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Jojo was obviously at the right place at the right time again as I was able to extend this week's rewarding shopping spree in the local charity shops. The main one in the town Katherine house was having a clear-out sale as it is closing for refurbishment and what had not already gone was going for just one-pound. To be honest there is not as much to choose from as one might hope for as either it's the wrong size or something one doesn't want. However I was pleased to pick up these beauiful M&S plum coloured four-inch heels which looked like they had only been worn briefly and just once and my guess is it was for a wedding. I also picked up a slide projector and much to my surprise this shoe fitting area mirror which had been one of the fixtures. It is a bit more clutter but it very portable so I can use it in the garden. That is a relief as I was wondering what I will do when my outside mirror breaks as the glass at the bottom has splinters missing from being lugged around.
Conversation Piece: Art In South Shields, Tyne And Wear
A sculpture comprising 22 bronze figures by Juan Muñoz near South Shields beach.
'Conversation Piece' is a sculpture that was created by the renowned Spanish artist Juan Muñoz in 1999. It comprises 22 bronze figures positioned around an open space in the dunes at Littlehaven, South Shields, each approximately 1.5 metres high and around a quarter of a ton in weight. Their position at the entrance to the River Tyne welcomes visitors from both the land and sea beyond.
The figures are arranged in small groups, with occasional isolated ones, seemingly engaging in conversation with one another. The artwork was originally imagined as being a visual play on the 18th Century style of painting that depicted informal social gatherings, cards games or musical performances. The figures area all monochromatic greys in colour, which may have something to do with Muñoz being colour-blind, but we at Fabulous North think it just adds to the otherworldliness of the piece.
The figures are known affectionately by locals as the 'Weebles' after the toys of the 70s and 80s, though given their weight and robust fixing into the ground, it is no surprise these Weebles neither wobble nor fall down! The artist once said of them “they look like rolling figures, like tumblers, they are about movement but they can't move”.
The sculptor was quite an outspoken artist in his home country of Spain, often criticising cultural institutions, so was never a well-loved figure of the establishment, so it is little wonder that such an outsider should have work that found a home, hundreds of miles from Spain in South Shields.
At South Shields, the figures stand, eyes closed or staring towards the distant horizon, in a strange, eerie silence, which is strange as the sculptor had often expressed an interest in sound and in particular radio. It is fitting perhaps that there is now an app which can be used to listen in to their conversations, written by Lee Mattinson and commissioned by Northern Stage as part of their “Out on the Toon” project. There was a QR code you could scan nearby when we visited to hear the conversations.
Sadly Muñoz died suddenly in 2001 aged only 48 years old, but his work will hopefully find a place in South Shields for many years to come.
“The way people react to the piece and the way they pass between them is very important” - Juan Muñoz (1953 - 2001)
Juan Muñoz (17 June 1953 – 28 August 2001) was a Spanish sculptor, working primarily in paper maché, resin and bronze. He was also interested in the auditory arts and created compositions for the radio. He was a self-described "storyteller". In 2000, Muñoz was awarded Spain's major Premio Nacional de Bellas Artes in recognition of his work; he died shortly after, in 2001.
Juan Muñoz was born in 1953 into a prosperous, educated family in Madrid. He was the second of seven brothers. He enrolled in a local school but became bored and was expelled, so his father retained a poet who was also an art critic to provide lessons, which gave Muñoz an awareness of modernism. He grew up under Franco's repressive regime. In the 1970s, he moved to England to study at Croydon College and the Central School of Art and Design. There he met his wife, sculptor Cristina Iglesias, with whom he has two children, Diego (b. 1995) and Lucia (b. 1989). His marriage to Cristina also made him the brother-in-law of the Academy Award-nominated film composer, Alberto Iglesias. In 1982 he was awarded a Fulbright scholarship and traveled to the United States to study at the Pratt Institute in New York City. He spoke an idiosyncratic English, learned from his experience as a waiter in New York restaurants.
His first exhibition was in 1984 in the Fernando Vijande gallery of Madrid. Since then, his works have been frequently exhibited in Europe and other parts of the world. At the beginning of the 1990s, Juan Muñoz began breaking the rules of traditional sculpture by sculpting works in a "narrative" manner which consisted of creating smaller than life-size figures in an atmosphere of mutual interaction. Muñoz's sculptures often invite the spectator to relate to them, making the viewer feel as if they have discreetly become a part of the work of art. His slate-gray or wax-colored monochrome figures create a sort of discreetness due to their lack of individuality, but that absence of individuality questions the viewer, perhaps even so much as to make the viewer uncomfortable. When asked his occupation, Muñoz would respond simply that he was a "storyteller."
