Pride.be - Pride 2018 - Your Local Power

 

Feeling free and at home in your neighborhood, town or city. Be and show yourself in the streets. Holding hands with the person you love and smiling at each other in public. Our personal lives occur in the public space. Considering the approaching communal elections, everyone (youngsters, seniors, families, couples and all people - no matter what gender or orientation) asks the local politicians: How do you make a difference? What do you do to improve diversity in our everyday life? Where the rain makes way for the sun, we will walk proudly under the rainbow!

 

We will all be heading to the voting booths for the local elections on 14th of October. Deciding which circle to colour in is an important decision. A conscious decision can lead to a better living environment in your city or municipality.

 

And we're not just talking about the redesign of the local park, the policies in the municipal school, or the proper functioning of the local Public Centre for Social Welfare. Your local municipal or city administration can also make a real difference and turn the place where you live into a true rainbow bubble, if that's what you'd like, of course.

 

So it's no wonder that this year's Pride is focusing on the local elections. Belgian Pride is putting the municipalities and cities in the limelight in 2018, or better yet, at the end of the rainbow! We want the slogan 'Your Local Power!' to encourage municipal and city administrations to enact explicit, integrated local LGBTI+ policies.

 

Municipalities and cities can and must make the difference. They must accept responsibility for the well-being of all their residents. Flying the rainbow flag at the local government offices during the Pride period is a symbol of this. This is also a way that the municipality or city can show their solidarity with the LGBTI+ community. This symbolic gesture is not an infringement on neutrality. On the contrary, we can only actively work on ending all forms of discrimination once there is recognition for diversity and inclusion.

 

Policy-makers can make the lives of many citizens that much rosier by taking both small and large actions: by introducing a diversity charter in sports clubs, by making information on gender and sexuality available at the local libraries, by providing logistical and financial support to local associations, testimonials, and courses in the municipal education system, by holding a queer film festival in the local movie theatre or cultural centre, by holding LGBTI+ actions in community centres and youth centres, by providing information on what to do if you are the victim or witness of discrimination, by offering space for intimacy and (LGBTI+) sexuality in assisted-living centres, by training local police precincts and municipal officials, by including Equal Opportunity as an explicit competence within the city administration, etc.

 

The list of things that cities and municipalities can do is endless. Plus, many of these actions are very easy to implement. Sometimes, your local administration only needs a little boost, and you can give them that boost in the voting booth on 14th of October. A good local administration meets the needs and requirements of all residents. What does the LGBTI+ community in your city or municipality need?

 

You can already send the politicians a signal that is loud and clear on Saturday, the 19th of May. Make your wishes heard during the Belgian Pride.

 

We hope to see you there! Everyone is welcome!

 

( Chaque annee la Pride attire des dizaines de milliers de visiteurs vers la capitale et colore Bruxelles aux couleurs de l'arc-en-ciel. Il y a aussi le PrideVillage et le PridePodium autour de la Bourse.

Pride.be n'est pas seulement la plus grande fete de Bruxelles, mais c'est aussi un evenement avec un message politique. Avec cette manifestation, nous essayons d'obtenir plus d'egalite de droits pour tout le monde et surtout pour la communaute lesbigaytrans. )

The Geffrye, Museum of the Home

ENGLISH CIVIL WAR RE-EANACTORS WEARING CROMWELL PERIOD COSTUME AT A HISTORIC EVENT IN AN EAST LONDON BOROUGH SUBURB STREET PARK VENUE EVENT ENGLAND DSCN1001

 

I am a Shia Muslim in mourning for the Martyrdom of Imam Hussain Grandson of The Holy Prophet , who was ruthlessly murdered by the Terrorists of Yazid the Caliph Of Umayad Dynasty..We wear black clothes , in my case I only wear black clothes or tiger prints ,,,I stopped wearing vibrant colors since I became a Malang a semi Sufi Monk in my case.

We are very strict about our mourning and austere in our emotions that is now centered around Ghame Hussain and the Unforgettable Tragedy of Imam Hussain at Karbala.

 

Neither do I attend any Sufi Urus in the month of Moharam...or any Hindu feast...the Chhhath Puja I have documented passionately as a tribute to the Bihari Mumbaikars of our city , but this year I kept away from their celebrations ,,,

 

This picture was shot last year ,Chhath Puja 2012 that took place the next day after the sad demise of Shree Balalasaheb Thackeray..

  

About Chhath Puja

from Wikipedia

 

Chhath (Hindi: छठ, also called Dala Chhath) is an ancient Hindu festival and only Vedic Festival dedicated to the Hindu Sun God, Surya, also known as Surya Shashti.[1] The Chhath Puja is performed in order to thank Surya for sustaining life on earth and to request the granting of certain wishes.[2] The Sun, considered the god of energy and of the life-force, is worshiped during the Chhath festival to promote well-being, prosperity and progress. In Hinduism, Sun worship is believed to help cure a variety of diseases, including leprosy, and helps ensure the longevity and prosperity of family members, friends, and elders.

The rituals of the festival are rigorous and are observed over a period of four days. They include holy bathing, fasting and abstaining from drinking water (Vratta), standing in water for long periods of time, and offering prashad (prayer offerings) and aragh to the setting and rising sun.

Although it is observed most elaborately in Bihar, Jharkhand, Eastern UP and the Terai regions of Nepal in modern times, and is more prevalent in areas where migrants from those areas have a presence, it is celebrated in all regions and major urban centers in India. The festival is celebrated in the regions including but not exclusive to the northeast region of India, Madhya Pradesh, Uttar Pradesh, Chhattisgarh, Chandigarh, Gujarat,[3] Delhi,[4] Mumbai[5] and Mauritius.[6]

 

Chhath puja is performed on kartika Shukala Shashti, which is the sixth day of the month of Kartika in the Hindu Calendar. This falls typically in the month of October or November in the Gregorian Calendar.

It is also celebrated in the summer (March–April), on Chaitra Shashti, some days after Holi; this event is called Chaiti Chhath.[7] The former is more popular because winter is the usual festive season in North India, and Chhath, being an arduous observance, requiring the worshipers to fast without water for around 36 hours continuously, is easier to undertake in the Indian winters.

 

[edit]Etymology

The word chhath denotes the number 6 in Hindi[8] and the festival is celebrated on the sixth day of the Hindu lunar month of KARTIKA. The word is a Prakrit derivation from the Sanskrit ṣaṣṭhi, meaning sixth.

[edit]History

 

It is believed that the Maga Purohits (modern days known as Shakya Dwipi Brahmins) were invited by local kings for their expertise in Sun worshiping. They started the tradition of Chhat Puja. Today Chhat Puja is celebrated specially in those places where Shakya Dwipi Brahmins are found.

It is believed that the ritual of Chhath puja may even predate the ancient Vedas texts, as the Rigveda contains hymns worshiping the Sun god and describes similar rituals. The rituals also find reference in the Sanskrit epic poem Mahābhārata in which Draupadi is depicted as observing similar rites.

In the poem, Draupadi and the Pandavas, rulers of Hastinapur (modern Delhi), performed the Chhath ritual on the advice of noble sage Dhaumya. Through her worship of the Sun God, Draupadi was not only able to solve her immediate problems, but also helped the Pandavas later regain their lost kingdom.

It is also believed that Chhath was started by Karna, the son of Surya (Surya Putra Karna). Surya Putra Karna ruled over the Anga Desh (present day Bhagalpur district of Bihar) during the Mahabharat Age. He was a great warrior and fought against the Pandavas in the Kurukshetra War.

Its yogic/scientific history dates back to the Vedic times. The rishis of yore used this method to remain without any external intake of food as they were able to obtain energy directly from the sun's rays. This was done through the Chhath method.[9] The chhat puja is very popular in Darbhanga, Samastipur, Muzaffarpur, Madhuvani and Dehri-On-Sone (Rohtas),Patna, Dev & Gaya.Nowadays it is celebrated in approximately all parts of India. Chhath Pooja is also celebrated in Mangalore, Karnataka. People from Bihar & UP celebrate Chhath Pooja on Panambur Beach.

[edit]Chhathi Maiya

 

It is also said that the Goddess that is worshipped during the famous Chhath Puja is known as Chhathi Maiya. Chhathi Maiya is known as Usha in the Vedas. She is believed to be the consort of Surya, the sun god. Some scholars are of the view that she is only the beloved of Surya and some suggest that She is Surya’s wife.

Usha is the term used to refer to dawn – The first light of day. But in the Rig Veda she has more symbolic meaning. Symbolically Usha is the dawn of divine consciousness in the individual aspirant.

During the Chhath Puja, Chhathi Maiya is invoked to bless us with this divine consciousness which will help us to overcome all the troubles in the world – this bless will help us to Moksha or liberation.

[edit]Rituals and traditions

 

Chhath is a festival of bathing and worshipping,that follows a period of abstinence and segregation of the worshiper from the main household for four days. During this period, the worshiper observes purity, and sleeps on the floor on a single blanket.

This is the only holy festival which has no involvement of any pandit (priest). The devotees offer their prayers to the setting sun, and then the rising sun in celebrating its glory as the cycle of birth starts with death. It is seen as the most glorious form of Sun worship.

Bihar has a number of Sun temples, flanked by a surajkund or sacred pool of the Sun, forming a popular venue for the celebration of this festival. Ara, Muzaffarpur,Patna,Bhagalpur,Chapra,Munger, Haveli Kharagpur ( Banahara, Prasando),,Samastipur,Dumka,Sahibganj, Dev, Gaya, Ranchi,Hazaribagh,Rampurhat are known popular for chhath puja.

