foot in front of the other. By stepping into the labyrinth, we are choosing once again to walk the contemplative spiritual path. We are agreeing to let ourselves be open to see, to be free to hear, and to becoming real enough to respond. The labyrinth is a prayer path, a crucible of change, a meditation tool, a blueprint where psyche meets soul.
The best way to learn about the labyrinth is to walk a well-constructed one a few times, with an open heart and an open mind. Then allow your experience to guide you as to whether this will be a useful spiritual tool for you.
The Chartres Labyrinth and the Pilgrim’s Journey
Pilgrims are persons in motion – passing through territories not their own – seeking something we might call completion, or perhaps the word clarity will do as well, a goal to which only the spirit’s compass points the way.
Richard R. Niebuhr in Pilgrims and Pioneers
“The tradition of pilgrimage is as old as religion itself. Worshippers on pilgrimage traveled to holy festivals whether to solstice celebrations, to Mecca to gather around the Ka’aba for the high holy days of Islam, or to Easter festivals in the Holy City of Jerusalem. Pilgrimages were a mixture of religious duty and holiday relaxation for the peasant, the commoner and rich land owner alike. The journey was often embarked on in groups with designated places to stay at night. The pilgrims were restless to explore the mystical holy places, and many were in search of physical or spiritual healing.
The Christian story, which emphasized the humanity of Christ, fascinated the pilgrims. In the Middle Ages, most people did not read. As a result, they were much more oriented to the senses than we are today. They learned the story by traveling to Jerusalem to walk where Jesus walked, to pray where he prayed, and to experience, in a solemn moment, where he died. Unlike today, Pilgrims encountered the truth of the Christian mystery through an ongoing intimacy with all their senses.
When a person committed his or her life to Christ in the early Middle Ages, they sometimes made a vow to make a pilgrimage to the Holy City of Jerusalem. However, by the 12th century when the Crusades swept across Europe and the ownership of Jerusalem was in tumultuous flux, travel became dangerous and expensive. In response to this situation, the Roman Church appointed seven pilgrimage cathedrals to become “Jerusalem” for pilgrims. Consequently, in the pilgrimage tradition, the path within the labyrinth was called the Chemin de Jerusalem and the center of the labyrinth was called “New Jerusalem”.
The walk into the labyrinth marked the end of the physical journey across the countryside and served as a symbolic entry-way into the spiritual realms of the Celestial City. The image of the Celestial City – taken straight out of the Book of Revelation to John – captivated the religious imagination of many during the Middle Ages. The wondrous Gothic cathedrals, with painted walls either in bright, even gaudy colours, or else white-washed, were designed to represent the Celestial City. The stained glass windows – when illuminated by the sun – created the sense of colourful, dancing jewels, allowing the pilgrim to experience the awesome mystery of the City of God.”
The Journey of Life
A fundamental approach to the labyrinth is to see it as a metaphor for life’s journey. The labyrinth reminds us that all of life, with its joys, sorrows, twists and turns, is a journey that comes from God (birth) and goes to God (death). It is a physical metaphor for the journey of healing, spiritual and emotional growth and transformation. Following the path is like any journey. Sometimes you feel you are at or nearing your destination, and at other times you may feel distant or even lost. Only by faithfully keeping to the path will you arrive at the physical center of the labyrinth, which signifies God, the center of our lives and souls.
Applying the Three Fold Mystical Tradition to the Labyrinth
In the Christian mystical tradition, the journey to God was articulated in the three stages. These stages have become recognized as being universal to meditation: to release and quiet; to open and receive; and to take what was gained back out into the world.
The Three Stages
The first part of the Three- Fold Mystical Path is Purgation. This archaic word is from the root word “to purge”, meaning to cleanse, to let go. Shedding is another way of describing the experience. The mystical word is empting or releasing. It is believed that monks journeyed the first part of the labyrinth Purgation on their knees as a penitential act. This was not done for reasons of punishment as we might think, but as a way to humble oneself before God.
The second stage of the Three-Fold Path, Illumination, is found in the center of the labyrinth. Usually it is a surprise to reach the center because the long winding path seems “illogical” and cannot be figured out by the linear mind. After quieting the mind in the first part of the walk, the center presents a new experience: a place of meditation and prayer. Often people at this stage in the walk find insight into their situation in life, or clarity about a certain problem, hence the label “illumination”. As one enters the
center, the instruction is simple: enter with an open heart and mind; receive what there is for you.
The third stage, Union, begins when you leave the center of the labyrinth and continues as you retrace the path that brought you in. In this stage the meditation takes on a grounded, energized feeling. Many people who have had an important experience in the center feel that this third stage of the labyrinth gives them a way of integrating the insights they received. Others feel that this stage stokes the creative fires within. It energizes insight. It empowers, invites, and even pushes us to be more authentic and confident and to take risks with our gifts in the world. Union means communing with God.
The Monastic Orders experienced a union with God through their community life by creating a fulfilling balance between the work that was assigned, sleep and the many hours of worship attended daily. Our times present a similar challenge: we struggle to find balance between work, sleep, family and friends, leisure and spiritual life. The lack of structured communities in which people share work responsibilities and the “every person for himself or herself” mentality (or every family for itself) prevalent in our highly individualistic society makes the task of finding balance even more difficult.
Monastic communities offered a mystical spirituality that spoke to highly intuitive and intensely introverted people and (paradoxically to some) at the same time provided an economic structure throughout Europe. Monasteries during the Middle Ages provided schools and hospitals managed by monks; yet, at the same time, cloistered life helped the monks stay inwardly directed. Today, without any reliable structure directing us, the way of union needs to be re-thought. Our times call for most of us to be outer-directed. We are called to action in every aspect of our society in order to meet the spiritual challenges that confront us in the 21st century. Gratefully, there are still people in religious orders holding the candle for deep contemplation, but the majority of people involved in the spiritual transformation are searching for a path that guides them to service in the world in an active, extroverted, compassionate way. The third stage of the labyrinth empowers the seeker to move back into the world replenished and directed – which makes the labyrinth a particularly powerful tool for transformation.
Walking the Labyrinth: The Process
The purpose of all spiritual disciplines – prayer, fasting, meditation – is to help create an open attentiveness that enables us to receive and renew our awareness of our grounding and wholeness in God.
The Experience of Walking Meditation
Many of us have trouble quieting our minds. The Buddhists call the distracted state of mind the “monkey mind”, which is an apt image of what the mind is frequently like: thoughts swinging like monkeys from branch to branch, chattering away without any rhyme or conscious reason. When the mind is quiet, we feel peaceful and open, aware of a silence that embraces the universe.
Complete quiet in the mind is not a realistic goal for most of us. Instead, the task is to dis-identify with the thoughts going through our minds. Don’t get hooked by the thoughts, let them go. Thomas Keating, a Cistercian monk who teaches Centering Prayer (meditation) in the Christian tradition, described the mind as a still lake. A thought is like a fish that swims through it. If you get involved with the fish (“Gee what an unusual fish, I wonder what it is called?”), then you are hooked. Many of us have discovered through learning meditation how difficult it is to quiet the mind; yet, the rewards are great.
In the labyrinth, the sheer act of walking a complicated, attention demanding path begins to focus the mind. Thoughts of daily tasks and experiences become less intrusive. A quiet mind does not happen automatically. You must gently guide the mind with the intention of letting go of extraneous thoughts. This is much easier to do when your whole body is moving – when you are walking. Movement takes away the excess charge of psychic energy that disturbs our efforts to quiet our thought processes.
Two Basic Approaches to the Walk
One way to walk the labyrinth is to choose to let all thought go and simply open yourself to your experience with gracious attention. Usually – though not always – quieting happens in the first stage of the walk. After the mind is quiet, you can choose to remain in the quiet. Or use the labyrinth as a prayer path. Simply begin to talk to God. This is an indication that you are ready to receive what is there for you, or you allow a sincere part of your being to find its voice.
A second approach to a labyrinth walk is to consider a question. Concentrate on the question as you walk in. Amplify your thoughts about it; let all else go but your question. When you walk into the center with an open heart and an open mind, you are opening yourself to receiving new information, new insights about yourself.
Guidelines for the Walk
Find your pace. In our chaotic world we are often pushed beyond a comfortable rhythm. In this state we lose the sense of our own needs. To make matters worse, we are often rushed and then forced to wait. Anyone who has hurried to the bank only to stand in line knows the feeling. Ironically, the same thing can happen with the labyrinth, but there is a difference. The labyrinth helps us find what our natural pace would be and draws our attention to it when we are not honouring it.
Along with finding your pace, support your movement through the labyrinth by becoming conscious of your breath. Let your breath flow smoothly in and out of your body. It can be coordinated with each step – as is done in the Buddhist walking meditation – if you choose. Let your experience be your guide.
Each experience in the labyrinth is different, even if you walk it often in a short period of time. The pace usually differs each time as well. It can change dramatically within the different stages of the walk. When the labyrinth has more than a comfortable number of seekers on it, you can “pass” people if you want to continue to honour the intuitive pace your inner process has set. If you are moving at a slower pace, you can allow people to pass you. At first people are uncomfortable with the idea of “passing” someone on the labyrinth. It looks competitive, especially since the walk is a spiritual exercise. Again, these kinds of thoughts and feelings, we hope, are greeted from a spacious place inside that smiles knowingly about the machinations of the human ego. On the spiritual path we meet every and all things. To find our pace, to allow spaciousness within, to be receptive to all experience, and to be aware of the habitual thoughts and issues that hamper our spiritual development is a road to self-knowledge.
Summary of How to Walk the Labyrinth
Pause at the entry way to allow yourself to be fully conscious of the act of stepping into the labyrinth. Allow about a minute, or several turns on the path, to create some space between yourself and the person in front of you. Some ritual act, such as a bow, may feel appropriate during the labyrinth walk. Do what comes naturally.
Follow your pace. Allow your body to determine the pace. If you allow a rapid pace and the person in front of you is moving slower, feel free to move around this person. This is easiest to do at the turns by turning earlier. If you are moving slowly, you can step onto the labyrs (wide spaces at the turns) to allow others to pass.
The narrow path is a two-way street. If you are going in and another person is going out, you will meet on the path. If you want to keep in an inward meditative state, simply do not make eye contact. If you meet someone you know, a touch of the hand or a hug may be an important acknowledgement of being on the path together.
Symbolism and Meanings Found in the Chartres Labyrinth
Circles and Spirals
The circle is the symbol of unity or union and it is the primary shape of all labyrinths. The circle in sacred geometry represents the incessant movement of the universe (uncomprehensible) as opposed to the square which represents comprehensible order. The labyrinth is a close cousin to the spiral and it, too, reflects the cyclical element of nature and is regarded as the symbol of eternal life.
The labyrinth functions like a spiral, creating a vortex in its center. Upon entering, the path winds in a clockwise pattern. Energy is being drawn out. Upon leaving the center the walker goes in a counter clockwise direction. The unwinding path integrates and empowers us on our walk back out. We are literally ushered back out into the world in a strengthened condition.
The Path
The path lies in 11 concentric circles with the 12th being the labyrinth center. The path meanders throughout the whole circle. There are 34 turns on the path going into the center. Six are semi-right turns and 28 are 180° turns. So the 12 rings that form the 11 pathways may symbolically represent, the 12 apostles, 12 tribes of Israel or 12 months of the year. Twelve is a mystical number in Christianity. In sacred geometry three represents heaven and four represents earth. Twelve is the product of 3 x 4 and, therefore, the path which flows through the whole is then representative of all creation.
The obvious metaphor for the path is the difficult path to salvation, with its many twists and turns. Since we cannot see a straight path to our destination, the labyrinth can be viewed as a metaphor for our lives. We learn to surrender to the path (Christ) and trust that he will lead us on our journey.
The path can also be viewed as grace or the Church guiding us through chaos.
The Cruciform and Labyrs
The labyrinth is divided equally into four quadrants that make an equal-armed cross or cruciform. The four arms represent in symbol what is thought to be the essential
structure of the universe for example, the four spatial directions, the four elements (earth, wind, water and fire), the four seasons and, most important, salvation through the cross. The four arms of the cross emerging from the center seem to give order to the would-be chaos of the meandering path around it.
The Chartres labyrinth cross or cruciform is delineated by the 10 labyrs (labyr means to turn and this is the root of the word labyrinth). The labyrs are double-ax shaped and visible at the turns and between turns. They are traditionally seen as a symbol of women’s power and creativity.
The Centre Rosette
In the Middle Ages, the rose was regarded as a symbol for the Virgin Mary. Because of its association with the myths of Percival and the Holy Grail at that time, it also was seen as a sign of beauty and love. The rose becomes symbolic of both human and divine love, of passionate love, but also love beyond passion. The single rose became a symbol of a simple acceptance of God’s love for the world.
Unlike a normal rose (which has five petals) the rosette has six petals and is steeped in mysticism. Although associated with the Rose of Sharon, which refers to Mary, it may also represent the Holy Spirit (wisdom and enlightenment). The six petals may have corresponded to the story of the six days of creation. In other mystical traditions, the petals can be viewed as the levels of evolution (mineral, plant, animal, humankind, angelic and divine).
The Lunations
The lunations are the outer ring of partial circles that complete the outside circle of the labyrinth. They are unique to the Chartres design.
Celtic Symbols on the St. Hilda’s Labyrinth
The Celtic peoples have given us seven enduring spiritual principles:
1. A deep respect of nature, regarding creation as the fifth Gospel.
2. Quiet care for all living things.
3. The love of learning.
4. A wonder-lust or migratory nature.
5. Love of silence and solitude.
6. Understanding of time as a sacred reality and an appreciation of ordinary life, worshipping God through everyday life, and with great joy.
7. The value of family and clan affiliation, and especially spiritual ties of soul friends.
To show our respect for such wisdom, two Celtic designs adorn the St. Hilda’s labyrinth.
To mark the entrance to the labyrinth is a Celtic zoomorphic design painted in red. Traditionally, Celtic monks used intricate knotwork and zoomorphic designs (odd animals intertwined in uncomfortable ways) as mere filler for their illuminated gospel texts. They had no discernible meaning.
However, because of their unique design components, zoomorphs are now associated with transformations.
Transformation, change, action, and passion are also associated with red, the colour of fire. Therefore, this entrance symbol may well be an appropriate sign for the journey ahead.
At the labyrinth’s centre is a Celtic triquetra. This interlocked knotwork design of three stylized fish (whales) is often interpreted as the Trinity knot. It is a perfect representation of the concept of "three in one" in Christian trinity beliefs. Having the design enclosed within the centre circle further emphasizes the unity theme.
The triquetra can also be considered to represent the triplicities of mind, body, and soul, as well as the three domains of earth- earth, sea, and sky.
Final Reflection: The Labyrinth as a “Thinning Place”
In Celtic Christianity, places where people felt most strongly connected with God’s presence were referred to as thin places. It was these places in nature (forest groves, hilltops and deep wells) that the seen and unseen worlds were most closely connected, and the inhabitants of both worlds could momentarily touch the other. Today our churches, temples and sacred sites are the new thin places to meet the Divine. Here, at St Hilda’s, we have opportunities to encounter many thinning places – whether it be during Eucharistic or Taize services, while singing or praying, or through the love of a welcoming inclusive community. The labyrinth is a welcome addition; and with the right intent can also become a new thinning place for the modern pilgrim/spiritual seeker.This outward journey is an archetype with which we can have a direct experience. We can walk it. It can serve to frame the inward journey – a journey of repentance, forgiveness and rebirth, a journey that seeks a deeper faith, and greater holiness, a journey in search of God.
This 360° High Dynamic Range panorama was stitched from 66 bracketed photographs images with PTGUI Pro, tone-mapped with Photomatix, processed with Color Efex, and touched up in Aperture.
Original size: 20000 × 10000 (200.0 MP; 1.04 GB).
Location: St. Hilda’s By The Sea Anglican Church, Sechelt, British Columbia, Canada
One of the many beautiful gilded and inlaid wooden figures found in Tutankhamun's tomb.
The most celebrated part of the Cairo Museum's collection has for the best part of a century been the incomparable treasures of Tutankhamun's tomb housed in two long galleries on the upper floor. The greatest archaeological discovery of all time, the virtually intact tomb of the young pharaoh was discovered in 1922 in the Valley of the Kings, undisturbed since antiquity owing to the King's relative obscurity.
Tutankhamun was born Tutankhaten, son and successor of the 'heretic' pharaoh Akhenaten who dispensed with Egypt's centuries old religion in favour of his new god, the sun disk he called Aten. At Akhenaten's death Tutankhaten was only nine years old and early in his reign was persuaded to restore Egypt's religion and traditions, abandoning the cult of Aten and restoring the prominence of Amun, god of Thebes, thus changing his name to Tutankhamun. His early death barely a decade later and association with his reviled father led to the young pharaoh sharing his fate in being struck from the records and lists of Kings (an act of damnatio memoriae), thus his tomb itself was quickly forgotten and hidden beneath later structures whilst those of more famous rulers were stripped bare, probably within decades.
Howard Carter's discovery of the still sealed tomb in 1922 caused a sensation, nothing so complete had ever been found before. The tomb itself was small by pharaonic standards, prepared in a hurry as the king died in his late teens with two main chambers and a further two side chambers crammed with artworks, treasures and furnishings, along with the king's body sealed within four gilded-wooden shrines, three superbly rich coffins and the incomparable golden mask upon his head. Better still, the pharaoh's reign in the 18th Dynasty coincided with a particularly high period for artistic achievement, meaning that so much was of the highest quality. One can only imagine the riches that must have disappeared from the much larger tombs of the more famous rulers, compared to this tiny treasure-trove!