His first solo show in the UK was at the Arnolfini, Bristol curated by Stephen Snoddy. Muñoz's sculptures were created primarily with paper maché, resin and bronze. In addition to sculpture, Muñoz was interested in the creation of auditory arts, creating some works for the radio. One of his more recognized auditory works was a collaboration with British composer Gavin Bryars in 1992 called A Man in a Room, Gambling, which consisted of Muñoz explaining card tricks over a composition by Bryars. The pieces, ten segments all shorter than five minutes, were played on BBC Radio 3.
In one unpublished radio program (Third Ear, 1992), Juan Muñoz proposed that there are two things which are impossible to represent: the present and death, and that the only way to arrive at them was by their absence.
In 2000, Muñoz was awarded Spain's major Premio Nacional de Bellas Artes, about which Muñoz said, "I think I'll buy a watch."
Juan Muñoz died suddenly of cardiac arrest caused by an aneurysm of the esophagus and an internal hemorrhage at the age of 48 in his summer home in Santa Eulària des Riu, Ibiza, in 2001.
Interior shot of the Mini showing the dashboard and the details in the Mini. It is a cool little driving place. Taken in the garage with all the doors OPEN surprisingly!
Strobist Info: One D-Lite RX-One at full power through a long focus reflector with grid. Light positioned above wing mirror and reflecting from a large piece of polystyrene on the seats!
Please also visit my website and follow me on Facebook and Twitter!
In a sitting position is a plush stuffed animal for a baby or toddler. It has all embroidered details.
Explored :: position 440 on Monday, April 5, 2010
Griddled ciabatta with creamy, fresh mozzarella, sun-dried tomatoes, and fresh basil - my way
I don't like boring sandwiches! I've had these in restaurants that managed to ruin them -rubbery cheese, tomatoes with no flavour, no seasoning, 1 basil leaf !!! .......
But when they are bursting with fresh, flavourful ingredients, and quick to prepare - well, who can say no! Just follow these super simple steps and you will be in for a treat :-))
To make this lovely lunchtime treat:
Take a nice piece of ciabatta, slice it in half. Heat a heavy-bottomed griddle or frying pan [non-stick if you have one], and add 15 ml of the oil from a jar of herbed sun-dried tomatoes. Once the pan is hot, add the bread on the cut side for a few seconds, then turn over and top one piece of the bread with a thick slice of fresh, creamy mozzarella. Top this with a few pieces of drained sun-dried tomato, some fresh basil leaves, and sprinkle with sea salt and generously with freshly ground pepper. Top with the other piece of ciabatta, and press down with a fish slice. Cook a few minutes on each side till lightly toasted and the cheese has begun to melt. Serve on a warm plate.
This takes barely more than 5 minutes to prepare.
Usefull hint:
To store the unused portion of fresh mozzarella, place it in an air tight plastic container in which you have added water and about 20-30 ml [a few teaspoonfuls] of salt. The water must fully cover the cheese. If you purchased your mozzarella in a plastic container that had liquid in it, drain this and rince the cheese, then put it back in the container and proceed as above. Always make sure to use a clean, dry knife to scoop out what you need. It will keep for several days in the frigde.
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Burning Man Festival 2016
This film, posted...
blog.iopan.co.uk/film-showing-excerpts-from-burning-man-f...
- Académie FRANCE WU TANG -
Qi Gong, Tai Chi chuan, Kung Fu à Paris
- arts martiaux de tradition chinoise avec Maître GAO Shi Kui -
Eastern Scottish E6, CSG29C, a Bristol FLF towing tender converted from a double decker, attends to Stagecoach Manchester 896, R896XVM, an Alexander PS bodied Volvo B10M which appeared to be having a charging problem jus outside the gates of the SVBM earlier today.
# 386 EXPLORE (best position till now)
This is a photo, away from the poor quality being captured using cellular phone camera, to apologize...
Mobility at the National Memorial Arboretum 3 of 3.
A constant stream of people attending the Remembrance Day service.
The Roseville shops positioned one a handful of patched former Cotton Belt units in between the two still original SP Rotaries.
The equipment for Amtrak's northbound Illini backs into the Carbondale, Illinois, station after turning on the north side of town. The Illinois won't be leaving, though, for more than two hours.
Gloucester, Massachusetts is America's oldest seaport, dating back to the early 1600s.