The main worshipers, called Parvaitin (from Sanskrit parv, meaning 'occasion' or 'festival'), are usually women. However, a large number of men also observe this festival. The parvaitin pray for the well-being of their family, and for the prosperity of their offsprings. Once a family starts performing Chhatt Puja, it is their duty to perform it every year and to pass it on to the following generations. The festival is skipped only if there happens to be a death in the family that year.

The prasad offerings include sweets, Kheer, Thekua and fruit offered in small bamboo soop winnows. The food is strictly vegetarian and it is cooked without salt, onions or garlic. Emphasis is put on maintaining the purity of the food.[10]

Day 1: Nahay khay (literally, bathe and eat)

On the first day of Chhath Puja, the devotees take a dip, preferably in the holy river Ganges, and carry home the holy water of the river Ganges to prepare the offerings. The house and surroundings are scrupulously cleaned. The parvaitins allow themselves only one meal on this day.It is also known as " kaddu-bhat" in some region.Generally Parvaitin eat kaddu, channa dal, and arwa chawal (non-boiled rice). Traditionally the food is cooked on an earthen stove & mango wood is used as fuel. Only, preferably, new bronze or earthen utensils are used to prepare the food. If old utensils are used, non veg should never have been cooked in it. But nowadays steel utensils are also used in preparation of the food.

Day 2: Kharna or Lohanda (the day before Chhath)

On Panchami, the day before Chhath, the parvaitins observe a fast for the whole day, which ends in the evening a little after sunset. Just after the worship of earth, the offerings of Rasiao-kheer (rice delicacy), puris (deep-fried puffs of wheat flour) and bananas, are taken to break the fast. No sugar is used, only jaggery is used to sweeten the kheer . This is then distributed among family and friends. From this day on wards, for the next 36 hours, the parvaitin goes on a fast without water.

[21]People also make idol of Sama and Chakeba festival on Kharna Day, and play Sama Chakeba till Kartik Purnima.

The prasad is prepared by the parvaitin herself in the bronze or earthen ware utensil only. While eating the prasad by parvaitin if any unwanted thing like small stone etc. comes into the mouth immediately they have to stop eating without making any complain. The rice should therefore be clean. There should be no sound

Day 3: Chhath

Sanjhiya Arghya(ghat) (evening offerings): The day is spent preparing the prasad (offerings) at home. Those who help, also take a bath and fast till all the prasad is made. The wheat is washed and dried and even birds are not supposed to touch it. The mill is washed before grinding. On the eve of this day, the entire household accompanies the parvaitins to a riverbank, pond or a common large water body with the Thekuas fruits, etc to make the offerings (Aragh)of milk to the setting sun. It is during this phase of Chhath Puja that the devotees offer prayers to the just setting sun, while the parvaitin chants the [{Gayatri Mantra}]. Traditionally during the aragh the parvaitin should be dressed like a bride and wear a plain saree with border colored with turmeric. But nowadays printed colored sarees are also in use.

The occasion is almost a carnival. Besides the parvaitin, there are friends and family, and numerous participants and onlookers, all willing to help and receive the blessings of the worshipper. Ritual rendition of regional folk songs, carried on through oral transmission from mothers and mothers-in-law to daughters and daughters-in-law, are sung on this occasion.

The folk songs sung on the evening of Chhath reflect the culture, social structure, mythology and history of Bihar and Uttar Pradesh. Nowadays, modern Chhath songs, largely Bollywood film remixes, have caught on, but the old tradition still goes strong with a great degree of sanctity. The three main linguistic regions of Bihar (the Maithili, the Magadhi, and the Bhojpuri), and all the various dialects associated with these, have different folk songs; but have an underlying unity in their dedicated to Chhath. The minor nuances of the Chhath rituals, such as in the Kharna ritual, vary from region to region and across families, but still there is a fundamental similarity.

Kosi: On the night of day three, a colorful event of Kosi is held. Here, lighted earthen lamps are kept under a canopy of five sugarcane sticks. The five sticks signify the human body made of Panchatattva (the five great elements - earth, water, fire, air and ether). This is a symbolic ritual in Chhath Puja, performed especially in those families where marriage or childbirth has taken place recently. The lighted lamps signify the solar energy sustaining the human being. People perform this ritual at home, during late evening on day three after making the offering to the just setting sun. After that, it is done at the banks of the river on day four before making the offerings to the rising sun.

Day 4: Paarun (the day after Chhath)

Bihaniya Aragh(ghat) (next morning offerings): On the final day of Chhath Puja, the devotees, along with family and friends, go to the riverbank before sunrise, in order to make the offerings (Aragh) to the rising sun. The festival ends with the breaking of the fast by the parvaitin and friends visiting the houses of the devotees to receive the prashad. The chhath has so much importance that even millionaire beg for prasad at the Chhath ghat. This symbolizes that all persons are beggar in front of the almighty. Witnessing Chhath being celebrated at the crack of the dawn on a river bank is a beautiful, elating spiritual experience connecting the modern Indian to his ancient cultural roots. After aragh, Ganga maiya is worshipped.

[edit]Yogic viewpoint

 

There is also a yogic process of Chhath that may have been associated with the religious observance of Chhath puja. All the traditional rules of Chhath puja have also got some strong scientific reasons behind it & by following that maximum benefits can be gained.

[edit]The Yogic Philosophy of Chhath

According to yogic philosophy, the physical bodies of all the living organisms are highly sophisticated energy conducting channels. The solar bio-electricity starts flowing in the human body when it is exposed to solar radiations of specific wavelengths. Under particular physical and mental conditions, the absorption and conduction of this solar-bio-electricity increases. The processes and the rituals of the Chhath puja aim at preparing the body and the mind of the Vratti (devotee) for the process of cosmic solar energy infusion.[citation needed]

The scientific process similar to Chhath was used by the Rishis of yore for carrying out their austerities without any intake of solid or liquid diet. Using a process similar to the Chhath puja, they were able to absorb the energy needed for sustenance directly from the sun, instead of taking it indirectly through food and water.

The retina is a kind of photoelectric material, which emits subtle energy when exposed to light. Hence, very subtle electric energy starts flowing from the retina. This energy (photo-bio-electricity) is transmitted from the retina to the pineal gland by the optic nerves connecting the retina to the pineal gland, leading to its activation. The pineal gland is in close proximity with the pituitary and hypothalamus glands (together, three glands are called Triveni) due to which, the energy generated in this process starts impacting these glands. Consequently, the pranic activity becomes uniform, giving the Vratti good health and a calm mind.

[edit]Stages of Chhath (Conscious Photoenergization Process)

According to Yoga philosophy, the process of Chhath is divided into six stages of the Conscious Cosmic Solar Energy Infusion Technique (Conscious Photoenergization Process).[11]

Stage 1: Fasting and the discipline of cleanliness leads to detoxification of the body and mind. This stage prepares the body and mind of the Vratti (devotee) to receive the cosmic solar energy.

Stage 2: Standing in a water body with half the body (navel deep) in the water minimizes the leak of energy and helps the prana (psychic energy) to move up the sushumna (psychic channel in the spine).

Stage 3: Cosmic Solar Energy enters the Vratti’s pineal, pituitary and hypothalamus glands (Triveni complex) through the retina and optic nerves.

Stage 4: Activation of Triveni tri-glandular complex (pineal, pituitary and hypothalamus).

Stage 5: A kind of polarization happens in the spine, which results in the Vratti’s (devotee) gross and subtle bodies getting transformed into a cosmic powerhouse. This can also lead to the awakening of the latent psychic energy popularly known as the Kundalini Shakti.

Stage 6: The body of the Vratti (devotee) becomes a channel which conducts, recycles and transmits the energy into the entire universe.

[edit]Benefits of Chhath process

The Chhath process results in detoxification

The Chhath process stresses mental discipline. The discipline of mental purity is a result of this work. By employing a number of rituals, the vrattis focus on maintaining the cleanliness of the offerings and environment. Cleanliness is the most dominant thought that prevails in the minds of all the devotees during Chhath.

This has a great detoxification effect on the body and the mind as mental moods can result in biochemical changes. Now comes the physical detoxification. The fasting paves the way for detoxification at a material level.

Detoxification helps in regularizing the flow of prana and makes the person more energetic. The natural immune system of the body spends much of its energy in fighting the toxins present in the body. By using the detoxification methods such as pranayam, meditation, yoga and Chhath practices, the amount of toxins present in the body can be reduced to a great extent. Thus, with reduction in the amount of toxins, the expenditure of energy also reduces and you feel more energetic. It improves the appearance of the skin. The eyesight can improve and the ageing process of the body slows down.

[edit]Benefits of Chhath Puja

Photo-electro-chemical effect: physical benefits

The Chhath practice improves the immunity of the Vratti’s body.

Antiseptic effect: Safe radiation of sunlight can help cure fungal and bacterial infections of the skin.

Raktavardhak (increase in fighting power of blood): As a consequence of the practice of Chhath, the energy infused in the blood stream improves the performance of white blood cells.

The solar energy has a great influence on the glands, which results in balanced secretion of hormones.

Energy requirements are met by the solar energy directly. This will further detoxify the body.

Photo-electro-psychic effects: mental benefits

A state of creative calmness will prevail in the mind.

To a great extent, all negative responses have their origin in the disturbed flow of prana. With the pranic flow regularized, the duration and frequency of occurrences of anger, jealousy, and other negative emotions will be reduced.

With patient and sincere practice, the psychic powers like intuition, healing, and telepathy awaken. This depends on the concentration with which the practice is undertaken.

