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Opschrift op een voormalige verfartikelenzaak, Herenstraat 33, Utrecht (nu een sportschool).
Inscription on what used to be a paint store (now a fitness centre). It says: Paint and varnish prevent decay.
Pictures from 2020
Temple Kirk Inscription VAESAC MIHM RI VÆS.AC. RI. MI.H.M
flickr.com/photos/phhsykes/albums/72157714828866072
In 2020 I posted 29 pictures of the letters on Temple Kirk bell tower. Here in this album are four pictures one taken with a 500mm lens and three taken with a 500mm lens and a x2 converter. These letters have been raising interest for many years.
On the North East Corner of Temple Kirk just outside Edinburgh in Scotland sharp eyes can read an inscription in stone that has been filled in with metal letters. There are various readings of the letters some of which aim to include some letters and to put others to one side regarding them as more recent inclusions. There are ideas that the inscription dates to the Templar Knights, or to their successors of this barony the The Order of Knights of the Hospital of Saint John of Jerusalem. Pages online appear and disappear offering insights and revelations. The historic plan of the East gable in section with details from 1905 records different lettering to that seen in situ today. I have set these pictures to bring out details in the stone and of the metal to give interested partied a good view of the inscription including the letters and the stops.
VÆSAC. RI. IMI. H.M.
VÆS.AC. RI. MI.H.M
VÆS AC RI MI H M
VAESAC RI MIHM (without the Æ ligature)
“1975: Nigel Tranter says in his Portrait of the Lothians book that “there is a strange inscription on the east gable which long puzzled antiquaries, ‘VAESAC MIHM.’ This is now thought to be the initial letters of Vienne Sacrum Concilium Militibus Johannis Hierosolymitani Melitensibus (The Sacred Council of Vienna, of the Knights of St. John of Jerusalem and of Malta).” Tranter gives no attribution to the translation”
Reader of the Lost Stone by JEFF NISBET link below
I ask you not to look too closely at the carved oblong plaques near the metal letters. These carefully made recesses into the stone could also hold lettering, or give further evidence towards understanding the metal letters. The oblongs are much harder to see and I hope that their potential keeps people looking and not looking for clues and history for a long time to come.
PHH Sykes ©2020
phhsykes@gmail.com
The letters recorded here are slightly different again VÆSAC· IMI· H·M RI. with notes from the artist
East gable, plan, section and details. 1905
i.rcahms.gov.uk/canmore/l/DP00324541.jpg
TEMPLE VILLAGE, OLD TEMPLE KIRK (CHURCH OF THE KNIGHTS TEMPLARS OF BALANTRODOCH) INCLUDING BOUNDARY WALL AND GATEPIERS
LB14621
“The incription "V?SAC MIHM" on the E gable below the bellcote seems to be a mystery. It has been suggested that it could stand for "Vienne Sacrum Militibus Johannis Hierosolymitani Mletensibus" (The Sacred Council of Vienne, to the Knights of St. John of jerusalem and Malta), or alternatively "Virgin ?des Sacra Matri Jesu Hominum Mediatoris" (Church Sacred to the Virgin, Mother of Jesus, Mediator of Men). In 1312 the Order was suppressed, and the lands were given to the Knights of St. John of Jerusalem, whose good work was funded by the residents of Temple who gave them one tenth of their income.
Amended Scheduled Area 29 October 1999, No 1191.”
portal.historicenvironment.scot/designation/LB14621
Reader of the Lost Stone by JEFF NISBET
www.mythomorph.com/wp/reader-of-the-lost-stone/
Re: Knights Templar suppression
sinclair.quarterman.org/archive/2002/01/msg00122.html
Temple Church inscription
www.inrebus.com/index.php?y=07&entry=entry071109-2125…
Temple Village History – Brief
www.templevillage.org.uk/temple-village/temple-village-hi...
The Old Temple Kirk may date back to the 12th century although it is more likely to have been built by the Knights of St John soon after they succeeded the Templars in 1312. The late Gothic tracery can still be seen with animals carved at the ends of the mouldings above the windows. This theory is confirmed by the inscription on the gable end of the church “VAESEC MUHM” that has been translated as “Vienne Sacrum Concilium Militibus Johannis Hierosolymitani Melitensbus” meaning The Sacred Council of Vienne, to the Knights of St John of Jerusalem and Malta.””
Here is a link to the VD or WD inscription
“The Temple Stone [W.D. inscription]
www.templevillage.org.uk/temple-village/the-temple-stone/
Temple Old Kirk
Portada de la Iglesia de San Lorenzo. Garganta la Olla, Cáceres. Esta buena señora hace de guia a los visitantes de la iglesia del siglo XVI. A destacar le inscripción tallada en la escalera de entrada: "Esta obra se hizo siendo cura Faustino Belvis y Mayordomo D. Augustin Perez.Pro. Año de 1760."
Explore! 28/11/2011
Door of the Church of San Lorenzo. Garganta la Olla, Cáceres. This good lady does a guide for visitors to the church of the XVI century. A highlight will inscription carved on the front stoop: " This work was done being priest Faustino Belvis and Butler D. Augustin Perez. Pro. Year of 1760."
Esta foto tiene derechos de autor. Por favor, no la utilice sin mi conocimiento y autorización. Gracias.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reservats. Thanks
Cesare Tamaroccio, Italian painter of the Bolognese school, pupil of Francesco Francia, active at the beginning of the 16th century - Madonna and Child with little St. John (1500-1550) - tempera on panel 57 x 42.4 cm - Poldi Pezzoli Museum, Milan
La Vergine rivolge lo sguardo verso lo spettatore, mentre tiene in grembo Gesù, che si rivolge al piccolo San Giovanni Battista. Cesare Tamaroccio, ha lasciato la propria firma sul lembo esterno del manto di Maria. In passato l’iscrizione è stata talvolta ritenuta apocrifa, quindi non originale, ma un recente intervento di restauro (2005) ne ha confermato l’autenticità. Si tratta di un dato non di poco conto, poiché quella qui descritta risulta l’unica opera firmata del pittore. Lo stile di questa Madonna rivela i caratteri tipici della pittura a Bologna alle soglie del Cinquecento. E’ probabile che il Tamaroccio fosse originario della città e che avesse partecipato alla decorazione dell’oratorio di Santa Cecilia, il cantiere più vitale della pittura bolognese di inizio Cinquecento (1505-1506), alla cui affrescatura presero parte, tra gli altri, Lorenzo Costa, Francesco Francia e Amico Aspertini. In questa tavola Tamaroccio segue con fedeltà modelli di Lorenzo Costa, ma con una delicatezza nel modellare gli incarnati e con un’attenzione al paesaggio tipici del primo decennio del Cinquecento. Il volto sereno della Vergine, la veduta peruginesca sulla destra e dettagli alla moda come il velo viola, che si dipana in una lunga fascia fino a coprire il bambino, rivelano un dialogo molto stretto con la pittura bolognese.
The Virgin turns her gaze toward the viewer, while holding Jesus in her lap, who turns to the little St. John the Baptist. Cesare Tamaroccio, left his signature on the outer edge of Mary's mantle. In the past, the inscription was sometimes considered apocryphal, therefore not original, but a recent restoration (2005) has confirmed its authenticity. This is a not insignificant fact, since the one described here is the only signed work of the painter. The style of this Madonna reveals the typical characteristics of painting in Bologna on the threshold of the sixteenth century. It is probable that Tamaroccio was a native of the city and that he had participated in the decoration of the oratory of Santa Cecilia, the most vital site of Bolognese painting at the beginning of the sixteenth century (1505-1506), in whose frescoes took part, among others, Lorenzo Costa, Francesco Francia and Amico Aspertini. In this panel Tamaroccio faithfully follows the models of Lorenzo Costa, but with a delicacy in modeling the flesh tones and with an attention to the landscape typical of the first decade of the sixteenth century. The serene face of the Virgin, the view of Perugia on the right and fashionable details such as the purple veil, which unfolds in a long band to cover the child, reveal a very close dialogue with Bolognese painting.
on a wall in the Old Town of Rethymno, but who knows what it says...?
This region as a whole is rich with ancient history, most notably through the Minoan civilisation centred at Kydonia east of Rethymno.[2] Rethymno itself began a period of growth when the Venetian conquerors of the island decided to put an intermediate commercial station between Heraklion and Chania, acquiring its own bishop and nobility in the process. Today's old town (palia poli) is almost entirely built by the Republic of Venice. It is one of the best-preserved old towns in Crete.
The town still maintains its old aristocratic appearance, with its buildings dating from the 16th century, arched doorways, stone staircases, Byzantine and Hellenic-Roman remains, the small Venetian harbour and narrow streets. The Venetian Loggia houses the information office of the Ministry of Culture and Sports. A Wine Festival is held there annually at the beginning of July. Another festival, in memory of the destruction of the Arkadi Monastery, is held on 7–8 November.
The city's Venetian-era citadel, the Fortezza of Rethymno, is one of the best-preserved castles in Crete. Other monuments include the Neratze mosque (the Municipal Odeon arts centre), the Great Gate (Μεγάλη Πόρτα or "Porta Guora"), the Piazza Rimondi and the Loggia.
The town was captured by the Ottoman Empire in 1646 during the Cretan War (1645–69) and they ruled it for almost three centuries. The town, called Resmo in Turkish, was the centre of a sanjak during Ottoman rule.
