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Bramadesam is a temple of Chola period. There are 92 inscriptions here.
Inscriptions are extremely vital for the reconstruction of the history as they not only gave us insights into the political happenings of the concerned period but also about the socio-economic conditions as well as the cultural aspects of the period.
One must visit here to see the architectural beauty of thousand year old structure. Presiding deity is Chandramouliswarar.
இந்திய தொல்லியல் ஆய்வுத் துறையின் பாதுகாப்பில் உள்ள சந்திரமவுலீஸ்வரர் கோயிலில் 92 கல்வெட்டுகள் உள்ளன. இவற்றில் காலத்தால் முற்பட்டது பல்லவ மன்னன் கம்பவர்மனின் கி.பி.866-ம் ஆண்டைச் சேர்ந்த கல்வெட்டு.
Pagan and early Christian inscriptions cemented into the wall of the exterior narthex of Santa Maria in Trastevere.
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:
O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
An inscription with Punic lettering discovered locally is in the Museo Archeologico di Olbia in Olbia, Sardinia, Italy. It's thought to be the dedication of a building.
(further pictures and informations you can see by clicking on the link at the end of page!)
Palais Ephrussi
1, University Ring 14
Architect Theophil Hansen 1873
Family:
Address: Franzensring to Universitätsring
Progenitor Ephrussi-Sephardic Greek from Russia
Family tree - family vault at the Central Cemetery
Ignaz leaves the palace built on the ring
Viktor is arrested by the Nazis
The hare with amber eyes
Palais:
A small but fine Heinrichshof - Förstersche group
The neighbor: Palais Lieben
Piano nobile in inconspicuous 1 floor
Interior of Hitler's Professor
Location: Story of the Schottentor
From Franzensring to Universitätsring
The Ephrussi family name is relatively unknown in Vienna.
The Palais Ephrussi, so the building at the ring road, however, many Viennese is familiar, was there but housed the administration of Casinos Austria from 1969 to 2009 housed. The company inscription 'decorates' still the facade.
Today, the property is home of a law firm, led by the President of the Bar Association Gerhard Benn-Ibler.
Students across the university is probably more known McDonald, who has rented the ground floor of the adjacent house.
At that time the palace was at Franzensring. It began at the Parliament and reached to the university. In 1934 one part of it was renamed in Dr. Karl Lueger-Ring. This remained so until 2012. Now it's called University Ring.
The other part even had a more eventfull naming:
1934 Dr. Ignaz Seipel-Ring
1940 Josef Bürckel-Ring
1945 Dr. Ignaz Seipel-Ring
1949 Parliament-Ring
1956 Dr. Karl Renner Ring
Palais Ephrussi, opposite the University
Progenitor Ephrussi - Sephardic Greek from Russia
Ephrussi sounds strange and a bit exotic. One does not really know how to write the word, if you have not seen it before. Hardly anyone suspects that the ancestor of the dynasty, Charles Joachim (1792 - 1864), from Odessa in Russia was - and yet less that this was a Sephardic Greek.
He built a business empire, beginning with grain exports from Ukraine, then investing in the construction of infrastructure: bridges, railways, port facilities. And this, of course, also included the establishment of a bank - with offices in Paris and Vienna.
Offices in Paris - Vienna - Odessa
Pedigree
1. generation
Charles Joachim (1792 - 1864)
2. generation
Ignaz (1829 - 1899)
Leon (1826 - 1878)
3. generation
Viktor (1860 - 1945)
Charles (1849 - 1905)
4. generation
Elisabeth Waal (1899 - 2001)
Ignaz Ephrussi 'Iggie' (1906 - 2011)
5. generation
Victor de Waal
6. generation
Edmund de Waal (1964 - )
Son Ignaz has built the palace
Son Ignaz (1829 - 1899) took over in 1860 the financial transactions in Vienna, his brother Leonid (1826 - 1878) went to Paris and became 'Leon'
As the progenitor Charles died, he was laid to rest in the family vault Ephrussi at the Central Cemetery, not far from the gate 1
(There were later also Ignaz and his wife Emilie, born Porges 1836-1900, buried.)
Ephrussi family vault at the Central Cemetery, Gate 1
Son Ignaz was now head of the Viennese house and reputable in society. He was knighted by the emperor, bestowed him in 1871 with the Order of the Iron Crown, Third Class - although Ignaz throughout his life remained Russian citizen.
Economically he experienced a further upswing, founded more stores, also in London. It is said that the Ephrussi were the second richest banking family after the Rothschilds.
Therefore Ignaz could afford it to take on one of the most successful Ringstrasse architects, Theophil Hansen, 1869 for the construction of his palace. This one had a year earlier started with the construction of the Palais Epstein.
Apart from that Hansen had by his Athens stays good contacts with the Greek society of Vienna and came so to orders such as the Palais Sina am Hohen Markt or the Greek Orthodox Church at the meat market (Fleischmarkt).
Hansen Memorial, Parliament (detail)
Netsuke figurines come in the family
Around the time of the Palais building acquired Ignaz' extremely art-loving cousin Charles (1849 - 1905), who could afford to live as a bohemian and did not have to work, a collection of small carved Japanese figures, netsuke. Those were used in the attachment of kimono belts and were made of ivory, jade or horn.
As heritage (Note: according to other sources, as a gift ) within the family this exotic extravaganza came to Vienna's Palais, where Ignaz resided with family.
Son Victor is arrested by Nazis
In the family Ephrussi it came again to an alteration of generations: Viktor (1860-1945) took over the house. He was with Emilie, called 'Emmy', a born Schey, married.
The marriage was not happy, allegedly, in a manner of speaking the bride was in love with another man. Nevertheless, rapidly three children were born, almost 20 years later, another son - the father was at this time, however, almost certainly Emmys lover (but it was not talked about it).
The family survived reasonably sound an safe to the end of the monarchy, the first World War and the interwar period. But in 1938 came the Nazis, arrested the nearly 80-year-old Viktor in his palace and looted his valuables .
Viktor von Ephrussi
Against the Gestapo violence there were no means, only stratagems: Viktor's maid Anna scurried over and over again among the henchmen.
She succeeded every time to hide some of the small netsuke figurines under her apron, which she then hid in her room.
And she did not say a word to any of them. Not even the stately family.
Viktor was arrested, interrogated in the Hotel Metropol at Morzinplatz and forced to renounce all of his possessions in order to obtain an exit permit.
For his wife Emmy finally all of this became too much. She swallowed an increased dose of heart medications and died.
The Hotel Metropol as an interrogation center
The hare with amber eyes
Viktor was able to flee to England, where he died shortly before the end of the war. His daughter Elizabeth married into the Dutch family de Waal.
She returned in 1945 after the war to Vienna. In the meantime offices of the U. S. Army had moved Into the palais. Vienna should now remain occupied for ten years. Some of the old furnitures were still there. And Anna, the maid.
She handed out Elizabeth the netsuke figures which she could hide then. 264 by the number. A courageous woman. And no one knows her last name. Nobody has asked her for it.
Elizabeth's grandson Edmund has written the story of six generations in the book 'The Hare with the Amber Eyes'. A bestseller: sold 200 000 times.
The Bestseller
Netsuke Figures (Bid: Asian shop Bräunerstraße)
The war-damaged palace was in 1950 returned to the family. Meanwhile impoverished, it had to sell it for only $ 30 000. Were deferred only a few tapestries and books. For the compulsory expropriation of the bank a compensation of $ 5,000 was paid out - with the commitment that they would make no further claims .
As the palace changed hands in 2009, a sum of about 30 million euros has been rumored.
A small but fine Heinrichshof
The Palais Ephrussi extends on the ring road side over nine window axes, on the Schottengasse eight window axes.
The building is a scaled down version of the Heinrichshof which Hansen 1861-63 had built for the brick Baron Heinrich Drasche opposite the Court Opera (destroyed in 1945).
Heinrichshof, 1863
Palais Ephrussi on the left, then the Förstersche group
Theophil Hansen renounced of an accentuation of the center in favor of monumental tower-like corner projections giving the impression that the building stands free. The corner risalit was a characteristic of the baroque palace architecture (example: Schloss Belvedere). It was Hansen's innovative idea to incorporate this motif into the housing. In the business office at the corner of Schottengasse moved in the large, as well furnished by Hansen Café Hembsch.
