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Ambrosius: De officiis. Milan: Christophorus Valdarfer, 7 Jan. 1474. End of ‘De officiis’ text with colophon which is preceded by a four line verse; paragraph marks supplied in red; ms. ownership inscription of Thomas Donatus, (probably Thomas Donatus, OP, d. 1504, Patriarch of Venice, 1492-1504): “Ex dono fratris thome donati Veneti”. Sp Coll Hunterian Bw.3.23.
Designed by Bernard Taylor Partnership architects and built for Mosscare housing, the development consists of houses and flats with mixed tenure for sale as freehold properties, shared ownership and for rent as social housing. The streets are named after northern author and former Moss Side resident Mary Gaskell and her literary works.
Ownership stamp, probably from the Benediktinerstift Lambach.
Established heading: Benediktinerstift Lambach
Penn Libraries call number: SwC5 Su773 503m
Ex Bibliotheca
Monserratensi
Pragae in Em[m]aus
[Early (not before 1636) ms. ownership inscription of the library of Emauzský klášter, a Benedictine monastery in Prague, Czech Republic, on title leaf.
Established heading: Emauzy (Monastery : Prague, Czechoslovakia)]
Penn Libraries call number: GC6 K2364 607s
Ownership of this particular piece of property once laid in the hands of a industrialist that served on the cabinet of President Lincoln and later became a railroad president. Later on, it was passed on to his son, who commissioned acclaimed architect Horace Trumbauer to design the house that stands today.
During the Great Depression, the estate was acquired by a religious organization who used the house as an orphanage. After serving as a nursing home for some time, the building was closed in the mid 2000's.
Despite intentions to preserve the house as part of a park that is planned for the property, the prognosis does not look good. Left unguarded, the building has sat open to vandals and the elements, and if the deterioration continues, demolition seems the likely option....
Lamb House is a Grade II listed 18th-century house situated in Rye, East Sussex, England, and in the ownership of the National Trust.
The house is run as a writer's house museum. It was the home of Henry James from 1897 to 1914, and later of E.F. Benson.
Lamb House was built in 1722 by James Lamb, a wealthy wine merchant and local politician. In the winter of 1726 King George I took refuge at the house after his ship was washed ashore at nearby Camber Sands. James Lamb gave up his bedroom for the King, while Mrs Lamb gave birth to a baby boy during the night. The child was named George and the king consented to be the boy's godfather.
A detached Garden Room, with a large bay window overlooking the street, was built at right angles to the house in 1743, and originally served as a banqueting room. Both Henry James and E. F. Benson later used the Garden Room as a base for their writing during the summer months. The Garden Room was destroyed by a German bomb in 1940.
Benson wrote lovingly of both the garden and house, which he renamed "Mallards", in his popular Mapp and Lucia novels.[6] Lamb House is the subject of Joan Aiken's supernatural book The Haunting of Lamb House (1993), comprising three novellas about residents of the house at different times, including James and Benson (both of whom also wrote ghost stories).
Other tenants have included the novelist Rumer Godden, the author and academic A. C. Benson, the author and politician H. Montgomery Hyde, the artist and publisher Sir Brian Batsford, politician William Mabane, 1st Baron Mabane, the literary agent Graham Watson, the actor Dominic Rowan and his family, and the writers John Senior and Sarah Philo.
Rye is a small town and civil parish in the Rother district, in East Sussex, England, two miles from the sea at the confluence of three rivers: the Rother, the Tillingham and the Brede. In medieval times, as an important member of the Cinque Ports confederation, it was at the head of an embayment of the English Channel, and almost entirely surrounded by the sea.
At the 2011 census, Rye had a population of 4,773. Its historical association with the sea has included providing ships for the service of the Crown in time of war, and being involved in smuggling. The notorious Hawkhurst Gang used its ancient inns The Mermaid Inn and The Olde Bell Inn, which are said to be connected to each other by a secret passageway.
Those historic roots and its charm make it a tourist destination, with hotels, guest houses, B&Bs, tea rooms, and restaurants. It has a small fishing fleet, and Rye Harbour has facilities for yachts and other vessels.
-Wikipedia
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Lambertus de Monte: Copulata tractatuum Petri Hispani et parvorum logicalium etiam Syncategorematum, cum textu, secundum doctrinam Thomae Aquinatis. [Cologne]: Ulrich Zel, 4 Apr. 1490. Opening page of text (a2r) with nine-line initial “C” supplied in pen-and-ink; with ownership inscription of Joannes Piscator/Johann Fischer (16th century) recording that he purchased the book for 6 groschen: “Ex libris fr[atr]is Io: pisc Qui in lipzick 6 Grossis emit”. Sp Coll Veitch Eg7-c.10.
Ferrari Ownership Requirements 12/7/2020
To own a Ferrari would fulfill the fantasy of many car enthusiasts. The famous Italian automaker excels in delivering luxury sports cars that bear a signature and unique exterior without sacrificing performance. This is only half of what makes the cars special though.
Ferrari's culture separates the company from other automakers in huge ways, affecting both its owners and the workers behind these miraculous machines. Although the company is one of the most valuable, it cares about something more than just earning money: it’s about making special cars that offer a driving experience unlike any other. When examining the company and its owners, it’s clear they’ve achieved this milestone, even after all these years.
Owners have to go to great lengths if they want the latest and greatest cars Ferrari churns out. Employees have to follow rules and regulations if they want to uphold the most important thing to Ferrari—which is not about making cars, but the brand itself. Whether one is a Ferrari owner or an employee that works at their factory plant, everyone has to follow the "Ferrari code."
It’s because of these rules that the brand is exclusive and widely coveted among car gurus today. If someone wants to own a Ferrari, they’re going to have to play by the company’s rules. The same goes for employees if they want to work at, what Autoblog notes, a company that won the award for Best Place to Work in Europe for 2007. We’re going to take a look at known rules both owners and employees have to follow if they want to remain in the good graces of Ferrari.
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20 - Owner Rule: Forced To Sign Contract Agreeing Not To Sell Car
People today become bombarded with agreements written in fine print. Most people don’t have the time or patience to read all that agreements detail though and decide to sign on the line regardless. According to Autoweek, Ferrari in the US makes their customers sign a contract upon purchasing a new vehicle.
In that agreement is a clause that prevents owners from reselling their car in the first year. The automaker makes buyers sign this in an attempt to discourage owners from flipping their cars. This is both a reminder to read the fine print and further demonstrates the automaker’s stringent protocol placed upon new owners.
19 - Employee Rule: Forbidden From Buying New Cars
Last September, Ferrari unveiled a pair of Roadsters long-time employees can appreciate. Even if the employees want the cars though and can afford them—tough luck. The Drive reports that the company makes their vehicles first and foremost available to the public.
One of Ferrari’s executives, Enrico Galliera, had this to say about employees getting second dibs on new cars: “The philosophy is that with such limited production and clients waiting so long to get their car, it's not nice if the car is delivered to employees.” The only exception to this rule are Scuderia Ferrari F1 drivers who can buy one from the company.
18 - Owner Rule: Leave The Logos Alone
Ferrari believes that as soon as their car rolls off the production line, it's perfect as is. There’s no shortage of Ferrari owners who feel differently though; here’s photographic proof of owners who took their Ferrari rides for granted. If Ferrari had it their way, they’d opt for owners to leave their iconic logos untouched.
According to Tech Dirt, the electronic DJ and artist Deadmau5 got in trouble for covering up his Ferrari logos with custom ones. His 458 Italia “Purrari” sports a blue vinyl wrap that has a Nyan cat painted on the side. It’s a move Ferrari supposedly issued a cease and desist order over.
17 - Employee Rule: Communicate On Their Terms
Ferrari has gone to extremes to sell cars before by tampering with some odometers on used cars, so it’s only natural they’d apply radical policies in the workplace as well. It appears that too many employees were reaching for the keyboard on too many occasions instead of opting for old fashioned face-to-face communication.
According to The Guardian, the executives at Ferrari advised their employees to “talk to each other more and write less.” Since it should be pretty easy for supervisors to monitor their employees’ computer activity, it's safe to assume workers adhere to this directive in order to stick around.
16 - Owner Rule: No Pink Ferraris
Ferrari isn’t fond of pink Ferraris. That’s what Executive Lifestyle reports, despite the company tolerating some customer paint jobs. The disapproval of pink came directly from Herbert Appleroth, the President and CEO of Ferrari Australia. “We do reject the exterior color pink,” Appleroth said, as per the same source.
He went on to say that Ferrari would never produce a pink car. Without a doubt, red is the most iconic color they wrap their cars in. At the same time, the company promotes the idea that no two Ferrari rides should be identical, they just wouldn't go so far as to stand out with a pink paint job.
15 - Employee Rule: No Discounts On Cars
Working for certain companies has its perks. For one, it allows employees to buy products made and sold by that company at a discounted rate. This luxury, however, is too generous to bestow upon Ferrari employees.
According to The Drive, should Scuderia Ferrari F1 drivers choose to purchase a personal Ferrari, they're required to pay full price for it. That puts them in an awkward position, considering it’d be hard to spot team members driving in anything else but a Ferrari; in a way, it forces their employees to invest back into the company without a price concession if they want to properly represent the brand.
14 - Owner Rule: Accept Ferrari’s Right To Buy Back Car
In an earlier entry, we noted that Ferrari in the US has made buyers sign a special contract. While that contract discouraged owners from selling their new Ferrari, it also adds another stipulation: the automaker can buy the vehicle back.
According to the site Car Keys, if someone wanted to get rid of their LaFerrari Aperta, it’s pursuant for Ferrari to purchase the vehicle back from the owner. It would appear that on the surface, Ferrari would rather the car go to someone who wants it instead of someone who doesn't. This is all part of that special contract owners may sign at the time of their purchase.
13 - Employee Rule: Sworn To Prevent Security Leaks
Whether someone is an actor in an upcoming Avengers movie or an employee at Apple, the bigwigs in charge want to keep details under lock and key—that includes any plot spoilers and future product releases. Ferrari is a similar company that’s always making new vehicles while wishing to work in secrecy.
To maintain a level of mystery, the whole operation depends on trustworthy employees. According to Kaspersky Lab Daily, something as simple as copying data to a USB drive has to go through an approval process. This in turn discourages employees from going routes that may lead to a security breach and exercises a higher level of caution.
12 - Owner Rule: Must Love The Ferrari Brand
The world is full of sides, clubs and camps. Those who are outside of them get picked on unless they join a team, while those inside a base pledge undying loyalty. Ferrari is no different. It’s more than just an automaker—it’s a special culture with its own philosophy, style and following.
As the site Car Guy points out, the company sifts through applicants and chooses who gets to buy certain models because they want to make sure their cars are properly taken care of. It’s a sure bet they’re going to pick someone who’s not just a Ferrari fan, but also lives and bleeds the brand.
11 - Employee Rule: Prohibited From Sending Certain Group Emails
Expanding further on an earlier point, Ferrari went to great lengths to crack down on employees emailing more instead of talking to each other. As a means to curb digital communication so that employees would talk to each other directly, they added terms to sending emails.
As per The Guardian, a spokesman for Ferrari said, “From now on, each Ferrari employee will only be able to send the same email to three people in-house.” This must have been a wake up call for employees at the time and discouraged them from falling into old habits of CCing everyone in the whole company on a single thread.
10 - Owner Rule: Buy Not One, Not Two, But Multiple Ferraris
Owning a Ferrari isn’t exactly enough to be a part of the club. As the site Car Guypoints out, it’s more suitable to own several Ferrari cars before one feels part of the bunch. That narrows down the list of potential owners to only a handful around the world with how much they cost.
Even older models are going up in value, as the 1964 Ferrari Prototype demonstrates. The same source points out that the most committed owners, at minimum, are the ones who upgrade their old Ferrari to a newer model. It’s not enough to purchase a one-off Ferrari and call it a day if someone wants to be a true fan.
9 - Employee Rule: Required To Wear Red And White Uniforms
An amusement park can make its employees wear costumes that match the park’s theme; a restaurant may have its employees wear a vest and bow tie; an office requires business casual attire. Ferrari is like most jobs, requiring its employees adhere to a dress code.
According to Freep, those on the manufacturing campus must wear red and white uniforms. They have the company’s iconic yellow logo stitched on, which unites all the employees under the same banner and purpose. There are plenty of people around the world who would love to wear these uniforms, but only a select number ever get to suit up in one.
8 - Owner Rule: Be Older Than 40
Despite Ferrari being one of the most famous car brands today, many people aren’t aware of its history or the automaker's philosophy. There are so many facts about the legendary automaker, we dedicated a whole piece to things most people don't know about Ferrari.
It’s not unusual for potential owners to go through a rigorous process that feels commensurate to a background check. According to the site Car Keys, automaker won’t hesitate to request a customer’s history of ownership for review. Even more, the same source suggests that Ferrari dealers are more likely to sell a car to a new owner who’s over the age of 40.