Tutankhamun's collection has resided in Cairo's Egyptian Museum ever since its discovery, but by the end of 2018 will have moved again to the new Grand Egyptian Museum in Giza (currently being prepared for partial opening later this year). The treasures will be displayed in their entirety for the first time, and many pieces have already been transferred. This visit offered us a last opportunity to view most of the major pieces in their central Cairo home for one last time.
For more on the 'obscure' pharaoh who millennia later became Egypt's most celebrated, see the link below:-
Tutankhamun's exquisite gilded throne, adorned with a wonderful inlaid scene of the young king with his queen Ankhesamun in attendance. The scene includes the Aten disc between the figures, reflecting the Amarna cult of his father Akhenaten and thus must date from early in his reign whilst the royal couple still used their original names, Tutankhaten and Ankhesapaten.
The most celebrated part of the Cairo Museum's collection has for the best part of a century been the incomparable treasures of Tutankhamun's tomb housed in two long galleries on the upper floor. The greatest archaeological discovery of all time, the virtually intact tomb of the young pharaoh was discovered in 1922 in the Valley of the Kings, undisturbed since antiquity owing to the King's relative obscurity.
Tutankhamun was born Tutankhaten, son and successor of the 'heretic' pharaoh Akhenaten who dispensed with Egypt's centuries old religion in favour of his new god, the sun disk he called Aten. At Akhenaten's death Tutankhaten was only nine years old and early in his reign was persuaded to restore Egypt's religion and traditions, abandoning the cult of Aten and restoring the prominence of Amun, god of Thebes, thus changing his name to Tutankhamun. His early death barely a decade later and association with his reviled father led to the young pharaoh sharing his fate in being struck from the records and lists of Kings (an act of damnatio memoriae), thus his tomb itself was quickly forgotten and hidden beneath later structures whilst those of more famous rulers were stripped bare, probably within decades.
Howard Carter's discovery of the still sealed tomb in 1922 caused a sensation, nothing so complete had ever been found before. The tomb itself was small by pharaonic standards, prepared in a hurry as the king died in his late teens with two main chambers and a further two side chambers crammed with artworks, treasures and furnishings, along with the king's body sealed within four gilded-wooden shrines, three superbly rich coffins and the incomparable golden mask upon his head. Better still, the pharaoh's reign in the 18th Dynasty coincided with a particularly high period for artistic achievement, meaning that so much was of the highest quality. One can only imagine the riches that must have disappeared from the much larger tombs of the more famous rulers, compared to this tiny treasure-trove!
Tutankhamun's collection has resided in Cairo's Egyptian Museum ever since its discovery, but by the end of 2018 will have moved again to the new Grand Egyptian Museum in Giza (currently being prepared for partial opening later this year). The treasures will be displayed in their entirety for the first time, and many pieces have already been transferred. This visit offered us a last opportunity to view most of the major pieces in their central Cairo home for one last time.
For more on the 'obscure' pharaoh who millennia later became Egypt's most celebrated, see the link below:-
St. Hilda’s By The Sea is a small Anglican church in Sechelt. Set among the verdant green trees of the temperate rainforest, it is an eclectic mix of old and new: retired British pensioners polish the altar crystal and set out flowers for Sunday services, presided over by a gay Chinese-Canadian priest. Tai chi mixes with Celtic mysticism in a melange that is somehow stronger than its parts. And isn’t that what community is all about?
From the official website:
Walking the labyrinth is an ancient spiritual act that is being rediscovered during our time.
Usually constructed from circular patterns, labyrinths are based on principles of sacred geometry. Sometimes called “divine imprints”, they are found around the world as sacred patterns that have been passed down through the ages for at least 4,000 years. When a pattern of a certain size is constructed or placed on the ground, it can be used for walking meditations and rituals.
Labyrinths and their geometric cousins (spirals and mandalas) can be found in almost every religious tradition. For example, the Kabbala, or Tree of Life, is found in the Jewish mystical tradition. The Hopi Medicine Wheel, and the Man in the Maze are two forms from the Native American labyrinth traditions. The Cretan labyrinth, the remains of which can be found on the island of Crete, has seven path rings and is the oldest known labyrinth (4,000 or 5.000 years old).
In Europe, the Celts and later the early Christian Celtic Church revered labyrinths and frequently built them in natural settings. Sacred dances would be performed in them to celebrate solar and religious festivals. During the Middle Ages, labyrinths were created in churches and cathedrals throughout France and Northern Italy. These characteristically flat church or pavement labyrinths were inlaid into the floor of the nave of the church.
The Chartres Labyrinth
The labyrinth constructed at St. Hilda’s is an 11-circuit labyrinth. It is a replica of the one embedded in the floor of Chartres Cathedral in France. The design of this labyrinth, and many of the other church labyrinths in Europe, is a reworking of the ancient labyrinth design in which an equal-armed cross is emphasized and surrounded by a web of concentric circles. As with many Christian symbols, this was an adaptation of a symbol; that is known to have predated the Christian faith. This medieval variation is considered a breakthrough in design because it is less linear than the preceding, more formal, Roman design that developed from quadrant to quadrant. The medieval design made one path as long as possible, starting at the outer circumference and leading to the centre. Fraught with twists and turns, the path’s meanderings were considered symbolic representations of the Christian pilgrim’s journey to the Holy City of Jerusalem and of one’s own journey through life. This classical design is sometimes referred to as “the Chartres Labyrinth” due to the location of its best known example. The labyrinth was built at Chartres in the early 13th century (~ 1215 A.D.). No one knows the source of this classical 11-circuit labyrinth design, and much of its spiritual meaning and use has been lost.
The Chartres Labyrinth is located in the west end of the nave, the central body of the cathedral. When you walk in the main doors and look towards the high altar, you see the center of the labyrinth on the floor about 50 feet in front of you. It is approximately 42 feet in diameter and the path is 16 inches wide. At Chartres, the center of the Rose Window mirrors the center of the labyrinth. The cathedral is perfectly proportioned, so that if we put the west wall of the cathedral on hinges and folded it down on the labyrinth, the Rose Window would fit almost perfectly over the labyrinth.
Labyrinth or Maze?
The difference between a labyrinth used for meditation and mazes can be confusing. Mazes often have many entrances, dead-ends and cul-de-sacs that frequently confound the human mind. In contrast, meditation labyrinths offer only one path. By following the one path to the center, the seeker can use the labyrinth to quiet his or her mind and find peace and illumination at the center of his or her being. “As soon as one enters the labyrinth, one realizes that the path of the labyrinth serves as a metaphor for one’s spiritual journey. The walk, and all that happens on it, can be grasped through the intuitive, pattern-discerning faculty of the person walking it. The genius of this tool is that it reflects back to the seeker whatever he or she needs to discover from the perspective of a new level of conscious awareness.”
The Labyrinth is a Universal Meditation Tool
Anyone from any tradition or spiritual path can walk into the labyrinth and, through reflecting in the present moment, can benefit from it. A meditation labyrinth is one of many tools that can be used for spiritual practice. Like any tool, it is best used with a proper, good, intention. A church or temple can be used simply as a refuge from a rainstorm, but it can be so much more with a different intention. The same is true of the labyrinth. The seeker is only asked to put one foot in front of the other. By stepping into the labyrinth, we are choosing once again to walk the contemplative spiritual path. We are agreeing to let ourselves be open to see, to be free to hear, and to becoming real enough to respond. The labyrinth is a prayer path, a crucible of change, a meditation tool, a blueprint where psyche meets soul.
The best way to learn about the labyrinth is to walk a well-constructed one a few times, with an open heart and an open mind. Then allow your experience to guide you as to whether this will be a useful spiritual tool for you.
The Chartres Labyrinth and the Pilgrim’s Journey
Pilgrims are persons in motion – passing through territories not their own – seeking something we might call completion, or perhaps the word clarity will do as well, a goal to which only the spirit’s compass points the way.
Richard R. Niebuhr in Pilgrims and Pioneers
“The tradition of pilgrimage is as old as religion itself. Worshippers on pilgrimage traveled to holy festivals whether to solstice celebrations, to Mecca to gather around the Ka’aba for the high holy days of Islam, or to Easter festivals in the Holy City of Jerusalem. Pilgrimages were a mixture of religious duty and holiday relaxation for the peasant, the commoner and rich land owner alike. The journey was often embarked on in groups with designated places to stay at night. The pilgrims were restless to explore the mystical holy places, and many were in search of physical or spiritual healing.
The Christian story, which emphasized the humanity of Christ, fascinated the pilgrims. In the Middle Ages, most people did not read. As a result, they were much more oriented to the senses than we are today. They learned the story by traveling to Jerusalem to walk where Jesus walked, to pray where he prayed, and to experience, in a solemn moment, where he died. Unlike today, Pilgrims encountered the truth of the Christian mystery through an ongoing intimacy with all their senses.
When a person committed his or her life to Christ in the early Middle Ages, they sometimes made a vow to make a pilgrimage to the Holy City of Jerusalem. However, by the 12th century when the Crusades swept across Europe and the ownership of Jerusalem was in tumultuous flux, travel became dangerous and expensive. In response to this situation, the Roman Church appointed seven pilgrimage cathedrals to become “Jerusalem” for pilgrims. Consequently, in the pilgrimage tradition, the path within the labyrinth was called the Chemin de Jerusalem and the center of the labyrinth was called “New Jerusalem”.
The walk into the labyrinth marked the end of the physical journey across the countryside and served as a symbolic entry-way into the spiritual realms of the Celestial City. The image of the Celestial City – taken straight out of the Book of Revelation to John – captivated the religious imagination of many during the Middle Ages. The wondrous Gothic cathedrals, with painted walls either in bright, even gaudy colours, or else white-washed, were designed to represent the Celestial City. The stained glass windows – when illuminated by the sun – created the sense of colourful, dancing jewels, allowing the pilgrim to experience the awesome mystery of the City of God.”
The Journey of Life
A fundamental approach to the labyrinth is to see it as a metaphor for life’s journey. The labyrinth reminds us that all of life, with its joys, sorrows, twists and turns, is a journey that comes from God (birth) and goes to God (death). It is a physical metaphor for the journey of healing, spiritual and emotional growth and transformation. Following the path is like any journey. Sometimes you feel you are at or nearing your destination, and at other times you may feel distant or even lost. Only by faithfully keeping to the path will you arrive at the physical center of the labyrinth, which signifies God, the center of our lives and souls.
Applying the Three Fold Mystical Tradition to the Labyrinth
In the Christian mystical tradition, the journey to God was articulated in the three stages. These stages have become recognized as being universal to meditation: to release and quiet; to open and receive; and to take what was gained back out into the world.
The Three Stages
The first part of the Three- Fold Mystical Path is Purgation. This archaic word is from the root word “to purge”, meaning to cleanse, to let go. Shedding is another way of describing the experience. The mystical word is empting or releasing. It is believed that monks journeyed the first part of the labyrinth Purgation on their knees as a penitential act. This was not done for reasons of punishment as we might think, but as a way to humble oneself before God.
The second stage of the Three-Fold Path, Illumination, is found in the center of the labyrinth. Usually it is a surprise to reach the center because the long winding path seems “illogical” and cannot be figured out by the linear mind. After quieting the mind in the first part of the walk, the center presents a new experience: a place of meditation and prayer. Often people at this stage in the walk find insight into their situation in life, or clarity about a certain problem, hence the label “illumination”. As one enters the
center, the instruction is simple: enter with an open heart and mind; receive what there is for you.
The third stage, Union, begins when you leave the center of the labyrinth and continues as you retrace the path that brought you in. In this stage the meditation takes on a grounded, energized feeling. Many people who have had an important experience in the center feel that this third stage of the labyrinth gives them a way of integrating the insights they received. Others feel that this stage stokes the creative fires within. It energizes insight. It empowers, invites, and even pushes us to be more authentic and confident and to take risks with our gifts in the world. Union means communing with God.
The Monastic Orders experienced a union with God through their community life by creating a fulfilling balance between the work that was assigned, sleep and the many hours of worship attended daily. Our times present a similar challenge: we struggle to find balance between work, sleep, family and friends, leisure and spiritual life. The lack of structured communities in which people share work responsibilities and the “every person for himself or herself” mentality (or every family for itself) prevalent in our highly individualistic society makes the task of finding balance even more difficult.
Monastic communities offered a mystical spirituality that spoke to highly intuitive and intensely introverted people and (paradoxically to some) at the same time provided an economic structure throughout Europe. Monasteries during the Middle Ages provided schools and hospitals managed by monks; yet, at the same time, cloistered life helped the monks stay inwardly directed. Today, without any reliable structure directing us, the way of union needs to be re-thought. Our times call for most of us to be outer-directed. We are called to action in every aspect of our society in order to meet the spiritual challenges that confront us in the 21st century. Gratefully, there are still people in religious orders holding the candle for deep contemplation, but the majority of people involved in the spiritual transformation are searching for a path that guides them to service in the world in an active, extroverted, compassionate way. The third stage of the labyrinth empowers the seeker to move back into the world replenished and directed – which makes the labyrinth a particularly powerful tool for transformation.
Walking the Labyrinth: The Process
The purpose of all spiritual disciplines – prayer, fasting, meditation – is to help create an open attentiveness that enables us to receive and renew our awareness of our grounding and wholeness in God.
The Experience of Walking Meditation
Many of us have trouble quieting our minds. The Buddhists call the distracted state of mind the “monkey mind”, which is an apt image of what the mind is frequently like: thoughts swinging like monkeys from branch to branch, chattering away without any rhyme or conscious reason. When the mind is quiet, we feel peaceful and open, aware of a silence that embraces the universe.
Complete quiet in the mind is not a realistic goal for most of us. Instead, the task is to dis-identify with the thoughts going through our minds. Don’t get hooked by the thoughts, let them go. Thomas Keating, a Cistercian monk who teaches Centering Prayer (meditation) in the Christian tradition, described the mind as a still lake. A thought is like a fish that swims through it. If you get involved with the fish (“Gee what an unusual fish, I wonder what it is called?”), then you are hooked. Many of us have discovered through learning meditation how difficult it is to quiet the mind; yet, the rewards are great.
In the labyrinth, the sheer act of walking a complicated, attention demanding path begins to focus the mind. Thoughts of daily tasks and experiences become less intrusive. A quiet mind does not happen automatically. You must gently guide the mind with the intention of letting go of extraneous thoughts. This is much easier to do when your whole body is moving – when you are walking. Movement takes away the excess charge of psychic energy that disturbs our efforts to quiet our thought processes.
Two Basic Approaches to the Walk
One way to walk the labyrinth is to choose to let all thought go and simply open yourself to your experience with gracious attention. Usually – though not always – quieting happens in the first stage of the walk. After the mind is quiet, you can choose to remain in the quiet. Or use the labyrinth as a prayer path. Simply begin to talk to God. This is an indication that you are ready to receive what is there for you, or you allow a sincere part of your being to find its voice.
A second approach to a labyrinth walk is to consider a question. Concentrate on the question as you walk in. Amplify your thoughts about it; let all else go but your question. When you walk into the center with an open heart and an open mind, you are opening yourself to receiving new information, new insights about yourself.
Guidelines for the Walk
Find your pace. In our chaotic world we are often pushed beyond a comfortable rhythm. In this state we lose the sense of our own needs. To make matters worse, we are often rushed and then forced to wait. Anyone who has hurried to the bank only to stand in line knows the feeling. Ironically, the same thing can happen with the labyrinth, but there is a difference. The labyrinth helps us find what our natural pace would be and draws our attention to it when we are not honouring it.
Along with finding your pace, support your movement through the labyrinth by becoming conscious of your breath. Let your breath flow smoothly in and out of your body. It can be coordinated with each step – as is done in the Buddhist walking meditation – if you choose. Let your experience be your guide.
Each experience in the labyrinth is different, even if you walk it often in a short period of time. The pace usually differs each time as well. It can change dramatically within the different stages of the walk. When the labyrinth has more than a comfortable number of seekers on it, you can “pass” people if you want to continue to honour the intuitive pace your inner process has set. If you are moving at a slower pace, you can allow people to pass you. At first people are uncomfortable with the idea of “passing” someone on the labyrinth. It looks competitive, especially since the walk is a spiritual exercise. Again, these kinds of thoughts and feelings, we hope, are greeted from a spacious place inside that smiles knowingly about the machinations of the human ego. On the spiritual path we meet every and all things. To find our pace, to allow spaciousness within, to be receptive to all experience, and to be aware of the habitual thoughts and issues that hamper our spiritual development is a road to self-knowledge.
Summary of How to Walk the Labyrinth
Pause at the entry way to allow yourself to be fully conscious of the act of stepping into the labyrinth. Allow about a minute, or several turns on the path, to create some space between yourself and the person in front of you. Some ritual act, such as a bow, may feel appropriate during the labyrinth walk. Do what comes naturally.
Follow your pace. Allow your body to determine the pace. If you allow a rapid pace and the person in front of you is moving slower, feel free to move around this person. This is easiest to do at the turns by turning earlier. If you are moving slowly, you can step onto the labyrs (wide spaces at the turns) to allow others to pass.
The narrow path is a two-way street. If you are going in and another person is going out, you will meet on the path. If you want to keep in an inward meditative state, simply do not make eye contact. If you meet someone you know, a touch of the hand or a hug may be an important acknowledgement of being on the path together.