University (left), Förstersche group (middle), Café Landtmann (right)
Hansen worked very closely with the architects of the adjacent building groups, which also had familial backgrounds: He was with Sophie, sister of Emil Foerster (1838 -1909) married. The brother took over the design on the ring road side, Carl Tietz on the back side at the Palais Lieben. In the literature, this complex of buildings of aesthetic and formal unity went down in history as the 'Förstersche group'.
Unfortunately, the part of the building complex (No. 10, to Mölkerbastei) was severely damaged by bombing in World War II and replaced by a new building.
Palais Ephrussi with caryatids, next to # 12
University Ring No. 10: New in 1966, Carl Appel
The neighbor: Palais Lieben
View Schottengasse:
Left Palais Lieben (8 window axes), right Palais Ephrussi (8 window axes)
One is inclined to attribute the Palais Ephrussi the entire complex. But on the side Schottengasse it includes only the first eight window axes.
If you look closely you can clearly see this on the basis of the color difference of the facade and the gilded, or not gilded balcony lattices.
Ephrussis' immediate neighbors were at the corner Schottengasse/Mölkerbastei the Lieben family, on the ring road side the Iron Baron Mayr-Melnhof (No. 12), No. 10 owned Theresa Blum (destroyed in 1945).
Corner Mölkerbastei/Schottengasse
Piano nobile in inconspicuous 1st floor
Italian flair with plenty of balconies
University Ring (above), Schottengasse (right)
The palace is through ledges horizontally divided into three zones ( base, 'piano nobile', Attica), nevertheless dominates the vertical order: pilasters embrace the second and third floor and the optical impression is further extended by the Terrakottakaryatiden (Terracotta caryatides) that carry the woodwork.
The entire attic floor lies something set back and is circumscribed by a gilded tendrils grid (the thus created balcony room provides surely a nice residential feeling, moreover, perhaps with a view to the Vienna Woods.)
The color scheme of the facade is particularly eye-catching and gives an Italian flair: red brick color with yellow stucco.
Hansen accentuates with the Palais Ephrussi in the first floor the main entrance and the sides with columns, wearing balconies. The shape of the balusters will be taken up later in the opposite University.
The lower floors were rusticated in the neo-Renaissance style, the appear massive and simple.
On the first floor, above the balcony, were the apartment of the landlord and the representative rooms - and not, as one might suspect, a floor above.
Terracotta Jewelry: The head of Mercury protrudes from the Arkanthusblättern (arcanthus leaves) of the capital. Fruit garlands adorn the tower walls between the pilaster capitals.
Detail balcony lattices
Interior of Hitler's Professor
Entrance hall
Transversely embedded courtyard with a glass roof
1 bedroom
2 Damensalon (ladie's salon)
3 dance lounge (including main entrance)
4 reception room
5 smoking-room, billiard room
6 Dining Room
(Note: In the Palais no tours are possible, only the reception area on the ground floor can be visited during business hours.)
Floor plan main floor
Ignaz Ritter von Ephrussi expressly wished from the architect to his main floor a separate staircase, which must not beeing used by any other house party. For the tenants were to build three floors with a convenient main and kitchen stair. On the ground floor a stable for four horses was provided. There are two basement levels.
For the interior design none other than Christian Griepenkerl was taken that equipped the main floor with painting cycles.
Later this one will Adolf Hitler refuse admission to the Academy of Arts because of "insufficient sample drawings".
The ceiling paintings in the Palais show Greek Zeus adventures and Jewish themes (images from the Book of Esther). In other respects, too, it was made sure that nothing was lacking: precious wood floors, expensive fireplaces, elegant marble - and a lot of gold. Inside and outside.
In sunlight, the balcony lattices shine far into the distance. No other Ringstraßenpalais (ring road palais) afforded this beauty .
Terracotta decorations, detail (Mercury)
Location - history from Schottentor
View before 1900 with still intact Gehtor (walking gate) of the Schottentor (gate).
Tor - Tower - Residential House
In the Middle Ages the Babenberg Jasomirgott took Irish-Scottish monks to Vienna. They founded on the ancient Roman road (traffic artery) leading to the west a convent and a school. The name Schottenviertel became customary.
The Schottentor was a part of the fortification. Mentioned it is for the first time in 1276, from 1291 on it was called the Schottenburgtor (Scottish castle gate), later only Schottentor.
The above the gate situated tower was extended in 1418, 1716 were converted into a house gate and tower, which belonged 1775-95 to the couple Eva and Anton Prohaska and 1812 to Protomedicus Edward Guldner von Lobes.
1839 has been demolished.
Old Schottentor Schottenkloster (monastery) 1683
Already in 1656 had been built a new (outer) gate in front of the old Schottentor. 1840 it was replaced by a neoclassical building, similar to the exterior castle gate.
However, as so inconvenient The five passages at Schottentor proved that the new gate soon, " the 5 follies " was the nickname . Supposedly, have been held to narrow the driving gates. And for pedestrians , it was a zig- zag course .
The new Schottentor was already 20 years after its establishment , in 1862 , demolished, only a Gehtor has been preserved until 1900. Then they demolished the remaining groups together with four houses of Mölkerbastei .
The term Schottentor found today on any street sign, only the metro station at the University bears the name - much to the chagrin of some Vienna tourists from the next station - can be misleading - Scots ring.
Old Schottentor to 1839
Schottentor , plan 1799
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New Schottentor 1840
View Schottengasse with Schottentor ( direction Votive Church ) , circa 1840
View Schottentor - outside, around 1840
View Schottentor - outside, around 1840
Outside, around 1840
Outside, around 1840
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New ablation Schottentor 1862
left: Palais Ephrussi
1875 - 1920 : Maximilian Course ( Emperor Maximilian of Mexico, initiated the building of the Votive Church )
1920 - 1934 : Liberty Square
1934 - 1938 : Dollfußplatz
1938 - 1945 : Hermann Goering place
1945 - 1946 : Liberty Square
1946 - Roosevelt Square ( with Sigmund Freud Park )
After the 2nd World War I circulated the following joke in Vienna: A visitor from the provinces asks in a Viennese tram :
" What is the name of the place over there? " "That is the Town Hall Square , formerly Adolf- Hitler-Platz . " A little further asks the visitors again :
" And what is there in the building? " "This is the Parliament , formerly County House . " Again, the tram runs a piece .
" And what is this place?" "This is the Stalin Square , formerly Schwarzenberg Platz . " The visitor gets out and says goodbye with the words:
"Goodbye , formerly Heil Hitler . "
View after 1900
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external link : Image Indoors on f1.online
Link :
Alphonse Thorsch
A banker was almost as rich as Rothschild - the extinction
Tomb of Thorsch family , Central Cemetery , Gate 1
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sources:
Dehio S 336 , Czeike , Archives Publishing
Viennese palace , W. Kraus, P. Müller, Blanck stone Verlag, 1991
The Ringstrasse , a European architectural idea , Barbara Dmytrasz , Amalthea Verlag, 2008
Vienna in old postcards, Czeike , 1989
Vienna pictures from the youth of our Emperor , Gerlach, 80 born FJ
The Press : The Ephrussi family scattered to the winds
The Standard : Prison of gold
South side of Inscription Rock, N.M. Photograph by Timothy H. O'Sullivan, 1873, as part of the series "Geographical explorations and surveys west of the 100th meridian", sponsored by the United States War Department, U.S. Army Corps of Engineers.
Inscription rock is now part of El Morro National Monument, best known for its pre-Columbian petroglyphs as well as inscriptions from New Mexico's Spanish and English eras.
From the U.S. Library of Congress.
More pictures by Timothy O'Sullivan | More pictures of New Mexico
[PD] This picture is in the public domain.
Petroglyphs on Inscription Rock in Jayhawker Canyon. This basalt boulder at Jayhawker Spring was inscribed with petroglyphs by Native Americans then centuries later with historic inscriptions by pioneers seeking a route to the gold fields during the California gold rush. Death Valley National Park. Inyo Co., Calif.
The left portion of the inscription on the breech of the northern bronze Spanish cannon at the Spanish-American War Memorial in Arlington National Cemetery in Arlington County, Virginia, in the United States.
The Spanish-American War was a ten-week conflict that occurred from March to August 1898. It was prompted by an insurrection in Cuba against Spanish colonial rule, and led to American troops conquering Cuba, Puerto Rico, the Philippines, Guam, and Wake Island. The American declaration of war prohibited the U.S. from seeking to make Cuba a territory, and it was given its freedom in 1902. The Filipino people fought a bloody and unsuccessful fight for their freedom against American rule from 1899 to 1902 in which hundreds of thousands of civilians died.