7 - Employee Rule: Formula 1 Team Must Win
When Scuderia Ferrari struggles, it affects the whole company. The site News.com.au reports that despite being the "most iconic team” in Formula 1 racing, Ferrari was unable to secure a Grand Prix win in 2016. The team only has one remedy when this happens: winning.
As F1-Fansite points out, they were able to bounce back in early 2017, with Vettel winning the first race and securing 5 race wins. The Formula 1 team not only represents the automaker but carries the pride of the entire brand. It’s important that they do well in order for the brand to continue thriving.
6 - Owner Rule: Treat Fellow Ferrari Owners Like Family
Buying a car from certain automakers, such as Tesla, Porsche or Ferrari, feels like joining a family. When someone purchases a Ferrari, they enter into a brotherhood and sisterhood alongside fellow owners. As the site the Car Guy notes, entering into the Ferrari fraternity means that owners help each other when the need arises.
This is one of those unspoken rules the automaker hopes and expects its customers will follow. Even outsiders who don’t own one may find it easy to support someone who does as an expression of their admiration towards the brand. Ferrari owners got to stick together.
5 - Employee Rule: Must Adopt The “Formula Uomo” Philosophy
The company not only cares about its customers, but its employees too. They recognize that these are the people that make it all possible. Autoblog reports that Ferrari launched a project called “Formula Uomo” in the 1990s which lays down many of the tenants employees live and breathe by.
The same source notes that this philosophy deals with the working conditions, one’s professional growth and personal benefits. Each individual is important and must embody these principles in order for the whole enterprise to work properly. As a Ferrari employee, “Formula Uomo” lays the groundwork for one’s success while working there.
4 - Owner Rule: Must Have Fame, Fortune And More
To own some of the world’s best supercars, all it takes is a lot of dough. If that wasn’t enough though, Ferrari raises the bar on what they expect from their owners. Part of what makes their cars so exclusive are the limited number they make. Take the LaFerrari for example, which Wired reports only 499 exist.
In order for their cars to get attention, they have to give them to owners who can not only afford them but put them in the spotlight. The same source notes that even high-profile buyers who applied for the vehicle weren't able to land one.
3 - Employee Rule: “Clients First”
Ferrari cares about its customers. The company doesn’t treat its clientele as a dollar sign—although they do get a lot of money for the cars they deliver—but instead seeks to make a bond with its owners. The company is like a father who’s entrusted his child with the keys to the treasured car.
They want to know their cars are in good hands, which is possible through respect. That’s why they make clients a priority. The Drive reports that Enrico Galliera, a Ferrari executive said, “It is clients first.” Behind those words is a whole company of employees who live by this aim.
2 - Owner Rule: Respect Ferrari’s Way Of Doing Things
No one likes obeying rules. If there’s a realm with enough rules as it is, it’s driving on the road. The last thing people want is more rules they have to follow as a car owner. Under the Ferrari umbrella though, there are lots of expectations one has to follow as an owner.
That means going with their unique way of doing things. The site Car Keys reports that the automaker’s politics, including their selection process for who they deem is eligible to purchase limited edition cars, is one such rule owners have to follow. It may not be easy to accept, but it’s part of playing the game.
1 - Employee Rule: Protect The Brand At All Times
Ferrari has managed to be an independent automaker over the years while still making loads of money. Part of what makes them so successful is the brand’s reputation, which is about making flawless cars that perform well.
One of the executives, Stefano Lai, as per Freep said, “My job ... is to protect the brand as much as possible.” This is a principal that trickles down to employees, affecting their conduct and the image they project in and out of the workplace. Many employees likely have the Ferrari logo on them throughout the day, making them an extension of the company wherever they go. That means they have to watch what they say and do since they represent the company’s image.
Sources: Autoblog , Tech Dirt , Wired , Executive Lifestyle , Car Guy , Car Keys , Autoweek , The Drive , Freep , The Guardian , Kaspersky Lab Daily , News.com.au , F1-Fansite.
www.hotcars.com/rules-ferrari-owners-must-follow-and-the-...
Antidotum vitae patientia.
Ex libris fr[atr]is Johan: Blaw conuentualis Göttuicensis.
.1.5.99.
[Ownership inscription, dated 1599, of Johann Blau, Benedictine monk at the Stift Göttweig in Steinaweg, Austria]
F: Sebastianus Newmayer Conuentualis in Göttweig Anno 1612
[Ownership inscription, dated 1612, of Sebastian Neumayer, Benedictine monk at the Stift Göttweig in Steinaweg, Austria]
Established heading (DNB): Stift Göttweig
Established heading (LC): Stift Göttweig (Steinaweg, Austria)
Penn Libraries call number: GC55 Sc283 595s
Ferrari Ownership Requirements 12/7/2020
To own a Ferrari would fulfill the fantasy of many car enthusiasts. The famous Italian automaker excels in delivering luxury sports cars that bear a signature and unique exterior without sacrificing performance. This is only half of what makes the cars special though.
Ferrari's culture separates the company from other automakers in huge ways, affecting both its owners and the workers behind these miraculous machines. Although the company is one of the most valuable, it cares about something more than just earning money: it’s about making special cars that offer a driving experience unlike any other. When examining the company and its owners, it’s clear they’ve achieved this milestone, even after all these years.
Owners have to go to great lengths if they want the latest and greatest cars Ferrari churns out. Employees have to follow rules and regulations if they want to uphold the most important thing to Ferrari—which is not about making cars, but the brand itself. Whether one is a Ferrari owner or an employee that works at their factory plant, everyone has to follow the "Ferrari code."
It’s because of these rules that the brand is exclusive and widely coveted among car gurus today. If someone wants to own a Ferrari, they’re going to have to play by the company’s rules. The same goes for employees if they want to work at, what Autoblog notes, a company that won the award for Best Place to Work in Europe for 2007. We’re going to take a look at known rules both owners and employees have to follow if they want to remain in the good graces of Ferrari.
--------------------------------------------------------------------------------------
20 - Owner Rule: Forced To Sign Contract Agreeing Not To Sell Car
People today become bombarded with agreements written in fine print. Most people don’t have the time or patience to read all that agreements detail though and decide to sign on the line regardless. According to Autoweek, Ferrari in the US makes their customers sign a contract upon purchasing a new vehicle.
In that agreement is a clause that prevents owners from reselling their car in the first year. The automaker makes buyers sign this in an attempt to discourage owners from flipping their cars. This is both a reminder to read the fine print and further demonstrates the automaker’s stringent protocol placed upon new owners.
19 - Employee Rule: Forbidden From Buying New Cars
Last September, Ferrari unveiled a pair of Roadsters long-time employees can appreciate. Even if the employees want the cars though and can afford them—tough luck. The Drive reports that the company makes their vehicles first and foremost available to the public.
One of Ferrari’s executives, Enrico Galliera, had this to say about employees getting second dibs on new cars: “The philosophy is that with such limited production and clients waiting so long to get their car, it's not nice if the car is delivered to employees.” The only exception to this rule are Scuderia Ferrari F1 drivers who can buy one from the company.
18 - Owner Rule: Leave The Logos Alone
Ferrari believes that as soon as their car rolls off the production line, it's perfect as is. There’s no shortage of Ferrari owners who feel differently though; here’s photographic proof of owners who took their Ferrari rides for granted. If Ferrari had it their way, they’d opt for owners to leave their iconic logos untouched.
According to Tech Dirt, the electronic DJ and artist Deadmau5 got in trouble for covering up his Ferrari logos with custom ones. His 458 Italia “Purrari” sports a blue vinyl wrap that has a Nyan cat painted on the side. It’s a move Ferrari supposedly issued a cease and desist order over.
17 - Employee Rule: Communicate On Their Terms
Ferrari has gone to extremes to sell cars before by tampering with some odometers on used cars, so it’s only natural they’d apply radical policies in the workplace as well. It appears that too many employees were reaching for the keyboard on too many occasions instead of opting for old fashioned face-to-face communication.
According to The Guardian, the executives at Ferrari advised their employees to “talk to each other more and write less.” Since it should be pretty easy for supervisors to monitor their employees’ computer activity, it's safe to assume workers adhere to this directive in order to stick around.
16 - Owner Rule: No Pink Ferraris
Ferrari isn’t fond of pink Ferraris. That’s what Executive Lifestyle reports, despite the company tolerating some customer paint jobs. The disapproval of pink came directly from Herbert Appleroth, the President and CEO of Ferrari Australia. “We do reject the exterior color pink,” Appleroth said, as per the same source.
He went on to say that Ferrari would never produce a pink car. Without a doubt, red is the most iconic color they wrap their cars in. At the same time, the company promotes the idea that no two Ferrari rides should be identical, they just wouldn't go so far as to stand out with a pink paint job.
15 - Employee Rule: No Discounts On Cars
Working for certain companies has its perks. For one, it allows employees to buy products made and sold by that company at a discounted rate. This luxury, however, is too generous to bestow upon Ferrari employees.
According to The Drive, should Scuderia Ferrari F1 drivers choose to purchase a personal Ferrari, they're required to pay full price for it. That puts them in an awkward position, considering it’d be hard to spot team members driving in anything else but a Ferrari; in a way, it forces their employees to invest back into the company without a price concession if they want to properly represent the brand.
14 - Owner Rule: Accept Ferrari’s Right To Buy Back Car
In an earlier entry, we noted that Ferrari in the US has made buyers sign a special contract. While that contract discouraged owners from selling their new Ferrari, it also adds another stipulation: the automaker can buy the vehicle back.
According to the site Car Keys, if someone wanted to get rid of their LaFerrari Aperta, it’s pursuant for Ferrari to purchase the vehicle back from the owner. It would appear that on the surface, Ferrari would rather the car go to someone who wants it instead of someone who doesn't. This is all part of that special contract owners may sign at the time of their purchase.
13 - Employee Rule: Sworn To Prevent Security Leaks
Whether someone is an actor in an upcoming Avengers movie or an employee at Apple, the bigwigs in charge want to keep details under lock and key—that includes any plot spoilers and future product releases. Ferrari is a similar company that’s always making new vehicles while wishing to work in secrecy.
To maintain a level of mystery, the whole operation depends on trustworthy employees. According to Kaspersky Lab Daily, something as simple as copying data to a USB drive has to go through an approval process. This in turn discourages employees from going routes that may lead to a security breach and exercises a higher level of caution.
12 - Owner Rule: Must Love The Ferrari Brand
The world is full of sides, clubs and camps. Those who are outside of them get picked on unless they join a team, while those inside a base pledge undying loyalty. Ferrari is no different. It’s more than just an automaker—it’s a special culture with its own philosophy, style and following.
As the site Car Guy points out, the company sifts through applicants and chooses who gets to buy certain models because they want to make sure their cars are properly taken care of. It’s a sure bet they’re going to pick someone who’s not just a Ferrari fan, but also lives and bleeds the brand.
11 - Employee Rule: Prohibited From Sending Certain Group Emails
Expanding further on an earlier point, Ferrari went to great lengths to crack down on employees emailing more instead of talking to each other. As a means to curb digital communication so that employees would talk to each other directly, they added terms to sending emails.
As per The Guardian, a spokesman for Ferrari said, “From now on, each Ferrari employee will only be able to send the same email to three people in-house.” This must have been a wake up call for employees at the time and discouraged them from falling into old habits of CCing everyone in the whole company on a single thread.
10 - Owner Rule: Buy Not One, Not Two, But Multiple Ferraris
Owning a Ferrari isn’t exactly enough to be a part of the club. As the site Car Guypoints out, it’s more suitable to own several Ferrari cars before one feels part of the bunch. That narrows down the list of potential owners to only a handful around the world with how much they cost.
Even older models are going up in value, as the 1964 Ferrari Prototype demonstrates. The same source points out that the most committed owners, at minimum, are the ones who upgrade their old Ferrari to a newer model. It’s not enough to purchase a one-off Ferrari and call it a day if someone wants to be a true fan.
9 - Employee Rule: Required To Wear Red And White Uniforms
An amusement park can make its employees wear costumes that match the park’s theme; a restaurant may have its employees wear a vest and bow tie; an office requires business casual attire. Ferrari is like most jobs, requiring its employees adhere to a dress code.
According to Freep, those on the manufacturing campus must wear red and white uniforms. They have the company’s iconic yellow logo stitched on, which unites all the employees under the same banner and purpose. There are plenty of people around the world who would love to wear these uniforms, but only a select number ever get to suit up in one.
8 - Owner Rule: Be Older Than 40
Despite Ferrari being one of the most famous car brands today, many people aren’t aware of its history or the automaker's philosophy. There are so many facts about the legendary automaker, we dedicated a whole piece to things most people don't know about Ferrari.