Inscription of the incoming of Shruthakeval Bhadrabahuswamy and Samrat Chandragupt in side Adinath Basadi, Jain Temple Complex, Chandragiri Hill, Shravanabelagola.
Piero del Pollaiolo (Piero Benci - Florence, 1441-1442 - Rome, 1485-1496) - Coronation of the Virgin, saints and musician angels (1483) - San Gimignano - Church of Sant'Agostino
Questa grande opera costituisce la pala dell'altare maggiore della chiesa di sant'Agostino San Gimignano. Il soggetto dell'opera ci raffigura l'Incoronazione della Vergine, con vari santi agostiniani, fra cui Agostino, e angeli musicanti in cielo.
Le fonti più antiche attestano che il quadro fu commissionato da fra Domenico Strambi, detto il "dottor parigino" per i suoi e per la forte personalità all'interno dell'Ordine agostiniano. La composizione segue la tipica tradizione pittorica tosco-umbra di fine Quattrocento e ripropone una divisione gerarchica. Superiormente è raffigurata l'Incoronazione della Vergine circondata da serafini ed angeli festanti e musicanti.
Al livello inferiore sei santi in adorazione assistono all'evento straordinario. Come raccordo fra i due livelli c'è il calice del sacramento ai piedi del Cristo. Procedendo da sinistra i personaggi sono santa Fina, sanata di san Gimignano appena canonizzata nel 1481, sant'Agostino e il beato Bartolo Buonpedoni da san Gimignano (1228-1300) riconoscibile grazie alla iscrizione BARTOLUS sullo scollo della veste. Questo santo è sepolto nella stessa chiesa. Seguono infine san Gimignano patrono della città, identificato dalla scritta sulla veste (SANCTUS GEMINIANUS), san Gerolamo e san Nicola da Tolentino con il giglio in mano. L'opera è stata eseguita da Piero Pollaiolo ed è datata 1483. Come è stato proposto dallo storico dell'arte Sabatini, forse la commissione della tavola gli fu procurata dal fratello Antonio che era a San Gimignano nel febbraio 1480.
This great work is the main altarpiece of the church of Sant'Agostino San Gimignano. The subject of the work depicts the Coronation of the Virgin, with various Augustinian saints, including Agostino, and musician angels in heaven.
The oldest sources attest that the painting was commissioned by Brother Domenico Strambi, known as the "Parisian doctor" for his family and for his strong personality within the Augustinian Order. The composition follows the typical Tuscan-Umbrian pictorial tradition of the late fifteenth century and proposes a hierarchical division. Above it is depicted the Coronation of the Virgin surrounded by seraphs and festive and musician angels.
On the lower level, six saints in adoration attend the extraordinary event. As a link between the two levels there is the chalice of the sacrament at the feet of Christ. Proceeding from the left the characters are Saint Fina, healed of San Gimignano as soon as canonized in 1481, Saint Augustine and the blessed Bartolo Buonpedoni from San Gimignano (1228-1300) recognizable thanks to the BARTOLUS inscription on the neckline of the dress. This saint is buried in the same church. Finally follow San Gimignano patron saint of the city, identified by the inscription on the robe (SANCTUS GEMINIANUS), St. Jerome and St. Nicholas of Tolentino with the lily in hand. The work was executed by Piero Pollaiolo and is dated 1483. As was proposed by the art historian Sabatini, perhaps the commission of the table was procured by his brother Antonio who was in San Gimignano in February 1480.
My title may be derived from Charles Baudelaire's most famous collection of poems, but this inscription comes from a Colombian hip hop artist named Big Stan.
The words here next to this red skull are translated as follows:
Understand me, you take the cold away from my soul. Lift me up when you hear from someone that I am hurt. Come, heal me, because only you know what I am living.
The Wat Po temple complex has one of the largest collections of Buddha statues in the country. I probably photographed all of them at least once.......
Click here to see photos from this and a previous trip to Thailand : www.flickr.com/photos/darrellg/albums/72157600177340620
From Wikipedia : "Wat Pho (Thai: วัดโพธิ์), also spelt Wat Po, is a Buddhist temple complex in the Phra Nakhon District, Bangkok, Thailand. It is on Rattanakosin Island, directly south of the Grand Palace. Known also as the Temple of the Reclining Buddha, its official name is Wat Phra Chetuphon Vimolmangklararm Rajwaramahaviharn (Thai: วัดพระเชตุพนวิมลมังคลารามราชวรมหาวิหาร; rtgs: Wat Phra Chettuphon Wimonmangkhlaram Ratchaworamahawihan; The more commonly known name, Wat Pho, is a contraction of its older name Wat Photaram (Thai: วัดโพธาราม; rtgs: Wat Photharam).
The temple is first on the list of six temples in Thailand classed as the highest grade of the first-class royal temples. It is associated with King Rama I who rebuilt the temple complex on an earlier temple site, and became his main temple where some of his ashes are enshrined. The temple was later expanded and extensively renovated by Rama III. The temple complex houses the largest collection of Buddha images in Thailand, including a 46 m long reclining Buddha. The temple is considered the earliest centre for public education in Thailand, and the marble illustrations and inscriptions placed in the temple for public instructions has been recognised by UNESCO in its Memory of the World Programme. It houses a school of Thai medicine, and is also known as the birthplace of traditional Thai massage which is still taught and practiced at the temple."
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© D.Godliman
Inscription above the front door of the Saints Peter and Paul Catholic Church, Bow Valley, Nebraska. This church, built in 1903, is massive relative to the small size of the Bow Valley community. The architect was Josef Schwartz. The church and its associated school, rectory, and grotto, are listed on the National Register of Historic Places.
L'anfiteatro di Larino, posizionato nella zona di Piana S. Leonardo, l'antica Larinum, rappresenta la testimonianza dell'importanza della città nel periodo storico. Costruito probabilmente tra il 70 ed il 150 d.C., fu edificato grazie alla generosità di un ricco e benestante senatore della cittadina, come attestato dall'iscrizione in pietra su di una delle porte. Nell'area circostante sono state ritrovate anche diverse tombe poiché, molto probabilmente, la stessa zona era utilizzata come necropoli. La sua struttura è definita “mista”, in quanto una parte dell'anfiteatro è costruita in elevato rispetto al livello stradale, l'altra parte invece è stata edificata a circa sei metri di profondità. L'anfiteatro presenta una base di forma ellittica, con quattro ingressi principali e ben dodici porte secondarie, che permettevano l'accesso alle gradinate. Era un teatro di media grandezza -poteva contenere, infatti, circa 15.000 spettatori - ed era destinato principalmente a combattimenti di gladiatori e spettacoli di caccia.
Dei quattro ingressi principali, quello a nord costituiva la famosa porta dei gladiatori, dalla quale uscivano gli antichi guerrieri vincenti; quello a sud invece era destinato all'uscita dei gladiatori uccisi e delle carcasse delle fiere. L'arena presenta una fossa a pianta quasi quadrata; intorno ad essa corre l'euripo (canale per scolo dell'acqua), cui segue il podio, settore riservato alle personalità di rilievo, costituito da tre gradini rivestiti da grosse lastre di pietra calcarea, applicate su paramento in reticolato.
The Larino amphitheater, located in the Piana S. Leonardo area, the ancient Larinum, bears witness to the importance of the city in the historical period. Probably built between 70 and 150 AD, it was built thanks to the generosity of a rich and wealthy senator of the town, as evidenced by the stone inscription on one of the doors. In the surrounding area, several tombs have also been found since, most likely, the same area was used as a necropolis. Its structure is defined as "mixed", as part of the amphitheater is built above street level, while the other part was built at a depth of about six meters. The amphitheater has an elliptical base, with four main entrances and twelve secondary doors, which allowed access to the steps. It was a medium-sized theater - it could hold about 15,000 spectators - and was mainly intended for gladiator fights and hunting shows.
Of the four main entrances, the one to the north was the famous gladiator gate, from which the ancient victorious warriors emerged; the one to the south, on the other hand, was intended for the exit of the killed gladiators and the carcasses of the beasts. The arena has an almost square pit; around it runs the euripo (water drainage channel), followed by the podium, a sector reserved for prominent personalities, consisting of three steps covered with large slabs of limestone, applied on a reticulated face.
L'amphithéâtre Larino, situé dans le quartier Piana S. Leonardo, l'ancien Larinum, témoigne de l'importance de la ville dans la période historique. Probablement édifié entre 70 et 150 après JC, il fut édifié grâce à la générosité d'un riche et fortuné sénateur de la commune, comme en témoigne l'inscription en pierre sur l'une des portes. Dans les environs, plusieurs tombes ont également été découvertes car, très probablement, la même zone a été utilisée comme nécropole. Sa structure est définie comme "mixte", car une partie de l'amphithéâtre est construite au-dessus du niveau de la rue, tandis que l'autre partie a été construite à une profondeur d'environ six mètres. L'amphithéâtre a une base elliptique, avec quatre entrées principales et douze portes secondaires, qui permettaient d'accéder aux marches. C'était un théâtre de taille moyenne - il pouvait contenir environ 15 000 spectateurs - et était principalement destiné aux combats de gladiateurs et aux spectacles de chasse.