While 2,910 American military personnel died during the war, just 345 were combat deaths. The rest died of disease, and more than 1,800 Americans were buried in Cuba, Hawaii, the Philippines, and Puerto Rico. On July 8, 1898, Congress enacted legislation authorizing the repatriation of American dead. Many of the dead were buried at Arlington National Cemetery, either because their families desired it or the remains could not be identified. Of the dead, 226 were disinterred in Cuba, 20 from Puerto Rico, and 24 from Hawaii. Most of the burials at Arlington National Cemetery occurred in what is now Section 22, while members of the Rough Riders (or 1st United States Volunteer Cavalry) were buried in Section 23. Civilian nurses (all of whom died of diease) were buried in what is now Section 21.
Some time in the first six months of 1900, a memorial was to the Spanish-American War dead was constructed by the United States Department of War (which had control over the cemetery). This memorial was built on a slight hillock on the far eastern part of the Spanish-American War "field of the dead." It was about 400 feet to the southwest of a gravel pit (now Memorial Amphitheater). This memorial consisted of a traffic circle, on the eastern side of which was a flagstone overlook. Placed on the overlook, facing east, were four cannon.
All four cannon were captured Spanish weapons. The two modern guns were taken from the Spanish Navy armored cruisers "Vizcaya" and "Infanta Maria Teresa". The U.S. Navy had sunk the two ships when they tried to flee the harbor of Santiago de Cuba on July 3, 1898. The ships (as well as two other cruisers and two destroyers) were old, not in good repair, had few guns, and were low on fuel. The U.S. Navy's Flying Squadron and North Atlantic Squadron, under the command of Commodore Winfield Scott Schley, easily sank all six. The provenance of the two smaller bronze cannon is less clear. A newspaper at the time claimed they came from a Spanish coastal battery in Cuba (which the paper did not identify), but the "Washington Post" was more specific and said they came from a coastal battery near Castillo de San Pedro de la Roca (also known as "Morro Castle") at Sevilla near Santiago de Cuba. All four guns were mounted on granite pedestals. The bronze cannon were spiked, while the modern guns had their breechblocks removed.
In April 1900, the National Society of the Colonial Dames of America voted to build a memorial to Spanish-American War dead at Arlington National Cemetery. Winifred Lee Brent Lyster, wife of Dr. Henry Francis LeHunte Lyster of Michigan and a relative of Confederate Army General Robert E. Lee, conceived of and was the primary advocate for the memorial. Originally, the memorial was just going to be a tablet. But money poured in, and soon the Society raised its sights and began thinking of a marble column. The federal government had already been considering a memorial just west of the existing one, and the Colonial Dames were given this for their effort. An original, over-elaborate design (it's not clear at all who the designer was) with whomping huge base was rejected by the Army Corps of Engineers, and the current design submitted and approved in October 1901. The inscription on the plaque on the front (west side) of the base was written by the poet Richard Watson Gilder.
The monument was unveiled and dedicated on May 21, 1902, by President Theodore Roosevelt.
The Spanish-American War Memorial consists of a column of gray granite 54 feet (16 m) high quarried in Barre, Vermont. (It is unknown which company provided the marble, or shaped it.) Atop the column is a bronze eagle with outstretched wings, facing west. (It is unknown who sculpted the eagle, or which firm cast it.) The eagle is mounted on a granite globe, which was quarried in Quincy, Massachusetts. A band decorated with 13 stars (representing the original Thirteen Colonies) is carved in high relief on the globe. (It is unknown which company provided the granite for the globe, or who shaped it.) The globe stands on a square base. The base stands atop a Corinthian capital which crowns the column. The column rests upon a tall plinth with a square cross-section. Around the top of the plinth are bronze stars 5 inches (13 cm) across. There are 11 stars on each of the four sides, for a total of 44 stars. The plinth stands on a larger square base, which sits atop a foundation set in the earth. On each corner of the foundation is a polished black granite sphere 18 inches (46 cm) in diameter. The total cost of the monument was $9,000 ($229,967 in 2013 dollars).
The National Society of Colonial Dames was given permission to add a second bronze tablet to the rear of the memorial in 1964. The 3-foot-6-inch (1.07 m) square tablet was placed on the memorial on October 11, 1964. And yet another tablet (!!!) was placed on the west side of the grassy circle on which the memorial sits. Also placed by the National Society of Colonial Dames, this 12-by-8-inch (30 by 20 cm) tablet was dedicated on October 19, 2008.
South Italian production
Late Classical/Mid-Republican period, ca. 2nd quarter 4th c. BCE
Presumably from southern Italy
H 22 cm
719 g
The sinistroverse Oscan inscription (ST Lu 18; Ve 190):
ϲπεδιϲ: μαμερεκιεϲ: ϲαιπινϲ: αναƒακετ
"Spedis Mamerekies of Saepinum dedicated (this)"
Kunsthistorisches Museum, Vienna, Austria
Inv. VI 2593
Acquired at auction from August von Koller
(For a better photo, see the museum site.)
Detail from the gilded wooden "Ostrich hunt" fan.
The inscription on the stick says that Tutankhamun hunted ostriches in the desert near Heliopolis and provided feathers for this fan.
Tutankhamun treasures of the golden pharaoh. Saatchi Gallery, London.
GEM284
†ILLVSTRIS CLARVS ROBERTUS REX SICULORUM SANCIA REGINA PRELUCENS CARDINE MORVM CLARI CONSORTES VIRTVTVM
MVNERE FORTES VIRGINIS HOC CLARE TEMPLVM STRVXERE
BEATE POSTEA DOTARVNT DONIS MVLTISQVE BEARVNT
VIVANT CONTENTE DOMINE FR(ATR)ESQ(UE) MINORES SANCTA
CVM VITA VIRTVTIBVS ET REDIMITA ANNO MILLENO
CENTENO TER SOCIATO DENO FVNDARE TEMPLVM CEPERE
MAG(IST)RI
L'illustre e famoso Roberto, re di Sicilia, e la regina Sancia, risplendente per elevatezza di costumi, coniugi ben noti e degni di rispetto per dono di virtù, eressero questo tempio (dedicato) alla vergine Chiara, ed in seguito lo dotarono e lo magnificarono di molti doni; di ciò soddisfatte vivano le signore monache ed i frati minori, conducendo una vita santa e coronata da virtù. Nell'anno 1310, i maestri iniziarono ad erigere il tempio dalle fondamenta.
The Kurdish empire / 'Aryan Gods' of the Mitanni Treaties
"This kingdom was simultaneously known under three names: Hittite,Mitanni, Hurri and Hanigalbat. All three names were equivalent and interchangeable," asserted Michael C. Astour.
Hittite annals mention a people called Hurri, located in north-eastern Syria (Western Kurdistan). A Hittite fragment, probably from the time of Mursili I, mentions a "King of the Hurri," or "Hurrians." The Assyro-Akkadian version of the text renders "Hurri" as Hanigalbat. Tushratta, who styles himself "king of Mitanni" in his Akkadian Amarna letters, refers to his kingdom as Hanigalbat.
Although Kurds have inhabited their highlands for several millennia BC, their prehistory is not very well known.[1] The earliest known evidence of a unified and distinct culture in the Kurdish mountains dates back to the Halaf culture of 8,000-7,400 years ago. This was followed by the Hurrian period (in Mesopotamia and Zagros-Taurus mountains) which lasted from 6,300 to about 2,600 years ago. The Hurrians spoke a language which was possibly part of the Northeast Caucasian (Alarodian)
The Hurrians spread out and eventually dominated significant territories outside their Zagros-Taurus mountainous base. However, like the Kurds, they did not expand very far from the mountains. As they settled, the Hurrians divided into a number of clans and subgroups, founding city-states, kingdoms and empires with eponymous clan names. These included the Gutis, Kurti, Khaldi, Nairi, Mushku, Mannaeans (Mannai), Mitanni, Urartu, Lullubi and the Kassites among others.