Gloucester Fisherman's Memorial (also known as: "Man at the Wheel" ) is a historic memorial in Gloucester, Massachusetts, built in 1925. It is an 8-foot-tall (2.4 m), bronze statue of a fisherman dressed in oilskins standing braced at the wheel on the sloping deck of his ship. It is positioned so that the fisherman is looking out over Gloucester Harbor.
A recessed panel on the harbor-facing side of the base holds an inscription of bronze letters which reads: "They That Go Down To The Sea In Ships 1623-1923". Plaques surround the statue with the names of fisherman from past to present have died at sea.
Hard work. Respect.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Architects: GLC Architects Department, 1967-72. Group Leader; Colin Lucas. Project Architect; Lydia Dransfield.
Primary School in the foreground was the first building to be completed on the site.
The city centre of Bristol.
Evidence of human habitation of the Bristol area stretches back as far as the Palaeolithic era. However, the city in a more recognisable form first appeared during the Saxon age as a small market town known as Brycg Stowe (or “place by the bridge”).
Bristol’s importance as a gateway to Ireland and Scandinavia made it a prime candidate for the construction of a defendable position in the years following the Norman invasion of England. The settlement’s proximity to the sea made it an ideal location for a port and the town saw a variety of simple trade and commerce pass through its streets.
In the decades after 1066, a stone castle was erected to this end. Wool and wine passed through Bristol’s port by the tonne, whilst fish was imported from Iceland and the waters north of the British Isles.
Bristol earned city status in 1542 and as trade continued to grow after the discovery of the Americas, so too did the city’s boundaries. The expansion was built on the back of slavery and the importing of tobacco and other goods from the West Indies and North America. As an estimated 2,000 Bristolian ships made up a huge portion of Britain’s slave fleet, transporting hundreds of thousands of captured Africans across the Atlantic.
There were problems for the traders as ships often went aground at low tide. Bristol Channel has the second largest tidal range in the world and, monthly, during "neap tides", ships could be stranded in Bristol for up to two weeks because there was not enough water in the River Avon to allow them to sail. This problem was solved in 1809 with the opening of the floating harbour when a series of dams and locks was created to impound 80 acres of tidal water and allow ships to remain afloat.
The city’s population hit 61,000 as the 19th century dawned and continued to rapidly expand, thanks in parts to the efforts of one of its most famous sons: the celebrated engineer Isambard Kingdom Brunel. Brunel designed the Clifton Suspension Bridge, which spans across the River Avon, and constructed the Great Western Railway between Bristol and London.
As the Industrial Revolution swept across the nation, Bristol’s long maritime history rocketed into the modern age, again courtesy of Brunel’s developments. The famous engineer contributed to the design of Bristol’s locking, floating harbour, which prevented vessels from becoming beached during low tides along the river and designed the great transatlantic steamship, the SS Great Britain.
Aircraft production became Bristol’s primary industry as the city passed into the 20th century, with Bristolian planes making up much of the Royal Air Force’s fighter numbers during both World Wars. Being such a key component of the war effort made the city a target for Luftwaffe bombers during the Blitz raids.
Information Sources:
www.myguidebristol.com/usefulinfo/bristol---a-brief-history
www.citi-wise.com/bristol/landmarks-and-history/a-brief-h...
Adorable - no ?
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Gracias !!!! / Thank you !!!!!
Made / LLegó al Explore : Highest position: 393 on Friday, June 13, 2008
For a week or more this past summer, there was a constant buzzing of male cicada killers jockeying for position above a nesting area. The males were pretty tame and held still on a shrub that overlooked the area where I presumed females were digging nests. However I could not see the burrow(s) through dense vegetation and leaf litter.
Eastern Cicada Killer - Sphecius speciosus (male)
What you can’t see is that Rusty has a ball tucked under there.
“Curled up in a tight ball, dogs in the donut pose have their limbs tucked close to their bodies, their nose near the tail.”
6 Dog Sleeping Positions and What They Mean: www.petmd.com/dog/general-health/dog-sleeping-positions-a...
Calais (/ˈkæleɪ/ cal-ay, traditionally /ˈkælɨs/; French pronunciation: [kaˈlɛ]; Picard: Calés; Dutch: Kales) is a town and major ferry port in northern France in the department of Pas-de-Calais, of which it is a sub-prefecture. Although Calais is by far the largest city in Pas-de-Calais, the department's prefecture is its third-largest city of Arras. The population of the metropolitan area at the 2010 census was 126,395. Calais overlooks the Strait of Dover, the narrowest point in the English Channel, which is only 34 km (21 mi) wide here, and is the closest French town to England. The White Cliffs of Dover can easily be seen on a clear day from Calais. Calais is a major port for ferries between France and England, and since 1994, the Channel Tunnel has linked nearby Coquelles to Folkestone by rail.