Symbolism and Meanings Found in the Chartres Labyrinth
Circles and Spirals
The circle is the symbol of unity or union and it is the primary shape of all labyrinths. The circle in sacred geometry represents the incessant movement of the universe (uncomprehensible) as opposed to the square which represents comprehensible order. The labyrinth is a close cousin to the spiral and it, too, reflects the cyclical element of nature and is regarded as the symbol of eternal life.
The labyrinth functions like a spiral, creating a vortex in its center. Upon entering, the path winds in a clockwise pattern. Energy is being drawn out. Upon leaving the center the walker goes in a counter clockwise direction. The unwinding path integrates and empowers us on our walk back out. We are literally ushered back out into the world in a strengthened condition.
The Path
The path lies in 11 concentric circles with the 12th being the labyrinth center. The path meanders throughout the whole circle. There are 34 turns on the path going into the center. Six are semi-right turns and 28 are 180° turns. So the 12 rings that form the 11 pathways may symbolically represent, the 12 apostles, 12 tribes of Israel or 12 months of the year. Twelve is a mystical number in Christianity. In sacred geometry three represents heaven and four represents earth. Twelve is the product of 3 x 4 and, therefore, the path which flows through the whole is then representative of all creation.
The obvious metaphor for the path is the difficult path to salvation, with its many twists and turns. Since we cannot see a straight path to our destination, the labyrinth can be viewed as a metaphor for our lives. We learn to surrender to the path (Christ) and trust that he will lead us on our journey.
The path can also be viewed as grace or the Church guiding us through chaos.
The Cruciform and Labyrs
The labyrinth is divided equally into four quadrants that make an equal-armed cross or cruciform. The four arms represent in symbol what is thought to be the essential
structure of the universe for example, the four spatial directions, the four elements (earth, wind, water and fire), the four seasons and, most important, salvation through the cross. The four arms of the cross emerging from the center seem to give order to the would-be chaos of the meandering path around it.
The Chartres labyrinth cross or cruciform is delineated by the 10 labyrs (labyr means to turn and this is the root of the word labyrinth). The labyrs are double-ax shaped and visible at the turns and between turns. They are traditionally seen as a symbol of women’s power and creativity.
The Centre Rosette
In the Middle Ages, the rose was regarded as a symbol for the Virgin Mary. Because of its association with the myths of Percival and the Holy Grail at that time, it also was seen as a sign of beauty and love. The rose becomes symbolic of both human and divine love, of passionate love, but also love beyond passion. The single rose became a symbol of a simple acceptance of God’s love for the world.
Unlike a normal rose (which has five petals) the rosette has six petals and is steeped in mysticism. Although associated with the Rose of Sharon, which refers to Mary, it may also represent the Holy Spirit (wisdom and enlightenment). The six petals may have corresponded to the story of the six days of creation. In other mystical traditions, the petals can be viewed as the levels of evolution (mineral, plant, animal, humankind, angelic and divine).
The Lunations
The lunations are the outer ring of partial circles that complete the outside circle of the labyrinth. They are unique to the Chartres design.
Celtic Symbols on the St. Hilda’s Labyrinth
The Celtic peoples have given us seven enduring spiritual principles:
1. A deep respect of nature, regarding creation as the fifth Gospel.
2. Quiet care for all living things.
3. The love of learning.
4. A wonder-lust or migratory nature.
5. Love of silence and solitude.
6. Understanding of time as a sacred reality and an appreciation of ordinary life, worshipping God through everyday life, and with great joy.
7. The value of family and clan affiliation, and especially spiritual ties of soul friends.
To show our respect for such wisdom, two Celtic designs adorn the St. Hilda’s labyrinth.
To mark the entrance to the labyrinth is a Celtic zoomorphic design painted in red. Traditionally, Celtic monks used intricate knotwork and zoomorphic designs (odd animals intertwined in uncomfortable ways) as mere filler for their illuminated gospel texts. They had no discernible meaning.
However, because of their unique design components, zoomorphs are now associated with transformations.
Transformation, change, action, and passion are also associated with red, the colour of fire. Therefore, this entrance symbol may well be an appropriate sign for the journey ahead.
At the labyrinth’s centre is a Celtic triquetra. This interlocked knotwork design of three stylized fish (whales) is often interpreted as the Trinity knot. It is a perfect representation of the concept of "three in one" in Christian trinity beliefs. Having the design enclosed within the centre circle further emphasizes the unity theme.
The triquetra can also be considered to represent the triplicities of mind, body, and soul, as well as the three domains of earth- earth, sea, and sky.
Final Reflection: The Labyrinth as a “Thinning Place”
In Celtic Christianity, places where people felt most strongly connected with God’s presence were referred to as thin places. It was these places in nature (forest groves, hilltops and deep wells) that the seen and unseen worlds were most closely connected, and the inhabitants of both worlds could momentarily touch the other. Today our churches, temples and sacred sites are the new thin places to meet the Divine. Here, at St Hilda’s, we have opportunities to encounter many thinning places – whether it be during Eucharistic or Taize services, while singing or praying, or through the love of a welcoming inclusive community. The labyrinth is a welcome addition; and with the right intent can also become a new thinning place for the modern pilgrim/spiritual seeker.This outward journey is an archetype with which we can have a direct experience. We can walk it. It can serve to frame the inward journey – a journey of repentance, forgiveness and rebirth, a journey that seeks a deeper faith, and greater holiness, a journey in search of God.
This 360° High Dynamic Range panorama was stitched from 66 bracketed photographs images with PTGUI Pro, tone-mapped with Photomatix, processed with Color Efex, and touched up in Aperture.
Original size: 20000 × 10000 (200.0 MP; 1.04 GB).
Location: St. Hilda’s By The Sea Anglican Church, Sechelt, British Columbia, Canada
Prior to the construction of Waddesdon Manor, no house existed on the site. Ferdinand de Rothschild wanted a house in the style of the great Renaissance châteaux of the Loire Valley.[25] Ferdinand chose as his architect Gabriel-Hippolyte Destailleur.[26] Destailleur was already experienced in working in this style, having overseen the restoration of many châteaux in that region, in particular that of the Château de Mouchy.
Through Destailleur's vision, Waddesdon embodied an eclectic style based on the châteaux so admired by his patron, Baron Ferdinand. The towers at Waddesdon were based on those of the Château de Maintenon, and the twin staircase towers, on the north facade, were inspired by the staircase tower at the Château de Chambord.[27] However, following the theme of unparalleled luxury at Waddesdon, the windows of the towers at Waddesdon were glazed, unlike those of the staircase at Chambord. They are also far more ornate.
The structural design of Waddesdon was not all retrospective. Hidden from view were the most modern innovations of the late 19th century including a steel frame, which took the strain of walls on the upper floors, which consequently permitted the layout of these floors to differ completely from the lower floors.[28] The house also had hot and cold running water in its bathrooms, central heating, and an electric bell system to summon the numerous servants. The building contractor was Edward Conder & Son.[29]
After the Manor was completed in 1883, Ferdinand quickly decided it was too small. The Bachelors' Wing to the east was extended after 1885 and the Morning Room, built in late-Gothic style, was added to the west after 1888.[30] The stables to the west of the Manor were built in 1884. Ferdinand and his stud groom devised the plan, working with Conder. Destailleur designed the façades in a French 17th-century style.[31]
Wine Cellars[edit]
Wine Cellars
The Wine Cellars in the Manor were created during the Centenary Restoration and opened in 1994. They are modeled on the private cellars at Château Lafite Rothschild. More than 15,000 bottles are stored in the Cellars, some 150 years old, the majority from the Château Lafite Rothschild and Château Mouton Rothschild estates. It is the largest private collection of Rothschild wines in the world. There are also wine labels designed by artists such as Salvador Dali and Andy Warhol.[32]
Collections[edit]
One of the many beautiful painted, gilded and inlaid wooden furnishings found in Tutankhamun's tomb.
The most celebrated part of the Cairo Museum's collection has for the best part of a century been the incomparable treasures of Tutankhamun's tomb housed in two long galleries on the upper floor. The greatest archaeological discovery of all time, the virtually intact tomb of the young pharaoh was discovered in 1922 in the Valley of the Kings, undisturbed since antiquity owing to the King's relative obscurity.
Tutankhamun was born Tutankhaten, son and successor of the 'heretic' pharaoh Akhenaten who dispensed with Egypt's centuries old religion in favour of his new god, the sun disk he called Aten. At Akhenaten's death Tutankhaten was only nine years old and early in his reign was persuaded to restore Egypt's religion and traditions, abandoning the cult of Aten and restoring the prominence of Amun, god of Thebes, thus changing his name to Tutankhamun. His early death barely a decade later and association with his reviled father led to the young pharaoh sharing his fate in being struck from the records and lists of Kings (an act of damnatio memoriae), thus his tomb itself was quickly forgotten and hidden beneath later structures whilst those of more famous rulers were stripped bare, probably within decades.
Howard Carter's discovery of the still sealed tomb in 1922 caused a sensation, nothing so complete had ever been found before. The tomb itself was small by pharaonic standards, prepared in a hurry as the king died in his late teens with two main chambers and a further two side chambers crammed with artworks, treasures and furnishings, along with the king's body sealed within four gilded-wooden shrines, three superbly rich coffins and the incomparable golden mask upon his head. Better still, the pharaoh's reign in the 18th Dynasty coincided with a particularly high period for artistic achievement, meaning that so much was of the highest quality. One can only imagine the riches that must have disappeared from the much larger tombs of the more famous rulers, compared to this tiny treasure-trove!
Tutankhamun's collection has resided in Cairo's Egyptian Museum ever since its discovery, but by the end of 2018 will have moved again to the new Grand Egyptian Museum in Giza (currently being prepared for partial opening later this year). The treasures will be displayed in their entirety for the first time, and many pieces have already been transferred. This visit offered us a last opportunity to view most of the major pieces in their central Cairo home for one last time.
For more on the 'obscure' pharaoh who millennia later became Egypt's most celebrated, see the link below:-
Detail from the The jewel box of Tuya – made of wood, faience and decorated with gold leaf, ebony and ivory – was found with its contents stolen by thieves. Appearing on the box's sides are names of both Amenhotep III and Tiy which suggests that it was originally made for Tiy then she placed it in the tomb of her parents as a gift. The box stands on four slender legs inlaid with faience and painted ivory. Both the lid and the edges of the box are decorated with the same artistic unites. Decorating the sides of the box are a geometric frieze; gilded hieroglyphic inscriptions; a number of cartouches in the name of Amenhotep III and Tiy (daughter of Yuya and Tuya).
18th dynasty, from Thebes - Tomb of Yuya and Tuya KV46.
CG 51118
Upper floor, gallery 43
Cairo Museum
One of the many beautiful painted, gilded and inlaid wooden furnishings found in Tutankhamun's tomb.
The most celebrated part of the Cairo Museum's collection has for the best part of a century been the incomparable treasures of Tutankhamun's tomb housed in two long galleries on the upper floor. The greatest archaeological discovery of all time, the virtually intact tomb of the young pharaoh was discovered in 1922 in the Valley of the Kings, undisturbed since antiquity owing to the King's relative obscurity.
Tutankhamun was born Tutankhaten, son and successor of the 'heretic' pharaoh Akhenaten who dispensed with Egypt's centuries old religion in favour of his new god, the sun disk he called Aten. At Akhenaten's death Tutankhaten was only nine years old and early in his reign was persuaded to restore Egypt's religion and traditions, abandoning the cult of Aten and restoring the prominence of Amun, god of Thebes, thus changing his name to Tutankhamun. His early death barely a decade later and association with his reviled father led to the young pharaoh sharing his fate in being struck from the records and lists of Kings (an act of damnatio memoriae), thus his tomb itself was quickly forgotten and hidden beneath later structures whilst those of more famous rulers were stripped bare, probably within decades.
Howard Carter's discovery of the still sealed tomb in 1922 caused a sensation, nothing so complete had ever been found before. The tomb itself was small by pharaonic standards, prepared in a hurry as the king died in his late teens with two main chambers and a further two side chambers crammed with artworks, treasures and furnishings, along with the king's body sealed within four gilded-wooden shrines, three superbly rich coffins and the incomparable golden mask upon his head. Better still, the pharaoh's reign in the 18th Dynasty coincided with a particularly high period for artistic achievement, meaning that so much was of the highest quality. One can only imagine the riches that must have disappeared from the much larger tombs of the more famous rulers, compared to this tiny treasure-trove!
Tutankhamun's collection has resided in Cairo's Egyptian Museum ever since its discovery, but by the end of 2018 will have moved again to the new Grand Egyptian Museum in Giza (currently being prepared for partial opening later this year). The treasures will be displayed in their entirety for the first time, and many pieces have already been transferred. This visit offered us a last opportunity to view most of the major pieces in their central Cairo home for one last time.
For more on the 'obscure' pharaoh who millennia later became Egypt's most celebrated, see the link below:-
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not at Cavendish Mews. Instead, we are just a short distance away in London’s busy shopping precinct on Oxford Street, where amidst the throng of London’s middle-class housewives and upper-class ladies shopping for amusement, two maids – Edith who is Lettice’s maid and her best friend Hilda who is the maid for Lettice’s friends Margot and Dickie Channon - are enjoying the pleasures of window shopping under the wide canvas awnings of Selfridges on their day off. The usually busy footpath outside the enormous department store with London’s biggest plate glass windows seems even busier today as the noisily chattering crowds are swelled by visitors who have come in from the outer suburbs of London and the surrounding counties which are slowly being enveloped into the heaving, expanding metropolis to do a little bit of early Christmas shopping. However the two maids don’t mind, as the noisy burbling crowds around them and the awnings above them help protect them from the wintery wind as it blows down Oxford Street, wending its way around chugging auto busses, noisy belching automobiles and horse drawn carts that choke the busy thoroughfare. Already Edith is noticing that the shops are busier than usual, and even though Christmas is still a good few weeks away, there are signs of Christmas cheer with bright and gaudy tinsel garlands and stars cut from metallic paper hanging in shop windows and gracing shop counters. Around them, the vociferous collective chatter of shoppers mixes with the sound of noisy automobiles and chugging double decker busses as they trundle along Oxford Street.
The pair meander in front of a window which is crowded with clusters of small children with their noses pressed to the glass, their harried mothers or frustrated nannies trying desperately to get them to come away. Peering over the top of the children’s heads, they see it is a window full of wonderful toys: teddy bears*, tin soldiers, brightly painted wooden castles and forts, games, blocks and books.
“I’ve just thought of something! Come on, Hilda!” Edith says to her friend. “Let’s go inside.”
“Oh no!” Hilda bemoans. “Not to the Selfridges toy department again, Edith! Remember the last time we went in there in the lead up to Christmas? It will bedlam!”
As if on cue, a little girl in a cream knitted pixie bonnet** and matching cardigan releases a piercing shriek of protest as she is drawn away from Selfridges toy filled window by her rangy black clad nanny who mutters something about no nonsense as she does.
“No, silly!” Edith replies. “The book department. I think they will have a wider range of children’s books in the book department.”
“Well, only if it isn’t full of nasty little jam grabbers!” Hilda replies cautiously, looking askance at the children around her. “If it is, I’m leaving you and heading straight for the perfumery.”
“Alright Hilda.” Edith giggles, her pert nose curling slightly upwards as she does. “Come on.”
The pair enter Selfridge’s grand department store by one of the three revolving doors and are immediately enveloped by the wonderful scent of dozens of perfumes from the nearby perfumery counters.
“Couldn’t we just visit the perfumery first?” Hilda asks.
“You’re every bit as bad as the children you moan about, Hilda! I promise we’ll come back here after we’ve visited the book department.” Edith insists.
“Oh, alright Edith!” Hilda sighs.
“Think of it as a reward for coming with me.” Edith winks cheekily at Hilda and leads her towards the banks of lifts with their smart liveried female lift attendants***.
Stepping out onto the floor for the book department, Hilda breathes a sigh of relief, for unlike she imagines the toy department to be, the space is quiet and well ordered. As she and Edith walk towards the main body of the department, away from the central balconied atrium, she shudders as a high pitched scream of a child echoes from the toy department several storeys above and pierces her consciousness.
“Come on, old thing,” Edith says comfortingly, wrapping her arm through her best friend’s. “I promise I won’t force you to go up to the toy department.”
“Just as well I trust you, Edith.” Hilda replies squeezing her friend’s hand in return.
“Anyway,” Edith goes on with a broad smile. “I thought with your love of reading, you’d enjoy the book department more.”
“And you’d be right!” Hilda chortles.
The two young women walk along the thickly carpeted aisles. Around them stand sturdy shelves of all sizes covered in books, magazines, newspapers and periodicals. Some only stand as high as shoulder height, with shelves tilted slightly upwards from waist height, allowing easier access to titles for customers, whilst other shelves are much higher with rows of spines, or on some shelves the covers of the books on display. Central tables are weighed down with the latest novels like E. M. Forster’s ‘A Passage to India’****, ‘The Deductions of Colonel Gore’***** by Lynn Brock and Edith Wharton’s ‘Old New York’******, stacked in piles like precarious houses or cards. More valuable and larger books full of beautifully printed lithographs sit open on wide shelves inside glass fronted and topped cabinets, allowing customers the ability to peruse before asking to see them properly. Tops of cabinets share space with more novels and the occasional potted aspidistra, and small chairs and stools are discreetly secreted amongst the shelves and tables, allowing a customer to stop, sit and read a little of title before deciding whether to purchase it or not. Cosy and comfortable, the books muffle the burbling sounds of the departments beyond them and the whole space is flooded with light from lamps above, and through the large frosted glass windows that face out onto Oxford Street, making the Selfridges book department a very pleasant pace to shop.