appears in2rock inscriptions, 1east,1west of Kordion, &"Mita of Mushki"is mentioned in Assyrian texts dating to 717,709,&the 670s B.C.Greek historical,legendary&mythical stories about Midas preserved in both texts &art—relate that he had the ears of an ass & as a gift from the gods,everything he touched turned to gold.One legend claims that a man named Midas or his father Kurdios began the royal Phrygian dynasty,thus fulfilling an oracle;both names continued to alternate as royal names
-oldest aryan texts in Kurdistan ( northern Syria)
-oldest wheels & carts found in near east in Kurdistan (northernSyria)
-the similarities of the halaf iculture with the indic culture
-the huge stuff written in Gamkrelidze&Ivanov's book about proto iranonessic/indo-european homeland being in Anatolia north Kurdistan, Migration of Indo-Aryans from their hoemland in Kurdistan (Northeastern Anatolia Northwestern Iran/Elam) to Central Asia/India
-oldest swastika( 6000-5000 B.C)in hurrian city
The earliest written evidence for an Indo-Aryan language is found not in India,but in Kurdistan (northern Syria) in Hittite records regarding one of their neighbors, the Hurrian-speaking Mitanni. In a treaty with the Hittites,the king of Mitanni, after swearing by a series of Hurrian gods, swears by the gods Mitrašil, Uruvanaššil, Indara,& Našatianna, who correspond to the Vedic gods Mitra,Varuṇa, Indra,& Nāsatya (Aśvin)Contemporary equestrian terminology, as recorded in a horse-training manual
a native Hurrian-speaking population about the 15th-16th centuries BC, Indo-Aryan charioteers were absorbed into the local population and adopted the Hurrian language.[59]
However, Brentjes (as cited in Bryant 2001:137) argues that there is not a single cultural element of central Asian, eastern European, or Caucasian origin in the Mitannian area and associates with an Indo-Aryan presence the peacock motif found in the Middle East from before 1600 BC and quite likely from before 2100 BC
In a treaty between the Hittites and the Mitanni (between Suppiluliuma and Matiwaza, ca. 1380 BC), the deities Mitra, Varuna, Indra, & Nasatya (Ashvins) are invoked. Kikkuli's horse training text (circa 1400 BC) includes technical terms such as aika (eka, one), tera (tri, three), panza (pancha, five), satta (sapta, seven),na (nava, nine), vartana The numeral aika "one" is of particular importance because it places the superstrate in the vicinity of Indo-Aryan proper as opposed to Indo-Iranian
The Mitanni were an Indo-European (Hurrian) people whose kingdom in northern Mesopotamia flourished from about 1600 (Second Intermediate Period) until it was conquered by the Hittite King Suppiluliumas during the reign of Akhenaten. At its peak, the empire stretched from Kirkuk (ancient Arrapkha) and the Zagros mountains in western Iran in the east, through Assyria to the Mediterranean sea in the west. Its center was in the region of the Khabur River, where its capital, Wassukkani
Kurdias (Kurdius was the name of at least two members of the royal house of Phrygia.The best-known Kurdias was reputedly the founder of the Phrygian capital cityKurdium,the maker of the legendary Kurdian Knot ( Griy Kurdi ) , & the father of the legendary King Midas who turned whatever he touched to gold. The various legends about this Kurdias& Midia imply that they lived sometime in the 2nd millennium BC.kurdia & his son media both names continued to alternate as royal names
Kurdian knot at one time the Phrygians were without a king. An oracle at Telmissus (Makri) (the ancient capital of Phrygia) decreed that the next man to enter the city driving an ox-cart should become their king.A peasant farmer named Kurdias drove into town on an ox-cart. His position had also been predicted earlier by an eagle landing on his cart, a sign to him from the gods, and on entering the city Kurdias was declared king by the priests. Out of gratitude,his son Midas dedicated the ox-cart
The cuneiform group hu-u-ur researchers of the ancient inscriptions (H. Winkler, E. Meyer, E. Waydner, Forer, Waysbakh) read har, others – hur (B. Hrozni, A. Ungnad). Researcher connects the form har with the name Arians, and language of Hurries consider as an the old Arian language. Later in the text found in the capital of the Hittites Hattusas the form hurlili was read as hurri. Thus was rejected the viewpoint which accepted the form harri and considered Hurrians as Arians. In scientific
Between the 12th & 9th centuries Phrygia formed the western part of a loose confederation of peoples (identified as“Mushki”in Assyrian records) that dominated the entire Anatolian peninsula.This early civilization borrowed heavily from the Hittites,whom they had replaced, and established a system of roads later utilized by the Persians.About730 the Assyrians detached the eastern part of the confederation,& the locus of power shifted to Phrygiaproper under the rule of the legendary king Mida
The most famous of the Phrygian kings is a man called Midia by the Greeks and Mita by the Assyrians. He ruled in the last decades of the eighth century B.C. One of the large royal buildings uncovered at Kordian was probably his palace. Today Midia is known primarily from Greek historical records, but the name also appears in two rock inscriptions, one east, one west of Kurdian, &"Mita of Mushki"is mentioned in Assyrian texts dating to 717, 709,& the 670s B.C. Greek historical,
Kurdish holy fire of neewroz new year Guerrilla Peshmerge Girls of the PKK (Kurdish Freedom Fighters)
"Am I therefore become your enemy because I tell you the truth?" (update: Galatians 4:16)
This inscription, carved on the inside of a window in the Old Rectory, Cradley, Herefordshire, is the relic of an early 19th-century feud between the rector (on the inside) and the curate (on the outside). Another window has an inscription carved by the curate of which the words "Satan" and "dagger" can be deciphered. The two of them carved their messages on the glass with their diamond signet rings.
(We spent a very enjoyable couple of nights there - highly recommended www.oldrectorycradley.com/ )
Identified
EVIDENCE
Provenance evidence: Inscription, Shelf Mark
Location in book: Inside Front Cover
Transcription: E2-4J
IDENTIFICATION
Identified: Musgrave Family , owner
COPY
Repository: Huntington Library
Call number: 700885
Collection: Grace K. Babson Collection of the Works of Sir Isaac Newton
The Burndy Library Collection at the Huntington Library.
Copy title: A catalogue of chymicall books : in three parts : in the first and second parts are contained such chymical books as have been written originally, or translated into English: with a large account of their titles, several editions and volumes : likewise in the third part is contained a collection of such things published in the Philosophical transactions of the Royal Society (for ten years together) as pertain to chymistry, or the study of nature by art in the animal, vegetal, and mineral kingdoms ... / collected by Will. Cooper ...
Author(s): Cooper, William, -1689.
Published: London, Printed in the year 1675[-1688]
FIND IN POP
Grace K. Babson Collection of the Works of Sir Isaac Newton
The Burndy Library Collection at the Huntington Library.
Inscription on a Tree Beside Wayland’s Smithy
Working deep into the cambium,
Knife blade damp with sap,
The unknown author whittles down
The poem to a single word:
Not PHAGUS, nor even BEECH,
No word of nuptial, nor of love:
TREE,
Levered in deeply –
Then wends away, and turns
Responsible, lives and earns,
And goes to loam. The word
Grows wide with time,
Crazed by borers,
And woodwales’ claws:
The roots unearth;
The tree falls.
Across the glade
The stones remain,
Their owners’ bones
Inside museums.
Poem by Giles Watson, 2011.
(for further information and pictures please go to the end of page and by clicking on the link they are availabe!)
The Church of St. Othmar
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550-year anniversary | History on construction time | Wikipedia
Construction of the Othmar church
560 years ago
On 13th May 1454, the Monday after the feast of St. Pancras, the building of the late Gothic St. Othmar church was begun. Thereon reports the following inscription above the main entrance of the church.
Laying the foundation stone of St. Othmar
The 550-year anniversary was on 13th May 2004 celebrated in a festive vespers followed by a festive academy.
View of the main altar
You can approach a church as historically interested person, as art-historically committed tourist or as a believer. One will see different things.
The historically interested will impress on the Othmar Church in Mödling that since more than 1000 years at this point on the slope of the Calendar mountain (Kalenderberg) (= bare hithe - kahle Lände) are standing churches and that the current construction the seventh church in an unbroken sequence on this place is. He will think of the destruction of the Roman church in 1252 by the Hungarians and the horrors of the Turkish wars in 1529 and 1683.
Tourists who are interested in art and art history, see the in 1454-1523 built late Gothic hall church, the Baroque interior, the neo-Gothic windows and Stations of the Cross and the testimonies of contemporary art in the sanctuary.
For the believer the Othmarkiche makes the impression of a ship that has gone halfway between level and height at anchor to accommodate the people. Twelve pillars - the Twelve Apostles - wear its vaults. The base has a level.
This church is not a castle - defiant, dark and unwelcoming. Its bow goes into the distance. As Noah's Ark it gives refuge and security. It stands on this earth. Yet it has walls. But their higher regions are translucent, are light. The glory of heaven is guessable.