It’s not unusual for potential owners to go through a rigorous process that feels commensurate to a background check. According to the site Car Keys, automaker won’t hesitate to request a customer’s history of ownership for review. Even more, the same source suggests that Ferrari dealers are more likely to sell a car to a new owner who’s over the age of 40.
7 - Employee Rule: Formula 1 Team Must Win
When Scuderia Ferrari struggles, it affects the whole company. The site News.com.au reports that despite being the "most iconic team” in Formula 1 racing, Ferrari was unable to secure a Grand Prix win in 2016. The team only has one remedy when this happens: winning.
As F1-Fansite points out, they were able to bounce back in early 2017, with Vettel winning the first race and securing 5 race wins. The Formula 1 team not only represents the automaker but carries the pride of the entire brand. It’s important that they do well in order for the brand to continue thriving.
6 - Owner Rule: Treat Fellow Ferrari Owners Like Family
Buying a car from certain automakers, such as Tesla, Porsche or Ferrari, feels like joining a family. When someone purchases a Ferrari, they enter into a brotherhood and sisterhood alongside fellow owners. As the site the Car Guy notes, entering into the Ferrari fraternity means that owners help each other when the need arises.
This is one of those unspoken rules the automaker hopes and expects its customers will follow. Even outsiders who don’t own one may find it easy to support someone who does as an expression of their admiration towards the brand. Ferrari owners got to stick together.
5 - Employee Rule: Must Adopt The “Formula Uomo” Philosophy
The company not only cares about its customers, but its employees too. They recognize that these are the people that make it all possible. Autoblog reports that Ferrari launched a project called “Formula Uomo” in the 1990s which lays down many of the tenants employees live and breathe by.
The same source notes that this philosophy deals with the working conditions, one’s professional growth and personal benefits. Each individual is important and must embody these principles in order for the whole enterprise to work properly. As a Ferrari employee, “Formula Uomo” lays the groundwork for one’s success while working there.
4 - Owner Rule: Must Have Fame, Fortune And More
To own some of the world’s best supercars, all it takes is a lot of dough. If that wasn’t enough though, Ferrari raises the bar on what they expect from their owners. Part of what makes their cars so exclusive are the limited number they make. Take the LaFerrari for example, which Wired reports only 499 exist.
In order for their cars to get attention, they have to give them to owners who can not only afford them but put them in the spotlight. The same source notes that even high-profile buyers who applied for the vehicle weren't able to land one.
3 - Employee Rule: “Clients First”
Ferrari cares about its customers. The company doesn’t treat its clientele as a dollar sign—although they do get a lot of money for the cars they deliver—but instead seeks to make a bond with its owners. The company is like a father who’s entrusted his child with the keys to the treasured car.
They want to know their cars are in good hands, which is possible through respect. That’s why they make clients a priority. The Drive reports that Enrico Galliera, a Ferrari executive said, “It is clients first.” Behind those words is a whole company of employees who live by this aim.
2 - Owner Rule: Respect Ferrari’s Way Of Doing Things
No one likes obeying rules. If there’s a realm with enough rules as it is, it’s driving on the road. The last thing people want is more rules they have to follow as a car owner. Under the Ferrari umbrella though, there are lots of expectations one has to follow as an owner.
That means going with their unique way of doing things. The site Car Keys reports that the automaker’s politics, including their selection process for who they deem is eligible to purchase limited edition cars, is one such rule owners have to follow. It may not be easy to accept, but it’s part of playing the game.
1 - Employee Rule: Protect The Brand At All Times
Ferrari has managed to be an independent automaker over the years while still making loads of money. Part of what makes them so successful is the brand’s reputation, which is about making flawless cars that perform well.
One of the executives, Stefano Lai, as per Freep said, “My job ... is to protect the brand as much as possible.” This is a principal that trickles down to employees, affecting their conduct and the image they project in and out of the workplace. Many employees likely have the Ferrari logo on them throughout the day, making them an extension of the company wherever they go. That means they have to watch what they say and do since they represent the company’s image.
Sources: Autoblog , Tech Dirt , Wired , Executive Lifestyle , Car Guy , Car Keys , Autoweek , The Drive , Freep , The Guardian , Kaspersky Lab Daily , News.com.au , F1-Fansite.
www.hotcars.com/rules-ferrari-owners-must-follow-and-the-...
Ferrari Ownership Requirements 12/7/2020
To own a Ferrari would fulfill the fantasy of many car enthusiasts. The famous Italian automaker excels in delivering luxury sports cars that bear a signature and unique exterior without sacrificing performance. This is only half of what makes the cars special though.
Ferrari's culture separates the company from other automakers in huge ways, affecting both its owners and the workers behind these miraculous machines. Although the company is one of the most valuable, it cares about something more than just earning money: it’s about making special cars that offer a driving experience unlike any other. When examining the company and its owners, it’s clear they’ve achieved this milestone, even after all these years.
Owners have to go to great lengths if they want the latest and greatest cars Ferrari churns out. Employees have to follow rules and regulations if they want to uphold the most important thing to Ferrari—which is not about making cars, but the brand itself. Whether one is a Ferrari owner or an employee that works at their factory plant, everyone has to follow the "Ferrari code."
It’s because of these rules that the brand is exclusive and widely coveted among car gurus today. If someone wants to own a Ferrari, they’re going to have to play by the company’s rules. The same goes for employees if they want to work at, what Autoblog notes, a company that won the award for Best Place to Work in Europe for 2007. We’re going to take a look at known rules both owners and employees have to follow if they want to remain in the good graces of Ferrari.
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20 - Owner Rule: Forced To Sign Contract Agreeing Not To Sell Car
People today become bombarded with agreements written in fine print. Most people don’t have the time or patience to read all that agreements detail though and decide to sign on the line regardless. According to Autoweek, Ferrari in the US makes their customers sign a contract upon purchasing a new vehicle.
In that agreement is a clause that prevents owners from reselling their car in the first year. The automaker makes buyers sign this in an attempt to discourage owners from flipping their cars. This is both a reminder to read the fine print and further demonstrates the automaker’s stringent protocol placed upon new owners.
19 - Employee Rule: Forbidden From Buying New Cars
Last September, Ferrari unveiled a pair of Roadsters long-time employees can appreciate. Even if the employees want the cars though and can afford them—tough luck. The Drive reports that the company makes their vehicles first and foremost available to the public.
One of Ferrari’s executives, Enrico Galliera, had this to say about employees getting second dibs on new cars: “The philosophy is that with such limited production and clients waiting so long to get their car, it's not nice if the car is delivered to employees.” The only exception to this rule are Scuderia Ferrari F1 drivers who can buy one from the company.
18 - Owner Rule: Leave The Logos Alone
Ferrari believes that as soon as their car rolls off the production line, it's perfect as is. There’s no shortage of Ferrari owners who feel differently though; here’s photographic proof of owners who took their Ferrari rides for granted. If Ferrari had it their way, they’d opt for owners to leave their iconic logos untouched.
According to Tech Dirt, the electronic DJ and artist Deadmau5 got in trouble for covering up his Ferrari logos with custom ones. His 458 Italia “Purrari” sports a blue vinyl wrap that has a Nyan cat painted on the side. It’s a move Ferrari supposedly issued a cease and desist order over.
17 - Employee Rule: Communicate On Their Terms
Ferrari has gone to extremes to sell cars before by tampering with some odometers on used cars, so it’s only natural they’d apply radical policies in the workplace as well. It appears that too many employees were reaching for the keyboard on too many occasions instead of opting for old fashioned face-to-face communication.
According to The Guardian, the executives at Ferrari advised their employees to “talk to each other more and write less.” Since it should be pretty easy for supervisors to monitor their employees’ computer activity, it's safe to assume workers adhere to this directive in order to stick around.
16 - Owner Rule: No Pink Ferraris
Ferrari isn’t fond of pink Ferraris. That’s what Executive Lifestyle reports, despite the company tolerating some customer paint jobs. The disapproval of pink came directly from Herbert Appleroth, the President and CEO of Ferrari Australia. “We do reject the exterior color pink,” Appleroth said, as per the same source.
He went on to say that Ferrari would never produce a pink car. Without a doubt, red is the most iconic color they wrap their cars in. At the same time, the company promotes the idea that no two Ferrari rides should be identical, they just wouldn't go so far as to stand out with a pink paint job.
15 - Employee Rule: No Discounts On Cars
Working for certain companies has its perks. For one, it allows employees to buy products made and sold by that company at a discounted rate. This luxury, however, is too generous to bestow upon Ferrari employees.
According to The Drive, should Scuderia Ferrari F1 drivers choose to purchase a personal Ferrari, they're required to pay full price for it. That puts them in an awkward position, considering it’d be hard to spot team members driving in anything else but a Ferrari; in a way, it forces their employees to invest back into the company without a price concession if they want to properly represent the brand.
14 - Owner Rule: Accept Ferrari’s Right To Buy Back Car
In an earlier entry, we noted that Ferrari in the US has made buyers sign a special contract. While that contract discouraged owners from selling their new Ferrari, it also adds another stipulation: the automaker can buy the vehicle back.
According to the site Car Keys, if someone wanted to get rid of their LaFerrari Aperta, it’s pursuant for Ferrari to purchase the vehicle back from the owner. It would appear that on the surface, Ferrari would rather the car go to someone who wants it instead of someone who doesn't. This is all part of that special contract owners may sign at the time of their purchase.
13 - Employee Rule: Sworn To Prevent Security Leaks
Whether someone is an actor in an upcoming Avengers movie or an employee at Apple, the bigwigs in charge want to keep details under lock and key—that includes any plot spoilers and future product releases. Ferrari is a similar company that’s always making new vehicles while wishing to work in secrecy.
To maintain a level of mystery, the whole operation depends on trustworthy employees. According to Kaspersky Lab Daily, something as simple as copying data to a USB drive has to go through an approval process. This in turn discourages employees from going routes that may lead to a security breach and exercises a higher level of caution.
12 - Owner Rule: Must Love The Ferrari Brand
The world is full of sides, clubs and camps. Those who are outside of them get picked on unless they join a team, while those inside a base pledge undying loyalty. Ferrari is no different. It’s more than just an automaker—it’s a special culture with its own philosophy, style and following.
As the site Car Guy points out, the company sifts through applicants and chooses who gets to buy certain models because they want to make sure their cars are properly taken care of. It’s a sure bet they’re going to pick someone who’s not just a Ferrari fan, but also lives and bleeds the brand.
11 - Employee Rule: Prohibited From Sending Certain Group Emails
Expanding further on an earlier point, Ferrari went to great lengths to crack down on employees emailing more instead of talking to each other. As a means to curb digital communication so that employees would talk to each other directly, they added terms to sending emails.
As per The Guardian, a spokesman for Ferrari said, “From now on, each Ferrari employee will only be able to send the same email to three people in-house.” This must have been a wake up call for employees at the time and discouraged them from falling into old habits of CCing everyone in the whole company on a single thread.
10 - Owner Rule: Buy Not One, Not Two, But Multiple Ferraris
Owning a Ferrari isn’t exactly enough to be a part of the club. As the site Car Guypoints out, it’s more suitable to own several Ferrari cars before one feels part of the bunch. That narrows down the list of potential owners to only a handful around the world with how much they cost.
Even older models are going up in value, as the 1964 Ferrari Prototype demonstrates. The same source points out that the most committed owners, at minimum, are the ones who upgrade their old Ferrari to a newer model. It’s not enough to purchase a one-off Ferrari and call it a day if someone wants to be a true fan.
9 - Employee Rule: Required To Wear Red And White Uniforms
An amusement park can make its employees wear costumes that match the park’s theme; a restaurant may have its employees wear a vest and bow tie; an office requires business casual attire. Ferrari is like most jobs, requiring its employees adhere to a dress code.
According to Freep, those on the manufacturing campus must wear red and white uniforms. They have the company’s iconic yellow logo stitched on, which unites all the employees under the same banner and purpose. There are plenty of people around the world who would love to wear these uniforms, but only a select number ever get to suit up in one.
8 - Owner Rule: Be Older Than 40
Despite Ferrari being one of the most famous car brands today, many people aren’t aware of its history or the automaker's philosophy. There are so many facts about the legendary automaker, we dedicated a whole piece to things most people don't know about Ferrari.
It’s not unusual for potential owners to go through a rigorous process that feels commensurate to a background check. According to the site Car Keys, automaker won’t hesitate to request a customer’s history of ownership for review. Even more, the same source suggests that Ferrari dealers are more likely to sell a car to a new owner who’s over the age of 40.
7 - Employee Rule: Formula 1 Team Must Win
When Scuderia Ferrari struggles, it affects the whole company. The site News.com.au reports that despite being the "most iconic team” in Formula 1 racing, Ferrari was unable to secure a Grand Prix win in 2016. The team only has one remedy when this happens: winning.