“I thought you were a convert to a bookshop in Charring Cross that Miss Lettice frequents.” Hilda remarks, pausing and picking up a copy of ‘The Man in the Brown Suit’******* by Agatha Christie, and perusing the cover which shows a stylishly dressed woman in a fur trimmed green coat and matching cloche observing a man in an orange suit and a railway conductor looking for signs of life in what she can only assume to be the man mentioned in the title on the edge of an underground railway platform. She deposits the title back as Edith tugs at her arm, encouraging her to continue their exploration of the shelves, cabinets and tables around them.
“Whilst Mr. Mayhew******** does a splendid job of supplying copies of Agatha Christie novels with slightly soiled covers at a discounted rate for me to give to Dad, I don’t think he stocks the kind of book I want today.”
“What are you looking for, anyway, Edith?”
“I told you before, children’s books, Hilda.”
“Yes, but what kind of children’s books? Adventure books? Picture books?”
“I’ll know them when I see them.” Edith says excitedly. “Come on!”
“Who are you buying them for?” Hilda asks. “You don’t know any children that I know of.”
“They are for…” Edith pauses mid-sentence and thinks before she speaks. Having become a good friend of Lettice’s charwoman*********, Mrs. Boothby, she has had the rare pleasure of meeting the old Cockney woman’s son, Ken, a forty-four year old man who is a simple and gentle giant with the aptitude of a six year old. Mrs. Boothby’s words ring in her ears about how it is easier for her not to mention that she has a son, not because she is ashamed of him, but because not everyone would understand her wanting to keep and raise a child with such difficulties. She knows that for all her love of gossip, in this matter Mrs. Boothby requires the utmost discretion and has been brave in taking Edith into her into her confidence by introducing her to Ken. Even though she knows that Hilda is every bit as discreet and trustworthy as she is, Edith cannot let it slip who the books are for. “For Mrs. Boothby’s grandchildren.” Edith fabricates. “Remember, Hilda? I bought them some Beatrix Potter books two Christmases ago.”
“Oh yes: I remember!” Hilda replies. “How could I forget that trip upstairs?” She casts her eyes to the white painted plaster ceiling above, imaging the horrors of the toy department crowded with excited children in toy heaven escorted by their frazzled parents. She pauses. “You know, even though I’m sure she shares confidences with me that she shares with you, Edith, Mrs. Boothby never talks about her family around me.” She stops, unlinks her arm from Edith’s and places her hands on her hips. “And nor has she ever invited me to her house for a slap-up tea!”
“There’s no need to get jealous, Hilda.” Edith replies calmly. “It’s hardly tea with Queen Mary.” she deflects. “It’s just a bit of toast and jam in Mrs. Boothby’s tiny two room tenement. It’s basic and clean, which is certainly more than can be said for the street outside.” She then adds to further discourage Hilda from pursuing the matter, “And she does go on and on and on about her grandchildren. You know what she’s like.”
“Oh yes,” Hilda agrees, her stance and facial expression softening into neutrality. “She can talk ‘till the cows come home**********, can old Mrs. Boothby.”
“Especially when she’s gossiping.” Edith laughs.
Edith feels pangs of guilt, not telling the truth to her best friend, but she assuages the feeling, knowing that it is being done for the greater good. She makes a mental note to make a point of telling Mrs. Boothby how trustworthy Hilda is, and what a good keeper of secrets she is, the next time she is at Cavendish Mews.
Edith continues to peruse the shelves until she finally comes across the children’s section.
“Here we are!” Edith says, spying a beautiful arrangement of colourful books on a round table in the middle of a brightly woven rug. “This is the sort of thing I’m after! Something colourful and bright, and not what you might see in Poplar.”
In front of them stand a selection of beautifully illustrated books by Walter Crane***********. A selection of folk and faerie tales stand alongside an alphabet book, a painting book and various others. All have colourful covers with elegant graphics on them.
“Oh! I remember these!” Hilda gasps, following her friend. “Mum used to bring them home from the library for my sisters and brothers and me when we were all little. They were called Toy Books************. Mum taught us our letters from this one.” She takes up ‘An Alphabet of Old Friends’ and cradles it in her arms. “I doubt any poor child in Poplar would have books as pretty as these: poor mites!”
“All the more reason to buy one then. Just look at the lovely illustrations!” Edith enthuses as she opens a copy of ‘The Frog Prince’ and sees a double page illustration of the little green hero of the story sitting on a fine damask tablecloth before the princess dressed in gold. Her father the king sists at the head of the table and scolds his daughter for making a promise to the frog that she didn’t intend to keep. The colours are bright and jewel like and the designs rich with interesting patterns and designs. “I wonder which one he… err they, would like?” Edith ponders aloud as she puts down ‘The Frog Prince’ and takes up a copy of ‘Beauty and the Beast’.
“I’m sure her grandchildren would be happy to have any of them, Edith.” Hilda remarks. “I know I would if I were a young child this book was made for.”
Edith doesn’t reply, keeping her silence about for whom the children’s picture book is really for.
“What about this one?” Hilda picks up ‘Walter Crane’s Painting Book’. “They could paint the pictures.” she suggests as she flicks through the pages where Walter Crane’s detailed illustrations are simply line drawings, allowing a child to paint the colours for themselves to match the complete matching colour illustrations printed on the opposite page. “I’m sure Mrs. Boothby could find them some watercolours, or better yet, you could buy them some, Edith.”
“It’s a lovely idea Edith, but he… err… they aren’t really painters.”
“How queer they sound!” Hilda exclaims. “Not like painting? When we were children, my sisters and I used to be mad about painting.”
“Well not everyone’s an artist like you are, Hilda.” Edith remarks in reply.
“I bet they really do like to paint,” Hilda goes on. “Only Mrs. Boothby is so used to cleaning for others, that she wants to keep her own house spic-and-span.”
“Well, she does like to keep her house tidy.” Edith agrees. “She calls it a clean haven from the outside world, and she isn’t half wrong. But I don’t think she would stop them painting, if that’s what they wanted to do. She loves children, even ones that aren’t her own kin.”
Edith looks at a few more of the titles, admiring the finely printed illustrations before finally settling upon one.
“I loved the story of ‘Beauty and the Beast’ when I was a girl.” Edith remarks. “Such a happy ending,” Her voice takes on a wistful air as she continues, “And proof that there is a handsome prince behind even the most unlikely of beasts.”
“Well, it’s a good lesson to teach children.” Hilda opines.
“Yes! I’ll buy this one.” Edith decides. She picks it up and cradles it to her chest lovingly. “It will make a lovely Christmas gift!”
“That’s very good of you, Edith.” Hilda acknowledges.
“Oh, it’s the least I can do Hilda. Mrs. Boothby’s become such a good friend to me since we first met. She was genuinely happy for me when I told her that I received an increase to my wages, and yet I bet you she didn’t get an increase from Miss Lettice for all the hard graft she does around Cavendish Mews.”
“And she works jolly hard for every penny she earns, too.” Hilda adds.
“That she does, so if I can bring her grandchildren some cheer this Christmas, I’ll be only too happy.”
“You put me to shame, Edith.” Hilda says guiltily.
“What are you talking about, Hilda?”
“Well, you’re so generous, thinking of others this Christmas.”
“Oh! You’re doing your bit for the less fortunate this Christmas, aren’t you Hilda? You’re knitting for Mrs. Minkin’s knitting circle’s Christmas drive for the needy.”
“Pshaw!” Hilda scoffs. “I don’t know how grateful the poor of Poplar and Whitechapel will be to have one of my knitted pairs of socks or scarves, not when you compare it to the knitting done by Mrs. Minkin, Miss Woolencroft, old Ma Badel or Mrs. Minkin’s lovely young nice, Katya Levi. Now she can knit beautifully, can Kayta! It must run though Mrs. Minkin’s family.”
“I’m sure that whatever the poor of Poplar and Whitechapel receive thanks to your knitting group’s industry will be gratefully received, Hilda, and that includes your contributions.”
“With the stitches I drop, there are a few small holes in a few pairs of socks, even before they’re worn, and my lack of tension control does mean my scarves are a bit…” Hilda pauses to think of the right word. “Uneven.”
“Well, dropped stitches and slight differences in tension or not, you’re still helping those who can’t help themselves this Christmas, and I’m sure they’ll be very grateful, Hilda.” Edith insists with a broad smile.
“I suppose so.” Hilda mutters, hanging her head.
“I know so, Hilda,” Edith replies encouragingly, giving her friend a friendly squeeze of the forearm. “Your knitting is getting better and better, the more you practice. Just remember that not that long ago, you couldn’t knit at all. Now look at you: knitting socks and scarves! I hope you’ve knitted me a Christmas present Hilda.”
Hilda blushes as she replies, “I have. I only hope that you’ll like it.”
“I shall love it, Hilda!”
“Even with a dropped stitch or two?” Hilda asks doubtfully.
“Most definitely, Hilda! It will be original that way.” Edith adds brightly. “No-one else will have what I have with stitches dropped in the same place.”
“You’re far to kind to me, Edith.”
“Seriously though, Hilda, I know I will love it, because you will have made it for me with love.” Edith enthuses. “Be proud of what you’ve achieved and how far you’ve come with your knitting.”
“Thank you, Edith!” Hilda gives her friend a grateful hug, which is reciprocated by Edith. “You’re the best friend a girl ever had, you know.”
“Well then, you must be the best friend I’ll ever have, because I know you’d do the same to buck me up when I’m feeling low.”
“You never have low spirits, Edith.”
“Well,” Edith ponders. “You always make sure that you include me in your intellectual conversations you have with Frank, and you explain things to me that I don’t understand in such a way that I don’t feel ignorant or stupid.”
“You aren’t ignorant, or stupid, Edith!” Hilda bursts. “You’re very smart.”
“Well, I don’t feel quite as smart as I think I should be sometimes, stepping out with a man as intelligent as Frank is. But you’ve helped me learn about things that are important to him, like labour rights and things of that sort. So, you help me too, just as I help you.”
“Alright Edith!” Hilda demurs, smiling broadly as she does. “I agree. I help you, and you help me, in equal measures, in different ways.”
“That’s it, Hilda!”
“Come on then, Edith. Best you buy that book for Mrs. Boothby’s grandchildren before someone else comes along and buys it.”
“You’re right Hilda!” Edith giggles.
“You’ll make their Christmas with that.” Hilda nods at the book, still clutched to Edith’s chest.
“I hope so.” Edith replies quietly, smiling shyly, thinking of Ken’s gormless grin when he sees her and imagining him giggling in delight and wonder at the beautiful illustrations in the book she now holds.
The pair of young women wend their way through the aisles of books again to the glass topped counter in front of a large mahogany shelf full of books
“May I help you, Miss?” asks a young shopgirl next to the register, who smiles at them cheerfully, her simple black moiré dress brightened with a pretty scarf featuring bright Art Deco patterns from the accessories department downstairs, and her rich chestnut coloured hair set in glossy and cascading, fashionable Marcel waves*************.
“How much is this, please?” Edith asks.
“Three and six, Miss.” the shopgirl replies with a smile, showing off her perfect pearly teeth as she glances at the book in Edith’s hands.
“A bit more than the sixpence they used to cost.” Hilda whispers in Edith’s ear. “Or free on loan from the library, like my Mum got them. You’ll spoil those grandchildren of Mrs. Boothby’s.”
“I hope so, Hilda.” Edith replies quietly as she blushes.
“A lovely gift for birthday, or perhaps for Christmas, if I may say so, Miss.” the shop girl says cheerfully. “It’s good to get in and do a spot of early Christmas shopping.”
“That’s the idea.” Edith replies, smiling pleasurably as she hands the book over to the girl behind the counter and fishes out her purse from her green leather handbag.
“The shops down Oxford Street are already starting to get busier, now that it’s December.” the shop girl goes on brightly. “People are suddenly realising that Christmas is just around the corner, really.”
*Developed apparently simultaneously by toymakers Morris Michtom in America and Richard Steiff under his aunt Margarete Steiff's company in Germany in the early Twentieth Century, the teddy bear, purportedly named after American President Theodore Roosevelt, became a popular children's toy very quickly, and by 1922 when this story is set, a staple of many children’s nursery toys.
**A pixie bonnet is a knitted bonnet usually worn by babies and small children which covers the whole of their head and is fastened under the chin. Adapted from more traditional styles of baby bonnets and introduced in the early 1920s, they quickly became popular with parents as suitable headwear for their young children as they protected the heads of babies with little to no hair from the cold, and were easily made using knitting patterns distributed through women’s periodicals.
***Harry Gordon Selfridge believed in women’s emancipation. When the Great War broke out in 1914 and many of his male lift attendants went off to fight, he allowed women to fill their roles, as well as many other roles formerly filled by men in his department store. When hostilities with Germany ended in 1918, many young men didn’t return, having made the ultimate sacrifice for King and country, which meant a scarcity of men. The female lift attendants had proven so popular during the war years that Harry Gordon Selfridge made them a permanent fixture in his department store, much to the shock of many shoppers. However, like most things, he used his choice to his advantage, advertising not only its uniqueness in the department stores along Oxford and Regent Streets, but also wooing the millions of emancipated women who were happy to shop under the roof of such an enlightened man in what was then a very patriarchal society dominated by men. By the 1924 when this story is set, his female lift attendants wore a smart livery of frock coats, breeches and caps in Selfridges colours.
****A Passage to India is a 1924 novel by English author E. M. Forster set against the backdrop of the British Raj and the Indian independence movement in the 1920s. It won the 1924 James Tait Black Memorial Prize for fiction. The story revolves around four characters: Dr. Aziz, his British friend Mr. Cyril Fielding, Mrs. Moore, and Miss Adela Quested. During a trip to the fictitious Marabar Caves (modelled on the Barabar Caves of Bihar), Adela thinks she finds herself alone with Dr. Aziz in one of the caves (when in fact he is in an entirely different cave; whether the attacker is real or a reaction to the cave is ambiguous), and subsequently panics and flees; it is assumed that Dr. Aziz has attempted to assault her. Aziz's trial, and its run-up and aftermath, bring to a boil the common racial tensions and prejudices between Indians and the British during the colonial era.
*****The Deductions of Colonel Gore is a 1924 detective novel by the Irish-born writer Lynn Brock. It was the first in his series of seven novels featuring the character of Colonel Wyckham Gore. Gore enjoyed popularity during the early stages of the Golden Age of Detective Fiction. t was also published under the alternative title ‘The Barrington Mystery’. Colonel Gore gives a Masai knife as a wedding present to Barbara Lethbridge. When he returns to England the following year he finds she stands accused or murder, as the knife has been plunged into a blackmailer Barrington with whom she is involved. Against his better instincts Gore takes on the role of amateur detective in order to clear her name.
******‘Old New York’ is a collection of four novellas by Edith Wharton, revolving around upper-class New York City society in the 1840s, 1850s, 1860s, and 1870s. The novellas are not directly interconnected, though certain fictional characters appear in more than one story. The New York of these stories is the same as the New York of ‘The Age of Innocence” (which had been successfully published in 1920), from which several fictional characters have spilled over into these stories. The observation of the manners and morals of Nineteenth Century New York upper-class society is directly reminiscent of ‘The Age of Innocence’, but these novellas are shaped more as character studies than as a full-blown novel. Some characters who overlap among these four stories and ‘The Age of Innocence’: Mrs. (Catherine) Manson Mingott, Sillerton Jackson, Mrs. Lemuel Struthers, Henry Van der Luyden. Other families and institutions also appear in more than one place among this extended set of New York stories.
******* ‘The Man in the Brown Suit’ is a work of detective fiction by British writer Agatha Christie, first published in the UK by The Bodley Head on 22 August 1924 and in the US by Dodd, Mead and Company later in the same year. The character Colonel Race is introduced in this novel. Anne Beddingfeld is on her own and ready for adventures when one comes her way. She sees a man die in a tube station and picks up a piece of paper dropped nearby. The message on the paper leads her to South Africa as she fits more pieces of the puzzle together about the death she witnessed. There is a murder in England the next day, and the murderer attempts to kill her on the ship en route to Cape Town.
********A. H. Mayhew was once one of many bookshops located in London’s Charring Cross Road, an area still famous today for its bookshops, perhaps most famously written about by American authoress Helene Hanff who wrote ’84, Charing Cross Road’, which later became a play and then a 1987 film starring Anne Bancroft and Anthony Hopkins. Number 56. Charing Cross Road was the home of Mayhew’s second-hand and rare bookshop. Closed after the war, their premises is now the home of Any Amount of Books bookshop.
*********A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
**********Meaning for a long time, the origin of the phrase “till the cows come home” comes from the practice of cows returning to their shelters at some indefinite point, usually at a slow, languid pace.
***********Walter Crane was an English artist and book illustrator. He is considered to be the most influential, and among the most prolific, children's book creators of his generation and, along with Randolph Caldecott and Kate Greenaway, one of the strongest contributors to the child's nursery motif that the genre of English children's illustrated literature would exhibit in its developmental stages in the later Nineteenth Century. Crane's work featured some of the more colourful and detailed beginnings of the child-in-the-garden motifs that would characterize many nursery rhymes and children's stories for decades to come. He was part of the Arts and Crafts movement and produced an array of paintings, illustrations, children's books, ceramic tiles, wallpapers and other decorative arts. Crane is also remembered for his creation of a number of iconic images associated with the international socialist movement.