Two of the windows are of particular importance: the window in the east as the window of the creation and resurrection, and the window in the West as the window of the sunset, the Last Judgment. The world stands between Jesus' resurrection and his second coming. Every visit to the church, every church service to the community becomes an invocation to deal with God's creation and creatures that way that you don't need to fear his judgment.
The previous buildings
Mödling is ancient settlement with hilltop settlements of the Neolithic on the Jennyberg and the Hallstatt period on the Frauenberg as well as on the Calendar mountain (Calendar mountain culture).
Archaeological excavations in 1982 have shown that at the site of the present Othmar church since the 9th Century at least six predecessor buildings have been located.
More information about the predecessors ...
The present building
Start of construction 1454
As an inscription above the main entrance says, was on 13 May 1454, one year after completion of the hospital church, the construction of the present Othmar church started. It was the Monday after the feast of St. Pancras, whose feast on 12th May is observed. Pancras was the patron of the castle chapels of the castle Mödling and the castle Liechtenstein.
The 550-year anniversary of this laying of the cornerstone on 13th May 2004 was celebrated.
The dimensions of the church are for a market town that had at the time of the laying of the cornerstone 250 (mainly built of wood) Houses, huge: 54 m long, 23 m wide and 18 m high, the ridge height is 37 m. As a building material was, as for the St. Stephen's Cathedral in Vienna, Sarmatsandstein (Cerithiensandstein) used, a rough, deficient in fossils sandstone, which was born as a deposit of Neogene Sea at the edge of the Vienna Basin.
Pastor Hinderbach and Pius II
1449-1465 was Johannes Hinderbach pastor of St. Othmar (in some sources he is called Johann Hinderbach). He planned and thus began the construction of Othmar church. He was a diplomat, ambassador and secretary of Emperor Frederick III. at the court in Wiener Neustadt, together with Aeneas Silvius Piccolomini (Enea Silvio de' Piccolomini), who was good friends with Hinderbach. It is likely that Aeneas Silvius a few times was in Mödling on visit and was well informed about the plans of the new church.
In the tenure of Hinderbach also falls the presentation of the Mödlinger coat of arms by Frederick III.
Aeneas Silvius was for some years pastor in Laa an der Thaya (Lower Austria), 1458 he was elected Pope and took the name Pius II. He built from 1459 the cathedral of Pienza in the form of a hall church, which at that time was unusual for Italy. Models were hall churches in Austria, possibly the Othmar church under construction, however, this is historically not proven. Due to time constraints Aeneas Silvius may have seen from the Othmar church not more than the blueprints and the foundation walls.
Hinderbach and Aeneas Silvius were followers of the for the Gothic spirit characteristic attitude of mind of the light mysticism. A hall church is a suitable design to implement this principle: light-irradiated, large stained glass windows instead of walls painted with images that are prevalent in the Romanesque style.
In Him (Jesus) was life, and the life was the light of men.
And the light shines in the darkness, but the darkness has not overcome it.
The true light that enlightens every man was coming into the world.
(Jn 1, 4 to 5.9)
1465-1486 was Hinderbach Bishop of Trent. Perhaps the Othmar church was originally planned as a bishop's church, but this is historically not proven. Hinderbach created one of the most important collections of music of the 15th Century, the so-called Trent codices.
For more information, in a speech by Dr. Gebhard König here ....
Completion 1523-1525
The year date 1499 on a buttress in the parish garden likely shows the toping-off ceremony, the year date 1509 on the north-eastern crossing pier, the completion of the vault.
After 69-year construction period (corresponding to the age of the saint Othmar), the church was completed in 1523. The above-mentioned Cathedral of Pienza, however, was already completed in 1462.
The progress has been hampered by numerous wars and confusions. In that time, the civil war between the Habsburg Emperor Friedrich III . and his brother, Archduke Albrecht VI. (until his death in 1463) and the conquest of Lower Austria by the Hungarian king Matthias Corvinus I., who resided in Vienna from 1485, falls.
1525 the church was consecrated (year date above the organ).
Destruction 1529
In fall of 1529, six years after the end of construction, the church was destroyed by the hordes of Kassim Beg during the first Turkish siege. The collapsing roof penetrated the vault and the vault of the lower church. Likewise, the Burg (castle) Mödling was destroyed, which was not rebuilt since then.
According to the report of a parish visitation in 1544 was the kürchen (church) and pfarrhof (vicarage) sambt (along with) the gantzen Marckt Mödling (whole market) as well as the umbliegenden (adjoining) fleckhen (hamlets) of the 29th year verwüst (devastated) by the türkhen (Turks) in Grundt (to the ground) and burned.
The grooves and the rectangular holes in the central pillars on which they wanted attach figure niches with pinnacle baldachins and Kapitellsockeln (capital bases) as with the pilasters, therefore, remained to this day empty. At the times when the Othmar church was not usable, the hospital church served as a parish church.
From the interior decoration of the church from the time before the destruction of 1529 today only three items are present: the tabernacle, the head of the crucified and an embroidered image of Mary, which is today at the votive altar.
To 1540 begins on the eastern slope of the Anninger (small mountain) a pine to grow that later became famous under the name width pine (Breite Föhre).
Reconstruction to 1690
Rötelinschriften (red chalk epigraphs) next to the entrance, the south transept and north aisle next to the organ parapet indicate that work has been done on the church in 1556 again.
After 1555 the Peace of Augsburg had approved the principle that the ruler could determine the religious denomination of the subjects, reinforced Emperor Ferdinand I the Counter-Reformation to the recatholicization of the country. 1556 Ferdinand issued the so-called gift letter (Gabebrief). With this document he gave the community all possessions owned by the parish (church buildings, forests, vineyards, fields). He imposed the condition that instead of an Evangelical preacher a Catholic priest was responsible for the pastoral care again and that Mödling became Catholic. Still today the municipality bears the building cost for the ecclesiastical buildings (Othmar church, hospital church, Karner, rectory, sacristan apartment) and has a say in the appointment of a new pastor.
A son of Ferdinand I, Emperor Maximilian II, the famous castle Neugebäude had built.
One reason for the lengthy reconstruction of the church might have been the Reformation (1517 were the 95 theses of Martin Luther published) and the decline in the number of Catholics. Pastor Georg Müller from 1527 is first Protestant minister in Mödling, sometimes up to three Evangelical pastors in Mödling are active .
Mödling in 1560 among the 18 richest cities and markets in the country is in sixth place. 1576 there is again a Catholic priest. Of him it is said that he had not a good life in the market. The population flows to the Protestant clergies of the surrounding residences, and again and again come Protestant preachers to Mödling.
1582 the church possesses a shallow makeshift roof over a cross barrel vault, the vault is still preserved today. (However, the church in the plan of the Burgfrieden (civil peace) and the District Court market Mödling is represented by 1610 without a roof and called Old deserted churche. Alongside the Karner is shown with pointed conical roof.)
Still in 1605 is reported on the parish that most part is not Catholic and does run after foreign cure of souls.
In the course of the Counter-Reformation cardinal Melchior Khlesl in a decree calls for donations for the reconstruction of the church:
The with big heavy expenses respectable built God house of Mödling under Gebürg (mountain), then as such anno 1523 with all belonging to the city even built up, it is at once it in 6 years afterwards by the erbfeundt (hereditary friend) as he with all of his power invaded the land and besieged the city of Vienna, put on fire and and along with all churches ornat burned down.
Khlesl was originally Protestant, then converted, influential politician, since 1598 bishop of Vienna, 1615 the first Cardinal in Vienna, he died in 1630, tomb in saint Stephen's cathedral.
However, 1618 is also the beginning of the Thirty Years' War, whereby the construction progress was further delayed.
One hundred years after the destruction of the church, it is still worked on the restoration. 1629 a citizen of Salzburg donates the Märbelsteinpflaster (Salzburg marble) for the sanctuary. The top step in front of the high altar is still made of old stones, the difference with the 1982 renewed stones is clearly visible. A commemorative plaque to the donator from Salzburg is located on the right column at the high altar:
Almighty God in praise, of St. Mary Mother of God in honor, has Florianus Ursprunger, citizen and Gastgeb (host) of Salzburg of present choir the Märbelpflastersteine handed on anno 1629.
A lightning strike shattered the windows and the tracery in 1643: here the weather has beaten in the main church, and both the windows and outmost grids anything shattered. 20 years later is reported a Corpus Christi Brotherhood, to which belongs one third of the population of Mödling.