As F1-Fansite points out, they were able to bounce back in early 2017, with Vettel winning the first race and securing 5 race wins. The Formula 1 team not only represents the automaker but carries the pride of the entire brand. It’s important that they do well in order for the brand to continue thriving.
6 - Owner Rule: Treat Fellow Ferrari Owners Like Family
Buying a car from certain automakers, such as Tesla, Porsche or Ferrari, feels like joining a family. When someone purchases a Ferrari, they enter into a brotherhood and sisterhood alongside fellow owners. As the site the Car Guy notes, entering into the Ferrari fraternity means that owners help each other when the need arises.
This is one of those unspoken rules the automaker hopes and expects its customers will follow. Even outsiders who don’t own one may find it easy to support someone who does as an expression of their admiration towards the brand. Ferrari owners got to stick together.
5 - Employee Rule: Must Adopt The “Formula Uomo” Philosophy
The company not only cares about its customers, but its employees too. They recognize that these are the people that make it all possible. Autoblog reports that Ferrari launched a project called “Formula Uomo” in the 1990s which lays down many of the tenants employees live and breathe by.
The same source notes that this philosophy deals with the working conditions, one’s professional growth and personal benefits. Each individual is important and must embody these principles in order for the whole enterprise to work properly. As a Ferrari employee, “Formula Uomo” lays the groundwork for one’s success while working there.
4 - Owner Rule: Must Have Fame, Fortune And More
To own some of the world’s best supercars, all it takes is a lot of dough. If that wasn’t enough though, Ferrari raises the bar on what they expect from their owners. Part of what makes their cars so exclusive are the limited number they make. Take the LaFerrari for example, which Wired reports only 499 exist.
In order for their cars to get attention, they have to give them to owners who can not only afford them but put them in the spotlight. The same source notes that even high-profile buyers who applied for the vehicle weren't able to land one.
3 - Employee Rule: “Clients First”
Ferrari cares about its customers. The company doesn’t treat its clientele as a dollar sign—although they do get a lot of money for the cars they deliver—but instead seeks to make a bond with its owners. The company is like a father who’s entrusted his child with the keys to the treasured car.
They want to know their cars are in good hands, which is possible through respect. That’s why they make clients a priority. The Drive reports that Enrico Galliera, a Ferrari executive said, “It is clients first.” Behind those words is a whole company of employees who live by this aim.
2 - Owner Rule: Respect Ferrari’s Way Of Doing Things
No one likes obeying rules. If there’s a realm with enough rules as it is, it’s driving on the road. The last thing people want is more rules they have to follow as a car owner. Under the Ferrari umbrella though, there are lots of expectations one has to follow as an owner.
That means going with their unique way of doing things. The site Car Keys reports that the automaker’s politics, including their selection process for who they deem is eligible to purchase limited edition cars, is one such rule owners have to follow. It may not be easy to accept, but it’s part of playing the game.
1 - Employee Rule: Protect The Brand At All Times
Ferrari has managed to be an independent automaker over the years while still making loads of money. Part of what makes them so successful is the brand’s reputation, which is about making flawless cars that perform well.
One of the executives, Stefano Lai, as per Freep said, “My job ... is to protect the brand as much as possible.” This is a principal that trickles down to employees, affecting their conduct and the image they project in and out of the workplace. Many employees likely have the Ferrari logo on them throughout the day, making them an extension of the company wherever they go. That means they have to watch what they say and do since they represent the company’s image.
Sources: Autoblog , Tech Dirt , Wired , Executive Lifestyle , Car Guy , Car Keys , Autoweek , The Drive , Freep , The Guardian , Kaspersky Lab Daily , News.com.au , F1-Fansite.
www.hotcars.com/rules-ferrari-owners-must-follow-and-the-...
"Monachij ad PP[Patres]. Franciscanos pro bibl[iothecam]"
Ownership inscription of the Franziskanerkloster St. Anna in Munich, Germany.
Established headings:
SUDOC: Franziskanerkloster St. Anna (Munich, Allemagne)
DNB: Franziskanerkloster St. Anna
DNB: Sankt Anna Kloster
Penn Libraries call number: FC55 P2188U 584q
Ex Bibliotheca
Monserratensi
Pragae in Em[m]aus
[Early (not before 1636) ms. ownership inscription of the library of Emauzský klášter, a Benedictine monastery in Prague, Czech Republic, on title leaf.
Established heading: Emauzy (Monastery : Prague, Czechoslovakia)]
Penn Libraries call number: GC6 K2364 607s
Loci Capucinorum Ziattecij A. 1740
[Inscription probably refers to the Conventus Ziattecensis Beatae Virginis Mariae Assumptae, a Capuchin Franciscan monastery in Saatz, Bohemia (now Zatec, Czech Republic) founded in 1675. Cf. V. Greiderer, Germania Franciscana (Oeniponte: Trattner, 1777), v. 1, p. 797.]
Penn Libraries call number: IC55 B5549 573c
Designed by Bernard Taylor Partnership architects and built for Mosscare housing, the development consists of houses and flats with mixed tenure for sale as freehold properties, shared ownership and for rent as social housing. The streets are named after northern author and former Moss Side resident Mary Gaskell and her literary works.
A legal statement about the ownership of a piece of land.
The cuneiform inscription on this kudurru records the granting by Eanna-shum-iddina, the governor of the Sealand, of five gur of corn land in the district of Edina in south Babylonia to a man called Gula-eresh. The boundaries of the land are laid out; the surveyor is named as Amurru-bel-zeri and the transfer completed by two high officials who are also named.
Nine gods are invoked to protect the monument, along with seventeen divine symbols. The symbols of the important Mesopotamian gods are most prominent: the solar disc of the sun-god Shamash, the crescent of the moon-god Sin and the eight-pointed star of Ishtar, goddess of fertility and war. The square boxes beneath these signs represent altars supporting the symbols of gods, including horned headdresses, the triangular spade of Marduk, and the wedge-shaped stylus of Nabu, the god of writing.
A prominent snake is shown on many kudurru and may, like many of the symbols, be related to the constellations. The text ends with curses on anyone who removes, ignores or destroys the kudurru.
The Sealand was one of the wealthiest regions of Babylonia. A dynasty called 'Sealand' first appears in records dating to the middle of the second millennium BC. It controlled the coastline of the south of Iraq and thus the trade routes down the Gulf. The Sealand rulers were defeated by the Kassite kings of Babylon in the fifteenth century BC and governors like Eanna-shum-iddina were appointed to administer the region.
Kassite dynasty, about 1125-1100 BC, Probably from southern Iraq, Mesopotamia, Iraq. Thanks to my Nikon D90 camera, the British Museum, London. My album features the kudurru in 10 pictures.
Dr. Osama Shukir Muhammed Amin FACP, FRCPGlasg
The Cowboy is trying hard to get his cow to the river.
It was taken from Savar with my 70-200, 4L
Its the place where "Khoj-the Search" were filmed.
VAN NUYS - The Los Angeles Fire Department (LAFD) took ownership of a brand-new $2.6 million-dollar helicopter, badged as FIRE-7.
The LAFD helicopter fleet is a combination of five medium-duty and two light-duty helicopters. The five medium-duty (AW-139) type helicopters fulfill a majority of the tactical mission needs including, but not limited to, aerial firefighting (water dropping), hoist rescue, air ambulance, swift water rescue, and high-rise firefighting support and evacuation.
This new light-duty helicopter is the second (Bell 505) aircraft the LAFD uses for HLCO (Helicopter Coordinator) and observation during incidents, including wildfires and other major emergencies requiring multiple aircraft. HLCO pilots are responsible for managing the air space and flight communications for all responding aircraft and providing real-time situational analysis for incident commanders.
This purchase was only possible because of the generous support from donors to the Los Angeles Fire Department Foundation.
The LAFD Foundation consistently fills the gap in important equipment and training which our budget can not cover.
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | John McCoy
LAFD Event: 032923
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Middenbury, a single-storeyed brick building, rectangular in plan and surrounded by verandahs on three sides, is located in Toowong on an elevated position on the Brisbane River. It was constructed in 1865 as a villa residence on land owned by Mrs Eliza Mary Rogers, who purchased the site of just over 6 acres (2.4 hectares) in that year. Until 1956, the place was used a residence, with large grounds surrounding the house. Following acquisition of the property in 1957 by the Australian Broadcasting Company (ABC) the site was used for radio and television broadcasting, with Middenbury used primarily for office space.
Free settlement occurred in Brisbane, traditional country of the Yuggera and Turrbal people, from 1842. Land available for private ownership was progressively surveyed and offered for sale by the New South Wales government. Land was categorized as either ‘town', within gazetted towns and villages, ‘suburban', within 5 miles of town boundaries or ‘country', beyond this radius. Early settlement was largely focused on town land on opposite sides of the river at North Brisbane and South Brisbane, while suburban areas, such as Toowong (then referred to as Milton or West Milton) developed more slowly.
Moggill Road was surveyed and named in 1849 (later known as River Road, then partly Coronation Drive). It was the first route to Ipswich constructed on the north side of the Brisbane River and was shorter than the Ipswich Road on the other side of the river. The land on which Middenbury was constructed was located along this road. From the early 1850s, land speculators increasingly acquired property in the Milton and Toowong area, much of it initially for agricultural purposes.
In July 1853 James Henderson, a manager of the Bank of Australasia in Sydney, purchased Portion 25, Parish of Enoggera, a parcel of over 16 acres, (6.47 ha) dissected by the Moggill Road and fronting the Brisbane River. Henderson also purchased the adjacent Portion 26 and by 1860 had acquired around 400 acres between what is now Toowong and Indooroopilly. In 1865 surveyor and land agent James Warner (on behalf of Henderson) began advertising land parcels for sale in the ‘Village of Nona', a subdivision plan of most of Portions 25 and 26. The remainder of Portion 25, a parcel of just over 6 acres between Moggill Road and the river, was sold to Eliza Mary Rogers for £100 an acre, with the Certificate of Title registered in April 1865.
Born in 1797 at Rogate, in West Sussex, England, Eliza Mary Rogers (nee Gardner) arrived in Australia in 1835 with her husband Richard Rogers, their three children Eliza Mary, Louisa Emily, Lewis Gardner, and three children from Richard's first marriage, Edward, Richard, and Anna Susan. Another child Frank was born in 1837. Richard Rogers was employed as Ordnance Storekeeper in Sydney and for a time was also Colonial Storekeeper. In 1850 he was transferred to Hobart and performed similar duties until his retirement in 1855. The Rogers' returned to Sydney and in 1863, Richard accidentally drowned in a shallow creek in their garden at their Darling Point residence ‘Springfield'. Eliza Rogers' move from Sydney may have been influenced by her son Lewis Gardner (LG) living and working in Brisbane at this time. LG Rogers (born 1835) was appointed as a first class revenue clerk for the Queensland Treasury in 1862, a relatively high ranking and well paid position. It is uncertain when Eliza Rogers first came to Brisbane, but by February 1864 she was advertising for domestic servants in Milton.
The first half of the 1860s was a period of strong growth for Brisbane in the newly established colony of Queensland. Immigration boosted the population dramatically (more than doubling between 1861 and 1864 to over 12, 000) and many substantial public and private buildings were constructed during this time. The urban environment of Brisbane's fledgling town centre, where residential dwellings co-existed in close proximity with commercial and industrial activity, was characterised by congestion, noise, and poor sanitation, common among other developing towns and cities in mid-19th century Australia. During this period ‘villa estates', located in the suburban periphery in then semi-rural settings - on elevated locations such as along ridgelines, and in some instances with river frontage - became an increasingly popular type of dwelling for Brisbane's more affluent residents. This demographic included higher-ranking public servants, professionals, and successful business people. The flight to residential villa estates by the well-to-do was a development pattern that occurred internationally during the Victorian era. Key elements of villa estates included large and comfortable houses, associated outbuildings such as servant's' quarters and stabling, expansive garden settings, and a good road to town.
While some early Brisbane suburban villa residences were located in relative isolation (such as Saint Johns Wood, in present day Ashgrove), in other instances they were established in closer proximity, as occurred along the ridges and on the Brisbane River between Milton and Toowong. At the time of Eliza's Rogers' land purchase there were only a small number of residences in the area. Early substantial residences in the area included: Milton House 1853, built for retired chemist Ambrose Eldridge; ‘Minto', built for WLG Drew, Queensland's Auditor-General (1877 - 1889); ‘Dovercourt' (1864), the residence of architect William Ellerker; Moorland Villa (by 1862) for John Markwell, and Richard Langler Drew's ‘Karslake', later residence of early Toowong memoir writer JB Fewings. This early pattern of suburban settlement can be seen as both a geographic and built expression of the emerging socio-economic structure in Brisbane. While Richard Langler Drew (whose early residence had proclaimed his residential subdivision ‘Toowong Village' in 1862, closer suburban settlement did not occur until the 1870s, spurred on by the arrival of the railway to Brisbane from Ipswich. By 1881 there 1275 people living in Toowong in 300 dwellings.