************In 1863, the engraver and printer Edmund Evans commissioned Walter Crane to produce a set of designs for a potential book series. This was the period of greater mechanisation in publishing, and that this was often used as an excuse to neglect design. Walter Crane wrote: “The books for babies, current at that time (about 1865 to 1870) of the cheaper sort called toy books were not very inspiriting. These were generally careless and unimaginative woodcuts, very casually coloured by hand, dabs of pink and emerald green being laid on across faces with a somewhat reckless aim.” Edmund Evans believed paper picture books could be greatly improved and still sold for sixpence if printed in sufficient quantity. Walter Crane and Edmund Evans gradually transformed the toy book into a sophisticated art form using a variety of technical, intellectual and aesthetic means. Advances in the use of wood engravings for colour printing made it possible for Evans to accurately print Crane’s designs in a wide range of sophisticated colours. Crane’s designs were printed by Evans for the publisher Frederick Warne in a Sixpenny Toybook series, bound in pale yellow rather than white. In 1867 Crane began designing toy books for George Routledge. Over the next ten years, he illustrated thirty-seven of these toy books, which would become the most popular children’s books of the day.
*************Marcelling is a hair styling technique in which hot curling tongs are used to induce a curl into the hair. Its appearance was similar to that of a finger wave but it is created using a different method. Marcelled hair was a popular style for women's hair in the 1920s, often in conjunction with a bob cut. For those women who had longer hair, it was common to tie the hair at the nape of the neck and pin it above the ear with a stylish hair pin or flower. One famous wearer was American entertainer, Josephine Baker.
These books might be the kind of children’s book you may like to give someone you love for Christmas, but if you do, they may need a magnifying glass, for these are all artisan pieces as part of my extensive 1:12 miniatures collection.
Fun things to look for in this tableau include:
The books on display here, and in the shelves behind are all 1:12 size miniatures made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. In this case, this selection of books designed by the prolific children’s illustrator, Walter Crane and two (Abroad and London Town) by this father Thomas Crane. I bought these on purpose because I have loved Walter Crane’s and Thomas Crane’s work ever since I was a child, and I have real life-size first editions of many of these books including, Abroad, London Town, A Masque of Days, Beauty and the Beast, the Hind in the Wood, Cinderella’s Picture Book and The Frog Prince, the latter of which stands open, showing an illustration from the book. What might amaze you is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make them all miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.
The round display table on which the books stand tilts like a real loo table, and is an artisan miniature from an unknown maker with a marquetry inlaid top, which came from Kathleen Knight’s Dolls House Shop in the United Kingdom.
Bronze and silver, first half of the first century C.E.
Condition: Head broken off through upper part of neck; inlaid irises missing; rather thick, even cast with a large square patch at the front left side of neck.
H. 21.6 cm.
The god is shown as a beardless adolescent with an oval, regular-featured face. His longish wavy hair, parted in the center, is encircled by an ivy wreath twisted from two strands, with leaves and bunches of berries. Free-falling locks on the neck were cast separately. The silvered whites of the figure's eyes have deeply cut circular cavities with pinholes at the back for fixing inlaid stone or glass irises. The eyebrows are incised with feathery strokes.
The head belongs to a series of sculptures that are all variants of the same basic type, alike in their facial features and the disposition of the locks of hair. In two cases, the entire figure is preserved. Especially close to this piece, though flimsier and more mannered, is the head of a bronze statue from Volubilis in Morocco. This figure, a decorative Roman creation, functioned as a lamp-holder. The Volubilis boy, like this piece, wears a Dionysiac ivy wreath over mid-length locks parted in the middle. The more luxuriant hair of the Volubilis boy, however, covers his ears, which are visible on the Fleischman head.
A bronze head in Munich is a very different permutation of the image, with a sober expression and shorter, more compact hair. However, the oval face, the center parting of the hair, the fillet around the head, and the arrangement of the locks at the back of the head leave no doubt that all three works go back to a common prototype.
There are further affinities with a marble statue at Aphrodisias, which has been considered a version of the Polykleitan Diskophoros. The head of this statue resembles the Munich bronze; though the hair is even shorter, the disposition of the locks and the rather unusual part over the forehead are repeated. The diadem is in this case the emblem of an athletic victor. The body has Polykleitan muscular definition, but the pose is enough like that of the Volubilis statue to suggest that the ultimate source for the two is the same.
The series is revealing as to how the same basic model can be adapted to different iconographic requirements and different stylistic preferences. The body, in its attenuated form, is also used with other heads, for example in the bronze boy lamp-bearer of Antequera, the Idolino and two bronze lamp-bearing statues from Pompeii.
Our head, probably once part of a full-length figure, is comparable in style to many of the elegant eclectic works from the cities destroyed by Vesuvius in A.D. 79. It may come from a purely decorative image or from one that served as a lamp-holder, a favorite use for Classicistic figures of handsome youths. The underlying sensitivity of the workmanship and its contrast of smooth surface areas with crisp linear detail might suggest a Tiberian date.
Formerly in the collection of Barbara and Lawrence Fleischman, New York; text from the catalog of that collection.
From the collection of the Getty Villa, Malibu, California.
One of the many beautiful painted, gilded and inlaid wooden furnishings found in Tutankhamun's tomb.
The most celebrated part of the Cairo Museum's collection has for the best part of a century been the incomparable treasures of Tutankhamun's tomb housed in two long galleries on the upper floor. The greatest archaeological discovery of all time, the virtually intact tomb of the young pharaoh was discovered in 1922 in the Valley of the Kings, undisturbed since antiquity owing to the King's relative obscurity.
Tutankhamun was born Tutankhaten, son and successor of the 'heretic' pharaoh Akhenaten who dispensed with Egypt's centuries old religion in favour of his new god, the sun disk he called Aten. At Akhenaten's death Tutankhaten was only nine years old and early in his reign was persuaded to restore Egypt's religion and traditions, abandoning the cult of Aten and restoring the prominence of Amun, god of Thebes, thus changing his name to Tutankhamun. His early death barely a decade later and association with his reviled father led to the young pharaoh sharing his fate in being struck from the records and lists of Kings (an act of damnatio memoriae), thus his tomb itself was quickly forgotten and hidden beneath later structures whilst those of more famous rulers were stripped bare, probably within decades.
Howard Carter's discovery of the still sealed tomb in 1922 caused a sensation, nothing so complete had ever been found before. The tomb itself was small by pharaonic standards, prepared in a hurry as the king died in his late teens with two main chambers and a further two side chambers crammed with artworks, treasures and furnishings, along with the king's body sealed within four gilded-wooden shrines, three superbly rich coffins and the incomparable golden mask upon his head. Better still, the pharaoh's reign in the 18th Dynasty coincided with a particularly high period for artistic achievement, meaning that so much was of the highest quality. One can only imagine the riches that must have disappeared from the much larger tombs of the more famous rulers, compared to this tiny treasure-trove!
Tutankhamun's collection has resided in Cairo's Egyptian Museum ever since its discovery, but by the end of 2018 will have moved again to the new Grand Egyptian Museum in Giza (currently being prepared for partial opening later this year). The treasures will be displayed in their entirety for the first time, and many pieces have already been transferred. This visit offered us a last opportunity to view most of the major pieces in their central Cairo home for one last time.
For more on the 'obscure' pharaoh who millennia later became Egypt's most celebrated, see the link below:-
Gorgeous inlaid Marmoleum floor!
Maynard Parker, photographer.
Photo from this website: www.oac.cdlib.org/view?docId=kt6k4034m6&doc.view=item...
Royal Copper Heqa Crook of Tutankhamun Inlaid with Glass and Gold, Royal Flail of Tutankhamun.
Treasures of the Golden Pharaoh. Saatchi Gallery exhibition.
Statue of a Victorious Youth (Greek), 300–100 B.C.E., bronze with inlaid copper, 151.5 x 70 x 27.9 cm (Getty Villa Museum)
Statue of a Victorious Youth (Greek), 300–100 B.C.E., bronze with inlaid copper, 151.5 x 70 x 27.9 cm (Getty Villa Museum)
The Hollywood Walk of Fame is a landmark which consists of more than 2,773 five-pointed terrazzo-and-brass stars embedded in the sidewalks along 15 blocks of Hollywood Boulevard and three blocks of Vine Street in Hollywood, California. The stars are monuments to achievement in the entertainment industry, bearing the names of a mix of actors, directors, producers, musicians, theatrical/musical groups, fictional characters, and others.
The Walk of Fame is administered by the Hollywood Chamber of Commerce, who hold the trademark rights, and maintained by the self-financing Hollywood Historic Trust. It is a popular tourist attraction, receiving an estimated 10 million annual visitors in 2010.
The Walk of Fame runs 1.3 miles (2.1 km) east to west on Hollywood Boulevard, from Gower Street to the Hollywood and La Brea Gateway at La Brea Avenue, plus a short segment on Marshfield Way that runs diagonally between Hollywood Boulevard and La Brea; and 0.4 miles (0.64 km) north to south on Vine Street between Yucca Street and Sunset Boulevard. According to a 2003 report by the market research firm NPO Plog Research, the Walk attracts about 10 million visitors annually—more than the Sunset Strip, the TCL Chinese Theatre (formerly Grauman's), the Queen Mary, and the Los Angeles County Museum of Art combined—and has played an important role in making tourism the largest industry in Los Angeles County.
As of 2023, the Walk of Fame comprises 2,752 stars, which are spaced at 6-foot (1.8 m) intervals. The monuments are coral-pink terrazzo five-point stars rimmed with brass (not bronze, an oft-repeated inaccuracy) inlaid into a charcoal-colored terrazzo background. The name of the honoree is inlaid in brass block letters in the upper portion of each star. Below the inscription, in the lower half of the star field, a round inlaid brass emblem indicates the category of the honoree's contributions. The emblems symbolize six categories within the entertainment industry:
Circular 4-inch brass plaque showing a side view of a classic movie camera. Classic film camera representing motion pictures.
Circular 4-inch brass plaque with a tube-type television with twin aerials. Television receiver representing broadcast television.
Circular 4-inch brass plaque with a top view of phonograph disc and pickup arm. Phonograph record representing audio recording or music.
Circular 4-inch brass plaque with an antique studio-style microphone. Radio microphone representing broadcast radio.
Circular 4-inch brass plaque with the classic theatrical comedy/tragedy masks. Comedy/tragedy masks representing theater/live performance (added in 1984).
[image needed] Athletic trophy representing sports entertainment (added in 2023).
Of all the stars on the Walk to date, 47% have been awarded in the motion pictures category, 24% in television, 17% in audio recording or music, 10% in radio, fewer than 2% in theater/live performance, and fewer than 1% in sports entertainment. According to the Hollywood Chamber of Commerce, approximately 20 new stars are added to the Walk each year.
Locations of individual stars are not necessarily arbitrary. Stars of many particularly well-known celebrities are found in front of the TCL (formerly Grauman's) Chinese Theatre. Oscar-winners' stars are usually placed near the Dolby Theatre,[citation needed] site of the annual Academy Awards presentations. Locations are occasionally chosen for ironic or humorous reasons: Mike Myers's star lies in front of an adult store called the International Love Boutique, an association with his Austin Powers roles; Roger Moore's star and Daniel Craig's star are located at 7007 Hollywood Boulevard in recognition of their titular role in the James Bond 007 film series; Ed O'Neill's star is located outside a shoe store in reference to his character's occupation on the TV show Married ... with Children; and The Dead End Kids' star is located at the corner of LaBrea and Hollywood Boulevard.
Honorees may request a specific location for their star, although final decisions remain with the Chamber. Jay Leno, for example, requested a spot near the corner of Hollywood Blvd. and Highland Ave. because he was twice picked up at that location by police for vagrancy (though never actually charged) shortly after his arrival in Hollywood. George Carlin chose to have his star placed in front of the KDAY radio station near the corner of Sunset Blvd. and Vine St., where he first gained national recognition. Lin-Manuel Miranda chose a site in front of the Pantages Theatre where his musicals, In The Heights and Hamilton, played. Carol Burnett explained her choice in her 1986 memoir: While working as an usherette at the historic Warner Brothers Theatre (now the Hollywood Pacific Theatre) during the 1951 run of Alfred Hitchcock's film Strangers on a Train, she took it upon herself to advise a couple arriving during the final few minutes of a showing to wait for the next showing, to avoid seeing (and spoiling) the ending. The theater manager fired her on the spot for "insubordination" and humiliated her by stripping the epaulets from her uniform in the theater lobby. Twenty-six years later, at her request, Burnett's star was placed at the corner of Hollywood and Wilcox—in front of the theater.
Special category stars recognize various contributions by corporate entities, service organizations, and special honorees, and display emblems unique to those honorees. For example, former Los Angeles mayor Tom Bradley's star displays the Seal of the City of Los Angeles; the Los Angeles Police Department (LAPD) star emblem is a replica of a Hollywood Division badge; and stars representing corporations, such as Victoria's Secret and the Los Angeles Dodgers, display the honoree's corporate logo. The "Friends of the Walk of Fame" monuments are charcoal terrazzo squares rimmed by miniature pink terrazzo stars displaying the five standard category emblems, along with the sponsor's corporate logo, with the sponsor's name and contribution in inlaid brass block lettering. Special stars and Friends monuments are granted by the Hollywood Chamber of Commerce or the Hollywood Historic Trust, but are not part of the Walk of Fame proper and are located nearby on private property.
The monuments for the Apollo 11 mission to the Moon are uniquely shaped: Four identical circular moons, each bearing the names of the three astronauts (Neil A. Armstrong, Edwin E. Aldrin Jr., and Michael Collins), the date of the first Moon landing ("7/20/69"), and the words "Apollo XI", are set on each of the four corners of the intersection of Hollywood and Vine.
The Hollywood Chamber of Commerce credits E.M. Stuart, its volunteer president in 1953, with the original idea for creating a Walk of Fame. Stuart reportedly proposed the Walk as a means to "maintain the glory of a community whose name means glamour and excitement in the four corners of the world". Harry Sugarman, another Chamber member and president of the Hollywood Improvement Association, received credit in an independent account. A committee was formed to flesh out the idea, and an architectural firm was retained to develop specific proposals. By 1955, the basic concept and general design had been agreed upon, and plans were submitted to the Los Angeles City Council.
Multiple accounts exist for the origin of the star concept. According to one, the historic Hollywood Hotel, which stood for more than 50 years on Hollywood Boulevard at the site now occupied by the Ovation Hollywood complex and the Dolby (formerly Kodak) Theatre—displayed stars on its dining room ceiling above the tables favored by its most famous celebrity patrons, and that may have served as an early inspiration. By another account, the stars were "inspired ... by Sugarman's Tropics Restaurant drinks menu, which featured celebrity photos framed in gold stars".
In February 1956, a prototype was unveiled featuring a caricature of an example honoree (John Wayne, by some accounts) inside a blue star on a brown background. However, caricatures proved too expensive and difficult to execute in brass with the technology available at the time; and the brown and blue motif was vetoed by Charles E. Toberman, the legendary real estate developer known as "Mr. Hollywood", because the colors clashed with a new building he was erecting on Hollywood Boulevard.
By March 1956, the final design and coral-and-charcoal color scheme had been approved. Between the spring of 1956 and the fall of 1957, 1,558 honorees were selected by committees representing the four major branches of the entertainment industry at that time: motion pictures, television, audio recording, and radio. The committees met at the Brown Derby restaurant,[32] and they included such prominent names as Cecil B. DeMille, Samuel Goldwyn, Jesse L. Lasky, Walt Disney, Hal Roach, Mack Sennett, and Walter Lantz.
A requirement stipulated by the original audio recording committee (and later rescinded) specified minimum sales of one million records or 250,000 albums for all music category nominees. The committee soon realized that many important recording artists would be excluded from the Walk by that requirement. As a result, the National Academy of Recording Arts and Sciences was formed to create a separate award for the music industry, leading to the first Grammy Awards in 1959.
Construction of the Walk began in 1958, but two lawsuits delayed completion. The first lawsuit was filed by local property owners challenging the legality of the $1.25 million tax assessment (equivalent to $13 million in 2022) levied upon them to pay for the Walk, along with new street lighting and trees. In October 1959, the assessment was ruled legal. The second lawsuit, filed by Charles Chaplin Jr., sought damages for the exclusion of his father, whose nomination had been withdrawn due to pressure from multiple quarters (see Controversial additions). Chaplin's suit was dismissed in 1960, paving the way for completion of the project.
While Joanne Woodward is often singled out as the first person to receive a star on the Walk of Fame—possibly because she was the first to be photographed with it—the original stars were installed as a continuous project, with no individual ceremonies. Woodward's name was one of eight drawn at random from the original 1,558 and inscribed on eight prototype stars that were built while litigation was holding up permanent construction. The eight prototypes were installed temporarily on the northwest corner of Hollywood Boulevard and Highland Avenue in August 1958 to generate publicity and to demonstrate how the Walk would eventually look. The other seven names were Olive Borden, Ronald Colman, Louise Fazenda, Preston Foster, Burt Lancaster, Edward Sedgwick, and Ernest Torrence. Official groundbreaking took place on February 8, 1960. On March 28, 1960, the first permanent star, director Stanley Kramer's, was completed on the easternmost end of the new Walk near the intersection of Hollywood and Gower.