Des quatre entrées principales, celle du nord était la célèbre porte des gladiateurs, d'où sortaient les anciens guerriers victorieux ; celui au sud, en revanche, était destiné à la sortie des gladiateurs tués et des carcasses des bêtes. L'arène a une fosse presque carrée; autour de lui coule l'euripo (canal d'évacuation des eaux), suivi du podium, secteur réservé aux notables, composé de trois marches recouvertes de grandes dalles de calcaire, appliquées sur un parement réticulé.
The Louvre, is the world's most-visited museum, and a historic landmark in Paris, France. It is the home of some of the best-known works of art, including the Mona Lisa and the Venus de Milo. A central landmark of the city, it is located on the Right Bank of the Seine in the city's 1st arrondissement (district or ward). Approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square meters. , Attendance in 2021 was 2.8 million, the lowest since 1986, due to the COVID-19 pandemic. The museum was closed for 150 days in 2020, and attendance plunged by 72 percent to 2.7 million. Nonetheless, the Louvre still topped the list of most-visited art museums in the world in 2020.
The museum is housed in the Louvre Palace, originally built in the late 12th to 13th century under Philip II. Remnants of the Medieval Louvre fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French Kings. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces.
The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.
The Musée du Louvre contains more than 380,000 objects and displays 35,000 works of art in eight curatorial departments with more than 60,600 square metres dedicated to the permanent collection. The Louvre exhibits sculptures, objets d'art, paintings, drawings, and archaeological finds.
The Louvre Palace, which houses the museum, was begun by King Philip II in the late 12th century to protect the city from the attack from the West, as the Kingdom of England still held Normandy at the time. Remnants of the Medieval Louvre are still visible in the crypt. Whether this was the first building on that spot is not known, and it is possible that Philip modified an existing tower.
The origins of the name "Louvre" are somewhat disputed. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den (via Latin: lupus, lower Empire: lupara). In the 7th century, Burgundofara (also known as Saint Fare), abbess in Meaux, is said to have gifted part of her "Villa called Luvra situated in the region of Paris" to a monastery, even though it is doubtful that this land corresponded exactly to the present site of the Louvre.
The Louvre Palace changed a lot over the centuries. In the 14th century, Charles V converted the building from its military role into a residence. In 1546, Francis I started its rebuilding in French Renaissance style. After Louis XIV chose Versailles as his residence in 1682, construction works slowed to a halt. The royal move away from Paris resulted in the Louvre being used as a residence for artists, under Royal patronage.
Meanwhile, the collections of the Louvre originated in the acquisitions of paintings and other artworks by the monarchs of the House of France. Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including Leonardo da Vinci's Mona Lisa. At the Palace of Fontainebleau, Francis collected art that would later be part of the Louvre's art collections, including Leonardo da Vinci's Mona Lisa.
The Cabinet du Roi consisted of seven rooms west of the Galerie d'Apollon on the upper floor of the remodeled Petite Galerie. Many of the king's paintings were placed in these rooms in 1673, when it became an art gallery, accessible to certain art lovers as a kind of museum. In 1681, after the court moved to Versailles, 26 of the paintings were transferred there, somewhat diminishing the collection, but it is mentioned in Paris guide books from 1684 on, and was shown to ambassadors from Siam in 1686.
By the mid-18th century there were an increasing number of proposals to create a public gallery in the Louvre. Art critic Étienne La Font de Saint-Yenne in 1747 published a call for a display of the royal collection. On 14 October 1750, Louis XV decided on a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. A hall was opened by Le Normant de Tournehem and the Marquis de Marigny for public viewing of the "king's paintings" (Tableaux du Roy) on Wednesdays and Saturdays. The Luxembourg gallery included Andrea del Sarto's Charity and works by Raphael; Titian; Veronese; Rembrandt; Poussin or Van Dyck. It closed in 1780 as a result of the royal gift of the Luxembourg palace to the Count of Provence (the future king, Louis XVIII) by the king in 1778. Under Louis XVI, the idea of a royal museum in the Louvre came closer to fruition. The comte d'Angiviller broadened the collection and in 1776 proposed to convert the Grande Galerie of the Louvre – which at that time contained the plans-reliefs or 3D models of key fortified sites in and around France – into the "French Museum". Many design proposals were offered for the Louvre's renovation into a museum, without a final decision being made on them. Hence the museum remained incomplete until the French Revolution.
The Louvre finally became a public museum during the French Revolution. In May 1791, the National Constituent Assembly declared that the Louvre would be "a place for bringing together monuments of all the sciences and arts". On 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property. Because of fear of vandalism or theft, on 19 August, the National Assembly pronounced the museum's preparation as urgent. In October, a committee to "preserve the national memory" began assembling the collection for display.
The museum opened on 10 August 1793, the first anniversary of the monarchy's demise, as Muséum central des arts de la République. The public was given free accessibility on three days per week, which was "perceived as a major accomplishment and was generally appreciated". The collection showcased 537 paintings and 184 objects of art. Three quarters were derived from the royal collections, the remainder from confiscated émigrés and Church property (biens nationaux). To expand and organize the collection, the Republic dedicated 100,000 livres per year. In 1794, France's revolutionary armies began bringing pieces from Northern Europe, augmented after the Treaty of Tolentino (1797) by works from the Vatican, such as the Laocoön and Apollo Belvedere, to establish the Louvre as a museum and as a "sign of popular sovereignty".
The early days were hectic. Privileged artists continued to live in residence, and the unlabeled paintings hung "frame to frame from floor to ceiling". The structure itself closed in May 1796 due to structural deficiencies. It reopened on 14 July 1801, arranged chronologically and with new lighting and columns. On 15 August 1797, the Galerie d'Apollon was opened with an exhibition of drawings. Meanwhile, the Louvre's gallery of Antiquity sculpture (musée des Antiques), with artefacts brought from Florence and the Vatican, had opened in November 1800 in Anne of Austria's former summer apartment, located on the ground floor just below the Galerie d'Apollon.
On 19 November 1802, Napoleon appointed Dominique Vivant Denon, a scholar and polymath who had participated in the Egyptian campaign of 1798–1801, as the museum's first director, in preference to alternative contenders such as antiquarian Ennio Quirino Visconti, painter Jacques-Louis David, sculptor Antonio Canova and architects Léon Dufourny or Pierre Fontaine. On Denon's suggestion in July 1803, the museum itself was renamed Musée Napoléon.
The collection grew through successful military campaigns. Acquisitions were made of Spanish, Austrian, Dutch, and Italian works, either as the result of war looting or formalized by treaties such as the Treaty of Tolentino. At the end of Napoleon's First Italian Campaign in 1797, the Treaty of Campo Formio was signed with Count Philipp von Cobenzl of the Austrian Monarchy. This treaty marked the completion of Napoleon's conquest of Italy and the end of the first phase of the French Revolutionary Wars. It compelled Italian cities to contribute pieces of art and heritage to Napoleon's "parades of spoils" through Paris before being put into the Louvre Museum. The Horses of Saint Mark, which had adorned the basilica of San Marco in Venice after the sack of Constantinople in 1204, were brought to Paris where they were placed atop Napoleon's Arc de Triomphe du Carrousel in 1797. Under the Treaty of Tolentino, the two statues of the Nile and Tiber were taken to Paris from the Vatican in 1797, and were both kept in the Louvre until 1815. (The Nile was later returned to Rome, where the Tiber has remained in the Louvre to this day.) The despoilment of Italian churches and palaces outraged the Italians and their artistic and cultural sensibilities.
After the French defeat at Waterloo, the looted works' former owners sought their return. The Louvre's administrator Denon was loath to comply in absence of a treaty of restitution. In response, foreign states sent emissaries to London to seek help, and many pieces were returned, though far from all. In 1815 Louis XVIII finally concluded agreements with the Austrian government for the keeping of works such as Veronese's Wedding at Cana which was exchanged for a large Le Brun or the repurchase of the Albani collection.
For most of the 19th century, from Napoleon's time to the Second Empire, the Louvre and other national museums were managed under the monarch's civil list and thus depended much on the ruler's personal involvement. Whereas the most iconic collection remained that of paintings in the Grande Galerie, a number of other initiatives mushroomed in the vast building, named as if they were separate museums even though they were generally managed under the same administrative umbrella. Correspondingly, the museum complex was often referred to in the plural ("les musées du Louvre") rather than singular.
During the Bourbon Restoration (1814–1830), Louis XVIII and Charles X added to the collections. The Greek and Roman sculpture gallery on the ground floor of the southwestern side of the Cour Carrée was completed on designs by Percier and Fontaine. In 1819 an exhibition of manufactured products was opened in the first floor of the Cour Carrée's southern wing and would stay there until the mid-1820s. Charles X in 1826 created the Musée Égyptien and in 1827 included it in his broader Musée Charles X, a new section of the museum complex located in a suite of lavishly decorated rooms on the first floor of the South Wing of the Cour Carrée. The Egyptian collection, initially curated by Jean-François Champollion, formed the basis for what is now the Louvre's Department of Egyptian Antiquities. It was formed from the purchased collections of Edmé-Antoine Durand, Henry Salt and the second collection of Bernardino Drovetti (the first one having been purchased by Victor Emmanuel I of Sardinia to form the core of the present Museo Egizio in Turin). The Restoration period also saw the opening in 1824 of the Galerie d'Angoulême, a section of largely French sculptures on the ground floor of the Northwestern side of the Cour Carrée, many of whose artefacts came from the Palace of Versailles and from Alexandre Lenoir's Musée des Monuments Français following its closure in 1816. Meanwhile, the French Navy created an exhibition of ship models in the Louvre in December 1827, initially named musée dauphin in honor of Dauphin Louis Antoine, building on an 18th-century initiative of Henri-Louis Duhamel du Monceau. This collection, renamed musée naval in 1833 and later to develop into the Musée national de la Marine, was initially located on the first floor of the Cour Carrée's North Wing, and in 1838 moved up one level to the 2nd-floor attic, where it remained for more than a century.