[edit]Daily sun meditation (Chhath process)

In the fast lifestyle of the present times, it may not be possible to follow the Chhath process very often. The detoxification can be undertaken through pranayam, yoga, meditation and Conscious Photoenergization Process known as Chhath Dhyan Sadhana (CDS).

Chhath Dhyan Sadhana (CDS): Conscious Photoenergization Process

Assume a comfortable position (standing or sitting) with back and spine straight. With eyes closed, face the Sun. Inhale completely, as slowly as possible. Do not strain in making the breathing slow. Maintain your comfort level. As you breath in, visualize (feelingly experience) the cosmic solar energy entering through your eyes and moving to the pineal gland through optic nerves and charging the pineal–pituitary–hypothalamus complex. Now, as you exhale, visualize the cosmic solar energy flowing down the pineal gland and spreading throughout your body with a revitalizing effect.

Thus, the process starts with inhalation and ends in exhalation. This constitutes one round. It is suggested to start with five rounds (two minutes), and increase it time permitting. On completion of the practice, thank the Sun for bestowing upon you the life giving solar energy. Thereafter, sit quietly for a minute, observing the good things in the environment around.

CDS should be practiced within one-hour window after sunrise or within one-hour window before sunset. Any person of any age can practice CDS. If you wish to practice CDS at any time other than sunrise or sunset, do not practice it in front of Sun. You can however, practice CDS in a room. Even a bed-ridden person can try and consciously draw in the solar energy while lying on the bed. With regular practice, he/she will notice an improvement in physical and mental health. For those who are not comfortable facing the sun, they can practice the technique in any room having proper ventilation. If you have time, you can also practice it twice a day. Do not hurry in increasing the number of rounds, as there are no shortcuts to success in this method. The nervous system of the body takes its own time in adapting and to be able to receive the energy.

Significance of emphasis on sunrise and Sunset periods

Only sunrise and sunset are the periods during which the majority of humans can safely obtain the solar energy directly from the Sun. However, there may be some exceptions. That is why, in Chhath puja, there is a tradition of offering Arghya to the Sun in late evening and in early morning. During these phases (one hour window after sunrise and before sunset), the ultraviolet radiation levels remain in safe limits.

 

Venezia apre i battenti fino al 9 febbraio

Found in Dion, Macedonia. Isis was an Egyptian goddess who became popular around the Med in the Ptolemaic period. Here she is depicted as Demeter. She holds a sheaf of wheat and a scepter with a solar disk. The Greek inscription dedicates this marble plaque to Serapis, Isis, and Anubis, all Egyptian gods. From the Dion archaeological museum, Macedonia, Greece.

Manila Sports Car Club May 2018 Gathering

The Theatre Royal is a historic theatre, a Grade I listed building situated on Grey Street in Newcastle upon Tyne.

 

History

The theatre was designed by local architects John and Benjamin Green as part of Richard Grainger's grand design for the centre of Newcastle, and was opened on 20 February 1837 with a performance of The Merchant of Venice. One of the first managers here was Thomas Ternan who employed his wife, Frances Ternan as the main actress.

 

The shareholders of the Proprietors' Committee appointed lessees to manage and programme the theatre. The longest running individual lessee, before Ltd companies, was Edward D. Davis from 1845 to 1870 during which in 1867 the interior was redesigned by architect Charles J. Phipps.[3] William Glover and George Francis, both of the Theatre Royal, Glasgow took over from 1871 to 1878; to be followed by Charles Bernard of the Gaiety Theatre, Glasgow until 1882. James Howard and Fred Wyndham of Edinburgh and Glasgow became lessees from 1883 to 1887. Due to their intention, carried out, of also leasing the Tyne Theatre and Opera House, the shareholder committee did not renew their lease of the Royal.

 

Instead, Robert Arthur of Glasgow and now lessee of Her Majesty’s Theatre, Dundee took over in 1888. After the fire of 1899 he instructed architect Frank Matcham to totally redesign the interior, re-opening in 1901. The venues of Robert Arthur Theatres Ltd in Scotland and England, which had many shareholders in Tyneside, prospered until losses overwhelmed the company in 1911. At this point the Arthur shareholders, led by the family of Joseph Cowen MP, appointed a new chairman of the lessee company, Michael Simons, of Glasgow, who in 1895 had created Howard & Wyndham Ltd.

 

From 1912 onwards the Theatre Royal Newcastle was an important part of the Howard & Wyndham group, led successfully by chairman Simons, followed by the Cruikshank family, whose King's Theatre, Edinburgh joined the group in 1928. Newcastle City Council took over ownership in 1967.

 

Newcastle, Glasgow and Edinburgh formed a triangle of industry, commerce and entertainment business from the 1870s onwards. From 1962 and increasingly from the 1970s the interchange of shows and pantomimes was joined by tours each year of Scottish Opera and of Scottish Ballet. Opera North joined in:

 

Following a performance of William Shakespeare's play Macbeth, a huge fire destroyed the interior of the building in 1899. It had its interior redesigned by Frank Matcham and reopened on 31 December 1901. Externally, the building is exactly as it was when it was first built.

 

It underwent a major refurbishment and restoration in the latter part of the 1980s, reopening on 11 January 1988 with a performance of A Man For All Seasons starring Charlton Heston.

 

The Theatre Royal went dark on 14 March 2011 due to a major restoration of the auditorium, box office, bars and restaurant. The restoration restored the theatre to the original 1901 Frank Matcham Edwardian interior. The whole interior was stripped apart from the original plasterwork which was carefully preserved. The proscenium arch, tiers and boxes were gold leafed and the plasterwork restored. On all levels the seats were replaced with Edwardian-style theatre seats in keeping with the restoration. The amphitheatre which was removed during previous renovations was restored to offer more leg room and better views than the gallery. This took the theatre to five distinct seating areas, the stalls, grand circle, upper circle, amphitheatre and gallery. Wheelchair spaces were installed on levels which had previously been inaccessible. As well as the boxes near the stage, boxes at the rear of the grand and upper circles were also restored taking the total number of boxes up to ten. The stage lift and orchestra pit were replaced to offer better facilities for opera and musicals. A new ventilation system was put in place to improve comfort levels in the theatre. New frescos for the lobby and upper circle were commissioned and put in place. This £4.75m project introduced higher standards of comfort and improved energy. The Theatre Royal reopened on 12 September 2011 with Alan Bennett's epic period drama The Madness of George III;[8] George III was in fact the monarch who gave the Theatre Royal its charter.

 

The theatre currently hosts a variety of shows, including ballet, contemporary dance, drama, musicals and opera. Almost all of the shows that come to the Theatre Royal are part of national British tours, and in a typical year the theatre will have 30 to 35 visiting shows. For the annual pantomime, and any visiting musicals and opera performances, there is a sizeable orchestra pit available which can seat 60 musicians if necessary. The stage itself is also of substantial size, and can house 50 singers, dancers, actors and musicians.

 

The Original Theatre Royal

Newcastle's original Theatre Royal opened on 21 January 1788. Its location on Mosley Street obstructed plans for the redevelopment of the city centre (as it was on the route of Grey Street), so it was demolished to make way for the present building. One of the theatre's most successful managers at this time was Stephen Kemble of the famous Kemble family, who managed the theatre from 1791 to 1806. The original theatre's final performance was on 25 June 1836.

 

Technical details

The current theatre has a proscenium stage, and accommodates a variable orchestra pit on 2 lifts - which reduces the stall seating. The audience is seated on four levels: stalls (501), grand circle (252), upper circle (249) and gallery (247).

 

Project A

Project A is a one-year actor training programme led by an artistic director and supported by leading industry specialists. Delivered from within the Theatre Royal over an academic year (3 terms) participants gain professional standard actor training culminating in a production term to be performed in the Studio Theatre and toured nationally.

 

The course started in September 2015 with the first year free for the successful actors. The programme is seen as an alternative to drama school and is expected to lift the actors involved into the industry.

 

The Royal Shakespeare Company have very strong ties to the theatre and are involved with the programme heavily in the second term.

 

Grainger built Grey Street in the 1830s. Several architects, including John Dobson, were involved. The street’s entire western side was designed by two architects from Grainger's office, John Wardle and George Walker. Grey Street contains the Theatre Royal designed by John and Benjamin Green, the southern entrance to Monument Metro station, and the Central Arcade. BBC Radio 4 listeners voted it “Best street in the UK” in 2010.

 

Initially named Upper Dean Street, Grey Street runs south from Grey's Monument, following the route of the Lorke or Lort Burn, which formerly flowed openly into the Tyne and is now enclosed, curving slowly to the east and descending to the river. It ends after the Mosley Street junction, where Dean Street, constructed in 1749, begins.

 

Sir John Betjeman said:

 

As for the curve of Grey Street, I shall never forget seeing it to perfection, traffic-less on a misty Sunday morning. Not even Regent Street, even old Regent Street London, can compare with that descending subtle curve.

 

Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.

 

Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.

 

The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.

 

Roman settlement

The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.

 

The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

 

Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.

 

Anglo-Saxon development

The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.

 

Norman period

After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.

 

In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.

 

Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.

 

Middle Ages

Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.

 

The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.

 

Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.

 

In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.

 

In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.

 

Religious houses

During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.

 

The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.

 

The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.

 

The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.

 

The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.

 

The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.

 

All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.

 

An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.

 

Tudor period

The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.

 

During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).

 

With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.

 

Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.

 

The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.

 

In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.

 

Stuart period

In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.

 

In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.

 

In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.

 

In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.

 

In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.

 

A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.

 

Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.

