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On April 30, 2011 Milpitas Fire Department responded to reports of smoke and flame showing from a house. Arriving units reported the second story of the home well involved with heavy smoke coming from the roof.
A second alarm was struck once the fire broke through the attic to the original shake roof, which was covered by a new metal roof. While knockdown was achieved quickly inside the building, the fire between the old shake roof and the new roof caused a major problem. Ultimaely the only way to access the fire was to remove the entire roof to get at the old shake roof. This was a very long and labor intensive process.
Milpitas FD was assisted on scene by units from Fremont Fire department and the Fire Associates of Santa Clara Valley, while both San Jose FD and Fremont Fire provided untis for station coverage.
Fremont units made up the second alarm, including Battalion 5, driving this Chevy Tahoe
For more images from this incident check out YourFireDepartment.org, Evergreen Way
The peribolos, the space between the inner and outer walls. To the left and right of the Belgrade Gate / Xylokerkos Gate the walls have been intensively restored.
The Theodosian Walls were situated between the Sea of Marmara and the Golden Horn and have a length of 6.5 km.
The walls were completed in 413 during the reign of Theodosius II (408–50). The wall was given his name, but was actually built under the supervision of Anthemius of Byzantium, a praefectus praetorio of the Eastern Roman Empire.
From 439 onwards, the sea walls were built along the Golden Horn and the Sea of Marmara (Propontis), thus walling the entire peninsula on which the city was situated.
The Theodosian Walls consisted of:
- the main inner wall (5 meters thick and 12 meters high); this was separated by a terrace (peribolos) from
- the lower outer wall (2 meters thick and 8.5 meters high).
An outer terrace, the parateichion, extended between the outer wall and the moat. The moat was about 20 m (66 ft) from the outer wall. The moat itself was over 20 m (66 ft) wide and as much as 10 m (33 ft) deep, with a 1.5 m (5 ft) high crenellated wall on the inside, which served as a first line of defense.
Access to the outer wall from the city was provided through the main gates at the base of the towers of the inner wall. The outer wall also had towers, which were placed about halfway between the towers of the inner wall. They were spaced at a distance of 48–78 m (150–250 ft) from each other. Of the towers of the outer wall, 62 have survived.
The walls of Constantinople were notoriously impregnable throughout the Middle Ages. Greek engineers used a much more effective construction technique than others in the Middle Ages. The walls in the Byzantine Empire were usually not solid, but consisted of double walls filled with rubble, which allowed gaps to be quickly repaired. Numerous armies of Bulgarians, Avars, Kipchaks, Russians, Galatians and Arabs failed to penetrate the walls. The first breach of the walls came in 1204, when the Fourth Crusade laid the city to waste. Two centuries later, the city had not yet recovered from the damage of the Crusade, and in 1453, after a relatively short siege, it fell into the hands of the Turkish Ottomans.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
The Westland Wasp was a small 1960s British gas-turbine powered, shipboard anti-submarine helicopter. Produced by Westland Helicopters, it came from the same P.531 programme as the British Army Westland Scout, and was based on the earlier piston-engined Saunders-Roe Skeeter. It fulfilled the requirement of the Royal Navy for a helicopter small enough to land on the deck of a frigate and carry a useful load of two homing torpedoes.
The Wasp HAS.1 (HAS Mk 1) was introduced to service in the small ships role in 1964, after an intensive period of trials by 700(W) IFTU between June 1963 and March 1964. It served in this primary role with 829 Naval Air Squadron, but also in training units to supply crews for the front line with 706 NAS between 1965 and 1967 and in 703 NAS between 1972 and 1981. Single airframes also served for light liaison duties in the Commando Assault squadrons, 845 NAS and 848 NAS until 1973. Although effective as a submarine killer, it was best deployed paired with a Wessex HAS.3 submarine hunter. In the late 1970s, the Westland Lynx started to replace the Wasp.
On 25 April 1982 the Argentinian submarine ARA Santa Fe was spotted by a Wessex helicopter from HMS Antrim. The Wessex and a Westland Lynx HAS.2 from HMS Brilliant then attacked it with depth charges, a Mk 46 torpedo, and also strafed it with GPMG. A Wasp launched from HMS Plymouth and two Wasps launched from HMS Endurance fired AS.12 antiship missiles at the submarine, scoring hits. Santa Fe was damaged badly enough to prevent her from submerging. The crew abandoned the submarine at the jetty on South Georgia and surrendered to the British forces, thus becoming the first casualty of the sea war, as well as the first direct engagement by the Royal Navy Task Force.
The last Wasp was finally withdrawn from service in 1988 when the last of the Type 12 Rothesay class frigates was decommissioned.