In a report in 1664 six altars in the Othmar church (and one in the Pantaleon chapel) are enumerated by name. The church may have been thus completed for the most part.
1679 the pleague in Mödling breaks out.
1683 destruction and reconstruction
On 12th and 13th July 1683 suffers Mödling the conquest by the troops of Kara Mustafa. The church is partly destroyed and the vault is damaged.
The population is almost entirely eradicated. Many had sought in the crypt and the Karner (charnel house) refuge and were killed as a plate in front of the church reports. It is believed that, of the approximately 2000 inhabitants, only about 10% have survived, who had hidden in the woods.
After 1683 follows the rapid reconstruction of the church under Marktrichter (equivalent to mayor) Wolfgang Ignaz Viechtl, his home with a commemorative plaque stands on Liberty Square. As can be seen on the board, was Viechtl a miller (on the Fischermühle), so he on the outside of the west wall at high altitude had attached two millstones (see external view).
On 1st September 1688 is the vault restored, the executive master mason Brand for it receives according to Council minutes 1/4 bucket of wine (equivalent to approximately 14 liters). In 1690 the church was inclusively roof and truss restored (year date above the organ).
Baroquisation 18th century
The victory over the Turks initiates the second phase of the history of Othmar church. It is made in Baroque style (1690-1760). The windows are bricked up, the light mysticism of the Gothic becomes less important. The pulpit and seven baroque altars are built (see the high altar, Nepomuk altar, Anne altar, weekday chapel, votive altar). 1727 an organ is built. The hall of the Children of God turns into the throne room of the Heavenly Majesty.
Neo-Gothic restoration from 1875 to 1897.
The elevation of Mödling in 1875 as a city under Mayor Joseph Schöffel induces to a major renovation (1875 - 1897). They want the church according to the zeitgeist (spirit of the times) rebuilt in the neo-Gothic style. To do this, on 6th February 1875 at the request of Mayor Joseph Schöffel a church restoration club is founded.
The in the Baroque period bricked-up windows are laid open. This can be seen clearly on the frescoes on the Anne altar in the south transept. The grave stones lying in the soil are placed on the wall.
The figure niches and canopies on the pillars were replaced (except right behind the high altar). At Anne altar there are for unknown reasons no figure niches.
1904, a second gate is broken. The main entrance is getting a new stem, the in 1773 built Cross chapel is removed.
Renovation 1982 to May 1983
The renovation of 1982 restores the hall church (year date above the organ). The by the transept indicated cross in the ground plan of the church is satisfied that the Baroque interior in this cross takes the place of the stigmata. The liturgical ideas of Second Vatican Council are realized in works of contemporary art (folk altar and ambo).
Supplements
In 2008, the heating system was renewed.
Karner and church
Karner and church of the rest of St. John
Inscription on the laying of foundation stone 1454
Glass window
The glass window bears the inscription
Church restoration Club = 1895
Inscription 1499 (topping-off ceremony)
Buttresses in the garden
Inscription 1509 (vault completion)
Red chalk inscription 1558
Plan in 1610, Karner and Old deserted church
Commemorating plaque 1629
Commemorating plaque to the donor of the Märbelsteinpflaster 1629
Märbelsteinstufe (stone step) 1629 at the High Altar
Engraving after Merian 1649
St. Othmar and Karner
Engraving after Matthäus Merian 1649
Saints in figure niches
Lonely St. Anna - all other figure niches (they stem from the construction period 1454-1523) are empty or do not exist.
Choir stalls detail and consecration cross
Ceiling painting Holy Ghost Hole (1700 - 1750)
Consecration Cross: Twelve Apostle or consecration crosses are in the Othmar church, at those in 1525 at the fair were done prayers
Column
Twelve octagonal central pillars carry the vault
St. Anthony at a column
I was in the area, checking up on the Heath Spotted Orchids, and the church was a five minute drive away, in the grounds of a former country house.
I park at the church and find it locked, as expected, but there were directions to a keyholder nearby, walking into the cobbled squares and converted estate buildings now executive housing.
I ring the bell: nothing
I ring again: nothing
I use the knocker: dog barks. Dog attacks the door.
There is angry voices. Or voice. There was the sound of the dog being put into a side room, and the struggle to close the door.
The front door opened: yes?
Can I have the church key, please?
Not sure if I still have it.
Why'd you want it?
To photograph the interior.
Who're with?
I'm with no one, I am photographing all parish churches in the county, and would like to do this one. I showed him my driving licence which should say under job title: obsessive and church crawler.
He seemed satisfied, and let me have the key.
Phew.
------------------------------------------------
Substantially rebuilt after a fire of 1598. The welcoming interior displays no chancel arch, although the doorways in the arcade show where the medieval rood screen ran the width of the church. The striking east window was designed by Wallace Wood in 1954. There is a good aumbry and piscina nearby. To the north of the chancel stands the excellent tomb chest of Sir John Tufton (d. 1624). The arcade into which it is built was lowered to allow a semi-circular alabaster ceiling to be inserted to set the composition off. Because it is completely free-standing it is one of the easiest tomb chests in Kent to study, with five sons kneeling on the south side and four daughters on the north . In addition there are complicated coats of arms and an inscription which records the rebuilding of the church by Tufton after the fire. On top of the chest lie Sir John and his wife, with their son Nicholas kneeling between their heads. Much of the monument is still covered with its original paint. The organ, which stands in the south aisle, may be the instrument on which Sir Arthur Sullivan composed 'The Lost Chord'. It originally stood in Hothfield Place where Sullivan was a frequent guest.
www.kentchurches.info/church.asp?p=Hothfield
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HOTHFIELD
IS the next parish northward from Great Chart, and is so called from the bothe, or heath within it. The greatest part of this parish lies within the hundred of Chart and Longbridge, and the remainder in that of Calehill. It is in the division of East Kent.
THE PARISH of Hothfield lies a little more than two miles from Ashford north-westward, the high road from which towards Lenham and Maidstone goes through it over Hothfield heath. It contains about 1250 acres, and fifty houses, the rents of it are about 1300l. per annum. It is not a pleasant, nor is it accounted a healthy situation, owing probably to the many low and watry lands in and about it. The river Stour, which rises at Lenham, runs along the southern side of the parish, which is watered likewise by several small streams, which rise about Charing and Westwell, from under the chalk hills, and join the Stour here. The heath, which contains near one half of the parish, consists mostly of a deep sand, and has much peat on it, which is continually dug by the poor for firing. On the east and west sides of the heath, the latter being called West-street, are two hamlets of houses, which form the scattered village of Hothfield. The Place-house stands on a hill, at a small distance from the corner of the heath southward, with some small plantations of trees about it, forming a principal object to the country round it. It is a square mansion, built of Portland stone, by the late earl of Thanet, on the scite of the antient mansion, close to the church; it has a good prospect round it. The adjoining grass grounds are extensive, and well laid out for the view over them; the water, which rises at no great distance from the house, becomes very soon a tolerable sized stream, and running on in sight of it, joins the Stour a little above Worting mill; these grass lands are fertile and good fatting land, like those mentioned before, near Godington, in Great Chart. The parsonage house, which is a neat dwelling of white stucco, stands at the southern corner of the heath, at the foot of the hill, adjoining the Place grounds, near West-street. Between the heath and Potter's corner, towards Ashford, the soil begins to approach much of the quarry stone.
Though the land in the parish is naturally poor, it is rendered productive by the chalk and lime procured from the down hills. The inhabitants have an unlimited right of commoning with those of the adjoining parish of Westwell, to upwards of five hundred acres of common, which affords them the means of keeping a cow and their poultry, which, with the liberty of digging peat, draws a number of certificated poor to reside here. There is not one dissenter in the parish.
Jack Cade, the noted rebel, in Henry the VI.th's reign, though generally supposed to be taken by Alexander Iden, esq. the sheriff, in a field belonging to Ripple manor, in the adjoining parish of Westwell, was discovered, as some say, in a field in this parish, still named from him, Jack Cade's field, now laid open with the rest of the grounds adjoining to Hothfieldplace.
The plant caryophyllata montena, or water avens, which is a very uncommon one, grows in a wood near Barber's hill, in this parish.