 

In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.

 

In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.

 

Eighteenth century

In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.

 

In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.

 

In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.

 

Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.

 

The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.

 

In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.

 

A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.

 

Victorian period

Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.

 

In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.

 

In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.

 

In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.

 

In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.

 

Industrialisation

In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.

 

Innovation in Newcastle and surrounding areas included the following:

 

George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.

George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.

 

Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.

 

Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.

 

William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.

 

The following major industries developed in Newcastle or its surrounding area:

 

Glassmaking

A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.

 

Locomotive manufacture

In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.

 

Shipbuilding

In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.

 

Armaments

In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.

 

Steam turbines

Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.

 

Pottery

In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.

 

Expansion of the city

Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.

 

Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.

 

Twentieth century

In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.

 

During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.

 

In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.

 

Newcastle City Council moved to the new Newcastle Civic Centre in 1968.

 

As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.

 

In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.

 

As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.

 

The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.

 

Recent developments

Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

In the period immediately after the Second World War the world found itself with hundreds of thousands of surplus aircraft and just as many surplus aviators. Most aircraft would meet the salvage blade and the smelter’s fiery furnace. Most pilots would return to civilian life, the bulk of them never to fly again.

 

With the plethora of military aircraft languishing in desert lots awaiting a certain fate, some of those disenfranchised aviators and aircraft designers would look to new growing markets for salvation. One of these emerging markets was the new-found requirement for fast and capable business transport aircraft for executives looking to link business interests across the vast distances of the nation. With few purpose-built business aircraft available for executives, medium bombers became the drug of choice for high flying big shots—fast, powerful and, with the right interior appointments, a visual statement of their success and power.

 

In early variants like the Executive, On Mark simply removed military equipment and replaced them with fairings and civil avionics, sealed the bomb bay doors, soundproofed the cabin, and added additional cabin windows. Later models had special wing spars designed to give more interior room, pressurization and equipment from bigger surplus aircraft such as DC-6 brakes and flat glass cockpit windows. It was an elegant mashing together of equipment, but it was not a true business aircraft.

 

In the Sixties, Jet Craft Ltd. of Las Vegas, Nevada, went for a different interpretation of the same topic: The company had purchased a number of former Royal Australian Air Force Vampire trainers and RCAF single-seaters, which were to be converted to a new design for a business aircraft called 'Mystery Jet', offering 4-8-seats.

 

Jet Craft worked with stellar British conversion experts Aviation Traders to do the structural design work. Aviation Traders Limited (ATL) was a war-surplus aircraft and spares trader formed in 1947. In 1949, it began maintaining aircraft used by some of Britain’s contemporary independent airlines on the Berlin Airlift. In the early 1950s, it branched out into aircraft conversions and manufacturing.

 

Aviation Traders worked on the drawings and the structural mock-ups. A full-scale mock-up of the Mystery Jet languished at Southend airport for a decade, trying to lure owners and operators into buying it. And this actually happened: about twenty former Vampire airframes were converted into Mystery Jet business aircraft, tailored to the customers' needs and desires.

 

The Mystery Jet was just what it looked like: a former De Havilland Vampire with a new, roomy nose section grafted onto it. The cabin was pressurized, and was available in two different lengths (130 and 160 inches long, with two or three rows of seats and reflected in the aircraft's title) and several window and door options - the most exotic option being the "Landaulet" cabin which featured a panoramic roof/window installation over the rear pair of seats (or, alternatively, a two-seat bench).

 

The original Goblin engine was retained, CG was retained due to the fact that the new cabin was, despite being considerably longer than the Vampire's nose, the biggest version being more than 8 feet longer. The new front section was much lighter, though, e. g. through the loss of the heavy cannons and their armament, as well as some more military avionics. The loss of fuel capacity through the enlarged cabin was compensated through fixed wing tip tanks, so that range was on par with the former military jet, just top speed and ceiling were slightly inferior.

 

Anyway, prices were steep and from the United States more modern and economical offerings ruled the market. Maintaining a former military jet was also a costly business, so, consequently, after a slight buzz (more of a hum, actually) in the early Seventies, the Mystery Jet and Jet Craft of Las Vegas, also fuelled by some dubious business practices by the company's owner, disappeared. Even further developments of the original concept, e .g. with a wide body for up to 14 passengers and two engines, would not save the Mystery Jet from failure.

  

General characteristics:

Crew: 1 pilot plus 5-7 passengers

Length (Mystery Jet 160): 38 ft 5 in (11.73 m)

Wingspan incl. tip tanks: 39 ft 7 1/2 in (12.09 m)

Height: 8 ft 10 in (2.69 m)

Wing area: 262 ft² (24.34 m²)

Empty weight: 7,283 lb (3,304 kg)

Max. take-off weight: 12,390 lb (5,620 kg)

 

Powerplant:

1× de Havilland Goblin 3 centrifugal turbojet, rated at 3,350 lbf (14.90 kN)

 

Performance:

Maximum speed: 516 mph (832 km/h)

Cruising speed: 400 mph (644 km/h)

Range: 1,220 mi (1,960 km)

Service ceiling: 37,700 ft (11,500 m)

 

Armament:

None

  

The kit and its assembly:

The first finished work in 2017 is a different kind of whif, one of the few civilian models in my collection. This conversion looks sick, but ,as weird as it may seem, the Business-Jet-From-Vintage-Vampires idea was real. For more information, and the source from where some of the backgound story was gathered, please check:

 

www.vintagewings.ca/VintageNews/Stories/tabid/116/article...

 

Anyway, my build is just a personal interpretation of the original concept, not a true model of the Mystery Jet. In fact, this was limited through the donor parts for this kitbash.

 

The rear end was the smaller problem: Airfix offers a very good Vampire T.11 trainer with excellent detail and fit - the passenger cabin was the bigger challenge. Finding "something" that would fit in shape and especialsl size was not easy - my first choice was a nose section from a vintage 1:100 Antonow An-24 from VEB Plasticart (still much too wide, though), and the best solution came as an accidental find in a local model kit shop where I found a heavily discounted MPM Focke Wulf Fw 189 B-0 trainer.

 

The reason: the kit was complete, but the bag holding the sprues must have been heated immensely during the packaging process: the main sprues were horrible warped - except for some single parts including the canopies and the sprue with the cabin! Height wind width were perfect, only the boxy shape caused some headaches. But I guess I would not find anything better...

 

That said, the transplantation mess started. I never built any of the two donor kits before, so I carefully tried to find the best place where to cut the Vampire's nose - I ended up with a staggered solution right in front of the wing root air intakes.

The Fw 189's cabin was bit more tricky, because I had to get rid of the original wing roots and wanted to use as much space as possible, up to the rear bulkhead and together with the rear cabin window. The idea was to blend the Fw 189's roof line into the Vampire's engine section, while keeping the original air intake ducts, so that the overall arrangement would look plausible.

 

The result became a pretty long nose section - and at that time the tail booms were not fited yet, so I was not certain concerning overall proportions. The cabin's underside had to be improvised, and blending the boxy front end with a flat underside into the tubby, round Vampire fuselage caused some headaches. I also had to re-create the lower flank section with styrene sheet, because I had originally hoped that I could "push" the new cabin between the wing roots - but that space was occupied by the Goblin's inlet ducts.

 

Inside of the cabin, the original floor, bulkheads and dashboard were used, plus five bucket seats that come with the MPM kit. In order to hide the body work from the inside, side panels from 0.5mm styrene sheet were added in the cabin - with the benefit of additional stability, but also costing some space... Since the machine was built with closed cabin, a pilot was added - actually a bash of a WWII Matchbox pilot and a German officer from an ESCI tank kit. Looks pretty good and "professional". ;-)

 

Once the cabin was in place, lots of PSR followed and the tail booms could be fitted. To my relief, the longer nose did not look too unbalanced (and actually, design sketches for the original Mystery Jet suggest just this layout!) - but I decided to add wing tip tanks which would beef up wingspan and shift the visual mass slightly forward. They come from an 1:100 Tamiya Il-28, or better the "R" recce variant.

 

The only other big change concerned the nose wheel. While the OOB wheel and strut were used, the well is now located in front of the wheel and it would retract forwards, giving the nose a more balanced look - and the cabin arrangement made this change more plausible, too.

 

Another addition were three small porthole windows in the solid parts of the cabin flanks - one of them ending up in the middle of the cabin door on starboard, where a solid part of the canopy roof lent itself for a good place just behind the pilots' seats.

  

Painting and markings:

I cannot help it, but the thing looks like a design from a vintage Tintin or Yoko Tsuno comic! This was not planned or expected - and actually the paint scheme evolved step by step. I had no plan or clue what to apply - the real Mystery Jet mock-up in silver with blue trim looked sharp, but somehow I did not want blue. So I started with the interior (out of a necessity, as the fuselage had to be closed before any further work progress at some point) and settled for plushy, British colors: Cream (walls and roof) and Claret-Red (carpet and seats).

 

I tried to find something for the outside that would complement this choice of colors, and eventually settled on Ivory and White (upper and lower fuselage halves, respectively) with some deep red trim, plus pale grey wing surfaces. I even considered some thin golden trim lines, but I think this would have been too much?

 

The trim was created with decals tripes from generic sheet material, the black anti-glare panel was painted, though. As a color contrast I painted some of the upper canopy panels in translucent, light blue, and this looks very good.

 

The wings received a lightb treatment with thinned black ink, in order to emphasize the engravings. No post-shading was done, though, for a rather clean look.