Photographs of students at the Covent Garden Summer Intensive 2019
©2019 The Royal Ballet School. Photographed by Rachel Cherry
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
Published: www.effinghamradio.com/2020/04/09/new-modeling-predicts-l...
There I was two days ago after a biopsy of the heart muscle. The result is not known yet. They wanted to customize a safety vest with a defibrillator. I refused that. The question will be in a few years, if I can accept artificial implants. We are all part of a life-prolonging machine called civilization. Life expectancy would otherwise be much lower.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
Photography is not allowed in the church, but just about everyone was snapping away, some with flash, so I took three shots, I really wanted one from in front of the altar, looking up to the balconies, but it seemed rude to do so.
An incredible building, not to everyone's taste.
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The Dresden Frauenkirche (German: Dresdner Frauenkirche, IPA: [ˈfʁaʊənˌkɪʁçə], Church of Our Lady) is a Lutheran church in Dresden, the capital of the German state of Saxony. Although the original church was Roman Catholic until it became Protestant during the Reformation, the current Baroque building was purposely built Protestant. It is considered an outstanding example of Protestant sacred architecture, featuring one of the largest domes in Europe.
Built in the 18th century, the church was destroyed in the bombing of Dresden during World War II. The remaining ruins were left as a war memorial, following decisions of local East German leaders. The church was rebuilt after the reunification of Germany. The reconstruction of its exterior was completed in 2004 and its interior in 2005. The church was reconsecrated on 30 October 2005 with festive services lasting through the Protestant observance of Reformation Day on 31 October. It now also serves as a symbol of reconciliation between former warring enemies. The surrounding Neumarkt square with its many valuable baroque buildings was also reconstructed in 2004.
The Frauenkirche is often called a cathedral, however it is not the seat of a bishop. The bishop's church is the Church of the Cross. Once a month, an Anglican Evensong is held in English, by clergy from the St. George's Anglican Chaplaincy.
A first Kirche zu unser liuben Vrouwen was built in the 11th century in romanesque architecture. It was outside the city walls and surrounded by a grave yard. The Frauenkirche was seat of an archpriest in the Diocese Meißen until Reformation, when it became a Protestant church. This first Frauenkirche was torn down in 1727 and replaced by a new church due to capacity requests. The modern Frauenkirche was built as a Lutheran (Protestant) parish church by the citizenry. Even though Saxony's Prince-elector, Frederick August I, reconverted to Roman Catholicism to become King of Poland, he supported the construction to have an impressive cupola in the Dresden townscape.
The original Baroque church was built between 1726 and 1743, and was designed by Dresden's city architect, George Bähr, who did not live to see the completion of his greatest work. Bähr's distinctive design for the church captured the new spirit of the Protestant liturgy by placing the altar, pulpit, and baptismal font directly centred in view of the entire congregation.
In 1736, famed organ maker Gottfried Silbermann built a three-manual, 43-stop instrument for the church. The organ was dedicated on 25 November and Johann Sebastian Bach gave a recital on the instrument on 1 December.
Dresden. Frauenkirche, between 1860 and 1890
The church's most distinctive feature was its unconventional 96 m-high dome, called die Steinerne Glocke or "Stone Bell". An engineering feat comparable to Michelangelo's dome for St. Peter's Basilica in Rome, the Frauenkirche's 12,000-ton sandstone dome stood high resting on eight slender supports. Despite initial doubts, the dome proved to be extremely stable. Witnesses in 1760 said that the dome had been hit by more than 100 cannonballs fired by the Prussian army led by Friedrich II during the Seven Years' War. The projectiles bounced off and the church survived.
The completed church gave the city of Dresden a distinctive silhouette, captured in famous paintings by Bernardo Bellotto, a nephew of the artist Canaletto (also known by the same name), and in Dresden by Moonlight by Norwegian painter Johan Christian Dahl.
In 1849, the church was at the heart of the revolutionary disturbances known as the May Uprising. It was surrounded by barricades, and fighting lasted for days before those rebels who had not already fled were rounded up in the church and arrested.
For more than 200 years, the bell-shaped dome stood over the skyline of old Dresden, dominating the city.
Burials include Heinrich Schütz and George Bähr.
On 13 February 1945, Anglo-American allied forces began the bombing of Dresden. The church withstood two days and nights of the attacks and the eight interior sandstone pillars supporting the large dome held up long enough for the evacuation of 300 people who had sought shelter in the church crypt, before succumbing to the heat generated by some 650,000 incendiary bombs that were dropped on the city. The temperature surrounding and inside the church eventually reached 1,000 degrees Celsius.[1] The dome finally collapsed at 10 a.m. on 15 February. The pillars glowed bright red and exploded; the outer walls shattered and nearly 6,000 tons of stone plunged to earth, penetrating the massive floor as it fell.