Following the July Revolution, King Louis Philippe focused his interest on the repurposing of the Palace of Versailles into a Museum of French History conceived as a project of national reconciliation, and the Louvre was kept in comparative neglect. Louis-Philippe did, however, sponsor the creation of the musée assyrien to host the monumental Assyrian sculpture works brought to Paris by Paul-Émile Botta, in the ground-floor gallery north of the eastern entrance of the Cour Carrée. The Assyrian Museum opened on 1 May 1847. Separately, Louis-Philippe had his Spanish gallery displayed in the Louvre from 7 January 1838, in five rooms on the first floor of the Cour Carrée's East (Colonnade) Wing, but the collection remained his personal property. As a consequence, the works were removed after Louis-Philippe was deposed in 1848, and were eventually auctioned away in 1853.
The short-lived Second Republic had more ambitions for the Louvre. It initiated repair work, the completion of the Galerie d'Apollon and of the salle des sept-cheminées, and the overhaul of the Salon Carré (former site of the iconic yearly Salon) and of the Grande Galerie. In 1848, the Naval Museum in the Cour Carrée's attic was brought under the common Louvre Museum management, a change which was again reversed in 1920. In 1850 under the leadership of curator Adrien de Longpérier, the musée mexicain opened within the Louvre as the first European museum dedicated to pre-Columbian art.
The rule of Napoleon III was transformational for the Louvre, both the building and the museum. In 1852, he created the Musée des Souverains in the Colonnade Wing, an ideological project aimed at buttressing his personal legitimacy. In 1861, he bought 11,835 artworks including 641 paintings, Greek gold and other antiquities of the Campana collection. For its display, he created another new section within the Louvre named Musée Napoléon III, occupying a number of rooms in various parts of the building. Between 1852 and 1870, the museum added 20,000 new artefacts to its collections.
The main change of that period was to the building itself. In the 1850s architects Louis Visconti and Hector Lefuel created massive new spaces around what is now called the Cour Napoléon, some of which (in the South Wing, now Aile Denon) went to the museum. In the 1860s, Lefuel also led the creation of the pavillon des Sessions with a new Salle des Etats closer to Napoleon III's residence in the Tuileries Palace, with the effect of shortening the Grande Galerie by about a third of its previous length. A smaller but significant Second Empire project was the decoration of the salle des Empereurs below the Salon carré.
The Louvre narrowly escaped serious damage during the suppression of the Paris Commune. On 23 May 1871, as the French Army advanced into Paris, a force of Communards led by Jules Bergeret set fire to the adjoining Tuileries Palace. The fire burned for forty-eight hours, entirely destroying the interior of the Tuileries and spreading to the north west wing of the museum next to it. The emperor's Louvre library (Bibliothèque du Louvre) and some of the adjoining halls, in what is now the Richelieu Wing, were separately destroyed. But the museum was saved by the efforts of Paris firemen and museum employees led by curator Henry Barbet de Jouy
Following the end of the monarchy, several spaces in the Louvre's South Wing went to the museum. The Salle du Manège was transferred to the museum in 1879, and in 1928 became its main entrance lobby. The large Salle des Etats that had been created by Lefuel between the Grande Galerie and Pavillon Denon was redecorated in 1886 by Edmond Guillaume, Lefuel's successor as architect of the Louvre, and opened as a spacious exhibition room. Edomond Guillaume also decorated the first-floor room at the northwest corner of the Cour Carrée, on the ceiling of which he placed in 1890 a monumental painting by Carolus-Duran, The Triumph of Marie de' Medici originally created in 1879 for the Luxembourg Palace.
Meanwhile, during the Third Republic (1870–1940) the Louvre acquired new artefacts mainly via donations, gifts, and sharing arrangements on excavations abroad. The 583-item Collection La Caze, donated in 1869 by Louis La Caze, included works by Chardin; Fragonard, Rembrandt and Watteau. In 1883, the Winged Victory of Samothrace, which had been found in the Aegean Sea in 1863, was prominently displayed as the focal point of the Escalier Daru. Major artifacts excavated at Susa in Iran, including the massive Apadana capital and glazed brick decoration from the Palace of Darius there, accrued to the Oriental (Near Eastern) Antiquities Department in the 1880s. The Société des amis du Louvre was established in 1897 and donated prominent works, such as the Pietà of Villeneuve-lès-Avignon. The expansion of the museum and its collections slowed after World War I, however, despite some prominent acquisitions such as Georges de La Tour's Saint Thomas and Baron Edmond de Rothschild's 1935 donation of 4,000 prints, 3,000 drawings, and 500 illustrated books.
From the late 19th century, the Louvre gradually veered away from its mid-century ambition of universality to become a more focused museum of French, Western and Near Eastern art, covering a space ranging from Iran to the Atlantic. The collections of the Louvre's musée mexicain were transferred to the Musée d'Ethnographie du Trocadéro in 1887. As the Musée de Marine was increasingly constrained to display its core naval-themed collections in the limited space it had in the second-floor attic of the northern half of the Cour Carrée, many of its significant holdings of non-Western artefacts were transferred in 1905 to the Trocadéro ethnography museum, the National Antiquities Museum in Saint-Germain-en-Laye, and the Chinese Museum in the Palace of Fontainebleau. The Musée de Marine itself was relocated to the Palais de Chaillot in 1943. The Louvre's extensive collections of Asian art were moved to the Guimet Museum in 1945. Nevertheless, the Louvre's first gallery of Islamic art opened in 1922.
In the late 1920s, Louvre Director Henri Verne devised a master plan for the rationalization of the museum's exhibitions, which was partly implemented in the following decade. In 1932–1934, Louvre architects Camille Lefèvre and Albert Ferran redesigned the Escalier Daru to its current appearance. The Cour du Sphinx in the South Wing was covered by a glass roof in 1934. Decorative arts exhibits were expanded in the first floor of the North Wing of the Cour Carrée, including some of France's first Period Room displays. In the late 1930s, The La Caze donation was moved to a remodeled Salle La Caze above the salle des Caryatides, with reduced height to create more rooms on the second floor and a sober interior design by Albert Ferran.
During World War II, the Louvre conducted an elaborate plan of evacuation of its art collection. When Germany occupied the Sudetenland, many important artworks such as the Mona Lisa were temporarily moved to the Château de Chambord. When war was formally declared a year later, most of the museum's paintings were sent there as well. Select sculptures such as Winged Victory of Samothrace and the Venus de Milo were sent to the Château de Valençay. On 27 August 1939, after two days of packing, truck convoys began to leave Paris. By 28 December, the museum was cleared of most works, except those that were too heavy and "unimportant paintings [that] were left in the basement". In early 1945, after the liberation of France, art began returning to the Louvre.
New arrangements after the war revealed the further evolution of taste away from the lavish decorative practices of the late 19th century. In 1947, Edmond Guillaume's ceiling ornaments were removed from the Salle des Etats, where the Mona Lisa was first displayed in 1966. Around 1950, Louvre architect Jean-Jacques Haffner streamlined the interior decoration of the Grande Galerie. In 1953, a new ceiling by Georges Braque was inaugurated in the Salle Henri II, next to the Salle La Caze. In the late 1960s, seats designed by Pierre Paulin were installed in the Grande Galerie. In 1972, the Salon Carré's museography was remade with lighting from a hung tubular case, designed by Louvre architect Marc Saltet with assistance from designers André Monpoix, Joseph-André Motte and Paulin.
In 1961, the Finance Ministry accepted to leave the Pavillon de Flore at the southwestern end of the Louvre building, as Verne had recommended in his 1920s plan. New exhibition spaces of sculptures (ground floor) and paintings (first floor) opened there later in the 1960s, on a design by government architect Olivier Lahalle.
In 1981, French President François Mitterrand proposed, as one of his Grands Projets, the Grand Louvre plan to relocate the Finance Ministry, until then housed in the North Wing of the Louvre, and thus devote almost the entire Louvre building (except its northwestern tip, which houses the separate Musée des Arts Décoratifs) to the museum which would be correspondingly restructured. In 1984 I. M. Pei, the architect personally selected by Mitterrand, proposed a master plan including an underground entrance space accessed through a glass pyramid in the Louvre's central Cour Napoléon.
The open spaces surrounding the pyramid were inaugurated on 15 October 1988, and its underground lobby was opened on 30 March 1989. New galleries of early modern French paintings on the 2nd floor of the Cour Carrée, for which the planning had started before the Grand Louvre, also opened in 1989. Further rooms in the same sequence, designed by Italo Rota, opened on 15 December 1992.