 

Most markings were puzzled together; the registration G-AZRE actually belonged to a Vickers Vanguard (from the 1:144 Airfix kit), the large letters above and under the wings were created with single 45° letters (USAF style). Most stencils come from a Vampire trainer aftermarket sheet from Xtradecal, from the OOB sheet only the "No step" warnings on the wings were used.

 

Finally, the kit was sealed with a semi-matt coat of varnish, except for the anti-glare panel, which recived a matt coat. The three small windows received artificial panes made from Clearfix, after their rims had been painted black.

  

A messy project, and you better do not take a close look. But the overall elegance of this creation surprises me - the real Mystery Jet already looked sleek, and this model, despite a more blunt nose, confirms this impression. The colors work together well, too - and the thing has a dedicated retro feel about it. Tintin might be on board, as well as Elton John, both sharing a cigar on the rear seats... ;)

151223-N-XF387-077 YOKOSUKA, Japan (Dec. 23, 2015) - Sailors attached to the U.S. 7th Fleet flagship USS Blue Ridge (LCC 19) deck department, touch up the paint on the anchor chain, on a floating barge during preservation operations. Blue Ridge is currently moored at Commander, Fleet Activities Yokosuka undergoing a Selected Restricted Availability maintenance period, which will allow the ship to undertake future patrols, ensuring the safety and security of Pacific sea lanes. (U.S. Navy photo by Mass Communication Specialist 3rd Class Liz Dunagan/RELEASED)

Waterside North in Lincoln, Lincolnshire.

 

A street built on reclaimed land on the north bank of the Witham and was first noted in a late 14th-century. The stretch from Thorngate east to Stamp End may have been called Thornbridgegate in the medieval period.

 

Information Source:

www.heritageconnectlincoln.com/character-area/sincil-stre...

 

Period photos and Paintings of Bustled women..

Period clothing

QEHP:

Architect

Faircloth, FH

Construction period

1902â1909, Childers Pharmaceutical Museum & Tourist Information Centre (1902 - 1909)

`The former Gaydon's Pharmacy is one of a row of shops erected in 1902 to the design of Bundaberg architect FW Faircloth, following a fire that destroyed most of the south side of Churchill Street, the main street of Childers. Faircloth was responsible for much of the new building following the fire, the effects of which transformed the appearance of Childers. Extended to two storeys in 1909, the pharmacy housed several important services to the town and, retaining extremely intact contents, has become a pharmaceutical museum in recent years.

 

Childers is located in what was once the heart of the Isis Scrub. Following logging of the dense Scrub in the 1870s, Childers was promoted in the 1880s by Maryborough interests as an agricultural district. The land in the immediate vicinity of the present town of Childers was surveyed in 1882 into 50 acre farm blocks. There was no official town survey; Childers developed following private subdivision at the railhead of the 1887 extension line from Isis Junction. This was opened on 31 October 1887, and was intended principally to facilitate the transport of timber from the scrub.

 

The coming of the railway not only promoted the development of the town of Childers; it also proved the catalyst for the establishment of a sugar industry in the district in the late 1880s. At the opening of the railway to Childers, Robert Cran, owner of Maryborough's Yengarie mill, announced that he would erect a double crushing juice mill at Doolbi, to supply his mill at Yengarie. This was completed in 1890, with the juice being brought in railway tankers from the Isis. Further expansion of the sugar industry in the Isis was closely related to the activities of the Colonial Sugar Refining Company, which erected a central crushing mill in the district 1893-94, and began crushing in 1895. By 1895, at least three other mills had been established in the Isis, with another two under construction, and Childers had emerged as the flourishing centre of a substantial sugar-growing district.

 

Thomas Gaydon arrived in Childers in 1894, four years after completing his pharmaceutical apprenticeship in Brisbane, and established 'The Isis Pharmacy' as one of the first shops in the main street. He and William Hood needed to clear the block with axes and mattocks. Hood set up as a tobacconist and stationer. In September 1899, resub 18 of sub 3 of portion 840 was transferred to Thomas Gaydon and William Hood as joint tenants. This was probably the land on which their adjoining timber shops were built.

 

1902 was a very dry year and Childers had no fire brigade. In 23 March, a catastrophic fire swept through the south side of the main street in town, where virtually all the buildings were timber and closely built. Those stores destroyed were: S Oakley, bootmaker; FD Cooper, commission agent; R Graham, fruiterer; ME Gosley, tailor; Foley, hairdresser; M Redmond, Palace Hotel; WB Jones, auctioneer; W Couzens, fruiterer; H Newman, general storekeeper; WJ Overell and Son, general merchants; P Christensen, cabinet maker; W Hood, stationer; T Gaydon, chemist; W Lloyd, hairdresser; Mrs Dunne, fruiterer; Federal Jewellery Company; Dunn Bros, saddlers; H Wegner, bootmaker. The Bundaberg architect F H Faircloth was engaged to redesign new premises and called tenders for the erection of eight brick shops, including Gaydons, in June 1902.

 

Frederic Herbert (Herb) Faircloth was born in Maryborough in 1870 and was a pupil of German-trained Bundaberg architect Anton Hettrich. Faircloth set up his own practice in Bundaberg in 1893 and was very successful, eventually being responsible for the design of almost every major building in Bundaberg. He was also to have a major effect on the appearance and character of Childers.

 

The new shops were masonry rather than timber, a choice no doubt influenced by the fire, and were elegant single story buildings with large glass shop fronts. Striped curved awnings across the footpath were supported by decorative posts with cast iron infill. Each shop had a separate roof , some lit by lanterns and the individual tenancies were also marked by the visual separation of the facades by the use of classic revival pediments, urns, and balustrades. Gaydon's building with its broken semi-circular pediment matched the adjoining Hood's shop.

 

Around 1909 an upper floor was added. This addition included the adjoining shop, so that a new and larger decorative pediment was created. A photograph dating from around 1913 shows that other tenants, including a bootmaker and the New Zealand Insurance Company, also used Gaydon's building. The upper floor was lit by a lantern and a pair of large compound windows and so had excellent light for its use a dental surgery by Thomas Gaydon, who in addition to his work as a pharmacist, also practised as a dentist, photographer and anaesthetist to the local hospital. He was a public spirited man and also served as president of the Chamber of Commerce, School of Arts, hospital and School committees at various times. He was the second chairman of the Isis Shire Council in 1919 and served in this role again between 1924 and 1930.

 

Following the death of Thomas Gaydon in 1935, the property was transferred to his two sons, T. Geoffrey Gaydon (a dentist) and S. Noel Gaydon (a chemist) who both practised from the premises. In 1938 Mervyn G Hooper joined the staff as a chemist and went into partnership with Noel Gaydon in 1956. When Noel Gaydon died in 1966, Hooper continued the business and the property was transferred to his wife in 1973. In 1982 Mervyn Hooper died and the then pharmacy was operated as a gift shop (with all pharmaceutical material retained) by his widow Isbell (known as Isa) Hooper. In 1987 the shop ceased trading and was acquired by the present owner.

 

The Shire leased the building, after purchasing the contents, catalogued items and carried out conservation work. In 1989 Gaydons Pharmacy opened as a pharmaceutical museum with an art gallery on the upper floor. The work undertaken by the Isis Shire Council to prepare the building for use as a museum, tourist office, and gallery received a National Trust of Queensland John Herbert Award for Conservation Action in 1989.'

Even Magnus.

 

There's not too many felines that purr it up nuzzling a Magnus. Oh, Vidalia would, within reason. But this sweet girl simply loves dogs. She's not fond of other cats, except her sister, mind you. But she loves dogs. Instantly.

 

Another long series. I pared it down some, but it's still lengthy. Given Diamond leaves this weekend, I figure you'll excuse my prolificity. All clickable, of course.

 

Keep in mind that Diamond weighs 8.6 pounds, just shy of 4 kilograms, to help put Magnus' size in perspective.

 

[SOOC, f/1.4, ISO 1000, shutter speed 1/250, -1/3 EV]

Nikon D700 + Nikkor 35-70mm.

 

Sports Field, Abingdon Road, Oxford.

January 14th 2014.

 

Abingdon Road, a main arterial route into Oxford city centre from the south-west, has been closed due to flooding following the extremely wet weather over the New Year period. The road was re-opened on the afternoon of the 13th January as the water finally began to retreat back from the road to the River Thames. Yesterday was the first full day of being open after the flooding, and although the road is clear and traffic is once again moving along it - there's still plenty of standing water about. Allotments, rugby & football pitches, a children's playground, and numerous park benches still remain under a lot of water.

 

Period Publicity

 

From the museum label: Art enthusiasts in Edo-period Japan were mesmerized by Katsushika Hokusai's landscapes, especially his series of views of Mount Fuji, to which this print belongs. To create this image of an overpowering wave, Hokusai adapted to his own ends materials and devices that had recently been introduced from the West, namely, Prussian blue pigment and one-point perspective. Hokusai's great sense of achieving drama can be observed here and has proven influential for many artists, past and present. According to new interpretations of Hokusai's print, the great wave represents the encroachment of foreign powers, more than twenty years before Commodore Matthew Perry's forced opening of Japan to trade with America, in 1853.

I have always despised Picasso's so called "Blue Period." Give me a break.....What could be more artsy fartsy than painting everything blue because you have the blues?