The altar, a relief depiction of Jesus’ agony in the Garden of Gethsemane on the Mount of Olives by Johann Christian Feige, was only partially damaged during the bombing raid and fire that destroyed the church. The altar and the structure behind it, the chancel, were among the remnants left standing. Features of most of the figures were lopped off by falling debris and the fragments lay under the rubble.
Ruins of the Frauenkirche, 1973
The building vanished from Dresden's skyline, and the blackened stones would lie in wait in a pile in the centre of the city for the next 45 years as Communist rule enveloped what was now East Germany. Shortly after the end of World War II, residents of Dresden had already begun salvaging unique stone fragments from the Church of Our Lady and numbering them for future use in reconstruction. Popular sentiment discouraged the authorities from clearing the ruins away to make a car park. In 1966, the remnants were officially declared a "memorial against war", and state-controlled commemorations were held there on the anniversaries of the destruction of Dresden.
In 1982, the ruins began to be the site of a peace movement combined with peaceful protests against the East German regime. On the anniversary of the bombing, 400 citizens of Dresden came to the ruins in silence with flowers and candles, part of a growing East German civil rights movement. By 1989, the number of protesters in Dresden, Leipzig and other parts of East Germany had increased to tens of thousands, and the wall dividing East and West Germany toppled. This opened the way to the reunification of Germany.
During the last months of World War II, residents expressed the desire to rebuild the church. However, due to political circumstances in the GDR, the reconstruction came to a halt. The heap of ruins was conserved as a war memorial within the inner city of Dresden, as a direct counterpart to the ruins of Coventry Cathedral, which was destroyed by German bombing in 1940 and also serves as a war memorial in the United Kingdom. Because of the continuing decay of the ruins, Dresden leaders decided in 1985 (after the Semperoper was finally finished) to rebuild the Church of Our Lady after the completion of the reconstruction of the Dresden castle.
The reunification of Germany, brought new life to the reconstruction plans. In 1989, a 14-member group of enthusiasts headed by Ludwig Güttler, a noted Dresden musician, formed a Citizens' Initiative. From that group emerged a year later The Society to Promote the Reconstruction of the Church of Our Lady, which began an aggressive private fund-raising campaign. The organisation grew to over 5,000 members in Germany and 20 other countries. A string of German auxiliary groups were formed, and three promotional organisations were created abroad.
The project gathered momentum. As hundreds of architects, art historians and engineers sorted the thousands of stones, identifying and labeling each for reuse in the new structure, others worked to raise money.
Günter Blobel, a German-born American, saw the original Church of Our Lady as a boy when his refugee family took shelter in a town just outside of Dresden days before the city was bombed. In 1994, he became the founder and president of the nonprofit "Friends of Dresden, Inc.", a United States organization dedicated to supporting the reconstruction, restoration and preservation of Dresden's artistic and architectural legacy. In 1999, Blobel won the Nobel Prize for medicine and donated the entire amount of his award money (nearly US$1 million) to the organization for the restoration of Dresden, to the rebuilding of the Frauenkirche and the building of a new synagogue. It was the single largest individual donation to the project.
In Britain, the Dresden Trust has the Duke of Kent as its royal patron and the Bishop of Coventry among its curators. Dr. Paul Oestreicher, a canon emeritus of Coventry Cathedral and a founder of the Dresden Trust, wrote:
The church is to Dresden what St. Paul's [Cathedral] is to London". Additional organizations include France's Association Frauenkirche Paris, Switzerland's Verein Schweizer Freunde der Frauenkirch, among others.[2]
Rebuilding the church cost €180 million. Dresdner Bank financed more than half of the reconstruction costs via a "donor certificates campaign", collecting almost €70 million after 1995. The bank itself contributed more than seven million Euros, including more than one million donated by its employees. Over the years, thousands of watches containing tiny fragments of Church of Our Lady stone were sold, as were specially printed medals. One sponsor raised nearly €2.3 million through symbolic sales of individual church stones.
Funds raised were turned over to the "Frauenkirche Foundation Dresden", with the reconstruction backed by the State of Saxony, the City of Dresden and the Evangelical Lutheran Church of Saxony.
Using original plans from builder Georg Bähr in the 1720s, reconstruction finally began in January 1993 under the direction of church architect and engineer Eberhard Burger. The foundation stone was laid in 1994, the crypt was completed in 1996 and the inner cupola in 2000.