On 18 November 1993, Mitterrand inaugurated the next major phase of the Grand Louvre plan: the renovated North (Richelieu) Wing in the former Finance Ministry site, the museum's largest single expansion in its entire history, designed by Pei, his French associate Michel Macary, and Jean-Michel Wilmotte. Further underground spaces known as the Carrousel du Louvre, centered on the Inverted Pyramid and designed by Pei and Macary, had opened in October 1993. Other refurbished galleries, of Italian sculptures and Egyptian antiquities, opened in 1994. The third and last main phase of the plan unfolded mainly in 1997, with new renovated rooms in the Sully and Denon wings. A new entrance at the porte des Lions opened in 1998, leading on the first floor to new rooms of Spanish paintings.
As of 2002, the Louvre's visitor count had doubled from its pre-Grand-Louvre levels.
President Jacques Chirac, who had succeeded Mitterrand in 1995, insisted on the return of non-Western art to the Louvre, upon a recommendation from his friend the art collector and dealer Jacques Kerchache [fr]. On his initiative, a selection of highlights from the collections of what would become the Musée du Quai Branly – Jacques Chirac was installed on the ground floor of the Pavillon des Sessions and opened in 2000, six years ahead of the Musée du Quai Branly itself.
The main other initiative in the aftermath of the Grand Louvre project was Chirac's decision to create a new department of Islamic Art, by executive order of 1 August 2003, and to move the corresponding collections from their prior underground location in the Richelieu Wing to a more prominent site in the Denon Wing. That new section opened on 22 September 2012, together with collections from the Roman-era Eastern Mediterranean, with financial support from the Al Waleed bin Talal Foundation and on a design by Mario Bellini and Rudy Ricciotti.
In 2010, American painter Cy Twombly completed a new ceiling for the Salle des Bronzes (the former Salle La Caze), a counterpoint to that of Braque installed in 1953 in the adjacent Salle Henri II. The room's floor and walls were redesigned in 2021 by Louvre architect Michel Goutal to revert the changes made by his predecessor Albert Ferran in the late 1930s, triggering protests from the Cy Twombly Foundation on grounds that the then-deceased painter's work had been created to fit with the room's prior decoration
On 6 June 2014, the Decorative Arts section on the first floor of the Cour Carrée's northern wing opened after comprehensive refurbishment.
The Louvre, like many other museums and galleries, felt the impact of the COVID-19 pandemic on the arts and cultural heritage. It was closed for six months during French coronavirus lockdowns and saw visitor numbers plunge to 2.7 million in 2020, from 9.6 million in 2019 and 10.2 million in 2018, which was a record year.
Thought I should include the inscription on the bench I posted earlier today (in comments), which is at Firehall No. 12, on 8th and Balaclava, Vancouver.
"The Basilica di Santa Croce (Basilica of the Holy Cross) is the principal Franciscan church in Florence, Italy, and a minor basilica of the Roman Catholic Church. It is situated on the Piazza di Santa Croce, about 800 meters south-east of the Duomo. The site, when first chosen, was in marshland outside the city walls. It is the burial place of some of the most illustrious Italians, such as Michelangelo, Galileo, Machiavelli, the poet Foscolo, the philosopher Gentile and the composer Rossini, thus it is known also as the Temple of the Italian Glories (Tempio dell'Itale Glorie).
The Basilica is the largest Franciscan church in the world. Its most notable features are its sixteen chapels, many of them decorated with frescoes by Giotto and his pupils,[a] and its tombs and cenotaphs. Legend says that Santa Croce was founded by St Francis himself. The construction of the current church, to replace an older building, was begun on 12 May 1294, possibly by Arnolfo di Cambio, and paid for by some of the city's wealthiest families. It was consecrated in 1442 by Pope Eugene IV. The building's design reflects the austere approach of the Franciscans. The floorplan is an Egyptian or Tau cross (a symbol of St Francis), 115 metres in length with a nave and two aisles separated by lines of octagonal columns. To the south of the church was a convent, some of whose buildings remain.
The Primo Chiostro, the main cloister, houses the Cappella dei Pazzi, built as the chapter house, completed in the 1470s. Filippo Brunelleschi (who had designed and executed the dome of the Duomo) was involved in its design which has remained rigorously simple and unadorned.
In 1560, the choir screen was removed as part of changes arising from the Counter-Reformation and the interior rebuilt by Giorgio Vasari. As a result, there was damage to the church's decoration and most of the altars previously located on the screen were lost. At the behest of Cosimo I, Vasari plastered over Giotto's frescoes and placed some new altars.
The bell tower was built in 1842, replacing an earlier one damaged by lightning. The neo-Gothic marble façade dates from 1857-1863. The Jewish architect Niccolo Matas from Ancona, designed the church's façade, working a prominent Star of David into the composition. Matas had wanted to be buried with his peers but because he was Jewish, he was buried under the threshold and honored with an inscription.
In 1866, the complex became public property, as a part of government suppression of most religious houses, following the wars that gained Italian independence and unity.
The Museo dell'Opera di Santa Croce is housed mainly in the refectory, also off the cloister. A monument to Florence Nightingale stands in the cloister, in the city in which she was born and after which she was named. Brunelleschi also built the inner cloister, completed in 1453.
In 1940, during the safe hiding of various works during World War II, Ugo Procacci noticed the Badia Polyptych being carried out of the church. He reasoned that this had been removed from the Badia Fiorentina during the Napoleonic occupation and accidentally re-installed in Santa Croce. Between 1958 and 1961, Leonetto Tintori removed layers of whitewash and overpaint from Giotto's Peruzzi Chapel scenes to reveal his original work.
In 1966, the Arno River flooded much of Florence, including Santa Croce. The water entered the church bringing mud, pollution and heating oil. The damage to buildings and art treasures was severe, taking several decades to repair.
Today the former dormitory of the Franciscan friars houses the Scuola del Cuoio (Leather School). Visitors can watch as artisans craft purses, wallets, and other leather goods which are sold in the adjacent shop.
Florence (/ˈflɔːrəns/ FLORR-ənss; Italian: Firenze [fiˈrɛntse]) is a city in central Italy and the capital city of the Tuscany region. It is the most populated city in Tuscany, with 383,084 inhabitants in 2013, and over 1,520,000 in its metropolitan area.
Florence was a centre of medieval European trade and finance and one of the wealthiest cities of that era. It is considered by many academics to have been the birthplace of the Renaissance, and has been called "the Athens of the Middle Ages". Its turbulent political history includes periods of rule by the powerful Medici family and numerous religious and republican revolutions. From 1865 to 1871 the city served as the capital of the Kingdom of Italy (established in 1861). The Florentine dialect forms the base of Standard Italian and it became the language of culture throughout Italy due to the prestige of the masterpieces by Dante Alighieri, Petrarch, Giovanni Boccaccio, Niccolò Machiavelli and Francesco Guicciardini.
The city attracts millions of tourists each year, and UNESCO declared the Historic Centre of Florence a World Heritage Site in 1982. The city is noted for its culture, Renaissance art and architecture and monuments. The city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florence's artistic and architectural heritage, Forbes has ranked it as one of the most beautiful cities in the world.
Florence plays an important role in Italian fashion, and is ranked in the top 15 fashion capitals of the world by Global Language Monitor; furthermore, it is a major national economic centre, as well as a tourist and industrial hub. In 2008 the city had the 17th-highest average income in Italy." - 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.
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Inscription:-
William Schomberg Robert (Ker) 8th Marquis of Lothian born 1th August 1832 died 4th July 1870.
To his loved memory this monument is erected by his widow.
Runestone Sö 179
The inscription reads:
Tola had this stone erected after his son Harald, Ingvar's brother. They went far and wide in search of gold and eastward the eagle gave (food), they died southward in Särkland.
Särkland (Old Norse Serkland) was an Old Norse name for the regions around the Caspian Sea, meaning present-day Armenia, Azerbaijan, Georgia, Turkey, Iran, Iraq and Russian areas around the lower Don and Volga.
The inscription above the water trough says 'Drink of this and take thy fill for the water falls by the Wizhard's will'
There is also a carving of a face above the words but it's hard to make out at present due the growth of algae over it.
Inscription on the above historical marker:
As a part of the Manhattan Project, the K-25 plant was designed to house work on separating U-235 from U-238 through the gaseous diffusion process. At the time of its construction, it was the largest industrial complex in history. Plant construction began in 1943 and was completed in 1945. Over 25,000 construction personnel worked on this plant. The main building exceeded 44 acres in size.