In March 1865, the Brisbane Courier noted, ‘substantial brick villas, instead of wooden houses are on the increase'. A later article in September stated, ‘numerous villa residences have been erected during the past 12 months in the suburbs of the town...No greater proof of the prosperity of a city as a whole can be afforded than that derived from the disposition of its citizens to plant and build on its environs, and to make it their home socially as well as professionally...Scarcely a day passes but our advertising columns invite tenders for the erection of villa residences...'. It was in this year that Middenbury was constructed. The design of Middenbury has been attributed to architect James Cowlishaw although there is no firm evidence of this. An October newspaper advertisement for villa sites on the Nona Estate noted their location next to the residence ‘recently erected for L.G. Rogers, Esq.,' indicating Middenbury was constructed at this time.
A 1984 conservation management plan describes Middenbury when it was completed:
‘Middenbury...followed the detached villa pattern. The main part of the house was built in brick with a slate roof and was surrounded by verandahs on three sides. A large room, able to be divided by cedar folding doors, occupied the front of the house. Each end of this room was fitted with a cedar mantlepiece. The interior joinery was of cedar. The main door opened into a short hall which led from the verandah on the northern side into a long hall which extended through the centre of the house to a back verandah. It is believed that during the Rogers' occupancy of the house, one half of the large divided room at the east of the house was used as a dining room. The original breakfast room was situated behind the main entrance hall'. Middenbury took advantage of its elevated waterfront location, oriented to face a broad reach of the Brisbane River.
By June 1866, the house was known as ‘Middenbury'. The source of the name has not been verified; one suggested link is the suburb of Midanbury, in Southampton, England, which took its name from a large house Middenbury, built in the 1700s. Both Lewis and Eliza Rogers' name appear in notices related to Middenbury from the time of its completion, and the house appears to have been used as residence by both members of the family. Middenbury was let out for a few months in both 1868 and 1869; at this time it was identified as the house of Eliza Rogers. In 1874, 1 rood and 37 ¼ perches (nearly half an acre or 0.2 ha) of the Middenbury property was acquired by the Commissioner of Railways for the railway extension to Brisbane from Ipswich. An 1875 survey map conducted as part of this process shows Middenbury with verandahs on its northeast and southeast elevations, with the rear of the house flanked by service wings, and a building on the site of the stables.
After the death of Eliza Rogers at Middenbury in October 1875, the property passed to four of the Rogers siblings - Eliza (Jr), Louisa (Minnie), Lewis, and Frank. Lewis Rogers died at Middenbury in December 1876, with his share in the property passing to his wife Frances Wyndowe Rogers (nee Miles) whom he had married in 1867. In March 1877, Frank Rogers was advertising Middenbury for rental, ‘containing drawing, dining, 7 bedrooms, besides kitchen, laundry...coachhouse, stables, garden, and paddock, and every requisite for a gentleman's family'. In the same month, much of the contents of Middenbury were put up for auction. The exhaustive list compiled for the auction reveals the affluent lifestyle of the Rogers' during their residency. In addition to the ‘superior household furniture', ‘culinary requisites' and items used by domestic staff, the family horse and carriage, milch cows, pigs, and poultry were also offered for purchase.
A number of tenants are known to have occupied Middenbury from 1877 until its purchase by Timothy O'Shea in 1891. Thomas Finney, co-founder of the large Queensland retail firm of Finney, Isles and Co., lived with his family at Middenbury until mid-1883, while his family's new residence, Sidney House (designed by Francis 'FDG' Stanley) was erected on the adjacent property. According to Florence Lord, in her 1930s series on Brisbane's Historic Homes, 'Mr Jackson' brother-in-law of Thomas Finney, resided in Middenbury prior to the Finney's. Hervey Murray-Prior, a barrister and Master of Titles (and son of Thomas Lodge Murray-Prior, Queensland's first postmaster-general), was living at Middenbury with his family in 1885. However by September of that year, the contents of the house were advertised for auction, suggesting an end to their tenancy around this time. Henry Bolton, a former Member of the Legislative Assembly in Victoria who became managing director of the Queensland Brewing Company in 1883, was living at Middenbury in mid-1889 when it was offered to let.
In April 1885 Middenbury, described as ‘a commodious country residence...command[ing] views of reaches both up and down the stream, and overlooking the whole of Brisbane, north and south' was put up for auction, but was not sold. By July of that year Frank Rogers had bought out the three other shares held by his two sisters and Francis Rogers, and is believed to have occupied the house periodically in the late 1880s. Frank Rogers subdivided the 5 acre, 2 roods, and 24¾ perch property and sold off parcels to the south of the house, ultimately retaining the residence on just over 2 acres 2 roods and 35 4/10 perches (approx.1.1ha). Present day Archer Street was formed from this subdivision (officially named in 1887) and an entrance to Middenbury was made off this street.
In August 1890 Timothy O'Shea, a retired successful Brisbane produce merchant, signed a one year lease over Middenbury for £17 a month, before buying the property in August 1891. Middenbury remained the family residence of the O'Shea's until 1949. Timothy and Ellen O'Shea emigrated from Killarney, Ireland to Queensland in 1863. Of their five children who were raised in Brisbane, Timothy (Ted), Patrick (Pat or PJ) and only daughter Ella are known to have resided at Middenbury. After her mother's death in 1873, Ella assisted her father in raising the family and running the household, continuing this role after her father died. Patrick, Ted, and other brother John, (Jack or JJ) were all solicitors, while another brother Michael James was a doctor. Patrick and Ted established the firm O'Shea and O'Shea (later O'Shea, Corser and Wadley) solicitors in 1891. Apart from his legal practice, Pat was involved in a range of business activities. Along with his brother Ted, he was part of the original syndicate which became the City Electric Light Company, and also maintained interests in the Queensland Brewery, Moreton Sugar Mill, furniture company John Hicks, and suburban property subdivision. An owner and breeder of horses, he was closely involved in the racing industry, a one-time president (for 22 years) and life member of the Queensland Turf Club. The ‘PJ O'Shea Stakes', Queensland's major weight for age staying race, is named in his honour.
During the O'Shea's time at Middenbury, the longest period of continuous occupancy of the building as a residence, considerable alterations and additions occurred at the property. The largest change to the house was the addition of a brick building containing a study/bedroom and bathroom, connected to the house verandah by an open sided ‘piazza' which featured built-in wall beds. A garage and chauffeur's room were added along Archer Street, near the earlier brick stables which also housed a room for guests. While the extent of alterations to the grounds during the O'Shea period is unclear, it is known a lawn tennis court was established on a terraced area between the river and the house, while other landscape features included a large circular driveway, mature trees and a series of garden beds.
Timothy O'Shea died age 91 at Middenbury in 1922. Ella, Pat, and Ted (died 1930) never married and lived out their days at Middenbury in comfortable circumstances. Prior to World War II, Middenbury became a well-known social venue for the elite in Brisbane, with the house and the grounds hosting numerous events and guests. The social pages of Brisbane's newspapers regularly reported on occasions held at the residence including events connected to racing and regatta parties. In 1936 Ella was featured as part of the Courier-Mail's ‘Brisbane Hostesses in the Home' series. Pictured in the drawing room of Middenbury, the article claimed, ‘Musicians, actors, travellers...who have been guests...have spread the fame of Miss Ella O'Shea as a hostess in all the English speaking countries'. Ella O'Shea died on the 2nd of February 1949, age 92. Three days later, on the 5th of February, Pat, who was reported as saying to his ‘intimates', 'If I live only five minutes after my sister, I shall die happy' also died, both leaving substantial estates. Pat's obituary in the Sunday Mail noted the end of an era at the now empty Middenbury, where, ‘Titled people, actors, artists, world celebrities were invited...They found its halls a home and its gardens a soft sanctuary'.
Middenbury was put up for by auction on the 6th of July 1949. William Ramsay Webster and Amy Louisa Webster, of Webster's Cake and Biscuit Company, and the original Shingle Inn, purchased the property for just over £11, 000. Prior to the sale, an auction notice described Middenbury at this time:
‘Middenbury is substantially built of brick and wood, with slate and galvanised iron roofs, and comprises spacious verandahs, vestibule, halls, card room, lounge, music room, three bedrooms, two well appointed bathrooms with marble surrounds and shower room, with tiled floors, lounge verandah with set-in folding American beds, study, dining room with wine cellar, scullery, kitchen, with tiled fireplace...Maid's Rooms, brick chimneys with marble mantelpieces... built-in cupboards throughout, polished floors and sewered; Boiler room...laundry equipped with bricked-in copper and porcelain wash tubs, wood rooms, double garage with concreted wash yard, man's room and storerooms; Stable Building, with attic and comfortable bedroom; and 2 sets of brick lavatories'.
The Webster family continued the O'Shea tradition of hosting large social gatherings at Middenbury, and lived there until 1955, when it was sold to Accommodation Australia Ltd. Middenbury and the adjacent property containing Sidney House were purchased and combined (identified in 2014 as Lot 13, RP104400) by the Australian Broadcasting Commission, (ABC, now known as the Australian Broadcasting Corporation) in 1957 to establish new adjoining Queensland facilities for radio and television production and broadcasting. Operated by the Australian Government, ABC television commenced radio broadcasting in Australia on the 1st of July 1932. The Queensland government-owned radio station 4QG was taken over by the ABC and broadcast in the mornings and evenings, before a second station 4QR was opened in 1938 to broadcast the full national program. The ABC was given responsibility to provide national television programs in 1954, commencing in November 1956, in time for the Olympic Games in Melbourne. The focus of ABC's television operations was initially in Melbourne and Sydney until the late 1950s, when services were established in Sydney, Adelaide, and Hobart.
Sidney House was demolished to make way for the first major building on the site, the television studios. Constructed in brick, it was a three storey building mounted by a 130ft steel framed tower for beaming programmes to the main transmitting tower at nearby Mount Cootha. The building included an isolated studio, plus projection, sound, viewing control, and news section rooms. In 1968 the television studio building was extended towards the river. The other major building constructed on the site was the 1964 brick radio studio, located between Archer Street and Middenbury, which included special acoustic studios.
The ABC's first television broadcast in Queensland occurred on the 2nd of November 1959 at 7PM. In a nod to its past, Middenbury hosted some 300 invited guests at the official function to mark the occasion, with 10 televisions set up within the building for viewing of the live broadcast of the ABC's ‘Queensland Television Service'. ‘Channel 2' was Brisbane's third television station and Australia's twelfth.
As with Sidney House, it was never the original intention to retain Middenbury, with its location designated for radio broadcasting facilities. By the early 1960s, earlier outbuildings, including the stables, garage and most of the garden features had been removed. On Coronation Drive, two large weeping figs near the former entrance were retained. As part of the major landscaping of the site, much of Middenbury became surrounded by a steep concrete retaining wall. At the house, the ‘piazza' and bedroom extension and the rear timber wing on the southwest were demolished.
In 1969, a report prepared by the Federal Department of Works on Middenbury identified the historical significance of the building and recommended preserving the house ‘if at all possible'. The report noted part of the building was used for canteen facilities, 'which could be extended to become a most attractive staff amenity' or alternatively ‘an excellent executive office suite'. Repairs had also been undertaken and the interior ‘extensively decorated'. Over time, Middenbury was used mainly as office space while part of the ABC's operations. The building underwent additions and alterations internally, including partitioning in some spaces to create new rooms. While elements disappeared, Middenbury retained its essential 1865 building form, some early internal spaces and cedar joinery, while maintaining its orientation and relationship to the river. In its last few years of occupancy by the ABC, Middenbury housed the Chief Executive, Finance and Human Resources operations.
The ABC vacated its site at Toowong in 2007, following concerns about high incidences of cancer among staff members at the site. As the ABC's key site for broadcasting and production in Queensland for nearly half a century, the Toowong facilities were highly important, broadcasting news, current affairs, and numerous other television and radio programs throughout Queensland and other parts of Australia. Between 1957 and 2007, the ABC's facilities were frequently altered, with the addition of other buildings on the site, and internal changes to earlier buildings. With the vacating of the site, much of the broadcasting equipment and associated fittings and fixtures were dismantled or removed, effectively inhibiting the site's ability to demonstrate its former function.
In 1968, Middenbury was one of the earliest listings on the Register of the National Trust of Queensland and was later included in the Register of the National Estate in 1978. When the Queensland Heritage Act 1992 commenced, Middenbury had been included in the newly established Heritage Register. However, in 2004 reference to it having been entered in the state register was removed by a decision of the Queensland Heritage Council, in acceptance of legal advice regarding properties owned by the Australian Government for public purposes. In 2013 the property was transferred from Australian Government to private ownership.