As far as possible, the church – except for its dome – was rebuilt using original material and plans, with the help of modern technology. The heap of rubble was documented and carried off stone by stone. The approximate original position of each stone could be determined from its position in the heap. Every usable piece was measured and catalogued. A computer imaging program that could move the stones three-dimensionally around the screen in various configurations was used to help architects find where the original stones sat and how they fit together.[4]
Of the millions of stones used in the rebuilding, more than 8,500 original stones were salvaged from the original church and approximately 3,800 reused in the reconstruction. As the older stones are covered with a darker patina, due to fire damage and weathering, the difference between old and new stones will be clearly visible for a number of years after reconstruction.
Two thousand pieces of the original altar were cleaned and incorporated into the new structure.
The builders relied on thousands of old photographs, memories of worshippers and church officials and crumbling old purchase orders detailing the quality of the mortar or pigments of the paint (as in the 18th century, copious quantities of eggs were used to make the color that provides the interior with its almost luminescent glow).
When it came time to duplicate the oak doors of the entrance, the builders had only vague descriptions of the detailed carving. Because people (especially wedding parties) often posed for photos outside the church doors, they issued an appeal for old photographs and the response—which included entire wedding albums—allowed artisans to recreate the original doors.
The new gilded orb and cross on top of the dome was forged by Grant Macdonald Silversmiths in London using the original 18th-century techniques as much as possible. It was constructed by Alan Smith, a British goldsmith from London whose father, Frank, was a member of one of the aircrews who took part in the bombing of Dresden.[3] Before travelling to Dresden, the cross was exhibited for five years in churches across the United Kingdom including Coventry Cathedral, Liverpool Cathedral, St Giles Cathedral in Edinburgh and St Paul's Cathedral in London. In February 2000, the cross was ceremonially handed over by The Duke of Kent,[1] to be placed on the top of the dome a few days after the 60th commemoration of D-Day on 22 June 2004.[5] The external structure of the Frauenkirche was completed. For the first time since the last war, the completed dome and its gilded cross grace Dresden's skyline as in centuries prior. The cross that once topped the dome, now twisted and charred, stands to the right of the new altar.
Seven new bells were cast for the church. They rang for the first time for the Pentecost celebration in 2003.
Close to completion the building structure dominates the historic skyline again
Interior with view of altar
Builders decided not to reproduce the 1736 Gottfried Silbermann organ, despite the fact that the original design papers, description and details exist, giving rise to the Dresden organ dispute ("Dresdner Orgelstreit"). When installed, the Silbermann organ had three manuals with 43 ranks and over the years had been remodeled and expanded to five manuals with 80 ranks.[6] Daniel Kern of Strasbourg, Alsace, completed a 4,873 pipe organ for the structure in April 2005 and it was inaugurated in October of that year. The Kern organ contains all the stops which were in the Silbermann organ and attempts to recreate their sounds. The Kern work contains 68 stops and a fourth swell manual in the symphonic 19th century style which is apt for the organ literature composed after the baroque period.
A bronze statue of reformer and theologian Martin Luther, which survived the bombings, has been restored and again stands in front of the church. It is the work of sculptor Adolf von Donndorf from 1885.
The intensive efforts to rebuild this world famous landmark were completed in 2005, one year earlier than originally planned, and in time for the 800-year anniversary of the city of Dresden in 2006. The church was reconsecrated with a festive service one day before Reformation Day. The rebuilt church is a monument reminding people of its history and a symbol of hope and reconciliation.
There are two devotional services every day and two liturgies every Sunday. Since October 2005, there has been an exhibition on the history and reconstruction of the Frauenkirche at the Stadtmuseum (City Museum) in Dresden's Alten Landhaus.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
The new craze in the agriculture world - taking Spain by storm. (another illegal parking stop, Tim/Simon). Apparently this particular brand of plastic i less damaging to the environment. However - it still looks awful - even if it does give a photo opportunity. I guess its better than acres of plastic greenhouses.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
Georges Lemmen, Still Life with Fan, ca. 1907–1908, oil on canvas, 24 3/8 x 19 1/8 in.
Georges Lemmen painted this still life of a bouquet of wildflowers in a blue-and-white vase set in front of an open fan during his intimiste, or domestic, period. During this period, he concentrated on subjects drawn from his daily life. The abundance of real and decorative blossoms - seen in the glass bowl next to the vase, along the tabletop, and in the patterns of both the tablecloth and the wallpaper - also reveals the artist's interest in decorative arts. He worked intensively in this area during the 1890s.
(Brooklyn Museum)
This photograph was taken at the "Monet to Matisse: French Moderns, 1850-1950" exhibition at the Birmingham Museum of Art.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.
Snapshots from our five week Summer Intensive at both White Lodge and Upper School.
©2022 The Royal Ballet School. Photographed by Rachel Cherry.