THE MANOR OF HOTHFIELD seems, in very early times, to have had the same owners as the barony of Chilham, and to have continued so, for a considerable length of time after the descendants of Fulbert de Dover were become extinct here. Bartholomew de Badlesmere, who in the 5th year of king Edward II. had a grant of this manor as well as of Chilham in see, appears to have held this manor of Hothfield by grand sergeantry of the archbishop, and accordingly, in the 8th year of it, at the enthroning of archbishop Walter Reynolds, he made his claim, and was allowed to perform the office of chamberlain for that day, and to serve up the water, for the archbishop to wash his hands; for which his fees were, the furniture of his bedchamber, and the bason and towel made use of for that purpose; (fn. 1) and in the next year he obtained of the king, a charter of free-warren for his demesne lands within this manor among others. After this the manor of Hothfield continued to be held by the like service, and continued in the same owners as that of Chilham, (fn. 2) down to Thomas lord Roos, who became entitled to the see of it, who for his attachment to the house of Lancaster, was, with others, attainted, in the 1st year of king Edward IV.'s reign, and his lands confiscated to the crown. But Margaret his mother, being possessed of it for her life, afterwards married Roger Wentworth, esq. whom she survived, and died possessed of it in the 18th year of that reign; upon which, by reason of the above attaint, the crown became entitled to it, the inquisition for which was found in the 4th year of that reign; immediately after which, the king granted it to Sir John Fogge, of Repton, who was comptroller of his household and one of his privy council, for his life. On king Richard III.'s accession to the crown, he took shelter in the abbey of Westminster, from whence he was invited by the king, who in the presence of a numerous assembly gave him his hand, and bid him be confident that from thenceforward he was sure to him in affection. This is rather mentioned, as divers chronicles have erroneously mentioned that he was an attorney, whom this prince had pardoned for forgery. He died possessed of it in the 17th year of Henry VII. where it remained till Henry VIII. granted it, at the very latter end of his reign, to John Tufton, esq. of Northiam, in Sussex, whose lands were disgavelled by the acts of 2 and 3 Edward VI. who afterwards resided at Hothfield, where he kept his shrievalty in the 3d year of queen Elizabeth. He was descended from ancestors who were originally written Toketon, and held lands in Rainham, in this county, as early as king John's reign; (fn. 3) one of whom was seated at Northiam, in Sussex, in king Richard the IId.'s reign, at which time they were written as at present, Tufton, and they continued there till John Tufton, esq. of Northiam, before-mentioned, removed hither. He died in 1567, and was buried in this church, leaving one son John Tufton, who resided at Hothfield-place, and in July, in the 16th year of queen Elizabeth, anno 1573, entertained the queen here, in her progress through this county. In the 17th year of that reign he was sheriff, and being a person of eminent repure and abilities, he was knighted by king James, in his 1st year, and created a baronet at the first institution of that order, on June 19, 1611. He married Olimpia, daughter and heir of Christopher Blower, esq. of Sileham, in Rainham, by whom he had three daughters; and secondly Christian, daughter and coheir of Sir Humphry Brown, a justice of the common pleas. He died in 1624, and was buried in this church, having had by her several sons and daughters. Of the former, Nicholas the eldest, succeeded him in title and estates. Sir Humphry was of Bobbing and the Mote, in Maidstone, and Sir William was of Vinters, in Boxley, both baronets, of whom further mention has already been made in the former parts of this history.
Sir Nicholas Tufton, the eldest son, was by letters patent, dated Nov. 1, anno 2 Charles I. created lord Tufton, baron of Tufton, in Sussex; and on August 5, in the 4th year of that reign, earl of the Isle of Thanet, in this county. He had four sons and nine daughters; of the former, John succeeded him in honors, and Cecil, was father of Sir Charles Tufton, of Twickenham, in Middlesex. John, the eldest son, second earl of Thanet, married in 1629 Margaret, eldest daughter and coheir of Richard, earl of Dorset, by his wife the lady Anne Clifford, sole daughter and heir of George, earl of Cumberland, and baroness of Clifford, Westmoreland, and Vescy, by which marriage these tithes descended afterwards to their issue. In the time of the commonwealth, after king Charles the 1st.'s death, he was, in 1654, appointed sheriff, and however inconsistent it might be to his rank, yet he served the office. He left six sons and six daughters, and was succeeded by Nicholas his eldest son, third earl of Thanet, who by the deaths of his mother in 1676, and of his cousin-german Alethea, then wife of Edward Hungerford, esq. who died s. p. in 1678, he became heir to her, and sole heir to his grandmother Anne, lady Clifford, and consequently to the baronies of Clifford, Westmoreland, and Vescy; dying s. p. he was succeeded as earl of Thanet and lord Clifford, &c. by his next brother John, who, on his mother's death, succeeded likewise by her will to her large estates in Yorkshire and Westmoreland, and to the hereditary in sheriffdoms of the latter and of Cumberland likewise, for it frequently happened in these hereditary sheriffdoms that female heirs became possessed of them, and consequently were sheriffs of those districts; but this was not at all an unusual thing, there being many frequent instances of women bearing that office, as may be seen in most of the books in which any mention is made of it, some instances of which the reader may see in the differtation on the office of sheriff, in vol. i. of this history. That part of their office which was incompatible for a woman to exercise, was always executed by a deputy, or shyre-clerk, in their name. But among the Harleian MSS. is a very remarkable note taken from Mr. Attorney-general Noys reading in Lincoln's inn, in 1632, in which, upon a point, whether the office of a justice of a forest might be executed by a woman; it was said, that Margaret, countess of Richmond, mother to king Henry VII. was a justice of peace; that the lady Bartlet, perhaps meant for Berkley, was also made a justice of the peace by queen Mary, in Gloucestershire; and that in Suffolk one ..... Rowse, a woman, did usually fit upon the bench at assizes and sessions among other justices, gladio cincta. John, earl of Thanet, died unmarried, as did his next brother earl Richard, so that the titles devolved to Thomas Tufton, who became the sixth earl of Thanet, and lord Clifford, which latter title was decreed to him by the house of peers in 1691. He left surviving issue five daughters and coheirs, the eldest of whom, Catherine, married Ed. Watson, viscount Sondes, son and heir of Lewis, earl of Rockingham; and the four others married likewise into noble families. He died at Hothfield in 1729, having by his will bequeathed several legacies to charitable purposes, especially towards the augmentation of small vicarages and curacies. He died without male issue, so that the titles of earl of Thanet and baron Tufton, and of baronet, descended to his nephew Sackville Tufton, eldest surviving son of his brother Sackville Tufton, fifth son of John, second earl of Thanet. But the title of baroness Clifford, which included those of Westmoreland and Vescy, upon the death of Thomas, earl of Thanet, without male issue, became in abeyance between his daughters and coheirs above-mentioned, and in 1734, king George II. confirmed that barony to Margaret, his third surviving daughter and coheir, married to Thomas Coke, lord Lovel, afterwards created earl of Leicester, which title is now again in abeyance by his death s. p. Which Sackville Tufton died in 1721, leaving Sackville the seventh earl of Thanet, whose eldest son of the same name succeeded him as eighth earl of Thanet, and rebuilt the present mansion of Hothfield-place, in which he afterwards resided, but being obliged to travel to Italy for his health, he died there at Nice in 1786, and was brought to England, and buried in the family vault at Rainham, in this county, where his several ancestors, earls of Thanet, with their countesses, and other branches of the family, lie deposited, from the time of their first accession to that title. He married Mary, daughter of lord John Philip Sackville, sister of the present duke of Dorset, by whom he had five sons and two daughters, Elizabeth; and Caroline married to Joseph Foster Barham, esq. Of the former, Sackville, born in 1769, succeeded him in honors; Charles died unmarried; John is M. P. for Appleby; Henry is M. P. for Rochester, and William. He was succeeded by his eldest son, the present right hon. Sackville Tufton, earl of Thanet, baron Tufton, lord of the honor of Skipton, in Craven, and baronet, and hereditary sheriff of the counties of Westmoreland and Cumberland, who is the present possessor of this manor and seat, and resides here, and is at present unmarried. (fn. 4)
The antient arms of Tufton were, Argent, on a pale, sable, an eagle displayed of the field; which coat they continued to bear till Nicholas Tufton, the first earl of Thanet, on his obtaining that earldom, altered it to that of Sable, an eagle displayed, ermine, within a bordure, argent; which coat was confirmed by Sir William Segar, garter, in 1628, and has been borne by his descendants to the present time. The present earl of Thanet bears for his coat of arms that last-mentioned; for his crest, On a wreath, a sea lion, seiant, proper; and for his supporters, Two eagles, their wings expanded, ermine.