Source: Queensland Heritage Register.
With ownership transferring from DRS to GBRf earlier in the week 66304 & 66305, with logos removed, hitching a ride on 6E17 Liverpool-Drax along with 60056, the latter still awaiting repaint from Colas livery,
Ownership stamp and inscription of Auguste Lafaye.
Stamp: A. Lafaye
Inscription: Aug[us]te Lafaye, Alger, 1871
[Dates needed]
Penn Libraries call number: GrC Ae853.2 1545
Transferring vehicle ownership from one Area I Soldier to another is now a lot quicker and easier than it was only weeks ago thanks to an arrangement worked out by the U.S. Army and officials of the city of Dongducheon.
The streamlined arrangement cuts vehicle transfer to a virtually one-stop, same-day process under an agreement reached between the U.S. Army Garrison Red Cloud and Area I and Dongducheon city officials.
Under the new agreement, a Dongducheon city vehicle registration official has been assigned to work in the Area I vehicle registration office in Maude Hall, Room 2440. That means that much of the vehicle paperwork process that previously required trips to Dongducheon City Hall can now be done right in Maude Hall.
“That day, on the spot, one-stop, you never have to come back,” said Eliott Bradley, who heads the U.S. Army Garrison Red Cloud and Area I’s Directorate of Emergency Services. “So that saves, right there, five days.”
The Dongducheon official works at Maude Hall Monday through Friday from 9 a.m. to 1 p.m.
The agreement was signed Oct. 31 and took effect Nov. 1.
It applies not only to Soldiers but to all members of the Area I community – Defense Department civilians, dependents, authorized contractors and retirees, Bradley said.
Registering a vehicle for a member of the U.S. military community involves two sets of officials – those of the U.S. military itself, and local South Korean motor vehicle authorities.
In Area I until now, part of the ownership transfer process included actions that were only performed at Dongducheon City Hall. That added several days to the process of transferring ownership of a vehicle, said Bradley.
Now, ownership transfer, which includes transferring registration and plates and updating the vehicle decal, can be completed within a single day, Bradley said.
If a Soldier is nearing PCS and wants to sell a vehicle to another Soldier, for example, both would come to the vehicle registration office at Maude Hall with the necessary documents, among them driver’s license, insurance, and registration.
Once officials there ensure the documents are correctly filled out and otherwise in order, the Dongducheon official working there would print out new vehicle registration paperwork in the new owner’s name, Bradley said.
And the new owner would be issued an updated vehicle decal.
That’s days faster than before, mainly because Area I officials would have to travel to Dongducheon City Hall and – on Tuesdays or Thursdays only – drop off the required paperwork at the vehicle registration office.
“In the meantime the Soldiers would have to wait several days,” Bradley said.
Customers would have to make another trip to City Hall for the second phase to have license plates issued.
They would return to Maude Hall where an official decal would be put on the vehicle.
The new arrangement has also simplified some parts of the process of registering a newly arrived vehicle in Korea, Bradley said.
Having the Dongducheon official working out of Maude Hall speeds the process of getting that paperwork okayed, and the customer can then go, typically same day, to City Hall to be issued permanent plates.
But Area I officials are currently exploring steps that could eventually further streamline the process for registration of vehicles newly arrived in Korea, as well as for vehicles purchased from off-post dealers, Bradley said.
Capt. Nathan Bethea found transferring vehicle ownership much easier than it might have been for a process that involves two sets of authorities, one of them a foreign government.
Bethea went to Maude Hall Nov. 14 to take ownership of a gold-colored 1998 Daewoo Matiz he bought from a fellow-officer who was nearing PCS and had advertised it for sale.
They presented all the required paperwork and were in and out in about 45 minutes, said Bethea, assistant S-3 with Headquarters and Headquarters Company, 2nd Battalion, 9th Infantry Regiment, part of the 2nd Infantry Division.
“All in all I felt the process was pretty easy,” he said. “Given that I’m dealing with a foreign country I found that it went a lot easier than it could have gone.
“For the simple fact that it eliminates us having to go down to a Korean government building, which I think might be intimidating just because of the language barrier and so on,” said Bethea. “Having it here made it much easier,” he said. “It’s no harder than registering a vehicle in the United States.”
Maude Hall’s vehicle registration office is also the place to register vehicles purchased from off-post Korean dealers.
Those wanting further details about vehicle registration and related matters can call the Vehicle Registration Office at 730-4494.
VAN NUYS - The Los Angeles Fire Department (LAFD) took ownership of a brand-new $2.6 million-dollar helicopter, badged as FIRE-7.
The LAFD helicopter fleet is a combination of five medium-duty and two light-duty helicopters. The five medium-duty (AW-139) type helicopters fulfill a majority of the tactical mission needs including, but not limited to, aerial firefighting (water dropping), hoist rescue, air ambulance, swift water rescue, and high-rise firefighting support and evacuation.
This new light-duty helicopter is the second (Bell 505) aircraft the LAFD uses for HLCO (Helicopter Coordinator) and observation during incidents, including wildfires and other major emergencies requiring multiple aircraft. HLCO pilots are responsible for managing the air space and flight communications for all responding aircraft and providing real-time situational analysis for incident commanders.
This purchase was only possible because of the generous support from donors to the Los Angeles Fire Department Foundation.
The LAFD Foundation consistently fills the gap in important equipment and training which our budget can not cover.
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | John McCoy
LAFD Event: 032923
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
At head:
Societatis Jesu Oetingae
[Early ms. ownership inscription of the Jesuit house at Altötting, otherwise Oettingen, which existed from 1591 to 1773.]
At foot:
Ex dono R.D. Jo. Heussij S.T.
Baccalaurei F. A[nn]o. 1603.
[17th-century ms. inscription recording the gift of this volume by Jo[hannes?] Heuss in 1603. UPenn Ms. Codex 1604 has a similar set of inscriptions, recorded in part as "Ex dono R.D. Jo. Heussii ... 1603" and "Residentiae e Societatis Jesu ..." in Zacour and Hirsch, Catalogue of Manuscripts in the Libraries of the University of Pennsylvania to 1800 (Ms. Lat. 132). A physical inspection of the ms. reveals them to be in the same hand as those depicted here.]
Other marks of ownership from the Jesuit house in Altötting
Penn Libraries call number: GC55 H1257 572g
Inscription along inner margin: "Molto Alt[issi]mo [?] (Illustrissimo?) Sr. mio Ora.tori."
Inscription across the printer's device: "di me Steffano"
The horizontal inscription may continue the inscription along the inner margin.
Penn Libraries call number: IC55 L3647 473e 1563
Ownership inscription of Carlo Arpino: Carolus Arpinus Doctor Medicus Physicus
Carlo Arpino was a physician and scholar who lived in Poirino, in Piedmont, between the 16th and 17th centuries and was the father of Giacomo Francesco Arpini, whose stamp appears on verso of this title page. He also appears on other books with inscriptions such as "Caroli Arpini Podiuarinensis".
Device of printer Francesco de Franceschi (Zappella 921).
Established heading: Franceschi, Francesco de
Penn Libraries call number: IC55 Al754 591d
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
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A[chilles]. P[irminus]. G[asserus]. L[indaviensis]
Augstburgi ao. 1546
mense Septe[m]bri
[illegible]
Ownership inscription dated September 1546 of Achilles Pirmin Gasser (1505-1577), physician and historian at Augsburg, Germany.
Established heading: Gasser, Achilles Pirmin, 1505-1577
Penn Libraries call number: GC5 A100 546p2
Ex biblica. Altempsna.
[Ms. ownership inscription of the Biblioteca Altempsiana. It was founded by the Austrian churchman Markus Sittikus von Hohenems, Cardinal Altemps (1531-1595), nephew of Pope Pius IV, at the Palazzo Altemps in Rome and expanded by his nephew Mark Sittich, Archbishop of Salzburg (1574-1619). (Both men are also known by the Italianized form of their name, Marco Sittico Altemps, Altemps being a calque of Hohenems.) The library was eventually absorbed into the Biblioteca vaticana.]
Established heading: Biblioteca altempsiana.
Penn Libraries call number: GC5 C6427 545i
A visit to Powis Castle, another National Trust property. You are not allowed to take photo inside of the castle (items in private ownership), but it's fine around the exteriors and gardens. Anyone caught trying to take a photo inside gets told off by one of the guides inside the castle, so it wasn't worth the bother (bit frustrating when going around the castle). At least the outside areas makes up for what I couldn't take.
Powis Castle (Welsh: Castell Powys) is a medieval castle, fortress and grand country mansion near Welshpool, in Powys, Wales.
It is known for housing the treasures that were brought home by Robert Clive and his son, Edward Clive from India. The Clives obtained them during their service with the British East India Company.
The castle has also been known as Castell Coch, Castell Pool, Castell Pola, Castell Pole, Castell Trallwng, Red Castle, Redde Castle and Castel Cough.
The seat of the Earl of Powis, the castle is known for its extensive, attractive formal gardens, terraces, parkland, deerpark and landscaped estate. The property is under the care of the National Trust.
Princess Victoria (later Queen Victoria) visited the castle as a child when her mother took her to tour England and Wales in 1832.
The Outer Gateway at Powis Castle. The entrance where you pay or get your National Trust card is in this building.
Grade I Listed Building
Exterior
History: Powis Castle was established as a Welsh stronghold, probably of Owain Cyfeiliog and his heirs, from c1170, and parts of the surviving structure are thought to date from the late C12-early C13. The castle was sacked c1275, and in 1286, Owain ap Gruffydd ap Gwenwynwyn paid homage to Edward I: a substantial programme of rebuilding followed - the layout, and much of the structure of the present buildings were determined in this work of c1300. After the castle was acquired by the Herbert family in 1587, it was gradually remodelled as a country house: the main entrance was established in the E gate-tower (itself an addition of the C15), and the main entrance of the medieval strong-hold became the back entrance of the Elizabethan house. The gate-way was destroyed when the castle was besieged in 1644, and in 1668, the present gate- house was built on the site of the earlier structure. The NW pavilion was extended, and the W elevations remodelled again - perhaps by Smirke in the early C19 - at a time when the gatehouse had been re-instated as the main entrance to the castle.
Description: Dated over the inner face of the arch, 1668. Brick with stone dressings including balustraded parapet to S and E elevations, and stone facing to W wall - probably the result of early C19 remodelling. 2 single storeyed pavilion blocks are linked by an arched entrance. The shield of arms over the gateway is early C19. W elevations have 4-centred arched doors (double doors in N pavilion), with similar loft entrances above. Elevation facing garden in S pavilion has 3x3-light stone mullioned and transomed windows which appear to be original features, and squared balustrading to parapet. Facing the courtyard, the pavilions had open arcaded fronts which were later infilled, and mullioned windows inserted in each bay. The buildings were intended to house coach house and stables, and the original stable fittings survive in the S pavilion - a series of arcaded stalls.
The retaining wall to the courtyard defines the S boundary of what had originally been the outer bailey of the medieval castle. The rubble retaining wall with squared balustraded parapet is probably also late C17: it is shown in Thomas Dineley's drawing of the courtyard, dated 1684, and the detail of the balustrading connect it with the pavilion, as well as with the C17 entrance and stairs to the castle, dated to c1670. Dineley's drawing shows that the present raised bed was originally a raised walkway.
The entrance pavilions and retaining wall are important components of the late C17 work at Powis Castle, and especially as they were clearly an integral part of a larger scheme, including both entrances to the castle, and the terraced gardens.
References: Richard Haslam, Powys, Buildings of Wales series, 1979, p.188;
The National Trust, Powis Castle, 1988 and 1994.
coat of arms
Compares % of the population that that lives in urban centers to the % of the population that owns firearms. Unsurprisingly, it shows a fair correlation (53%) between rural population and gun owning population.
The y-intercept point and x=100 point predict that 2% of a purely urban population and 80% of a purely rural population will own guns. That's an interesting novelty of a factoid, to be taken with a grain of salt.
Links for Sources: urbanity - gun ownership
John Milton: Paradise Lost. [London: Samuel Simmons, 1669.] Title page with ownership inscription. Sp Coll 933.
The first edition of Paradise Lost was published by Samuel Simmons. It was produced in six variant issues. These may be identified from differences in the title page. This particular copy held by Special Collections is an example of the sixth issue of the first edition; it also contains preliminary material included in the fourth and subsequent issues.
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
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It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
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Ownership inscription from the Convento di San Domenico in Bologna, Italy (associated with the Basilica di San Domenico, where St. Dominic's remains are interred), whose library was established in 1466.
"Bibliothec[a]e Con[ven]tus S. Domini Bononiae ad usum I. U. D. Card. Gossi [?] Ord. Predi[catorum]"
Established heading: Convento di San Domenico (Bologna, Italy)
Penn Libraries call number: IC5 P7598 542a
Collegij Societatis Jesu Landspergae St
[Early ms. ownership inscription of the Jesuit college of Landsberg am Lech, Germany.]