 

According to Wikipedia: "Picasso was influenced by a journey through Spain and by the suicide of his friend Carlos Casagemas, who took his life at the L’Hippodrome Café in Paris, France by shooting himself in the right temple on February 17, 1901. Although Picasso himself later recalled, "I started painting in blue when I learned of Casagemas's death", art historian Hélène Seckel has written: "While we might be right to retain this psychologizing justification, we ought not lose sight of the chronology of events: Picasso was not there when Casagemas committed suicide in Paris ... When Picasso returned to Paris in May, he stayed in the studio of his departed friend, where he worked for several more weeks to prepare his exhibition for Vollard". The works Picasso painted for his show at Ambroise Vollard's gallery that summer were generally characterized by a "dazzling palette and exuberant subject matter".

 

So here's to you Pablo. Other painters see through the BS. There was a sale on Prussian Blue wasn't there?

 

Flickr Group Roulette: Artsy Fartsy Portraits

 

View Large and on White

Cloisonné Barrel Drum

 

Meiji period, ca 1873

Wood, metal, cloisonné, hide, silk, padding

 

This oversize barrel drum, with its meticulously decorated cloissonne cylinder and stand, was commissioned by the Japanese government for the Vienna World Exposition of 1873. This decorative drum or a similar one (part of a pair was on display at the 1876 Philadelphia Centennial Exposition).

The rooster resting atop a war drum is a symbol of peace. Furthermore, in ancient China, drums were used to announce a call to arms, so peaceful times are symbolised by an idle drum.

[Met Museum]

 

Taken in the 'China: Through the Looking Glass' exhibition (May-September 2015).

 

This exhibition explores the impact of Chinese aesthetics on Western fashion and how China has fueled the fashionable imagination for centuries. In this collaboration between The Costume Institute and the Department of Asian Art, high fashion is juxtaposed with Chinese costumes, paintings, porcelains, and other art, including films, to reveal enchanting reflections of Chinese imagery.

From the earliest period of European contact with China in the sixteenth century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent, whose fashions are infused at every turn with romance, nostalgia, and make-believe. Through the looking glass of fashion, designers conjoin disparate stylistic references into a pastiche of Chinese aesthetic and cultural traditions.

The exhibition features more than 140 examples of haute couture and avant-garde ready-to-wear alongside Chinese art. Filmic representations of China are incorporated throughout to reveal how our visions of China are framed by narratives that draw upon popular culture, and also to recognize the importance of cinema as a medium through which to understand the richness of Chinese history.

[Exhibition description]

 

In the Metropolitan Museum of Art, 5th Avenue, New York

One of the delights of using flickr is the wide range of inspiration provided by those who post an incredible selection of period London views. (You know who you are , Gentlemen!)

Those views have given me plenty of ideas for this 1/76 scale London tramway on a shelf.

With limited space I have some items that can only be seen by using the camera and looking 'away from the wall'.

In this view looking across from in front of the Odeon cinema, is an LCCT tram shelter similar to the one preserved at LTs Museum Depot.

Further along is the Chemist department of the RACS Co-op store that was added just the other day. Today I have only managed to install the period advertisements including the rather nice one for the Radio Times.

The 'Tardis' police box with attendant air raid siren and the Ferodo bridge also play a part in setting the scene.

Round Mountain Road, Kern Couny, California 2006

Small Late Period and Ptolemaic reliefs or sculptures that depict a subject in a partial or unfinished way but are themselves finished constitute a special class of object. Guidelines like those for artists are often prominently exhibited as part of the object, although, in fact, many instances can be noted where the object simply could not serve as a suitable model for a traditional formal Egyptian representation. Personifications of kingship, figures that may represent the now emerging demigods Imhotep and Amenhotep Son of Hapu, and popular gods like Harpokrates or Isis, are heavily represented within the corpus.

 

Taken together, the figures represented and the other features indicate the reliefs and sculptures of this class, sometimes called by Egyptologists "sculptor's models / votives," were the material of a donation practice, perhaps connected with the prolific temple building of these centuries. Unfortunately there is little to illuminate us about the mechanics of such a donation practice.

 

Child gods with their sidelocks and youthful features appear frequently among the donation reliefs. Sometimes as here the child wears an earring. Late Period-Ptolemaic Period

 

400-30 BCE, limestone, from Egypt.

 

Met Museum (23.2.36)

City Palace, Udaipur, is a palace complex in Udaipur, in the Indian state Rajasthan. It was built over a period of nearly 400 years being contributed by several kings of the dynasty, starting by the Maharana Udai Singh as the capital of the Sisodia Rajput clan in 1559, after he moved from Chittor. It is located on the east bank of the Lake Pichola and has several palaces built within its complex. Udaipur was the historic capital of the former kingdom of Mewar in the Rajputana Agency and its last capital.

 

The City Palace in Udaipur was built in a flamboyant style and is considered the largest of its type in Rajasthan, a fusion of the Rajasthani and Mughal architectural styles, and was built on a hill top that gives a panoramic view of the city and its surrounding, including several historic monuments such as the Lake Palace in Lake Pichola, the Jag Mandir on another island in the lake, the Jagdish Temple close to the palace, the Monsoon Palace on top of an overlooking hillock nearby and the Neemach Mata temple. These structures are linked to the filming of the James Bond movie Octopussy, which features the Lake Palace and the Monsoon Palace. The subsequent publicity has resulted in the epithet of Udaipur as "Venice of the East". In 2009, Udaipur was rated the top city in the World's Best Awards by Travel + Leisure.

 

HISTORY

The city Palace was built concurrently with establishment of the Udaipur city by Maharana Udai Singh, in 1559 and his successor Maharanas over a period of the next 300 years. It is considered the largest royal complex in Rajasthan and is replete with history. Founding of the city and building of the palace complex can not be looked in isolation as the Maharanas lived and administered their kingdom from this palace.

 

Prior to moving their capital from Udaipur to Chittor≤≥, the Mewar kingdom had flourished initially in Nagda (30 kilometres to the north of Udaipur), established in 568 AD by Guhil, the first Mewar Maharana. In the 8th century, the capital was moved to Chittor, a hill top fort from where the Sisodias ruled for 80 years. Maharana Udai Singh II inherited the Mewar kingdom at Chittor in 1537 but by that time there were signs of losing control of the fort in wars with the Mughals. Udai Singh II, therefore, chose the site near Lake Pichola for his new kingdom because the location was well protected on all sides by forests, lakes and the Aravalli hills. He had chosen this site for his new capital, much before the sacking of Chittor by Emperor Akbar, on the advice of a hermit he had met during one of his hunting expeditions.

 

At his capital Udaipur, Maharana Udai Singh soon faced defeat at the hands of Mughal Emperor Akbar. He soon moved to Udaipur to the chosen location to establish his new capital. The earliest royal structure he built here was the Royal courtyard or 'Rai Angan', which was the beginning of the building of the City Palace complex, at the place where the hermit had advised Maharana to build his Capital.

 

After Udai Singh’s death in 1572, his son Maharana Pratap took the reins of power at Udaipur. He was successful in defeating Akbar at the battle of Haldighati in 1576 and thereafter Udaipur was peaceful for quite some years. With this, prosperity of Udaipur ensued, palaces were built on the shore and in the midst of the Pichola lake. Concurrently art, particularly miniature painting, also flourished.

 

But in 1736, the marauding Marathas attacked Udaipur and by the end of the century the Mewar state was in dire straits and in ruins. However, the British came to Mewar’s rescue in the 19th century and soon the State of Mewar got re-established and prospered under British protection, under a treaty signed with the British. However, the British were not allowed to replace them. Once India got independence in 1947, the Mewar Kingdom, along with other princely states of Rajasthan, merged with the Democratic India, in 1949. The Mewar Kings subsequently also lost their special royal privileges and titles. However, the successor Maharanas have enjoyed the trust of their people and also retained their ownership of the palaces in Udaipur. They are now running the palaces by creating a trust, called the Mewar Trust, with the income generated from tourism and the heritage hotels that they have established in some of their palaces. With the fund so generated they are running charitable hospitals, educational institutions and promoting the cause of environmental preservation.

 

LEGEND

Historical legend narrated to the selection of the site for the palace is about a hermit meeting Maharana Udai Singh when he was on a hunting trail in the Udaipur hills. The Maharana met the hermit who was meditating on top of a hill above the Pichola Lake and sought the hermit’s blessings. The hermit advised the Maharana to build his palace at that very spot and that is where the palace complex came to be established at Udaipur.

 

GEOGRAPHY

The city palace located in Udaipur city at 24.576°N 73.68°E, which is set with an average elevation of 598 metres.

 

CLIMATE

The climate of Udaipur reflects the climate at the city palace. It is tropical, with the mercury recording between a maximum of 38.3 °C and a minimum of 28.8 °C during summers. Winter is cold with the maximum temperature rising to 28 °C and the minimum dipping to 11.6 °C. The average annual rainfall is 64 cm.

 

STRUCTURES

The series of palaces packed in the city palace complex, facing east (as customarily appropriate for the Maharana dynasty – the Sun dynasty), behind an exquisite facade of 244 metres length and 30.4 metres height, were built on a ridge on the east of lake Pichola. They were built over a long period, from 1559 onwards, by 76 generations of Sisodia Rajputs or Suryavanshi Rajputs (worshippers of Sun god). Several Maharanas (the title Maharana is distinctly different from Maharajah, as the former connotes a warrior and the latter a ruler or a king) starting with Udai Mirza Singh II, have richly contributed to this edifice, which comprises an agglomeration of structures, including 11 small separate palaces. The unique aspect of this conglomeration is that the architectural design (a rich blend of Rajasthani, Mughal, Medieval, European and Chinese Architecture) is distinctly homogeneous and eye catching. The palace complex has been built entirely in granite and marble. The interiors of the palace complex with its balconies, towers and cupolas exhibit delicate mirror-work, marble-work, murals, wall paintings, silver-work, inlay-work and leftover of colored glass. The complex provides a fine view of the lake and the Udaipur city from its upper terraces.