SWINFORT, or Swinford, which is its more proper name, is a manor in this parish, lying in the southern part of it, near the river Stour, and probably took its name from some ford in former times over it here. However that be, it had formerly proprietors, who took their name from it; but they were never of any eminence, nor can I discover when they became extinct here; only that in king Henry V.'s reign it was in the possession of Bridges, descended from John atte Bregg, one of those eminent persons, whose effigies, kneeling and habited in armour, was painted in the window often mentioned before, in Great Chart church; and in this family the manor of Swinford continued till the latter end of king James I.'s reign, when it passed by sale from one of them to Sir Nicholas Tufton, afterwards created earl of Thanet, whose son John, earl of Thanet, before the 20th year of that reign, exchanged it for other lands, which lay more convenient to him, with his near neighbour Nicholas Toke, esq. of Godinton, in which family and name it has continued down, in like manner as that feat, to Nicholas Roundell Toke, esq. now of Godinton, the present possessor of it. A court baron is held for this manor.
FAUSLEY, or FOUSLEY, as it is now usually called, is the last manor to be described in this parish; its more antient name was Foughleslee, or, as it was usually pronounced, Faulesley; which name it gave to owners who in early times possessed and resided at it. John de Foughleslee, of Hothfield, was owner of it in the second year of king Richard II. and in his descendants this manor seems to have continued till about the beginning of queen Elizabeth's reign, when it passed by sale to Drury; from which name, at the latter end of it, this manor was conveyed to Paris, who immediately afterwards alienated it to Bull, who soon afterwards reconveyed it back again to the same family, whence, in the next reign of king James I. it was sold to Sir Nicholas Tufton, afterwards created earl of Thanet, in whose successors, earls of Thanet, it has continued down to the right hon. Sackville, earl of Thanet, the present owner of it.
Charities.
RICHARD PARIS, by deed in 1577, gave for the use of the poor, a rent charge of 16s. per annum, out of land called Hanvilles, in this parish; the trustees of which have been long ago deceased, and no new ones appointed since.
THOMAS KIPPS, gent. of Canterbury, by will in 1680, gave for the use of the same, an annual rent charge of 1l. out of lards in Great Chart.
RICHARD MADOCKE, clothier, of this parish, by will in 1596, ordered that the 11l. which he had lent to the parishioners of Hothfield, towards the rebuilding of their church, should, when repaid, be as a stock to the poor of this parish for ever.
SIR JOHN TUFTON, knight and baronet, and Nicholas his son, first earl of Thanet, by their wills in 1620 and in 1630, gave certain sums of money, with which were purchased eight acres of land in the parish of Kingsnoth, of the annual produce of 10l.
DR. JOHN GRANDORGE, by deed in 1713, gave a house and land in Newington, near Hythe, of the annual produce of 7l. which premises are vested in the earl of Thanet.
THOMAS, EARL OF THANET, and SACKVILLE TUFTON. Esq. grandfather of the present earl, by their deeds in 1720 and 1726, gave for a school mistress to teach 24 poor children, a rent charge and a house and two gardens, in Hothfield, the produce in money 20l. The premises were vested in Sir Penyston Lambe and Dr. John Grandorge, long since deceased; since which the trust has not been renewed; and the original writings are in the earl of Thanet's possession.
Such of the above benefactions as have been contributed by the Tufton family, have been ordered by their descendants to be distributed annually by the steward of Hothfield-place for the time being, without the interference of the parish officers, to such as received no relief from this parish; the family looking upon these rather as a private munisicence intended to continue under their direction.
The poor annually relieved are about twenty-five, casually as many.
HOTHFIELD is situated within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Charing.
¶The church, which is small, is dedicated to St. Mary, and consists of three isles and a chancel, having a low spire steeple, covered with shingles at the west end, in which are five bells, and though it stands on a hill, is yet very damp. There is not any painted glass in the windows of it. On the north side in it, is a monument of curious workmanship, having the figures of a man and woman, in full proportion, lying at length on it; at three corners of it are those of two sons and one daughter, kneeling, weeping, all in white marble; round the edges is an inscription, for Sir John Tufton, knight and baronet, and Olympia his wife, daughter and heir of Christopher Blower, esq. On the monument are the arms of Tufton, with quarterings and impalements; on the sides are two inscriptions, one, that he re-edified this church after it was burnt, at his own charge, and under it made a vault for himself and his posterity, and after that he had lived eighty years, departed this life; the other enumerating his good qualities, and saying that by his will he gave perpetual legacies to this parish and that of Rainham. This monument is parted off from the north isle by a strong partition of wooden balustrades, seven feet high. The vault underneath is at most times several feet deep with water, and the few coffins which were remaining in it were some years since removed to the vaults at Rainham, where this family have been deposited ever since. On the north side of the chancel is a smaller one, formerly called St. Margaret's chapel, now shut up, and made no use of. In the south isle is a memorial for Rebecca, wife of William Henman, esq. obt. 1739, and Anna-Rebecca, their daughter, obt. 1752; arms, A lion, between three mascles, impaling a bend, cotized, engrailed. This church, which is a rectory, was always esteemed an appendage to the manor, and has passed accordingly, in like manner with it, down to the right hon. Sackville, earl of Thanet, lord of the manor of Hothfield, the present patron of it.
This rectory is valued in the king's books at 17l. 5s. and the yearly tenths at 1l. 14s. 6d.
There was a pension of ten shillings paid from it to the college of Wye. In 1588 here were communicants one hundred and ninety-three, and it was valued at eighty pounds. In 1640, communicants one hundred and ninety, and valued at only sixty pounds per annum. There is a modus of two pence an acre of the pasture lands in the parish. There are twelve acres of glebe. It is now worth about one hundred and twenty pounds per annum.
Richard Hall, of this parish, by will in 1524, ordered that his feoffees should enfeoffe certain honest persons in his house and garden here, set beside the pelery, to the intent that the yearly serme of them should go to the maintenance of the rode-light within the church.
This church was burnt down in the reign of king James I. and was rebuilt at the sole expence of Sir John Tufton, knight and baronet, who died in 1624. His descendant Thomas, earl of Thanet, who died in 1729, gave the present altar-piece, some of the pewing, and the pulpit.
"This minor sanctuary has been refurbished by Yitzchak Mahab, son of the wealthy Ephraim, in the year 5075 [1315 C.E.]; may God remove curses from our nation and speedily rebuild Jerusalem."
"Here lies the body of Edward Cheseldyn of Braunston .... , gent, who died .... AD 1642"
Edward was the son & heir of Kenelme Cheselden 1596 & wife Winifred www.flickr.com/gp/52219527@N00/f179tj daughter of Sir Francis Say of Wilby
He m Bridget d 1653 daughter of Kenelm / Anthony Fawkenor / Fawkener / Faucenor
Children
1. Anthony b1600
2. Lion b1602
3. Everard b1604 of Ridlington m Aline daughter of Joseph Walker
4. Bridget b 1605
5. Kenelm 1608-1677 vicar of Bloxam & Deene m Grace daughter of Stephen Dryden 1591 of the Middle Temple, and Bulwich by Elizabeth Neale (parents of Kenelm Cheseldine 1708 who was sworn in as Attorney-General of Maryland in 1676)
6. Edward 1614-1691 m Joan daughter of George Paul of Outon
Edward was succeeded by his son Kenelm who owned the manor in 1655, and with his son Thomas apparently conveyed the manor in that year to William Whitby / Welby, who with William Clark and Stephen Chesilden sold it in 1668 to Giles Burton.- Church of All Saints, Braunston Rutland
Mr John Derry who died April 7th 1790 aged 75 & Sarah Derry died December 19th 1816 aged 60 - Church of St Mary Magdalene Newark, Nottinghamshire
Trabant 601 key chains by Welly. Despite the inscription on the box (which is generic to the range) these are about 74mm long which makes them around 1:48 scale.
El Morro National Monument is a U.S. national monument in Cibola County, New Mexico. To learn more about the monument visit www.RoamYourHome.com
El Morro National Monument is a U.S. national monument in Cibola County, New Mexico. To learn more about the monument visit www.RoamYourHome.com
28.12.2012: Grounds of the Archaeological Museum, Istanbul.
"To the gods of the underworld: Otacilius Crispus for himself and Otacilia the wife of Onesimus."
d(is) m(anibus)
A. Otacilius Crispus sibi et
Otaciliae Onesime coniugi.
Ἀ. Ὀτακίλιος Κρίσπος ἑαυτῶι
καὶ τῇ γυναικὶ Ὀτακιλίᾳ Ὀνησίμηι.
CIL III Suppl 13685; IK 18,380