In 1942, nearly 60,000 acres of East Tennessee landscape became part of the most significant defense strategy in the history of the United States – the Manhattan Project, a massive wartime effort shrouded in complete secrecy – to the point that most of the K-25 workers did not even know what they were building! Their mission: build the first atomic weapon before Nazi Germany and end World War II. To ensure victory, secrecy was paramount. No one could know of Oak Ridge. No one could know the purpose of the plants. Isolation was key. At the western-most boundary of the military’s new reservation, the war effort engulfed the tiny Wheat Community (population 1,000) replacing farmhouses and fruit trees with massive concrete and steel structures that would produce the world’s first enriched uranium. By September 1943, construction had begun on a two-million-square-foot plant known as K-25. (“K-25” was a codename made up of a combination of other codes. The letter “K” comes from “Kellex”, M.W. Kellogg’s (the lead engineer) codename, “Kell” for Kellogg, and “X” for secret. The number “25” is a World War II-era code designated for the element called uranium-235, the concentrated product of the gaseous diffusion process.) This plant would enrich uranium using the gaseous diffusion process. Ultimately, its product would fuel one of two atomic bombs that would end World War II (Little Boy used in the atomic bombing of Hiroshima). After the war, the K-25 plant continued to serve the nation along with the addition of four more gaseous diffusion plants named K-27, K-29, K-31 and K-33 added to the site. The K-25 site was renamed the Oak Ridge Gaseous Diffusion Plant in 1955. Production of enriched uranium ended in 1964, and gaseous diffusion finally ceased on the site on August 27, 1985. The Oak Ridge Gaseous Diffusion Plant was renamed the Oak Ridge K-25 Site in 1989, and the East Tennessee Technology Park in 1996. Demolition of all five gaseous diffusion plants was completed in February 2017.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the link below: www.flickriver.com/photos/photojourney57/
Inscription. Eagle, Dodson and Higgins Houses have looked out over the St. Michaels waterfront for well over a hundred years now. When they were first built, the town's harbor would have been full of work boats, everything from oyster tonging skiffs and canoes to large commercial sailing vessels. The twice-weekly arrival of the steamboat from Baltimore would have been a cause for excitement.
Trier - Liebfrauenkirche
To the right of the Church you can see the Cathedral
Rechts der Kirche sieht man den Dom
The Liebfrauenkirche (German for Church of Our Lady) in Trier, is, along with the Cathedral of Magdeburg (reportedly begun in 1209, but finished after the Liebfrauenkirche) the earliest Gothic church in Germany and falls into the architectural tradition of the French Gothic cathedrals. It is located next to the Trier Dom. It is designated as part of the Roman Monuments, Cathedral of St. Peter and Church of Our Lady in Trier UNESCO World Heritage Site.
A Roman double church originally stood here. The southern portion was torn down around 1200 and completely replaced by the Early Gothic Church of Our Lady (Liebfrauen).
The exact date of the start of construction can no longer be determined, however a painted inscription inside on a column in the church reads: "The construction of this church was started in 1227 and ended in 1243" (German: "Der bau dieser Kirche ward angefangen im Jahr 1227 und geendigt im Jahr 1243") however, it is currently thought construction began in 1230 by Archbishop of Trier Theodoric II (also called Dietrich von Wied or Theoderich von Wied).
Around 1260, the building was probably finished. In 1492, a high peak was placed on the central tower, which was named because of its high technology and degree of craftsmanship perfection. The high peak can be seen on the city dating, but was destroyed in a storm on Heimsuchungstag (July 2) in 1631. Subsequently a hipped roof emplaced, which was destroyed in the Second World War. It was first replaced in 1945 by a roof and then by a steeper one in 2003.
On July 13, 1951, the Pope designated the church a Minor Basilica, and in 1986 it was added to the UNESCO World Heritage List as part of the Roman Monuments, Cathedral of St. Peter and Church of Our Lady in Trier UNESCO World Heritage Site.
A special feature of the basilica is its atypical cruciform floor plan as a round church, whose cross-shaped vaulting with four corresponding portals in rounded niches is completed by eight rounded altar niches so that the floor plan resembles a twelve-petaled rose, a symbol of the Virgin Mary, the rosa mystica, and reminiscent of the twelve tribes of Israel and the Twelve Apostles. The apostles as well as the twelve articles of the Apostle's Creed are painted on the twelve supporting columns, completely visible only from one spot marked by a black stone
Though nothing above the surface is Roman any longer, there are extensive excavations (not open to the public) underneath the church and several of the Gothic pillars stand on top of Roman column foundations.
(Wikipedia)
Die Liebfrauenkirche in Trier befindet sich unmittelbar neben dem Trierer Dom im Zentrum der Stadt. Sie gilt zusammen mit der Elisabethkirche in Marburg als älteste gotische Kirche in Deutschland und als bedeutendster und frühester gotischer Zentralbau des Landes.
Seit 1986 ist die Liebfrauenkirche Teil des UNESCO-Welterbes Römische Baudenkmäler, Dom und Liebfrauenkirche in Trier.
Nachdem die antike Doppelkirchenanlage aus der Zeit Kaiser Konstantin des Großen nach tausend Jahren wegen Baufälligkeit abgebrochen werden musste, begann Erzbischof Theoderich von Wied mit dem Bau der Kirche. Hierbei wurden teilweise die Fundamente der Vorgängerkirche benutzt. Das genaue Datum des Baubeginns lässt sich nicht mehr ermitteln, eine gemalte (später entstandene) Inschrift im Innern auf einer Säule lautet: „Der bau dieser Kirche ward angefangen im Jahr 1227 und geendigt im Jahr 1243“, jedoch geht man heute von einem Baubeginn um 1230 aus. Am Bau waren Baumeister und Künstler aus der Champagne und Île de France des 13. Jahrhunderts maßgeblich beteiligt. Dadurch kam die Gotik zum Tragen, die beherrschende architektonische Idee dieser Zeit, die in Frankreich bereits hochentwickelt war. Das Bauwerk gehört damit zu den frühesten deutschen Zeugnissen der Gotik und ist außerdem einer der seltenen Zentralbauten dieser Zeit. Der Grundriss beruht auf Quadraten, aus denen nur der Chor herausragt und die von acht Kapellen umgeben sind. Zwölf Säulen tragen das Gebäude, Symbol der zwölf Apostel
Die Hälfte war bis etwa 1243 vollendet, dann allerdings gingen dem Kapitel von Liebfrauen die finanziellen Mittel aus. Das könnte mit dem Tod des Erzbischofs Theoderich zusammenhängen, da er als Förderer anzusehen ist. Erst nach einer Kollekte in der Diözese Köln im Jahr 1243, von Erzbischof Konrad von Hochstaden genehmigt und in einem Ablassbrief favorisiert, konnte der Bau der Liebfrauenkirche fortgesetzt werden. In dieser Urkunde wird die Kirche bereits als „Mutterkirche“ aller Kirchen der Trierischen Provinz bezeichnet. Etwa um 1260 wurde der Bau wohl beendet. Im Jahr 1492 wurde auf dem Vierungsturm eine hohe Spitze aufgesetzt, die wegen ihres hohen technischen und handwerklichen Vollendungsgrades als Daedali arte (mit der Kunst des Daedalus) bezeichnet wurde. Die hohe Spitze ist auf alten Stadtansichten zu sehen, wurde jedoch bei einem Sturm am Heimsuchungstag (2. Juli) im Jahr 1631 zerstört. Darauf wurde ein Walmdach aufgesetzt, das im Zweiten Weltkrieg verbrannte. Schon 1945 konnte ein neues aufgesetzt werden, dessen Stahldachstuhl 2003 so umgebaut wurde, dass es wieder dem Vorkriegszustand entspricht.
In die Entstehungszeit Mitte des 13. Jahrhunderts darf wahrscheinlich der reiche Figurenschmuck der Westfassade und insbesondere des Westportals datiert werden. Das Tympanon zeigt in der Mitte die thronende Madonna mit dem Jesuskind, die Füße auf den das Böse symbolisierenden Drachen gesetzt. Links im Bild zu ihrer Rechten huldigen die Heiligen Drei Könige, die Weisen aus dem Morgenland, dem Kind, und ganz links sind die Hirten dargestellt, die als Erste von der Geburt des Erlösers erfuhren. Die Szenen rechts zeigen die Darstellung Jesu im Tempel und den Kindermord von Bethlehem. Die Bogenläufe enthalten Engelsfiguren mit liturgischen Geräten, darüber Figuren von Bischöfen, Kirchenlehrern, musizierenden Königen und Figuren der klugen und der törichten Jungfrauen aus dem Hochzeits- und Gerichtsgleichnis des Evangeliums (Mt 25,1–13 EU).
Das vielleicht am meisten ansprechende Kunstwerk im Innern der Kirche ist eine thronende Madonna mit Kind in der letzten Kapelle links nach Osten. Es ist eine aus Holz geschnitzte Skulptur aus der Mitte des 14. Jahrhunderts auf einem neugotischen Altar. Sie soll aus der Gegend von Ahrweiler stammen.
Die Liebfrauenkirche wurde von den Mitgliedern des Domkapitels genutzt, um ihre tägliche Messe zu lesen, und diente ihnen außerdem als Grabkirche. Dies führte dazu, dass sie im Laufe der Jahrhunderte mit Gräbern regelrecht überladen wurde. Im Zuge der französischen Revolution wurden die meisten dieser Gräber entfernt. Eine Reihe von bedeutenden Grabdenkmälern ist jedoch bis heute in der Kirche erhalten, andere wie das Grabmal des Erzbischofs Jakob I. von Sierck oder des Domdechanten Christoph von Rheineck befinden sich heute in Trierer Museen.