Although the Walk was originally conceived in part to encourage redevelopment of Hollywood Boulevard, the 1960s and 1970s were periods of protracted urban decay in the Hollywood area as residents moved to nearby suburbs. After the initial installation of approximately 1,500 stars in 1960 and 1961, eight years passed without the addition of a new star. In 1962, the Los Angeles City Council passed an ordinance naming the Hollywood Chamber of Commerce "the agent to advise the City" about adding names to the Walk, and the Chamber, over the following six years, devised rules, procedures, and financing methods to do so. In December 1968, Richard D. Zanuck was awarded the first star in eight years in a presentation ceremony hosted by Danny Thomas. In July 1978, the city of Los Angeles designated the Hollywood Walk of Fame a Los Angeles Historic-Cultural Monument.
Radio personality, television producer, and Chamber member Johnny Grant is generally credited with implementing the changes that resuscitated the Walk and established it as a significant tourist attraction. Beginning in 1968, Grant stimulated publicity and encouraged international press coverage by requiring that each recipient personally attend his or her star's unveiling ceremony. Grant later recalled that "it was tough to get people to come accept a star" until the neighborhood finally began its recovery in the 1980s.
In 1980, Grant instituted a fee of $2,500 (equivalent to $8,879 in 2022), payable by the person or entity nominating the recipient, to fund the Walk of Fame's upkeep and minimize further taxpayer burden. The fee has increased incrementally over time. By 2002, it had reached $15,000 (equivalent to $24,405 in 2022), and stood at $30,000 in 2012 (equivalent to $38,240 in 2022). As of 2023, the fee was $75,000, about nine times the original amount adjusted for inflation.
Grant was himself awarded a star in 1980 for his television work. In 2002, he received a second star in the "special" category to acknowledge his pivotal role in improving and popularizing the Walk. He was also named chairman of the Selection Committee and Honorary Mayor of Hollywood (a ceremonial position previously held by Art Linkletter and Monty Hall, among others). He remained in both offices from 1980 until his death in 2008 and hosted the great majority of unveiling ceremonies during that period. His unique special-category star, with its emblem depicting a stylized "Great Seal of the City of Hollywood", is located at the entrance to the Dolby Theatre adjacent to Johnny Grant Way.
In 1984, a fifth category, Live Theatre, was added to acknowledge contributions from the live performance branch of the entertainment industry, and a second row of stars was created on each sidewalk to alternate with the existing stars.
In 1994, the Walk of Fame was extended one block to the west on Hollywood Boulevard, from Sycamore Avenue to North LaBrea Avenue (plus the short segment of Marshfield Way that connects Hollywood and La Brea), where it now ends at the silver "Four Ladies of Hollywood" gazebo and the special "Walk of Fame" star. At the same time, Sophia Loren was honored with the 2,000th star on the Walk.
During construction of tunnels for the Los Angeles subway system in 1996, the Metropolitan Transportation Authority (MTA) removed and stored more than 300 stars. Controversy arose when the MTA proposed a money-saving measure of jackhammering the 3-by-3-foot terrazzo pads, preserving only the brass lettering, surrounds, and medallions, then pouring new terrazzo after the tunnels were completed; but the Cultural Heritage Commission ruled that the star pads were to be removed intact.
In 2023, a sixth category, Sports Entertainment, was added to acknowledge contributions of athletes to the entertainment industry.
In 2008, a long-term restoration project began with an evaluation of all 2,365 stars on the Walk at the time, each receiving a letter grade of A, B, C, D, or F. Honorees whose stars received F grades, indicating the most severe damage, were Joan Collins, Peter Frampton, Dick Van Patten, Paul Douglas, Andrew L. Stone, Willard Waterman, Richard Boleslavsky, Ellen Drew, Frank Crumit, and Bobby Sherwood. Fifty celebrities' stars received "D" grades. The damage ranged from minor cosmetic flaws caused by normal weathering to holes and fissures severe enough to constitute a walking hazard. Plans were made to repair or replace at least 778 stars at an estimated cost of over $4 million.
The restoration is a collaboration among the Hollywood Chamber of Commerce and various Los Angeles city and county governmental offices, along with the MTA, which operates the Metro B Line that runs beneath the Walk, since earth movement due to the presence of the subway line is thought to be partly responsible for the damage.
To encourage supplemental funding for the project by corporate sponsors, the "Friends of Walk of Fame" program was inaugurated, with donors recognized through honorary plaques adjacent to the Walk of Fame in front of the Dolby Theatre. The program has received some criticism; Alana Semuels of the Los Angeles Times described it as "just the latest corporate attempt to buy some good buzz", and quoted a brand strategist who said, "I think Johnny Grant would roll over in his grave".
Los Angeles introduced the "Heart of Hollywood Master Plan", which promotes the idea of closing Hollywood Boulevard to traffic and creating a pedestrian zone from La Brea Avenue to Highland Avenue, citing an increase in pedestrian traffic including tourism, weekly movie premieres and award shows closures, including ten days for the Academy Award ceremony at the Dolby Theatre. In June 2019, the city of Los Angeles commissioned Gensler Architects to provide a master plan for a $4 million renovation to improve and "update the streetscape concept" for the Walk of Fame. Los Angeles city councilmember Mitch O'Farrell released the draft master plan designed by Gensler and Studio-MLA in January 2020. It proposed widening the sidewalks, adding bike lanes, new landscaping, sidewalk dining, removing lanes of car traffic and street parking between the Pantages Theater (Gower Street) at the east and The Emerson Theatre (La Brea Avenue) at the west end of the boulevard. The approved phase one includes removing the parking lanes between Orange Drive and Gower Street, adding street furnishings with benches, tables and chairs with sidewalk widening. Phase two is in the schematic stage. Phase two is planned for 2024 and will include closing down the boulevard to two lanes, adding landscaping with shade trees and five public plazas made up of art deco designed street pavers and kiosks. Planned to be completed by 2026, funding is being raised for the $50 million project.
Each year an average of 200 nominations are submitted to the Hollywood Chamber of Commerce Walk of Fame selection committee. Anyone, including fans, can nominate anyone active in the field of entertainment as long as the nominee or their management approves the nomination. Nominees must have a minimum of five years' experience in the category for which they are nominated and a history of "charitable contributions". Posthumous nominees must have been deceased at least five years. At a meeting each June, the committee selects approximately 20 to 24 celebrities to receive stars on the Walk of Fame. One posthumous award is given each year as well. The nominations of those not selected are rolled over to the following year for reconsideration; those not selected two years in a row are dropped, and must be renominated to receive further consideration. Living recipients must agree to personally attend a presentation ceremony within two years of selection. If the ceremony is not scheduled within two years, a new application must be submitted. A relative of deceased recipients must attend posthumous presentations. Presentation ceremonies are open to the public.
A fee of $75,000 (as of 2023), payable at time of selection, is collected to pay for the creation and installation of the star, as well as general maintenance of the Walk of Fame. The fee is usually paid by the nominating organization, which may be a fan club, film studio, record company, broadcaster, or other sponsor involved with the prospective honoree. The Starz cable network, for example, paid for Dennis Hopper's star as part of the promotion for its series Crash.
Actor Matt Damon's star under construction, showing the brass star-shaped rim, exposed wire grid foundation, brass letters attached to two horizontal brackets, and the Motion Picture emblem, prior to pouring of pink terrazzo
Actor Matt Damon's star under construction, August 2007
Traditionally, the identities of selection committee members, other than its chairman, have not been made public in order to minimize conflicts of interest and to discourage lobbying by celebrities and their representatives (a significant problem during the original selections in the late 1950s). However, in 1999, in response to intensifying charges of secrecy in the selection process, the Chamber disclosed the members' names: Johnny Grant, the longtime chair and representative of the television category; Earl Lestz, president of Paramount Studio Group (motion pictures); Stan Spero, retired manager with broadcast stations KMPC and KABC (radio); Kate Nelson, owner of the Palace Theatre (live performance); and Mary Lou Dudas, vice president of A&M Records (recording industry). Since that 1999 announcement, the chamber has revealed only that Lestz (who received his own star in 2004) became chairman after Grant died in 2008. Their current official position is that "each of the five categories is represented by someone with expertise in that field".
In 2010, Lestz was replaced as chairman by John Pavlik, former Director of Communications for the Academy of Motion Picture Arts and Sciences. While no public announcement was made to that effect, he was identified as chairman in the Chamber's press release announcing the 2011 star recipients. In 2016, the chair, according to the Chamber's 2016 selection announcement, was film producer Maureen Schultz. In 2023, the selection committee chair was radio personality Ellen K.
Moon Landing monument, with square pink terrazzo surround (not the usual charcoal color), with light gray terrazzo Moon disk showing TV emblem at top and the brass lettering "Neil A. Armstrong, Edwin E. Aldrin and Michael Collins, 7/20/69, Apollo XI"
One of the four monuments recognizing the Apollo 11 astronauts at the corners of Hollywood and Vine
Walk of Fame rules prohibit consideration of nominees whose contributions fall outside the six major entertainment categories, but the selection committee has been known to adjust interpretations of its rules to justify a selection. The Walk's four round Moon landing monuments at the corners of Hollywood and Vine, for example, officially recognize the Apollo 11 astronauts for "contributions to the television industry." Johnny Grant acknowledged, in 2005, that classifying the first Moon landing as a television entertainment event was "a bit of a stretch". Magic Johnson was added to the motion picture category based on his ownership of the Magic Johnson Theatre chain, citing as precedent Sid Grauman, builder of Grauman's Chinese Theatre.
Muhammad Ali's star was granted after the committee decided that boxing could be considered a form of "live performance". Its placement on a wall of the Dolby Theatre makes it the only star mounted on a vertical surface, acceding to Ali's request that his name not be walked upon, as he shared his name with the Prophet Muhammad.
All living honorees have been required since 1968 to personally attend their star's unveiling, and approximately 40 have declined the honor due to this condition. The only recipient to date who failed to appear after agreeing to do so was Barbra Streisand, in 1976. Her star was unveiled anyway, near the intersection of Hollywood and Highland. Streisand did attend when her husband, James Brolin, unveiled his star in 1998 two blocks to the east.
Entertainers with multiple stars
The original selection committees chose to recognize some notable entertainers' contributions in multiple categories with multiple stars.
Gene Autry is the only honoree with stars in all five categories.
Bob Hope, Mickey Rooney, Roy Rogers, and Tony Martin each have stars in four categories; Rooney has three of his own and a fourth with his eighth wife, Jan Chamberlin,[87][88] while Rogers also has three of his own, and a fourth with his band, Sons of the Pioneers.
Thirty-three honorees, including Bing Crosby, Frank Sinatra, Jo Stafford, Dean Martin, Dinah Shore, Gale Storm, Danny Kaye, Douglas Fairbanks Jr., and Jack Benny, have stars in three categories.
Over a dozen have two stars:
Dolly Parton, for her solo work and part of the trio made up of her, Emmylou Harris and Linda Ronstadt;[91]
Michael Jackson, as a soloist and as a member of The Jacksons;
Diana Ross, as a member of The Supremes and for her solo work;
Smokey Robinson, as a solo artist and as a member of The Miracles;
John Lennon, Paul McCartney, George Harrison, and Ringo Starr as individuals and as members of The Beatles.
George Eastman is the only honoree with two stars in the same category for the same achievement, the invention of roll film.
Walt Disney, has stars in two different categories for his work in both film and television; in addition, Mickey Mouse (who was originally voiced by Walt Disney) and Disneyland have stars.
Bette Davis has one star each for film and television.
Alfred Hitchcock has stars in two different categories for his work in both film and television.
Jean Hersholt, for film and radio
Hattie McDaniel, for film and radio
Judy Garland, one for motion pictures and another for recording
Arlene Francis, for radio and television
Cass Daley, for radio and television
Kermit the Frog, has an individual star for television and as a member of The Muppets for film.
Cher forfeited her opportunity to join this list by declining to schedule the mandatory personal appearance when she was selected in 1983. She did, however, attend the unveiling of the Sonny & Cher star in 1998, as a tribute to her recently deceased ex-husband, Sonny Bono.
Sixteen stars are identified with a one-word stage name (e.g., Liberace, Pink, Roseanne, and Slash). Clayton Moore is so inextricably linked with his Lone Ranger character, even though he played other roles during his career, that he is one of only two actors to have his character's name alongside his own on his star. The other is Tommy Riggs, whose star references his Betty Lou character. The largest group of individuals represented by a single star is the estimated 122 adults and 12 children collectively known as the Munchkins, from the landmark 1939 film The Wizard of Oz.
Two pairs of stars share identical names representing different people. There are two Harrison Ford stars, honoring the silent film actor (at 6665 Hollywood Boulevard), and the present-day actor (in front of the Dolby Theatre at 6801 Hollywood Boulevard). Two Michael Jackson stars represent the pop singer (at 6927 Hollywood Boulevard), and the radio personality (at 1597 Vine Street).
The Westmores received the first star honoring contributions in theatrical make-up.[citation needed] Other make-up artists on the walk are Max Factor, John Chambers and Rick Baker. Three stars recognize experts in special effects: Ray Harryhausen, Dennis Muren, and Stan Winston. Only two costume designers have received a star: eight-time Academy Award Winner Edith Head, and the first African-American to win an Oscar for costume design, Ruth E. Carter.
Sidney Sheldon is one of two novelists with a star, which he earned for writing screenplays for such films as The Bachelor and the Bobby-Soxer (1947) before becoming a novelist. The other is Ray Bradbury, whose books and stories have formed the basis of dozens of movies and television programs over a nearly 60-year period.
Nine inventors have stars on the Walk: George Eastman, inventor of roll film; Thomas Edison, inventor of the first true film projector and holder of numerous patents related to motion-picture technology; Lee de Forest, inventor of the triode vacuum tube, which played an important role in the development of radio and television broadcasts, and Phonofilm, which made sound films possible; Herbert Kalmus, inventor of Technicolor; Auguste and Louis Lumière, inventors of important components of the motion picture camera; Mark Serrurier, inventor of the technology used for film editing; Hedy Lamarr, co-inventor of a frequency-hopping radio guidance system that was a precursor to Wi-Fi networks and cellular telephone systems; and Ray Dolby, co-developer of the first video tape recorder and inventor of the Dolby noise-reduction system.
A few star recipients moved on after their entertainment careers to political notability. Two Presidents of the United States, Ronald Reagan (40th President) and Donald Trump (45th President), have stars on the Walk. Reagan is also one of two Governors of California with a star; the other is Arnold Schwarzenegger. One U.S. senator (George Murphy) and two members of the U.S. House of Representatives (Helen Gahagan and Sonny Bono) have stars. Ignacy Paderewski, who served as Prime Minister of Poland between the World Wars, is the only European head of government represented. Film and stage actor Albert Dekker served one term in the California State Assembly during the 1940s.
On its 50th anniversary in 2005, Disneyland received a star near Disney's Soda Fountain on Hollywood Boulevard. Stars for commercial organizations are only considered for those with a Hollywood show business connection of at least 50 years' duration. While not technically part of the Walk itself (a city ordinance prohibits placing corporate names on sidewalks), the star was installed adjacent to it.
There are three dogs represented on the walk, Lassie, Rin Tin Tin, and Strongheart.
Charlie Chaplin is the only honoree to be selected twice for the same star on the Walk. He was unanimously voted into the initial group of 500 in 1956, but the Selection Committee ultimately excluded him, ostensibly due to questions regarding his morals (he had been charged with violating the Mann Act—and exonerated—during the White Slavery hysteria of the 1940s), but more likely due to his left-leaning political views. The rebuke prompted an unsuccessful lawsuit by his son, Charles Chaplin Jr. Chaplin's star was finally added to the Walk in 1972, the same year he received his Academy Award. Even then, 16 years later, the Chamber of Commerce received angry letters from across the country protesting its decision to include him.
The committee's Chaplin difficulties reportedly contributed to its decision in 1978 against awarding a star to Paul Robeson, the controversial opera singer, actor, athlete, writer, lawyer, and social activist. The resulting outcry from the entertainment industry, civic circles, local and national politicians, and many other quarters was so intense that the decision was reversed and Robeson was awarded a star in 1979.
In 1978, in honor of his 50th anniversary, Mickey Mouse became the first animated character to receive a star, and nearly twenty more followed over the next decades. Other fictional characters on the Walk include the Munchkins, the kaiju Godzilla, the live-action dog named Lassie, Pee-Wee Herman as portrayed by Paul Reubens, animated film characters such as Shrek and Snow White, and animated television characters including the Simpsons and the Rugrats.
Jim Henson is one of four puppeteers to have a star, but also has a further three stars dedicated to his creations: one for The Muppets as a whole, one for Kermit the Frog and one for Big Bird.
In 2010, Julia Louis-Dreyfus' star was constructed with the name "Julia Luis Dreyfus". The actress was reportedly amused, and the error was corrected. A similar mistake was made on Dick Van Dyke's star in 1993 ("Vandyke"), and rectified. Film and television actor Don Haggerty's star originally displayed the first name "Dan". The mistake was fixed, but years later the television actor Dan Haggerty (of Grizzly Adams fame, no relation to Don) also received a star. The confusion eventually sprouted an urban legend that Dan Haggerty was the only honoree to have a star removed from the Walk of Fame. For 28 years, the star intended to honor Mauritz Stiller, the Helsinki-born pioneer of Swedish film who brought Greta Garbo to the United States, read "Maurice Diller", possibly due to mistranscription of verbal dictation. The star was finally remade with the correct name in 1988.