 

Located with the picturesque backdrop of rugged mountains, beside the Pichola lake on its shore, the city palace complex painted in gleaming white color has been compared to the Greek islands, such as the Mykonos.

 

The famous structures or palaces viewed from the Lake Palace appear like a fort. They are interlinked inside the complex through a number of chowks or quadrangles with zigzag corridors (planned in this fashion to avoid surprise attacks by enemies). Erected in the complex, after entering through the main Tripolia (triple) gate, are the Suraj Gokhda (public address facade), the Mor-chowk (Peacock courtyard), the Dilkhush Mahal (heart’s delight), the Surya Chopar, the Sheesh Mahal (Palace of glass and mirrors), the Moti Mahal (Palace of Pearls), the Krishna Vilas (named after Lord Krishna), Shambu Niwas (royal residence now), the Bhim Vilas, the Amar Vilas (with a raised garden) that faces the Badi Mahal (the big palace), the Fateprakash Palace and the Shiv Niwas Palace (the latest addition to the complex); the last two have been converted into heritage hotels. Details of all these structures are elaborated. The vast collection of structures are termed to form ‘a city within a city’ set with facilities of post office, bank, travel agency, numerous craft shops and also an Indian boutique belonging to the World Wildlife Fund (WWF) for Nature. The entire complex is the property of the Mewar royal family and a number of trusts take care of the running and maintenance of the structures. The earliest royal structure built in the complex was the Royal courtyard or Rai Angan.

 

GATEWAYS

Gateways, colloquially called Pols, are set to the east of Udaipur city that was established by Maharana Udai Singh II, concurrently with the City Palace. A number of impressive gateways provide access to the palace complex.

 

The main entry from the city is through the 'Bara Pol' (Great Gate), which leads to the first courtyard. Bara Pol (built in 1600) leads to the ‘Tripolia Pol', a triple arched gate built in 1725, which provides the northern entry. The road between this gate and the palace is lined with shops and kiosks owned by craftsmen, book-binders, miniature painters, textile dealers and antique shops. Between these two gates, eight marble arches or Toranas are erected. It is said that the Maharanas used to be weighed here with gold and silver, which was then distributed among the local people. Following the Tripolia gate is an arena in front of the Toran Pol and the facade palace, where elephant fights were staged in the past to test their prowess before starting on war campaigns.

 

The main block of the city palace at Udaipur is approached through a modest door from the Ganesha Deodhi terrace. The door is flanked by whitewashed walls vibrantly painted with martial animals in the traditional Rajput style.

 

AMAR VILAS

Amar Vilas is the uppermost court inside the complex, which is a raised garden. It provides entry to the Badi Mahal. It is a pleasure pavilion built in Mughal style. It has cussed arcades enclosing a square marble tub. Amar Vilas' is the highest point of the City palace and has wonderful hanging gardens with fountains, towers and terraces.

 

BADI MAHAL

Badi Mahal (Great Palace) also known as Garden Palace and is the exotic central garden palace that is situated on a 27 metres high natural rock formation bis-a-bis the rest of the palace. The rooms on the ground floor appear to be at the level of the fourth floor in view of the height difference to its surrounding buildings. There is a swimming pool here, which was then used for Holi festival (festival of colors) celebration. In an adjoining hall, miniature paintings of 18th and 19th centuries are displayed. In addition, wall paintings of Jag Mandir (as it appeared in the 18th century), Vishnu of Jagdish temple, the very courtyard and an elephant fight scene are depicted.

 

The elephant fight depicted in a painting on the wall was a representation of the real elephant fights, which used to be organized by the Maharanas. It is mentioned that the elephants used to be fed hashish (opium) before arranging the fights. An interesting observation is that the word ‘assassin’ is a derivative of the word ‘hashish’. The last such fight was reported in 1995.

 

BHIM VILAS

Bhim Vilas has a gallery of a remarkable collection of miniature paintings that depict the real life stories of Radha-Krishna.

 

CHINI CHITRASHALA

Chini Chitrashala (Chinese art place) depicts Chinese and Dutch ornamental tiles.

 

CHOTI CHITRASHALI

Choti Chitrashali or 'Residence of Little Pictures', built in early 19th century, has pictures of peacocks.

 

DILKHUSHA MAHAL

Dilkhusha Mahal or ‘Palace of Joy’ was built in 1620.

 

DURBAR HALL

Durbar Hall was built in 1909 within the Fatepraksh Palace (now a heritage hotel) Official functions such as State banquets and meetings were held here. The gallery of the hall was used by the Royal ladies to observe the Durbar proceedings. This hall has luxuriant interior with some unusually large chandeliers. Weapons of the maharanas and also some of their unique portraits are also depicted here. The foundation stone for this hall was laid by Lord Minto, the Viceroy of India, in 1909, during the rule of Maharana Fateh Singh and was then called Minto Hall.

 

FATEPRAKASH PALCE

Fateprakash Palace, which is now run as a luxury hotel, has a crystal gallery that consists of crystal chairs, dressing tables, sofas, tables, chairs and beds, crockery, table fountains which were never used. There is also a unique jewel studded carpet here. Maharaja Sajjan Singh had ordered these rare items in 1877 from F& C Osler & Co of London but he died before they arrived here. It is said that the packages containing these crystals remained unopened for 110 years.

 

JAGDISH MANDIR

Jagdish Mandir, located 150 metres north of the city palace, was built in 1652 in Indo-Aryan architectural style. It is a large and aesthetically elegant temple where an idol of Lord Jagannath, a form of Lord Vishnu made in black stone is deified in the sanctum. The temple walls and the sikhara or tower are decorated with carvings of Vishnu, scenes from Lord Krishna’s life and figurines of nymphs or apsaras. A brass image of Garuda (half-bird, half-man image, which is Lord Vishnu’s vehicle), is placed in a separate shrine in front of the temple. Flanking the steps up the temple decoration of statues of elephants are seen. The street square, where the temple is located, is also known as Jagdish Chowk from where several roads radiate in different directions.

 

KRISHNA VILAS

Krishna Vilas is another chamber, which has rich collection of miniature paintings that portray royal processions, festivals and games of the Maharanas. However, there is tragic story linked to this wing of the City Palace. In the 19th century, a royal princess was unable to choose from two suitors seeking her hand in marriage, one from the royal family of Jaipur and another from Jodhpur, and hence in a state of dilemma, she poisoned herself to death.

 

LAXMI VILAS CHOWK

Laxmi Vilas Chowk is an art gallery with a distinctive collection of Mewar paintings.

 

MANAK MAHAL

The Manek mahal approached from the Manak Chowk is an enclosure for formal audience for the Udaipur rulers. It has a raised alcove inlaid completely in mirror glass. Sun-face emblems, in gleaming brass, religious insignia of the Sisodia dynasty are a recurring display at several locations in the City Palace; one of these prominent emblems is depicted on the façade of the Manak Chowk, which can also be seen from the outermost court below. The largest of such an emblem is also seen on the wall of the Surya Chopar, a reception centre at the lower level. Surya or Sun emblem of the Mewar dynasty depicts a Bhil, the Sun, Chittor Fort and a Rajput with an inscription in Sanskrit of a quotation from the Bhagavad Gita (Hindu holy scripture), which means “God Helps those who do their duty". It was customary for the Maharanas to offer obeisance to the Sun facing east, every morning before taking breakfast.

 

MOR CHOK

Mor Chok or Peacock square is integral to the inner courts of the palace. The elaborate design of this chamber consists of three peacocks (representing the three seasons of summer, winter and monsoon) modeled in high relief and faced with coloured glass mosaic, built into successive niches in the wall area or jharoka, These were built during Maharana Sajjan Singh’s reign, 200 years after the palace was established. The peacocks have been crafted with 5000 pieces of glass, which shine in green, gold and blue colours. The apartments in front of the Chowk are picturesquely depicted with scenes of Hindu god Lord Krishna’s legends. At the upper level, there is a projecting balcony, which is flanked by inserts of coloured glass. In an adjoining chamber, called the Kanch-ki-Burj, mosaic of mirrors adorn the walls. The Badi Charur Chowk within this chowk is a smaller court for private use. Its screen wall has painted and inlaid compositions depicting European men and Indian women. Proceeding further from the Mor-Chowk, in the Zenana Mahal or women’s quarters exquisitely designed alcoves, balconies, colored windows, tiled walls and floors are seen.

 

MUSEUM

n 1974, a part of the city palace and the 'Zenana Mahal' (Ladies Chamber) were converted into a museum. The museum is open for public. There is an interesting exhibit of a freaky monkey holding a lamp and also portraits of maharajas displaying a spectacular array of mustaches. ‘Lakshmi Chowk' is an elegant white pavilion in the same precinct.

 

RANG BHAWAN

Rang Bhawan is the palace that used to contain royal treasure. There are temples of Lord Krishna, Meera Bai and Shiva, located here.

 

SHEESH MAHAL

Sheess Mahal or Palace of Mirrors and glasses was built in 1716.

 

A shrine of Dhuni Mata is also located in the complex. This location is considered as the oldest part of the Palace, where a sage spent his entire life meditating.

 

THE PALACE IN FILM & TELEVISION

The palace was used as a hotel in the 1985 James Bond film Octopussy, where Bond (played by Roger Moore) stayed as he began his quest to apprehend the villainous Kamal Khan (Louis Jordan).