Penn Libraries call number: Inc B-138 Folio
Penn Libraries catalog record
Sum Religiosorum F[rat]rum in Rottenbuech
[Ms. ownership inscription of the Augustinerchorherrenstift Rottenbuch, an Augustinian house at Rottenbuch, Bavaria, Germany, founded in 1073 and secularized in 1803.
Established heading (LC): Augustinerchorherrenstift Rottenbuch
Established heading (DNB): Stift Rottenbuch
Penn Libraries call number: Inc S-863 Folio
Penn Libraries catalog record
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
The same applies to all of my images.
My ownership & copyright is also embedded in the image metadata.
Formed only in 2007, Fleshgod Apocalypse are at the vanguard of Italy’s extreme metal movement. No other band in the country’s history has taken ownership of and innovated on death metal quite like the Italians. Inspired by greats Morbid Angel, Deicide, and Cannibal Corpse as well as renowned composers Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig Van Beethoven, Fleshgod Apocalypse have fused disparate genres and crafted a sound that’s powerful, impressive, and unique across three full-lengths, the latest of which was 2013’s critically-acclaimed Labyrinth effort. However, the group are only getting stronger. Add in film score composers such as John Williams, Hans Zimmer, and Howard Shore and melodic death metal—Carcass and At the Gates—and there’s clearly no stopping Fleshgod Apocalypse’s creative ambitions.
“Fleshgod Apocalypse’s music is orchestral music,” says frontman/guitarist Tommaso Riccardi, blurring the lines between classical refinement and metallic bombast. “This means that drums, bass, guitars, and vocals are elements of the orchestra, together with all the other sections, [such as] strings, brass, etc. This means that in the process of composing new songs we always consider all these elements together. Of course, sometimes a guitar riff could be the starting point, while sometimes the song could come to life with the idea of a main orchestral theme or a drum rhythm, but it’s going to be a very organic process in which all these elements are written and arranged together during the evolution of the songwriting.”
What Riccardi is saying is that when it comes to writing music for Fleshgod Apocalypse, the spark of inspiration can come from anywhere on any instrument. For new album, King, a song like “Gravity” started with a riff, while a song like “In Aeternum” kicked off with an orchestral motif. Then again, “The Fool” was informed by both Classical and death metal. As with Labyrinth so too with King, the Italians focused first on melding their influences and second on writing songs that would be immediately recognizable yet have a wider and deeper cinematic scope.
“[The songwriting was] very stressful as usual,” the frontman laughs. “We are extremely meticulous about everything, especially the songwriting, and I think this is what made us grow up so fast and gave us the chance to play so many great stages over the years. We are hard workers and we never settle on anything. King’s songwriting and arrangements took almost nine full months—plus all the recordings—so it was actually very challenging. But we are so happy with the results.”
To date, every Fleshgod Apocalypse album is built on the album before it. They’re a synthesis of the music and mentality of what came before. Labyrinth took from and expanded upon 2011’s Agony. The Mafia EP was an extension of debut album, Oracles (2009). King is, therefore, cut from the same cloth as Labyrinth, but in the three years between albums, Fleshgod Apocalypse have matured greatly.
“[King] is much more than the sum of its parts,” says Riccardi. “I think we reached the perfect balance between all the aspects of our music. Besides that, I really believe that we simply wrote our best songs so far. Every riff is mind-blowing and the way we managed the arrangements and song structures is great; I really feel that everything is in the right place, when I listen to it.”
Fleshgod Apocalypse are no strangers to concept albums. Agony was about all the ways our painful feelings can lead us to be violent and hurt others; Mafia was about the way the Italian mafia uses fear to control the weak and perpetrate their dominion on the populace; while Labyrinth centered on the labyrinth of Knossos, the legendary maze made by Daedalus. King, however, moves the band forward lyrically. There’s real commentary behind the stories of a collapsing world.
“King is about an old world that is slowly coming to an end,” Riccardi informs. “The king himself is, in a way, the only positive character of the whole story. He represents justice, integrity, and wisdom that are slowly being corroded by ignorance and mediocrity spreading everywhere. We thought this could be a perfect way to describe our indignation about the unrestrainable downfall of our own society in an era that looks more like the Middle Ages rather than the 21st Century. Obviously, in this story there is a positive message: that the king could be inside every one of us. It’s up to us to recognize the King and find the courage to stand for what we believe in. We should all hail the king we have inside!”
Recorded across two studios—Kick Recording Studios and 16th Cellar Studios—King is easily Fleshgod Apocalypse’s most forceful yet. Pre-production was handled by Stefano Morabito at 16th Cellar Studios—a session Riccardi called “really comfortable”—whereas the full production was completed at Kick Recording Studios with Marco Mastrobuono (Hour of Penance). The sessions for King were, as the frontman tells it, an “amazing time.” The ultimate goal was to give Fleshgod Apocalypse a firm foundation from which to build their complex yet savage music.
“I think working with Marco has been the very first step towards the realization of a very high quality product,” says Riccardi. “We are extremely satisfied about the work we did on the album sound, both during the recordings with Marco Mastrobuono at Kick Recording Studio and of course during mixing and mastering with the almighty Jens Bogren at Fascination Street Studios.”
Speaking of Bogren, the Italians felt it was absolutely necessary to take King out of the norms of their homeland. They opted to hire Jens Bogren (Soilwork, Symphony X, Enslaved) for his sonic expertise. Their reasoning was this: if Fleshgod Apocalypse had a gem in King on their hands they weren’t going to tarnish it. The group’s hopes were answered when they heard the first Bogren mix, actually. Fleshgod Apocalypse had something massive on their hands.
“We were looking for people who could really interpret our music and put it in a way in, which with all the things going on, where it could be intelligible and still extremely heavy and powerful,” the frontman says. “And we definitely succeeded. We finally obtained what we had in mind since the beginning: a great sounding album.”
If Fleshgod Apocalypse are at the pinnacle of classically-inspired death metal—King is a pivotal album—then where will the Italians take the genre next. For certain, they own it. More orchestration. More death metal. Superlative bluster from all angles. Thankfully, they can first put their efforts into King before deciding where they’ll take the genre in the future.
“This is a very hard question to answer,” Riccardi admits. “It is never easy to predict something like that. What I can say is that on our side, we are trying to push ourselves more and more into something that is grandiose, but at the same time heavy and sharp; something violent, obscure and dramatic!”
We can certainly live with that. Hail to Fleshgod Apocalypse! Hail to the King!
Durham University (legally the University of Durham) is a collegiate public research university in Durham, England, founded by an Act of Parliament in 1832 and incorporated by royal charter in 1837. It was the first recognised university to open in England for more than 600 years, after Oxford and Cambridge, and is thus the third-oldest university in England. As a collegiate university, its main functions are divided between the academic departments of the university and its 17 colleges. In general, the departments perform research and provide teaching to students, while the colleges are responsible for their domestic arrangements and welfare.
The university is a member of the Russell Group of British research universities and is also affiliated with the regional N8 Research Partnership and international university groups including the Matariki Network of Universities and the Coimbra Group. The university estate includes 83 listed buildings, ranging from the 11th-century Durham Castle to the 1960s brutalist students' union. The university also owns and manages the Durham World Heritage Site in partnership with Durham Cathedral. The university's ownership of the world heritage site includes Durham Castle, Palace Green and the surrounding buildings including the historic Cosin's Library.
Current and emeritus academics as of 2018 included 15 Fellows of the Royal Society, 18 Fellows of the British Academy, 16 Fellows of the Academy of Social Sciences, 5 Fellows of the Royal Society of Edinburgh, 3 Fellows of the Royal Society of Arts, 2 Fellows of the Royal Academy of Engineering and 2 Fellows of the Academy of Medical Sciences. Durham graduates have long used the Latin post-nominal letters Dunelm after their degree, from Dunelmensis (of, belonging to, or from Durham).
Among British universities, it had the tenth highest average UCAS Tariff for new entrants in 2021 and the third lowest proportion of state-school educated students starting courses in 2016, at 62.9 per cent (fifth lowest compared to its benchmark.
The history of Durham University spans over 190 years since it was founded by Act of Parliament. King William IV granted royal assent to the Act on 4 July 1832, and granted the university a royal charter on 1 June 1837, incorporating it and confirming its constitution. The university awarded its first degrees on 8 June 1837. It describes itself as the third-oldest university in England (a claim also made by UCL and the University of London) and is listed by the European University Association as one of Europe's oldest hundred universities in continuous operation.
From 1870, the university was divided between Durham and Newcastle upon Tyne, with a fully federal arrangement from 1910 which lasted until 1963 when the Newcastle division separated to become the University of Newcastle upon Tyne. From 1992, the university once again divided with a new campus in Stockton-upon-Tees, until 2017 when the university unified academic activities in Durham.
Durham University owns (as of 2006) a 227.8-hectare (563 acres) estate[3] which includes a UNESCO World Heritage Site,[4] one ancient monument (the Maiden Castle earthworks),[3] five grade-one listed buildings and 68 Grade II listed buildings[3] along with 44.9 ha (111 acres) of woodland.
Durham is a cathedral city and civil parish in the county of Durham, England. It is the county town and contains the headquarters of Durham County Council, the unitary authority which governs the district of County Durham. It had a population of 48,069 at the 2011 Census.
The city was built on a meander of the River Wear, which surrounds the centre on three sides and creates a narrow neck on the fourth. The surrounding land is hilly, except along the Wear's floodplain to the north and southeast.
Durham was founded in 995 by Anglo-Saxon monks seeking a place safe from Viking raids to house the relics of St Cuthbert. The church the monks built lasted only a century, as it was replaced by the present Durham Cathedral after the Norman Conquest; together with Durham Castle it is a UNESCO World Heritage Site. From the 1070s until 1836 the city was part of the County Palatine of Durham, a semi-independent jurisdiction ruled by the prince bishops of Durham which acted as a geopolitical buffer between the kingdoms of England and Scotland. In 1346, the Battle of Neville's Cross was fought half a mile west of the city, resulting in an English victory. In 1650, the cathedral was used to house Scottish prisoners after their defeat at the Battle of Dunbar. During the Industrial Revolution, the Durham coalfield was heavily exploited, with dozens of collieries operating around the city and in nearby villages. Although these coal pits have now closed, the annual Durham Miners' Gala continues and is a major event for the city and region. Historically, Durham was also known for the manufacture of hosiery, carpets, and mustard.
The city is the home of Durham University, which was founded in 1832 and therefore has a claim to be the third-oldest university in England. The university is a significant employer in the region, alongside the local council and national government at the land registry and passport office. The University Hospital of North Durham and HM Prison Durham are also located close to the city centre. The city also has significant tourism and hospitality sectors.
Toponymy
The name "Durham" comes from the Brythonic element dun, signifying a hill fort and related to -ton, and the Old Norse holme, which translates to island. The Lord Bishop of Durham takes a Latin variation of the city's name in his official signature, which is signed "N. Dunelm". Some attribute the city's name to the legend of the Dun Cow and the milkmaid who in legend guided the monks of Lindisfarne carrying the body of Saint Cuthbert to the site of the present city in 995 AD. Dun Cow Lane is said to be one of the first streets in Durham, being directly to the east of Durham Cathedral and taking its name from a depiction of the city's founding etched in masonry on the south side of the cathedral. The city has been known by a number of names throughout history. The original Nordic Dun Holm was changed to Duresme by the Normans and was known in Latin as Dunelm. The modern form Durham came into use later in the city's history. The north-eastern historian Robert Surtees chronicled the name changes in his History and Antiquities of the County Palatine of Durham but states that it is an "impossibility" to tell when the city's modern name came into being.
Durham is likely to be Gaer Weir in Armes Prydein, derived from Brittonic cajr meaning "an enclosed, defensible site" (cf. Carlisle; Welsh caer) and the river-name Wear.
History
Early history
Archeological evidence suggests a history of settlement in the area since roughly 2000 BC. The present city can clearly be traced back to AD 995, when a group of monks from Lindisfarne chose the strategic high peninsula as a place to settle with the body of Saint Cuthbert, that had previously lain in Chester-le-Street, founding a church there.
City origins, the Dun Cow story
Local legend states that the city was founded in A.D. 995 by divine intervention. The 12th-century chronicler Symeon of Durham recounts that after wandering in the north, Saint Cuthbert's bier miraculously came to a halt at the hill of Warden Law and, despite the effort of the congregation, would not move. Aldhun, Bishop of Chester-le-Street and leader of the order, decreed a holy fast of three days, accompanied by prayers to the saint. During the fast, Saint Cuthbert appeared to a certain monk named Eadmer, with instructions that the coffin should be taken to Dun Holm. After Eadmer's revelation, Aldhun found that he was able to move the bier, but did not know where Dun Holm was.