Monty Woolley's star, showing a "TV" emblem, even though his category is "Motion Pictures"
"Motion Picture" category, "TV" emblem
Four stars remain misspelled: the opera star Lotte Lehmann (spelled "Lottie"); King Kong creator, director, and producer and Cinerama pioneer Merian C. Cooper ("Meriam"); cinematography pioneer Auguste Lumière ("August"); and radio comedienne Mary Livingstone ("Livingston").
Monty Woolley, the veteran film and stage actor best known for The Man Who Came to Dinner (1942) and the line "Time flies when you're having fun", is officially listed in the motion picture category, but his star on the Walk of Fame bears the television emblem. Woolley did appear on the small screen late in his career, but his TV contributions were eclipsed by his extensive stage, film, and radio work. Similarly, the star of film actress Carmen Miranda bears the TV emblem, although her official category is motion pictures. Radio and television talk show host Larry King is officially a television honoree, but his star displays a film camera.
Acts of vandalism on the Walk of Fame have ranged from profanity and political statements written on stars with markers and paint to damage with heavy tools. Vandals have also tried to chisel out the brass category emblems embedded in the stars below the names, and have even stolen a statue component of The Four Ladies of Hollywood. Closed circuit surveillance cameras have been installed on the stretch of Hollywood Boulevard between La Brea Avenue and Vine Street in an effort to discourage mischievous activities.
Four of the stars, which weigh about 300 pounds (140 kg) each, have been stolen from the Walk of Fame. In 2000, James Stewart's and Kirk Douglas' stars disappeared from their locations near the intersection of Hollywood and Vine, where they had been temporarily removed for a construction project. Police recovered them in the suburban community of South Gate when they arrested a man involved in an incident there and searched his house. The suspect was a construction worker employed on the Hollywood and Vine project. The stars had been badly damaged and had to be remade. One of Gene Autry's five stars was also stolen from a construction area. Another theft occurred in 2005 when thieves used a concrete saw to remove Gregory Peck's star from its Hollywood Boulevard site at the intersection of North El Centro Avenue, near North Gower. The star was replaced almost immediately, but the original was never recovered and the perpetrators never caught.
Donald Trump's star, obtained for his work as owner and producer of the Miss Universe pageant, has been vandalized multiple times. During the 2016 presidential election, a man named James Otis, who claims to be an heir to the Otis Elevator Company fortune, used a sledgehammer and a pickaxe to destroy all of the star's brass inlays. He readily admitted to the vandalism and was arrested and sentenced to three years' probation. The star was repaired and served as a site of pro-Trump demonstrations until it was destroyed a second time in July 2018 by a man named Austin Clay. Clay later surrendered himself to the police and was bailed out by James Otis. Clay was sentenced to one day in jail, three years of probation, and 20 days of community service. He also was ordered to attend psychological counseling and pay restitution of $9,404.46 to the Hollywood Chamber of Commerce. On December 18, 2018, the star was defaced with swastikas and other graffiti drawn in permanent marker, and it was vandalized yet again on October 2, 2020.
In August 2018, the West Hollywood City Council unanimously passed a resolution requesting permanent removal of the star due to repeated vandalism, according to Mayor John Duran. The resolution was completely symbolic, as West Hollywood has no jurisdiction over the Walk. Activist groups have also called for the removal of stars honoring individuals whose public and professional lives have become controversial, including Trump, Bill Cosby, Kevin Spacey, and Brett Ratner. In answer to these campaigns, the Hollywood Chamber of Commerce announced that because the Walk is a historical landmark, "once a star has been added ... it is considered a part of the historic fabric of the Hollywood Walk of Fame" and cannot be removed.
The Hollywood and La Brea Gateway is a 1993 cast stainless steel public art installation by architect Catherine Hardwicke.[ The sculpture, popularly known as The Four Ladies of Hollywood, was commissioned by the Los Angeles Community Redevelopment Agency Art Program as a tribute to the multi-ethnic women of the entertainment industry. The installation consists of a square stainless steel Art Deco-style structure or gazebo, with an arched roof supporting a circular dome that is topped by a central obelisk with descending neon block letters spelling "Hollywood" on each of its four sides. Atop the obelisk is a small gilded weather vane-style sculpture of Marilyn Monroe in her iconic billowing skirt pose from The Seven Year Itch. The corners of the domed structure are supported by four caryatids sculpted by Harl West representing African-American actress Dorothy Dandridge, Asian-American actress Anna May Wong, Mexican actress Dolores del Río, and Brooklyn-born actress Mae West. The installation stands at the western end of the Hollywood Walk of Fame at the corner of Hollywood Boulevard and North La Brea Avenue.
The gazebo was dedicated on February 1, 1994, to a mixed reception. Los Angeles Times art critic Christopher Knight called it "the most depressingly awful work of public art in recent years", representing the opposite of Hardwicke's intended tribute to women. "Sex, as a woman's historic gateway to Hollywood", he wrote, "couldn't be more explicitly described".
Independent writer and film producer Gail Choice called it a fitting tribute to a group of pioneering and courageous women who "carried a tremendous burden on their feminine shoulders". "Never in my wildest dreams did I believe I'd ever see women of color immortalized in such a creative and wonderful fashion." Hardwicke contended that critics had missed the "humor and symbolism" of the structure, which "embraces and pokes fun at the glamour, the polished metallic male form of the Oscar, and the pastiche of styles and dreams that pervades Tinseltown."
In June 2019, the Marilyn Monroe statue above the gazebo was stolen by Austin Clay, who had vandalized Donald Trump's star a year earlier.
Recording artist Michael Jackson's star, surrounded by flowers, candles, and cards, as observed about two weeks after his death in 2009
Michael Jackson's star, about two weeks after his death in 2009
Some fans show respect for star recipients both living and dead by laying flowers or other symbolic tributes at their stars. Others show their support in other ways; the star awarded to Julio Iglesias, for example, is kept in "pristine condition a devoted band of elderly women scrub and polish it once a month".
The Hollywood Chamber of Commerce has adopted the tradition of placing flower wreaths at the stars of newly deceased awardees; for example, Bette Davis in 1989, Katharine Hepburn in 2003, and Jackie Cooper in 2011. The stars of other deceased celebrities, such as Michael Jackson, Bruce Lee, Farrah Fawcett, Elizabeth Taylor Charles Aznavour, Richard Pryor, Ricardo Montalbán, James Doohan, Frank Sinatra, Robin Williams, Joan Rivers, George Harrison, Aretha Franklin, Stan Lee, and Betty White have become impromptu memorial and vigil sites as well, and some continue to receive anniversary remembrances.
California is a state in the Western United States, located along the Pacific Coast. With nearly 39.2 million residents across a total area of approximately 163,696 square miles (423,970 km2), it is the most populous U.S. state and the 3rd largest by area. It is also the most populated subnational entity in North America and the 34th most populous in the world. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second and fifth most populous urban regions respectively, with the former having more than 18.7 million residents and the latter having over 9.6 million. Sacramento is the state's capital, while Los Angeles is the most populous city in the state and the second most populous city in the country. San Francisco is the second most densely populated major city in the country. Los Angeles County is the country's most populous, while San Bernardino County is the largest county by area in the country. California borders Oregon to the north, Nevada and Arizona to the east, the Mexican state of Baja California to the south; and has a coastline along the Pacific Ocean to the west.
The economy of the state of California is the largest in the United States, with a $3.4 trillion gross state product (GSP) as of 2022. It is the largest sub-national economy in the world. If California were a sovereign nation, it would rank as the world's fifth-largest economy as of 2022, behind Germany and ahead of India, as well as the 37th most populous. The Greater Los Angeles area and the San Francisco Bay Area are the nation's second- and third-largest urban economies ($1.0 trillion and $0.5 trillion respectively as of 2020). The San Francisco Bay Area Combined Statistical Area had the nation's highest gross domestic product per capita ($106,757) among large primary statistical areas in 2018, and is home to five of the world's ten largest companies by market capitalization and four of the world's ten richest people.
Prior to European colonization, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America and contained the highest Native American population density north of what is now Mexico. European exploration in the 16th and 17th centuries led to the colonization of California by the Spanish Empire. In 1804, it was included in Alta California province within the Viceroyalty of New Spain. The area became a part of Mexico in 1821, following its successful war for independence, but was ceded to the United States in 1848 after the Mexican–American War. The California Gold Rush started in 1848 and led to dramatic social and demographic changes, including large-scale immigration into California, a worldwide economic boom, and the California genocide of indigenous people. The western portion of Alta California was then organized and admitted as the 31st state on September 9, 1850, following the Compromise of 1850.
Notable contributions to popular culture, for example in entertainment and sports, have their origins in California. The state also has made noteworthy contributions in the fields of communication, information, innovation, environmentalism, economics, and politics. It is the home of Hollywood, the oldest and one of the largest film industries in the world, which has had a profound influence upon global entertainment. It is considered the origin of the hippie counterculture, beach and car culture, and the personal computer, among other innovations. The San Francisco Bay Area and the Greater Los Angeles Area are widely seen as the centers of the global technology and film industries, respectively. California's economy is very diverse: 58% of it is based on finance, government, real estate services, technology, and professional, scientific, and technical business services. Although it accounts for only 1.5% of the state's economy, California's agriculture industry has the highest output of any U.S. state. California's ports and harbors handle about a third of all U.S. imports, most originating in Pacific Rim international trade.
The state's extremely diverse geography ranges from the Pacific Coast and metropolitan areas in the west to the Sierra Nevada mountains in the east, and from the redwood and Douglas fir forests in the northwest to the Mojave Desert in the southeast. The Central Valley, a major agricultural area, dominates the state's center. California is well known for its warm Mediterranean climate and monsoon seasonal weather. The large size of the state results in climates that vary from moist temperate rainforest in the north to arid desert in the interior, as well as snowy alpine in the mountains.
Settled by successive waves of arrivals during at least the last 13,000 years, California was one of the most culturally and linguistically diverse areas in pre-Columbian North America. Various estimates of the native population have ranged from 100,000 to 300,000. The indigenous peoples of California included more than 70 distinct ethnic groups, inhabiting environments from mountains and deserts to islands and redwood forests. These groups were also diverse in their political organization, with bands, tribes, villages, and on the resource-rich coasts, large chiefdoms, such as the Chumash, Pomo and Salinan. Trade, intermarriage and military alliances fostered social and economic relationships between many groups.
The first Europeans to explore the coast of California were the members of a Spanish maritime expedition led by Portuguese captain Juan Rodríguez Cabrillo in 1542. Cabrillo was commissioned by Antonio de Mendoza, the Viceroy of New Spain, to lead an expedition up the Pacific coast in search of trade opportunities; they entered San Diego Bay on September 28, 1542, and reached at least as far north as San Miguel Island. Privateer and explorer Francis Drake explored and claimed an undefined portion of the California coast in 1579, landing north of the future city of San Francisco. Sebastián Vizcaíno explored and mapped the coast of California in 1602 for New Spain, putting ashore in Monterey. Despite the on-the-ground explorations of California in the 16th century, Rodríguez's idea of California as an island persisted. Such depictions appeared on many European maps well into the 18th century.
The Portolá expedition of 1769-70 was a pivotal event in the Spanish colonization of California, resulting in the establishment of numerous missions, presidios, and pueblos. The military and civil contingent of the expedition was led by Gaspar de Portolá, who traveled over land from Sonora into California, while the religious component was headed by Junípero Serra, who came by sea from Baja California. In 1769, Portolá and Serra established Mission San Diego de Alcalá and the Presidio of San Diego, the first religious and military settlements founded by the Spanish in California. By the end of the expedition in 1770, they would establish the Presidio of Monterey and Mission San Carlos Borromeo de Carmelo on Monterey Bay.
After the Portolà expedition, Spanish missionaries led by Father-President Serra set out to establish 21 Spanish missions of California along El Camino Real ("The Royal Road") and along the Californian coast, 16 sites of which having been chosen during the Portolá expedition. Numerous major cities in California grew out of missions, including San Francisco (Mission San Francisco de Asís), San Diego (Mission San Diego de Alcalá), Ventura (Mission San Buenaventura), or Santa Barbara (Mission Santa Barbara), among others.
Juan Bautista de Anza led a similarly important expedition throughout California in 1775–76, which would extend deeper into the interior and north of California. The Anza expedition selected numerous sites for missions, presidios, and pueblos, which subsequently would be established by settlers. Gabriel Moraga, a member of the expedition, would also christen many of California's prominent rivers with their names in 1775–1776, such as the Sacramento River and the San Joaquin River. After the expedition, Gabriel's son, José Joaquín Moraga, would found the pueblo of San Jose in 1777, making it the first civilian-established city in California.
The Spanish founded Mission San Juan Capistrano in 1776, the third to be established of the Californian missions.
During this same period, sailors from the Russian Empire explored along the northern coast of California. In 1812, the Russian-American Company established a trading post and small fortification at Fort Ross on the North Coast. Fort Ross was primarily used to supply Russia's Alaskan colonies with food supplies. The settlement did not meet much success, failing to attract settlers or establish long term trade viability, and was abandoned by 1841.
During the War of Mexican Independence, Alta California was largely unaffected and uninvolved in the revolution, though many Californios supported independence from Spain, which many believed had neglected California and limited its development. Spain's trade monopoly on California had limited the trade prospects of Californians. Following Mexican independence, Californian ports were freely able to trade with foreign merchants. Governor Pablo Vicente de Solá presided over the transition from Spanish colonial rule to independent.
In 1821, the Mexican War of Independence gave the Mexican Empire (which included California) independence from Spain. For the next 25 years, Alta California remained a remote, sparsely populated, northwestern administrative district of the newly independent country of Mexico, which shortly after independence became a republic. The missions, which controlled most of the best land in the state, were secularized by 1834 and became the property of the Mexican government. The governor granted many square leagues of land to others with political influence. These huge ranchos or cattle ranches emerged as the dominant institutions of Mexican California. The ranchos developed under ownership by Californios (Hispanics native of California) who traded cowhides and tallow with Boston merchants. Beef did not become a commodity until the 1849 California Gold Rush.
From the 1820s, trappers and settlers from the United States and Canada began to arrive in Northern California. These new arrivals used the Siskiyou Trail, California Trail, Oregon Trail and Old Spanish Trail to cross the rugged mountains and harsh deserts in and surrounding California. The early government of the newly independent Mexico was highly unstable, and in a reflection of this, from 1831 onwards, California also experienced a series of armed disputes, both internal and with the central Mexican government. During this tumultuous political period Juan Bautista Alvarado was able to secure the governorship during 1836–1842. The military action which first brought Alvarado to power had momentarily declared California to be an independent state, and had been aided by Anglo-American residents of California, including Isaac Graham. In 1840, one hundred of those residents who did not have passports were arrested, leading to the Graham Affair, which was resolved in part with the intercession of Royal Navy officials.
One of the largest ranchers in California was John Marsh. After failing to obtain justice against squatters on his land from the Mexican courts, he determined that California should become part of the United States. Marsh conducted a letter-writing campaign espousing the California climate, the soil, and other reasons to settle there, as well as the best route to follow, which became known as "Marsh's route". His letters were read, reread, passed around, and printed in newspapers throughout the country, and started the first wagon trains rolling to California. He invited immigrants to stay on his ranch until they could get settled, and assisted in their obtaining passports.
After ushering in the period of organized emigration to California, Marsh became involved in a military battle between the much-hated Mexican general, Manuel Micheltorena and the California governor he had replaced, Juan Bautista Alvarado. The armies of each met at the Battle of Providencia near Los Angeles. Marsh had been forced against his will to join Micheltorena's army. Ignoring his superiors, during the battle, he signaled the other side for a parley. There were many settlers from the United States fighting on both sides. He convinced these men that they had no reason to be fighting each other. As a result of Marsh's actions, they abandoned the fight, Micheltorena was defeated, and California-born Pio Pico was returned to the governorship. This paved the way to California's ultimate acquisition by the United States.
In 1846, a group of American settlers in and around Sonoma rebelled against Mexican rule during the Bear Flag Revolt. Afterward, rebels raised the Bear Flag (featuring a bear, a star, a red stripe and the words "California Republic") at Sonoma. The Republic's only president was William B. Ide,[65] who played a pivotal role during the Bear Flag Revolt. This revolt by American settlers served as a prelude to the later American military invasion of California and was closely coordinated with nearby American military commanders.
The California Republic was short-lived; the same year marked the outbreak of the Mexican–American War (1846–48).
Commodore John D. Sloat of the United States Navy sailed into Monterey Bay in 1846 and began the U.S. military invasion of California, with Northern California capitulating in less than a month to the United States forces. In Southern California, Californios continued to resist American forces. Notable military engagements of the conquest include the Battle of San Pasqual and the Battle of Dominguez Rancho in Southern California, as well as the Battle of Olómpali and the Battle of Santa Clara in Northern California. After a series of defensive battles in the south, the Treaty of Cahuenga was signed by the Californios on January 13, 1847, securing a censure and establishing de facto American control in California.
Following the Treaty of Guadalupe Hidalgo (February 2, 1848) that ended the war, the westernmost portion of the annexed Mexican territory of Alta California soon became the American state of California, and the remainder of the old territory was then subdivided into the new American Territories of Arizona, Nevada, Colorado and Utah. The even more lightly populated and arid lower region of old Baja California remained as a part of Mexico. In 1846, the total settler population of the western part of the old Alta California had been estimated to be no more than 8,000, plus about 100,000 Native Americans, down from about 300,000 before Hispanic settlement in 1769.