Nach der Besetzung Triers durch die französischen Revolutionstruppen im Jahr 1794 wurde Liebfrauen 1803 organisatorisch und liturgisch vom Dom getrennt. Zuvor bestand eine enge Beziehung zwischen dem Dom und Liebfrauen. Im Laufe eines Jahres führten zahlreiche Prozessionen vom Dom aus in die Liebfrauenkirche hinein; dazu gibt es einen Durchgang, der die beiden Kirchen miteinander verbindet. Einer Trierer Überlieferung zufolgeo sollte die Liebfrauenkirche abgerissen werden, jedoch habe der Trierer Bürgermeister Napoleon anlässlich seines Besuches in Trier auf den Balkon des gegenüberliegenden Palais Kesselstadt geführt und zu ihm gesagt: „Sire, Sie wollen doch wohl nicht das Meisterwerk eines französischen Architekten abreißen“. Jedenfalls wurde die in der Nähe gelegene Kirche St. Laurentius, die sich unmittelbar an der Konstantinbasilika befand, abgerissen und die Pfarrei erhielt den Namen „Unserer Lieben Frauen und Sankt Laurentius“. Als äußeres Zeichen der Trennung wurde das Portal zwischen dem von Dom und Liebfrauen gemeinsam als Durchgang genutzten Paradies auf Seiten des Domes zugemauert und das Paradies als Sakristei für Liebfrauen genutzt. Anlässlich der Heilig-Rock-Wallfahrt 1959 wurde das Portal wieder geöffnet, danach mit einer Brettertüre verschlossen und nach der Domrestaurierung mit einem neuen Holzportal versehen, so dass heute wieder eine gemeinsame Nutzung möglich ist.
Von 1859 mit Unterbrechungen bis in die 1890er Jahre hinein fand eine umfangreiche Restaurierung statt. Dabei wollte man den mittelalterlichen Zustand der Kirche möglichst wiederherstellen. Dementsprechend ersetzte man einige barocke Ausstattungsstücke durch neugotische, unter anderem wurde ein Hochaltar nach Entwurf des Kölner Dombaumeisters Vinzenz Statz aufgestellt und darüber zwei Altarbilder der Historienmaler Bruno Ehrich und Wilhelm Döring. Über dem Westportal wurde eine neugotische Orgelempore eingebaut und die Fenster erhielten eine neue, farbige Verglasung.
Im Zweiten Weltkrieg erlitt die Liebfrauenkirche schwerste Zerstörungen und wurde von 1946 bis 1951 wiederhergestellt. Neben den Dächern mussten vor allem große Teile des Mauerwerks, die Fenstermaßwerke und viele Skulpturen am Außenbau erneuert werden; bei den Wiederherstellungsarbeiten entdeckte man in einem der Treppentürme einen eingemeißelten Grundriss aus der Erbauungszeit der Kirche. Die nach einem Architektenwettbewerb verwirklichte Gestaltung mit zentraler Lage des Altares wurde von dem Architekten Rudolf Schwarz geplant und nahm Leitlinien des Zweiten Vatikanischen Konzils vorweg. Im Zuge der Neugestaltung wurden einige auch nach der Kriegszerstörung noch erhaltene Ausstattungsstücke des 19. und frühen 20. Jahrhunderts entfernt, z. B. der Hochaltar. Als Ersatz für die zerstörten Glasfenster aus den 1860er Jahren wurden neue nach Entwurf von Jacques Le Chevallier und Alois Stettner eingesetzt.
Die Liebfrauenkirche erhielt vom Papst 1951 die Auszeichnung Basilica minor. Anlass dafür war die Neugestaltung des Altarraumes nach dem Krieg, bei der der Altar in die Mitte der Kirche gestellt wurde. Im Jahr 1986 wurde die Kirche zusammen mit dem Trierer Dom sowie den römischen Kulturdenkmälern in Trier und Umgebung von der UNESCO in die Liste des Welterbes aufgenommen.
1992 konnten die heute in Museumsbesitz befindlichen Skulpturen des Westportals als Abgüsse wieder an ihrem alten Standort angebracht werden; die schon seit langem verlorenen Stücke wurden durch Neuschöpfungen der Bildhauer Theo Heiermann, Elmar Hillebrand und Guy Charlier ersetzt. Am linken Gewände neben Petrus und Adam steht Ecclesia, eine mittelalterliche allegorische Gestalt mit dem Kreuz als Zeichen des Christentums und dem Kelch als Zeichen für den neuen Bund. Synagoge, die Figur ihr gegenüber, verkörpert die einstige Einstellung zum Judentum. Mit verbundenen Augen wendet sie sich von Johannes und seinem Evangelium ab. In der rechten Hand hält sie die Gesetzestafeln, in der linken ein zerbrochenes Zepter als Zeichen der Vorherrschaft des Christentums. Die neue Petrusstatue von Heiermann trägt als Attribut nicht die üblichen Schlüssel, sondern ein Fischernetz, entsprechend dem Lukasevangelium (Lk 5,6–10 EU). Für die Gestaltung der neuen Skulpturen war ein Gremium verantwortlich, das unterschiedlichste und präziseste Wünsche an die Künstler herantrug. Zur Eva-Figur von Charlier gab es in der Entstehungsphase zum Beispiele Einwände bezüglich der Nase, die einem der Mitglieder etwas zu spitz schien, das Gesäß sollte graziler ausfallen und das über die Schulter fallende Haar glatter gestaltet werden.
Nach über dreijähriger aufwendiger Restaurierung zwischen Juli 2008 und September 2011 wurde die Liebfrauenkirche am 4. September 2011 wiedereröffnet. Bei der Restaurierung konnte die ursprüngliche Farbfassung des Inneren ermittelt werden; sie wurde in einer der Kapellen an einer Fensterachse zur Demonstration rekonstruiert. Auch die bedeutenden Ausstattungsstücke aus dem 17. bis 20. Jahrhundert, die teilweise noch Schäden aus der Kriegszeit aufwiesen, wurden sorgfältig in Stand gesetzt. An der Altarinsel wurden kleinere Veränderungen vorgenommen, die die Witwe des Architekten Rudolf Schwarz, Maria Schwarz ausführte.
(Wikipedia)
© Randy Langstraat | ADVENTR.co
"We passed by here, the Sergeant Major and Captain
Juan de Archuleta and Adjutant Diego Martin Barba and
Ensign Agustin de Ynojos, the year of 1636."
The inscription on the tabula reads:
SABINO CO(n)IVGI
QUI VIXIT
ANN(os) XLIIII
M(enses) X D(ies) XIII
B(ene) M(erenti) IN PACE
“To Sabinus, the husband, who lived forty-four years, ten months, thirteen days, the man of merit, in peace”. The formula “IN PACE” refers the Peace in Christ.
The rectangular casket shows a balanced composition of scenes with Christian themes. In the center, though the inscription speaks of a man, an "orant" female figure is depicted praying between two saints. It is to be concluded that the sarcophagus had not been prepared for Sabinus, for whom it was destined to be used later. According to the inscription carved on the upper border of the casket,
"D(epositus) VI K(alendas) MAI",
Sabinus was buried the 26 April.
On the right side of the continuous frieze decorating the chest there are the miracles of Christ:
A) the healing of the blind man (Mark 10:46—52). Christ, youthful and beardless, holds a scroll in his left hand and touches the eyes of the man with his right. The man is half size. In the background is Peter with a gesture of penitence;
B) Multiplication of the Loaves and Fishes (Matt. 14:13—21), with six (instead of the twelve) baskets that were left, and Christ blessing bread and fish;
C) the Raising of Lazarus (John 11 : 1—44) with the sepulchral “aedicula” forming the right corner of the frieze. Christ touches the mummy’s head with his staff, while the sister of Lazarus kneels before him.
On the left side:
A) the Miracle of Cana (John 2:1—11), with the six stone water jars;
B) Peter, taken prisoner by two men dressed as Roman soldiers with fur caps;
C) Peter’s Water Miracle, which leads to the baptism of his guards in prison.
These last scenes are inspired by the apocryphal Acts of Peter.
The lid is decorated with a small portrait, largely restored, next to a scene depicting a wild boar hunt
This sarcophagus is a good example of early Constantinian single frieze sarcophagi.
Source: Kurt Weitzmann (editor), “Age of Spirituality – Late Antique and Early Christian Art, Third to Seventh Century”
Marble sarcophagus
Casket: cm. 63 x 200 x 69
Lid: cm. 34 x 200 x 59
310 – 320 AD
Vatican Museums, Museo Pio Cristiano, inv. 31509
This sandstone relief bears an inscription that marks the completion of a section of wall measuring 4411 Roman feet (HD071333; RIB 2208):
Imp(eratori) C(aesari) | T(ito) Ae(lio) Hadria|no Antonino Aug(usto) Pio p(atri) p(atriae) | vex(illatio) | leg(ionis) XX | V(aleriae) V(ictricis) fec(it) | p(er) p(edum) IIII (milia) CĐXI
"For the Emperor Caesar Titus Aelius Hadrianus Antoninus Augustus Pius, father of his country, a detachment of the Twentieth Legion Valeria Victrix built this for a distance of 4411 feet."
Found Old Kilpatrick, Scotland, along the line of the Antonine Wall (see Old Kilpatrick on Pleiades).
Dated generally between 139-161 CE by Antoninus Pius' titulature.
More info from the Hunterian Museum & Art Gallery Collections, GLAHM F.15.