The legend of the Dun Cow, which is first documented in The Rites of Durham, an anonymous account about Durham Cathedral, published in 1593, builds on Symeon's account. According to this legend, by chance later that day, the monks came across a milkmaid at Mount Joy (southeast of present-day Durham). She stated that she was seeking her lost dun cow, which she had last seen at Dun Holm. The monks, realising that this was a sign from the saint, followed her. They settled at a wooded "hill-island" – a high wooded rock surrounded on three sides by the River Wear. There they erected a shelter for the relics, on the spot where Durham Cathedral would later stand. Symeon states that a modest wooden building erected there shortly thereafter was the first building in the city. Bishop Aldhun subsequently had a stone church built, which was dedicated in September 998. This no longer remains, having been supplanted by the Norman structure.
The legend is interpreted by a Victorian relief stone carving on the north face of the cathedral and, more recently, by the bronze sculpture 'Durham Cow' (1997, Andrew Burton), which reclines by the River Wear in view of the cathedral.
Medieval era
During the medieval period the city gained spiritual prominence as the final resting place of Saint Cuthbert and Saint Bede the Venerable. The shrine of Saint Cuthbert, situated behind the High Altar of Durham Cathedral, was the most important religious site in England until the martyrdom of St Thomas Becket at Canterbury in 1170.
Saint Cuthbert became famous for two reasons. Firstly, the miraculous healing powers he had displayed in life continued after his death, with many stories of those visiting the saint's shrine being cured of all manner of diseases. This led to him being known as the "wonder worker of England". Secondly, after the first translation of his relics in 698 AD, his body was found to be incorruptible. Apart from a brief translation back to Holy Island during the Norman Invasion the saint's relics have remained enshrined to the present day. Saint Bede's bones are also entombed in the cathedral, and these also drew medieval pilgrims to the city.
Durham's geographical position has always given it an important place in the defence of England against the Scots. The city played an important part in the defence of the north, and Durham Castle is the only Norman castle keep never to have suffered a breach. In 1314, the Bishopric of Durham paid the Scots a 'large sum of money' not to burn Durham. The Battle of Neville's Cross took place around half a mile west of the city on 17 October 1346 between the English and Scots and was a disastrous loss for the Scots.
The city suffered from plague outbreaks in 1544, 1589 and 1598.
Bishops of Durham
Owing to the divine providence evidenced in the city's legendary founding, the Bishop of Durham has always enjoyed the formal title "Bishop by Divine Providence" as opposed to other bishops, who are "Bishop by Divine Permission". However, as the north-east of England lay so far from Westminster, the bishops of Durham enjoyed extraordinary powers such as the ability to hold their own parliament, raise their own armies, appoint their own sheriffs and Justices, administer their own laws, levy taxes and customs duties, create fairs and markets, issue charters, salvage shipwrecks, collect revenue from mines, administer the forests and mint their own coins. So far-reaching were the bishop's powers that the steward of Bishop Antony Bek commented in 1299 AD: "There are two kings in England, namely the Lord King of England, wearing a crown in sign of his regality and the Lord Bishop of Durham wearing a mitre in place of a crown, in sign of his regality in the diocese of Durham". All this activity was administered from the castle and buildings surrounding the Palace Green. Many of the original buildings associated with these functions of the county palatine survive on the peninsula that constitutes the ancient city.
From 1071 to 1836 the bishops of Durham ruled the county palatine of Durham. Although the term "prince bishop" has been used as a helpful tool in the understanding the functions of the bishops of Durham in this era, it is not a title they would have recognised. The last bishop to rule the palatinate, Bishop William Van Mildert, is credited with the foundation of Durham University in 1832. Henry VIII curtailed some of the bishop's powers and, in 1538, ordered the destruction of the shrine of Saint Cuthbert.
A UNESCO site describes the role of the bishops in the "buffer state between England and Scotland":
From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.
Legal system
The bishops had their own court system, including most notably the Court of Chancery of the County Palatine of Durham and Sadberge. The county also had its own attorney general, whose authority to bring an indictment for criminal matters was tested by central government in the case of R v Mary Ann Cotton (1873). Certain courts and judicial posts for the county were abolished by the Supreme Court of Judicature Act 1873. Section 2 of the Durham (County Palatine) Act 1836 and section 41 of the Courts Act 1971 abolished others.
Civil War and Cromwell (1640 to 1660)
The city remained loyal to King Charles I in the English Civil War – from 1642 to the execution of the king in 1649. Charles I came to Durham three times during his reign of 1625–1649. Firstly, he came in 1633 to the cathedral for a majestic service in which he was entertained by the Chapter and Bishop at great expense. He returned during preparations for the First Bishops' War (1639). His final visit to the city came towards the end of the civil war; he escaped from the city as Oliver Cromwell's forces got closer. Local legend stated that he escaped down the Bailey and through Old Elvet. Another local legend has it that Cromwell stayed in a room in the present Royal County Hotel on Old Elvet during the civil war. The room is reputed to be haunted by his ghost. Durham suffered greatly during the civil war (1642–1651) and Commonwealth (1649–1660). This was not due to direct assault by Cromwell or his allies, but to the abolition of the Church of England and the closure of religious institutions pertaining to it. The city has always relied upon the Dean and Chapter and cathedral as an economic force.
The castle suffered considerable damage and dilapidation during the Commonwealth due to the abolition of the office of bishop (whose residence it was). Cromwell confiscated the castle and sold it to the Lord Mayor of London shortly after taking it from the bishop. A similar fate befell the cathedral, it being closed in 1650 and used to incarcerate 3,000 Scottish prisoners, who were marched south after the Battle of Dunbar. Graffiti left by them can still be seen today etched into the interior stone.
At the Restoration in 1660, John Cosin (a former canon) was appointed bishop (in office: 1660–1672) and set about a major restoration project. This included the commissioning of the famous elaborate woodwork in the cathedral choir, the font cover and the Black Staircase in the castle. Bishop Cosin's successor Bishop Lord Nathaniel Crewe (in office: 1674–1721) carried out other renovations both to the city and to the cathedral.
18th century
In the 18th century a plan to turn Durham into a seaport through the digging of a canal north to join the River Team, a tributary of the River Tyne near Gateshead, was proposed by John Smeaton. Nothing came of the plan, but the statue of Neptune in the Market Place was a constant reminder of Durham's maritime possibilities.
The thought of ships docking at the Sands or Millburngate remained fresh in the minds of Durham merchants. In 1758, a new proposal hoped to make the Wear navigable from Durham to Sunderland by altering the river's course, but the increasing size of ships made this impractical. Moreover, Sunderland had grown as the north east's main port and centre for shipping.
In 1787 Durham infirmary was founded.
The 18th century also saw the rise of the trade-union movement in the city.
19th century
The Municipal Corporations Act 1835 gave governing power of the town to an elected body. All other aspects of the Bishop's temporal powers were abolished by the Durham (County Palatine) Act 1836 and returned to the Crown.
The Representation of the People Act 2000 and is regarded as the second most senior bishop and fourth most senior clergyman in the Church of England. The Court of Claims of 1953 granted the traditional right of the bishop to accompany the sovereign at the coronation, reflecting his seniority.
The first census, conducted in 1801, states that Durham City had a population of 7,100. The Industrial Revolution mostly passed the city by. However, the city was well known for carpet making and weaving. Although most of the mediaeval weavers who thrived in the city had left by the 19th century, the city was the home of Hugh MacKay Carpets’ factory, which produced the famous brands of axminster and tufted carpets until the factory went into administration in April 2005. Other important industries were the manufacture of mustard and coal extraction.
The Industrial Revolution also placed the city at the heart of the coalfields, the county's main industry until the 1970s. Practically every village around the city had a coal mine and, although these have since disappeared as part of the regional decline in heavy industry, the traditions, heritage and community spirit are still evident.
The 19th century also saw the founding of Durham University thanks to the benevolence of Bishop William Van Mildert and the Chapter in 1832. Durham Castle became the first college (University College, Durham) and the bishop moved to Auckland Castle as his only residence in the county. Bishop Hatfield's Hall (later Hatfield College, Durham) was added in 1846 specifically for the sons of poorer families, the Principal inaugurating a system new to English university life of advance fees to cover accommodation and communal dining.
The first Durham Miners' Gala was attended by 5,000 miners in 1871 in Wharton Park, and remains the largest socialist trade union event in the world.
20th century
Early in the 20th century coal became depleted, with a particularly important seam worked out in 1927, and in the following Great Depression Durham was among those towns that suffered exceptionally severe hardship. However, the university expanded greatly. St John's College and St Cuthbert's Society were founded on the Bailey, completing the series of colleges in that area of the city. From the early 1950s to early 1970s the university expanded to the south of the city centre. Trevelyan, Van Mildert, Collingwood, and Grey colleges were established, and new buildings for St Aidan's and St Mary's colleges for women, formerly housed on the Bailey, were created. The final 20th century collegiate addition came from the merger of the independent nineteenth-century colleges of the Venerable Bede and St Hild, which joined the university in 1979 as the College of St Hild and St Bede. The 1960s and 70s also saw building on New Elvet. Dunelm House for the use of the students' union was built first, followed by Elvet Riverside, containing lecture theatres and staff offices. To the southeast of the city centre sports facilities were built at Maiden Castle, adjacent to the Iron Age fort of the same name, and the Mountjoy site was developed, starting in 1924, eventually containing the university library, administrative buildings, and facilities for the Faculty of Science.
Durham was not bombed during World War II, though one raid on the night of 30 May 1942 did give rise to the local legend of 'St Cuthbert's Mist'. This states that the Luftwaffe attempted to target Durham, but was thwarted when Cuthbert created a mist that covered both the castle and cathedral, sparing them from bombing. The exact events of the night are disputed by contemporary eyewitnesses. The event continues to be referenced within the city, including inspiring the artwork 'Fogscape #03238' at Durham Lumiere 2015.
'Durham Castle and Cathedral' was named a UNESCO World Heritage Site in 1986. Among the reasons given for the decision were 'Durham Cathedral [being] the largest and most perfect monument of "Norman" style architecture in England', and the cathedral's vaulting being an early and experimental model of the gothic style. Other important UNESCO sites near Durham include Auckland Castle, North of England Lead Mining Museum and Beamish Museum.
Historical
The historic city centre of Durham has changed little over 200 years. It is made up of the peninsula containing the cathedral, palace green, former administrative buildings for the palatine and Durham Castle. This was a strategic defensive decision by the city's founders and gives the cathedral a striking position. So much so that Symeon of Durham stated:
To see Durham is to see the English Sion and by doing so one may save oneself a trip to Jerusalem.
Sir Walter Scott was so inspired by the view of the cathedral from South Street that he wrote "Harold the Dauntless", a poem about Saxons and Vikings set in County Durham and published on 30 January 1817. The following lines from the poem are carved into a stone tablet on Prebends Bridge:
Grey towers of Durham
Yet well I love thy mixed and massive piles
Half church of God, half castle 'gainst the Scot
And long to roam those venerable aisles
With records stored of deeds long since forgot.
The old commercial section of the city encompasses the peninsula on three sides, following the River Wear. The peninsula was historically surrounded by the castle wall extending from the castle keep and broken by two gatehouses to the north and west of the enclosure. After extensive remodelling and "much beautification" by the Victorians the walls were removed with the exception of the gatehouse which is still standing on the Bailey.
The medieval city was made up of the cathedral, castle and administrative buildings on the peninsula. The outlying areas were known as the townships and owned by the bishop, the most famous of these being Gilesgate (which still contains the mediaeval St Giles Church), Claypath and Elvet.
The outlying commercial section of the city, especially around the North Road area, saw much change in the 1960s during a redevelopment spearheaded by Durham City Council; however, much of the original mediaeval street plan remains intact in the area close to the cathedral and market place. Most of the mediaeval buildings in the commercial area of the city have disappeared apart from the House of Correction and the Chapel of Saint Andrew, both under Elvet Bridge. Georgian buildings can still be found on the Bailey and Old Elvet most of which make up the colleges of Durham University.
Convent. Bambg. ord. Pred.
[Early ms. ownership inscription of the "Conventus Bambergensis Ordinis Predicatorum," i.e. the Dominikanerkloster in Bamberg, Germany. Founded in 1310, it was secularized in the early nineteenth century. Not established.]
Georgij Hebenstreit
[Early ms. ownership inscription of Georgius Hebenstreit.]
Woodcut printer's device of Johann Birckmann, "featur[ing] an angel preventing Abraham from sacrificing his son Isaac to God and providing a ram instead for the sacrifice."--Pitts Theology Library Digital Image Archive
Established form: Birckmann, Johann, ‡d 1527-1572
Penn Libraries call number: GC55 Az610 568d