In 1848, only one week before the official American annexation of the area, gold was discovered in California, this being an event which was to forever alter both the state's demographics and its finances. Soon afterward, a massive influx of immigration into the area resulted, as prospectors and miners arrived by the thousands. The population burgeoned with United States citizens, Europeans, Chinese and other immigrants during the great California Gold Rush. By the time of California's application for statehood in 1850, the settler population of California had multiplied to 100,000. By 1854, more than 300,000 settlers had come. Between 1847 and 1870, the population of San Francisco increased from 500 to 150,000.
The seat of government for California under Spanish and later Mexican rule had been located in Monterey from 1777 until 1845. Pio Pico, the last Mexican governor of Alta California, had briefly moved the capital to Los Angeles in 1845. The United States consulate had also been located in Monterey, under consul Thomas O. Larkin.
In 1849, a state Constitutional Convention was first held in Monterey. Among the first tasks of the convention was a decision on a location for the new state capital. The first full legislative sessions were held in San Jose (1850–1851). Subsequent locations included Vallejo (1852–1853), and nearby Benicia (1853–1854); these locations eventually proved to be inadequate as well. The capital has been located in Sacramento since 1854 with only a short break in 1862 when legislative sessions were held in San Francisco due to flooding in Sacramento. Once the state's Constitutional Convention had finalized its state constitution, it applied to the U.S. Congress for admission to statehood. On September 9, 1850, as part of the Compromise of 1850, California became a free state and September 9 a state holiday.
During the American Civil War (1861–1865), California sent gold shipments eastward to Washington in support of the Union. However, due to the existence of a large contingent of pro-South sympathizers within the state, the state was not able to muster any full military regiments to send eastwards to officially serve in the Union war effort. Still, several smaller military units within the Union army were unofficially associated with the state of California, such as the "California 100 Company", due to a majority of their members being from California.
At the time of California's admission into the Union, travel between California and the rest of the continental United States had been a time-consuming and dangerous feat. Nineteen years later, and seven years after it was greenlighted by President Lincoln, the First transcontinental railroad was completed in 1869. California was then reachable from the eastern States in a week's time.
Much of the state was extremely well suited to fruit cultivation and agriculture in general. Vast expanses of wheat, other cereal crops, vegetable crops, cotton, and nut and fruit trees were grown (including oranges in Southern California), and the foundation was laid for the state's prodigious agricultural production in the Central Valley and elsewhere.
In the nineteenth century, a large number of migrants from China traveled to the state as part of the Gold Rush or to seek work. Even though the Chinese proved indispensable in building the transcontinental railroad from California to Utah, perceived job competition with the Chinese led to anti-Chinese riots in the state, and eventually the US ended migration from China partially as a response to pressure from California with the 1882 Chinese Exclusion Act.
Under earlier Spanish and Mexican rule, California's original native population had precipitously declined, above all, from Eurasian diseases to which the indigenous people of California had not yet developed a natural immunity. Under its new American administration, California's harsh governmental policies towards its own indigenous people did not improve. As in other American states, many of the native inhabitants were soon forcibly removed from their lands by incoming American settlers such as miners, ranchers, and farmers. Although California had entered the American union as a free state, the "loitering or orphaned Indians" were de facto enslaved by their new Anglo-American masters under the 1853 Act for the Government and Protection of Indians. There were also massacres in which hundreds of indigenous people were killed.
Between 1850 and 1860, the California state government paid around 1.5 million dollars (some 250,000 of which was reimbursed by the federal government) to hire militias whose purpose was to protect settlers from the indigenous populations. In later decades, the native population was placed in reservations and rancherias, which were often small and isolated and without enough natural resources or funding from the government to sustain the populations living on them. As a result, the rise of California was a calamity for the native inhabitants. Several scholars and Native American activists, including Benjamin Madley and Ed Castillo, have described the actions of the California government as a genocide.
In the twentieth century, thousands of Japanese people migrated to the US and California specifically to attempt to purchase and own land in the state. However, the state in 1913 passed the Alien Land Act, excluding Asian immigrants from owning land. During World War II, Japanese Americans in California were interned in concentration camps such as at Tule Lake and Manzanar. In 2020, California officially apologized for this internment.
Migration to California accelerated during the early 20th century with the completion of major transcontinental highways like the Lincoln Highway and Route 66. In the period from 1900 to 1965, the population grew from fewer than one million to the greatest in the Union. In 1940, the Census Bureau reported California's population as 6.0% Hispanic, 2.4% Asian, and 89.5% non-Hispanic white.
To meet the population's needs, major engineering feats like the California and Los Angeles Aqueducts; the Oroville and Shasta Dams; and the Bay and Golden Gate Bridges were built across the state. The state government also adopted the California Master Plan for Higher Education in 1960 to develop a highly efficient system of public education.
Meanwhile, attracted to the mild Mediterranean climate, cheap land, and the state's wide variety of geography, filmmakers established the studio system in Hollywood in the 1920s. California manufactured 8.7 percent of total United States military armaments produced during World War II, ranking third (behind New York and Michigan) among the 48 states. California however easily ranked first in production of military ships during the war (transport, cargo, [merchant ships] such as Liberty ships, Victory ships, and warships) at drydock facilities in San Diego, Los Angeles, and the San Francisco Bay Area. After World War II, California's economy greatly expanded due to strong aerospace and defense industries, whose size decreased following the end of the Cold War. Stanford University and its Dean of Engineering Frederick Terman began encouraging faculty and graduates to stay in California instead of leaving the state, and develop a high-tech region in the area now known as Silicon Valley. As a result of these efforts, California is regarded as a world center of the entertainment and music industries, of technology, engineering, and the aerospace industry, and as the United States center of agricultural production. Just before the Dot Com Bust, California had the fifth-largest economy in the world among nations.
In the mid and late twentieth century, a number of race-related incidents occurred in the state. Tensions between police and African Americans, combined with unemployment and poverty in inner cities, led to violent riots, such as the 1965 Watts riots and 1992 Rodney King riots. California was also the hub of the Black Panther Party, a group known for arming African Americans to defend against racial injustice and for organizing free breakfast programs for schoolchildren. Additionally, Mexican, Filipino, and other migrant farm workers rallied in the state around Cesar Chavez for better pay in the 1960s and 1970s.
During the 20th century, two great disasters happened in California. The 1906 San Francisco earthquake and 1928 St. Francis Dam flood remain the deadliest in U.S. history.
Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze known as "smog" has been substantially abated after the passage of federal and state restrictions on automobile exhaust.
An energy crisis in 2001 led to rolling blackouts, soaring power rates, and the importation of electricity from neighboring states. Southern California Edison and Pacific Gas and Electric Company came under heavy criticism.
Housing prices in urban areas continued to increase; a modest home which in the 1960s cost $25,000 would cost half a million dollars or more in urban areas by 2005. More people commuted longer hours to afford a home in more rural areas while earning larger salaries in the urban areas. Speculators bought houses they never intended to live in, expecting to make a huge profit in a matter of months, then rolling it over by buying more properties. Mortgage companies were compliant, as everyone assumed the prices would keep rising. The bubble burst in 2007–8 as housing prices began to crash and the boom years ended. Hundreds of billions in property values vanished and foreclosures soared as many financial institutions and investors were badly hurt.
In the twenty-first century, droughts and frequent wildfires attributed to climate change have occurred in the state. From 2011 to 2017, a persistent drought was the worst in its recorded history. The 2018 wildfire season was the state's deadliest and most destructive, most notably Camp Fire.
Although air pollution problems have been reduced, health problems associated with pollution have continued. The brown haze that is known as "smog" has been substantially abated thanks to federal and state restrictions on automobile exhaust.
One of the first confirmed COVID-19 cases in the United States that occurred in California was first of which was confirmed on January 26, 2020. Meaning, all of the early confirmed cases were persons who had recently travelled to China in Asia, as testing was restricted to this group. On this January 29, 2020, as disease containment protocols were still being developed, the U.S. Department of State evacuated 195 persons from Wuhan, China aboard a chartered
Using Simon Says Stamp snowflake block and watercolored background - don't you think inlaid die cutting really shows off intricate dies to their best? ❆ 🎨
More photos and details on my blog:
limedoodledesign.com/2015/10/inlaid-die-cutting/
Thanks for looking!
Debby
Statue of a Victorious Youth (Greek), 300–100 B.C.E., bronze with inlaid copper, 151.5 x 70 x 27.9 cm (Getty Villa Museum)
Bronze head, AD 54-61
This bronze head (long-mistaken for Claudius) dates to the years after Nero's accession. It may have been made locally, or imported from Gaul (France). The eyes were originally inlaid with enamel or coloured glass. The complete statue probably stood in Colchester before being hacked down and taken as booty during Boudica's attack. Found in a river, it was perhaps deposited as an offering on the boundary between Iceni and Trinovantes tribal land.
[British Museum]
Nero: the Man Behind the Myth
(May - Oct 2021)
Nero is known as one of Rome's most infamous rulers, notorious for his cruelty, debauchery and madness.
The last male descendant of the emperor Augustus, Nero succeeded to the throne in AD 54 aged just 16 and died a violent death at 30. His turbulent rule saw momentous events including the Great Fire of Rome, Boudicca's rebellion in Britain, the execution of his own mother and first wife, grand projects and extravagant excesses.
Drawing on the latest research, this major exhibition questions the traditional narrative of the ruthless tyrant and eccentric performer, revealing a different Nero, a populist leader at a time of great change in Roman society.
Through some 200 spectacular objects, from the imperial palace in Rome to the streets of Pompeii, follow the young emperor’s rise and fall and make up your own mind about Nero. Was he a young, inexperienced ruler trying his best in a divided society, or the merciless, matricidal megalomaniac history has painted him to be?
Nero was the 5th emperor of Rome and the last of Rome’s first dynasty, the Julio-Claudians, founded by Augustus (the adopted son of Julius Caesar). Nero is known as one of Rome’s most infamous rulers, notorious for his cruelty and debauchery. He ascended to power in AD 54 aged just 16 and died at 30. He ruled at a time of great social and political change, overseeing momentous events such as the Great Fire of Rome and Boudica’s rebellion in Britain. He allegedly killed his mother and two of his wives, only cared about his art and had very little interest in ruling the empire.
Most of what we know about Nero comes from the surviving works of three historians – Tacitus, Suetonius and Cassius Dio. All written decades after Nero’s death, their accounts have long shaped our understanding of this emperor’s rule. However, far from being impartial narrators presenting objective accounts of past events, these authors and their sources wrote with a very clear agenda in mind. Nero’s demise brought forward a period of chaos and civil war – one that ended only when a new dynasty seized power, the Flavians. Authors writing under the Flavians all had an interest in legitimising the new ruling family by portraying the last of the Julio-Claudians in the worst possible light, turning history into propaganda. These accounts became the ‘historical’ sources used by later historians, therefore perpetuating a fabricated image of Nero, which has survived all the way to the present.
Nero was born Lucius Domitius Ahenobarbus on 15 December AD 37.
He was the son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger. Both Gnaeus and Agrippina were the grandchildren of Augustus, making Nero Augustus’ great, great grandson with a strong claim to power.
Nero was only two years old when his mother was exiled and three when his father died. His inheritance was taken from him and he was sent to live with his aunt. However, Nero’s fate changed again when Claudius became emperor, restoring the boy’s property and recalling his mother Agrippina from exile.
In AD 49 the emperor Claudius married Agrippina, and adopted Nero the following year. It is at this point that Lucius Domitius Ahenobarbus changed his name to Nero Claudius Caesar Drusus Germanicus. In Roman times it was normal to change your name when adopted, abandoning your family name in favour of your adoptive father’s. Nero was a common name among members of the Claudian family, especially in Claudius’ branch.
Nero and Agrippina offered Claudius a politically useful link back to Augustus, strengthening his position.
Claudius appeared to favour Nero over his natural son, Britannicus, marking Nero as the designated heir.
When Claudius died in AD 54, Nero became emperor just two months before turning 17.
As he was supported by both the army and the senate, his rise to power was smooth. His mother Agrippina exerted a significant influence, especially at the beginning of his rule.
The Roman historians Tacitus, Suetonius and Cassius Dio all claim that Nero, fed up with Agrippina’s interference, decided to kill her.
Given the lack of eyewitnesses, there is no way of knowing if or how this happened. However, this did not stop historians from fabricating dramatic stories of Agrippina’s murder, asserting that Nero tried (and failed) to kill her with a boat engineered to sink, before sending his men to do the job.
Agrippina allegedly told them to stab her in the womb that bore Nero, her last words clearly borrowed from stage plays.
It is entirely possible, as claimed by Nero himself, that Agrippina chose (or was more likely forced) to take her own life after her plot against her son was discovered.
Early in his rule, Nero had to contend with a rebellion in the newly conquered province of Britain.
In AD 60–61, Queen Boudica of the Iceni tribe led a revolt against the Romans, attacking and laying waste to important Roman settlements. The possible causes of the rebellion were numerous – the greed of the Romans exploiting the newly conquered territories, the recalling of loans made to local leaders, ongoing conflict in Wales and, above all, violence against the family of Prasutagus, Boudica’s husband and king of the Iceni.
Boudica and the rebels destroyed Colchester, London and St Albans before being heavily defeated by Roman troops. After the uprising, the governor of Britain Suetonius Paulinus introduced harsher laws against the Britons, until Nero replaced him with the more conciliatory governor Publius Petronius Turpilianus.
The marriage between Nero and Octavia, aged 15 and 13/14 at the time, was arranged by their parents in order to further legitimise Nero’s claim to the throne. Octavia was the daughter of the emperor Claudius from a previous marriage, so when Claudius married Agrippina and adopted her son Nero, Nero and Octavia became brother and sister. In order to arrange their marriage, Octavia had to be adopted into another family.
Their marriage was not a happy one. According to ancient writers, Nero had various affairs until his lover Poppaea Sabina convinced him to divorce his wife. Octavia was first exiled then executed in AD 62 on adultery charges. According to ancient writers, her banishment and death caused great unrest among the public, who sympathised with the dutiful Octavia.
No further motives were offered for Octavia’s death other than Nero’s passion for Poppaea, and we will probably never know what transpired at court. The fact that Octavia couldn’t produce an heir while Poppaea was pregnant with Nero’s daughter likely played an important role in deciding Octavia’s fate.
On 19 July AD 64, a fire started close to the Circus Maximus. The flames soon encompassed the entire city of Rome and the fire raged for nine days. Only four of the 14 districts of the capital were spared, while three were completely destroyed.
Rome had already been razed by flames – and would be again in its long history – but this event was so severe it came to be known as the Great Fire of Rome.
Later historians blamed Nero for the event, claiming that he set the capital ablaze in order to clear land for the construction of a vast new palace. According to Suetonius and Cassius Dio, Nero took in the view of the burning city from the imperial residence while playing the lyre and singing about the fall of Troy. This story, however, is fictional.
Tacitus, the only historian who was actually alive at the time of the Great Fire of Rome (although only 8 years old), wrote that Nero was not even in Rome when the fire started, but returned to the capital and led the relief efforts.
Tacitus, Suetonius and Cassius Dio all describe Nero as being blinded by passion for his wife Poppaea, yet they accuse him of killing her, allegedly by kicking her in an outburst of rage while she was pregnant.
Interestingly, pregnant women being kicked to death by enraged husbands is a recurring theme in ancient literature, used to explore the (self) destructive tendencies of autocrats. The Greek writer Herodotus tells the story of how the Persian king Cambyses kicked his pregnant wife in the stomach, causing her death. A similar episode is told of Periander, tyrant of Corinth. Nero is just one of many allegedly ‘mad’ tyrants for which this literary convention was used.
Poppaea probably died from complications connected with her pregnancy and not at Nero’s hands. She was given a lavish funeral and was deified.
Centred on greater Iran, the Parthian empire was a major political and cultural power and a long-standing enemy of Rome. The two powers had long been contending for control over the buffer state of Armenia and open conflict sparked again during Nero’s rule. The Parthian War started in AD 58 and, after initial victories and following set-backs, ended in AD 63 when a diplomatic solution was reached between Nero and the Parthian king Vologases I.
According to this settlement Tiridates, brother of the Parthian king, would rule over Armenia, but only after having travelled all the way to Rome to be crowned by Nero.
The journey lasted 9 months, Tiridates’ retinue included 3,000 Parthian horsemen and many Roman soldiers. The coronation ceremony took place in the summer of AD 66 and the day was celebrated with much pomp: all the people of Rome saw the new king of Armenia kneeling in front of Nero. This was the Golden Day of Nero’s rule
In AD 68, Vindex, the governor of Gaul (France), rebelled against Nero and declared his support for Galba, the governor of Spain. Vindex was defeated in battle by troops loyal to Nero, yet Galba started gaining more military support.
It was at this point that Nero lost the support of Rome’s people due to a grain shortage, caused by a rebellious commander who cut the crucial food supply from Egypt to the capital. Abandoned by the people and declared an enemy of the state by the senate, Nero tried to flee Rome and eventually committed suicide.
Following his death, Nero’s memory was condemned (a practice called damnatio memoriae) and the images of the emperor were destroyed, removed or reworked. However, Nero was still given an expensive funeral and for a long time people decorated his tomb with flowers, some even believing he was still alive.
After Nero’s death, civil war ensued. At the end of the so-called ‘Year of the Four Emperors’ (AD 69), Vespasian became emperor and started a new dynasty: the Flavians.
[Francesca Bologna, curator, for British Museum]
Taken in the British Museum