 

A 1991 documentary film directed for television by Werner Herzog is called Jag Mandir and consists of footage of an elaborate theatrical performance for the Maharana Arvind Singh Mewar at the City Palace staged by André Heller.

 

The palace was used for filming part of Goliyon Ki Raasleela Ram-Leela (English: A Play of Bullets: Ram-Leela) 2013 directed by Sanjay Leela Bhansali.

 

WIKIPEDIA

German postcard in the Moderne Künstler series by MMB, no. 459. Photo: F.J. Wesselsky.

 

German film actor Ludwig Trautmann (1885-1957) was the first German film star. Between 1912 and 1955, he appeared in 69 films, and also wrote, produced, and directed several films. In the Nazi period, he was prosecuted because of 'homosexual acts'.

 

Ludwig Trautmann was born in Dachsbach, Germany, in 1885. He learned for salesman but in 1901 he made his stage debut. He later worked for theatres in Bochum, Konstanz und Hermannstadt. A cinema owner in Baden-Baden introduced him to film. In 1912 he signed a contract with the Bioskop-Filmgesellschaft (Bioskop Film Studio). It was the first film contract ever signed in Germany. Trautmann appeared in such short silent films as Madeleine (Emil Albes, 1912) and Die schwarze Natter/The Black Adder (Franz Hofer, 1913). He soon became known as detective Brown in short silent films directed by Harry Piel, starting with Der Triumph des Todes/The Triumph of Death (Harry Piel, 1912) and Schatten der Nacht/Shadows of the Night (Harry Piel, 1913). In Austria he played a priest in Der Pfarrer von Kirchfeld/The Priest from Kirchfeld (Jacob Fleck, Luise Fleck, 1914) starring Max Neufeld. He appeared opposite Henny Porten in Gretchen Wendland (Curt A. Stark, 1914), Das Ende vom Liede/The End of the Song (Rudolf Biebrach, 1915) and Die Ehe der Luise Rohrbach/The Marriage of Luise Rohrbach (Rudolf Biebrach, 1917), also with Emil Jannings. In 1916 he appeared opposite the other superstar of the silent German cinema, Asta Nielsen in Dora Brandes (Magnus Stifter, 1916) and Das Liebes-ABC/The ABC of Love (Magnus Stifter, 1916). Ludwig Trautmann had become a very successful film actor. He was the darling of the women and at the height of his career, he bought a castle with 22 rooms for the in those days the outrageous sum of DM 480.000.--. He was in a position to found his own film company, and during World War I, he directed, produced, and wrote several films. Among these films are Das Geheimnis der Villa Dox/The Secret of Villa Dox (Ludwig Trautmann, 1916) and Filmelend: Das Glashausmädchen/Film Misery – The Glass House Girl (Ludwig Trautmann, 1919).

 

Ludwig Trautmann worked in the early 1920s with director Siegfried Dessauer on such films as Frauen…/Women… (Siegfried Dessauer, 1920) and Die goldene Mauer/The Golden Wall (Siegfried Dessauer, 1921) with Mabel May-Yong. He had a small part in the epic Marie Antoinette - Das Leben einer Königin/Marie Antoinette, the Life of a Queen (Rudolf Meinert, 1922) starring Italian diva Diana Karenne and filmed on location in Paris, but the film offers became scarce. Between 1925 and 1932, Trautmann did not appear in the cinema, but then he reappeared in supporting roles in films like Die elf Schill'schen Offiziere/The eleven Officers of Major Von Schill (Rudolf Meinert, 1932) with Hertha Thiele, and Trenck - Der Roman einer großen Liebe (Ernst Neubach, Heinz Paul, 1932) starring Hans Stüwe. He also appeared in the Ufa production Ein Mann will nach Deutschland/A Man Wants to Get to Germany (Paul Wegener, 1934) with Karl Ludwig Diehl and had a bit part in Ein idealer Gatte/An Ideal Husband (Herbert Selpin, 1935) based on the famous play by Oscar Wilde. Between July and October 1935, Trautmann was imprisoned for homosexual acts. (Homosexual acts between males were a crime at the time in Germany and many other countries. Trautmann was imprisoned because of paragraph 175, a notorious provision of the German Criminal Code dating from 1871. The Nazis broadened the law in 1935; in the prosecutions that followed, thousands died in concentration camps. Between 1871 and 1994 around 140,000 men were convicted under the law).

 

After he was released from prison, Ludwig Trautmann was banned from the Reichstheaterkammer and the Reichsfilmkammer, so it was impossible for him to work as an actor in Nazi-Germany anymore. He left for France, but in 1939 he returned to Germany. In 1940 he was again imprisoned for six months because of his homosexuality. After the war, Ludwig Trautmann worked for the Volksbühne Berlin. He produced the documentary Eine Fröhliche Fahrt in die Vergangenheit/A cheerful trip in the past (1949). In 1951 he was a member of the jury at the 1st Berlin International Film Festival. He also played a few more film roles. He had bit parts in the comedies Postlagernd Turteltaube/Poste Restante Turtledove (Gerhard T. Buchholz, 1952), and in Briefträger Müller/Mailman Mueller (Hohn Reinhardt, 1953) starring Heinz Rühmann. His last film was the DEFA production Robert Mayer - der Arzt aus Heilbronn/Robert Mayer, the Doctor from Heilbronn (Helmut Spiess, 1955). In 1957 and after a long illness, Ludwig Trautmann died in a Berlin hospital. He was 71.

 

Sources: Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia (English and German), and IMDb.

 

And, please check out our blog European Film Star Postcards.

on the Eastbourne Riviera.

Written on the back : Fm Mrs. Skinner with the best regards ?? Feb 1862.

Vintage Italian postcard. Unione Cinemagrafica Italiana. Medusa Film. Scene from the Italian period piece Saracinesca (Gaston Ravel, 1921), starring Carlo Gualandri, and based on the novel by Frances Marion Crawford. Caption: Plotting against Don Giovanni Saracinesca.

At Katakolon. I couldn't tell if it was still in use or not

High Park, Toronto, 1977

free period

M5, Worcester

Photographer: Jason Paparoulas.

Model: Gemma Cotterell.

Make Up Artist: Tiffany Phillips.

Designer and Stylist: Natashya Manfield.

Location: Hotel, Fortitude Valley, Brisbane, Queensland, Australia

Strobist Info (this ordering may or may not have changed throughout the shoot):

 

- 1 x Bowens Gemini Esprit 500WS – shot bare camera left behind

- 1 x Bowens Gemini Esprit 500WS – shot through softbox camera left

- 1 x Bowens Gemini Esprit 500WS – shot through beauty dish camera left

- 1 x Bowens Gemini Esprit 500WS – shot through softbox camera right

- 2 x Bowens Travelpacks – powering 2 x 500WS strobes each

- 2 x Canon 580 EXII shot bare and through stofen omnibounce behind model…

 

- Canon 5D Mark II w/ BG-E6

- Canon 28-135mm f/3.5-5.6 IS USM, 50mm f/1.4, 35mm f/2.0

- Elinchrom Skyport Universal Triggers

 

Ok Tarsh or Natashya whichever any of you would prefer and me have been friends for a fair while now, and we’ve been tossing up when where and what to do and when to do it and a million different concepts for about six months now. With her been a fashion designer and me been a photographer it’s a perfect mix, however the first shoot we end up doing is the least planned and furthest away from any concepts we’ve been working through or I had in my head, but hey we work with what with have even if it is rushed and last minute…

 

So the shoot took place in an awesome hotel (that wont allow me to name it) that I had arranged to go through for the day and use for the shoot, they were awesome people very professional and very friendly considering it was a rush last minute booking and a very busy period for the they were more than happy to accommodate it’s always awesome to work with people that have the same mentality.

 

Ended up waking up the morning of the shoot with the worst fever and case of the flu I have had in a while really distracting and a real spirit duller no one wants to be sick especially when they have to work haha. Got to the hotel at 10am and set everything up measured light levels on all my lenses and chilled out, watching the fashion channel until the crew got to the shoot (that channel is pretty inspirational for photographers). It’s the first time I’ve worked with a proper model, make-up artist, and stylist it makes the job a hell of a lot easier and less stressful, I hope you guys like the way everything turned out…

 

You will be seeing a lot more work from me and Tarsh soon, and there is a lot of great stuff happening that will hopefully be all out in the air soon haha…

 

Also I’m off to Sydney on Monday and Japan Next Saturday, I’ll have my laptop and internet the whole time so lot’s of photo’s, bloggage, and news from travels as they happen

 

and alternatively feel free to stalk my life THE BAKE HOUSE @ WORDPRESS

 

...or is it a table leg?!? ;-)

period of Christmas

Australian

 

Owners: Howard Smiths

 

Port of Registry: AUS Melbourne

 

IDNo:1120736

 

Year:1907

 

Name:PERIOD

 

Keel:

 

Type:Cargo ship

 

Launch Date:13.3.07

 

Flag:AUS

 

Date of completion:4.07

 

Tons:2785

 

Link:1543

 

DWT:

 

Yard No:527

 

Length overall:

 

Ship Design:

 

LPP:100.7

 

Country of build:GBR

 

Beam:13.8Builder:

 

Sir Raylton Dixon & Co

 

Material of build:

 

Location of yard:Middlesbrough

 

Number of

screws/Mchy/

 

Speed(kn):1T-10

 

Naval or paramilitary marking :

A:*

End:1975

 

Subsequent History:

47 TUNG ZIANG - 50 PACIFICO - 52 HO PING 4 - 67 ZHAN DOU 4

 

Details: Mirimar Index

 

Photo credits: The late Don Ross collection

polymer clay