On display at The Hunterian, University of Glasgow, Scotland
Given by the Third Marquis of Monrose, before 1684
Inscription - Once called Harpeth, then Poplar Grove, this area was settled about 1800 by the Allison, Cannon, Ogilvie and Wilson families. Home to Congressman Meredith Gentry and William Demonbreun, son of pioneer Timothy Demonbreun, the town's name was changed to College Grove when the post office was established in 1860. Other pioneer families were Allen, Covington, Dobson, Haley, Hughes, McCord, Patton, Rogers, Scales, Seay, and Webb. Poplar Grove Cumberland Presbyterian Church and Cary and Winn Male Academy stood on land donated by James Allison in 1859. The area suffered heavy damage while occupied by the Federals. Stage coaches operated here until 1905. The Bank of College Grove opened in 1911.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
The inscription on the attic story reads:
Let us raise a standard to which the wise and the honest can repair. The event is in the hand of God.
This quote is attributed to George Washington, who was the President of the Constitutional Convention of 1787. He said it to his fellow delegates during the convention, and it is engraved on the south parapet of the Washington Square Arch in New York City.
The quote is a call to set a high standard for the new nation, one that would be worthy of the wise and honest people who would come after. Washington believed that the success of the new government would depend on the virtue of its citizens, and he urged the delegates to create a system that would promote and protect that virtue.
The quote is also a reminder that the fate of the nation is ultimately in God's hands. Washington believed that the delegates were entrusted with a sacred task, and he asked them to seek God's guidance in their work.
The quote is still relevant today, as we continue to strive to live up to the ideals of our nation's founders. It is a reminder that we must always be vigilant in protecting our democracy and our freedoms, and that we must never take them for granted.
Verrès castle (Aosta)-
An inscription carved in Gothic characters states that Ibleto of Challant began works in 1390. In 1536 Renato of Challant renovated the defence structures, adapting them for modern fire arms. On this occasion, a boundary wall with a battery, buttresses and five-sided attack towers, suitable for use with the canon and springalds cast in the Count of Challant’s fiefdom in Valangin, Switzerland. Further protection was given to the entrance with the addition of an inner gate, a drawbridge and loopholes. New cross windows were created in addition to the existing single-light and mullioned Gothic windows, and new gates with Spanish-inspired Moorish arches. The interiors were enhanced with new furnishings. Renato of Challant died leaving no male heirs in 1565, which is when the castle was taken over by the Savoys. In 1661 Duke Charles Emmanuel II ordered the dismantling of weapons and their transfer to the fortress in Bard, a strategic point in which the defence of Val d’Aosta was concentrated.
The Challant regained possession of the castle in 1696 and kept it until the end of the family line at the start of the 19th century. At that time the castle had been abandoned for almost two centuries: the roof, which was already in partial collapse, was demolished completely to avoid paying duty on the structure, and so the upper floors were exposed to the elements. Like the castles of Issogne and Fénis, this castle was rescued by a group of Piedmont intellectuals with a common love for the Middle Ages. ..After going through the outer door which opens in the fortified wall, also accessible on horseback across the drawbridge, you come to the guard’s building opposite the castle entrance. The portal leads onto a hallway with a protective machicolation disguised within the vault. A second door, formerly protected by a portcullis, provides access to the castle courtyard. Surrounding this square space, the body of the building is arranged in a ring on three floors, connected via a monumental stone staircase set on rampant arches. The regular geometrical structure and simplicity of the green and white stone decoration, are consistent with military character of the building and are also evidence of the excellent craftsmanship in Verrès.
------La storia
Costruito su un picco roccioso che domina il sottostante borgo, il castello è citato per la prima volta nel 1287 come proprietà dei signori De Verretio. Un’iscrizione scolpita in caratteri gotici attesta che fu Ibleto di Challant nel 1390 a porre mano ai lavori che fecero assumere all’edificio l’aspetto attuale. Nel 1536 Renato di Challant rinnovò l’apparato difensivo del maniero, adattandolo all’uso delle moderne armi da fuoco. In questa occasione venne costruita una cinta muraria munita di cannoniere, di speroni a contrafforte e di torrette poligonali da offesa, idonei all’impiego delle spingarde e dei cannoni fusi nel feudo che il conte di Challant possedeva a Valangin, in Svizzera; l’ingresso fu reso più sicuro mediante la realizzazione dell’antiporta con il ponte levatoio e l’apertura di feritoie. Si provvide inoltre ad aprire nuove finestre a crociera, in aggiunta a quelle a tipo gotico a monofora e a bifora già esistenti, e nuove porte ad arco moresco, di evidente influsso spagnolo; gli interni furono arricchiti con nuovi arredi. Alla morte di Renato di Challant (1565) senza eredi di sesso maschile, il castello venne incamerato dai Savoia. Nel 1661 il duca Carlo Emanuele II ordinò di smantellare gli armamenti e di trasferirli al forte di Bard, punto strategico dove si concentrava la difesa della Valle d’Aosta.
Gli Challant riottennero il possesso della rocca nel 1696 e lo mantennero fino all’estinzione della casata, ai primi del XIX secolo. A quell’epoca il castello era abbandonato da quasi due secoli: il tetto, già in parte crollato, era stato demolito del tutto per evitare il pagamento del canone erariale, così che i piani superiori erano esposti alle intemperie e invasi dalle erbacce. Il salvataggio di questo castello, come per quelli di Issogne e di Fénis, si deve all’interesse di un gruppo di intellettuali piemontesi accomunati dalla passione per il Medioevo.
In the sixth century BCE, under the leadership of Cyrus the Great (r. 538–530 BCE), the Achaemenid Persian dynasty overthrew Median kings and established an empire that would eventually extend from eastern Europe and Egypt to India. Achaemenid rulers included such famed kings as Cyrus, Darius I (r. 521–486 BCE), and Xerxes I (r. 485–465 BCE). They built palaces and ceremonial centers at Pasargadae, Persepolis, Susa, and Babylon. The Achaemenid Dynasty lasted for two centuries and was ended by the sweeping conquests of Alexander the Great, who destroyed Persepolis in 331 BCE. The Achaemenid period is well documented by the descriptions of Greek and Old Testament writers as well as by abundant archaeological remains.
Fluted gold and silver bowls and plates of the Achaemenid period continue a tradition begun in the Assyrian Empire. While they were given as royal gifts to favored courtiers or visitors, it seems that they were also valued and exchanged simply for the weight of the precious metals from which they were made. Their inscriptions use Old Persian, the language of the Achaemenid Great King (in this case, Darius I or II), often alongside the southwest Iranian language Elamite, and Akkadian, used historically in Iraq and across the former Assyrian and Babylonian Empires.
Achaemenid, reign of Darius I, 522-486 CE, or Darius II, 432-405 CE, Iran.
Met Museum, New York (54.3.1)
Sandow was born in Königsberg, Prussia (now Kaliningrad, Russia) on April 2, 1867 to a German father and a Russian mother. He left Prussia in 1885 to avoid military service and traveled throughout Europe, becoming a circus athlete and adopting Eugen Sandow as his stage name.[3] He made his first appearance on the London stage in 1889.[4]
Florenz Ziegfeld wanted to display Sandow at the 1893 World's Columbian Exposition in Chicago,[5] but Ziegfeld knew that Maurice Grau had Sandow under a contract.[6] Grau wanted $1,000 a week. Ziegfeld could not guarantee that much but agreed to pay 10 per cent of the gross receipts.[6]
Sandow in 1894
Ziegfeld found that the audience was more fascinated by Sandow's bulging muscles than by the amount of weight he was lifting, so Ziegfeld had Sandow perform poses which he dubbed "muscle display performances"... and the legendary strongman added these displays in addition to performing his feats of strength with barbells. He added chain-around-the-chest breaking and other colorful displays to Sandow's routine. Sandow quickly became Ziegfeld's first star.
In 1894, Sandow featured in a short film by the Edison Studios.[7] The film was of only part of the show and features him flexing his muscles rather than performing any feats of physical strength. While the content of the film reflects the audience attention being primarily focused on his appearance it made use of the unique capacities of the new medium. Film theorists have attributed the appeal being the striking image of a detailed image moving in synchrony, much like the example of the Lumière brothers' Repas de bébé where audiences were reportedly more impressed by the movement of trees swaying in the background than the events taking place in the foreground. In 1894, he appeared in a short Kinetoscope film that was part of the first commercial motion picture exhibition in history.
He created the Institute of Physical Culture, an early gymnasium for body builders in 1897.[4] [5]
In 1898 Sandow founded a monthly periodical, originally named Physical Culture and subsequently named Sandow's Magazine of Physical Culture.[8]
He held the first major bodybuilding contest at the Royal Albert Hall on September 14, 1901.[4] It was called the "Great Competition". It was judged by Sandow, athlete and sculptor Sir Charles Lawes, and Sir Arthur Conan Doyle.[9]
Death
Sandow died in London on October 14, 1925 of a stroke at age 58.[10][1]
He was buried in an unmarked grave in Putney Vale Cemetery at the request of his wife, Blanche. In 2002, a gravestone and black marble plaque was added by Sandow admirer and author Thomas Manly. The inscription (in gold letters) read "Eugen Sandow, 1867-1925 the Father of Bodybuilding."
In 2008, the grave was purchased by Chris Davies, Sandow's great-great-grandson. Manly's items were replaced for the anniversary of Eugen Sandow's birth that year and a new monument, a one and a half ton natural pink sandstone monolith was put in its place. The stone, simply inscribed "SANDOW" (written vertically), is a reference to the ancient Greek funerary monuments called steles.
Info from,
en.wikipedia.org/wiki/Eugen_Sandow
A You Tube video of Eugen Sandow posing.