Due to its position, Calais since the Middle Ages has been a major port and a very important centre for transport and trading with England. It was annexed by Edward III of England in 1347 and grew into a thriving centre for wool production. Calais was a territorial possession of England until its capture by France in 1558. The town came to be called the "brightest jewel in the English crown" owing to its great importance as the gateway for the tin, lead, lace and wool trades (or "staples"). In 1805 it was a staging area for Napoleon's troops for several months during his planned invasion of the United Kingdom. The town was virtually razed to the ground during World War II, when in May 1940, it was a strategic bombing target of the invading German forces who took the town during the Siege of Calais. During World War II, the Germans built massive bunkers along the coast in preparation for launching missiles on England.
The old part of the town, Calais proper (known as Calais-Nord), is situated on an artificial island surrounded by canals and harbours. The modern part of the town, St-Pierre, lies to the south and south-east. In the centre of the old town is the Place d'Armes, in which stands the Tour du Guet, or watch-tower, a structure built in the 13th century, which was used as a lighthouse until 1848 when a new lighthouse was built by the port. South east of the Place is the church of Notre-Dame, built during the English occupancy of Calais. It is arguably the only church built in the English perpendicular style in all of France. In this church former French President Charles de Gaulle married his wife Yvonne Vendroux. South of the Place and opposite the Parc St Pierre is the Hôtel-de-ville (the town hall), and the belfry from the 16th and early 17th centuries. Today, Calais is visited by more than 10 million annually. Aside from being a key transport hub, Calais is also a notable fishing port and a centre for fish marketing, and some 3,000 people are still employed in the lace industry for which the town is also famed.
History
Early history
Although the early history of habitation in the area is limited, the Romans called the settlement Caletum. Julius Caesar mustered 800 to 1,000 sailing boats, five legions and some 2,000 horses at Calais due to its strategic position to attack Britannia.[1] At some time prior to the 10th century, it would have been a fishing village on a sandy beach backed by pebbles and a creek,[2] with a natural harbour[3] located at the western edge of the early medieval estuary of the River Aa. As the pebble and sand ridge extended eastward from Calais, the haven behind it developed into fen, as the estuary progressively filled with silt and peat. Subsequently, canals were cut between Saint-Omer, the trading centre formerly at the head of the estuary, and three places to the west, centre and east on the newly formed coast: respectively Calais, Gravelines and Dunkirk.[4] Calais was improved by the Count of Flanders in 997 and fortified by the Count of Boulogne in 1224.[1][3]
The first document mentioning the existence of this community is the town charter granted by Mathieu d'Alsace in 1181 to Gerard de Guelders, Count of Boulogne; Calais thus became part of the county of Boulogne.[1][5] In 1189, Richard the Lionheart is documented to have landed at Calais on his journey to the Third Crusade.[1] In medieval times, the settlement was inhabited by people who spoke Dutch, and who called it Kales.[citation needed] It is mentioned in Welsh documents as Caled, in Irish documents as Calad and in Breton documents as Kaled.
English wool trade interests and King Edward III's claims to be heir to the Kingdom of France led to the Battle of Crécy between England and France in 1346,[6] followed by Edward's siege and capture of Calais in 1347.[7] Angered, the English king demanded reprisals against the town's citizens for holding out for so long and ordered that the town's population be killed en masse. He agreed, however, to spare them, on condition that six of the principal citizens would come to him, bareheaded and barefooted and with ropes around their necks, and give themselves up to death.[8] On their arrival he ordered their execution, but pardoned them when his queen, Philippa of Hainault, begged him to spare their lives.[9][10] This event is commemorated in The Burghers of Calais (Les Bourgeois de Calais), one of the most famous sculptures by Auguste Rodin, erected in the city in 1895.[11] Though sparing the lives of the delegation members, King Edward drove out most of the French inhabitants, and settled the town with English. The municipal charter of Calais, previously granted by the Countess of Artois, was reconfirmed by Edward that year (1347).[12]
In 1360 the Treaty of Brétigny assigned Guînes, Marck and Calais—collectively the "Pale of Calais"—to English rule in perpetuity, but this assignment was informally and only partially implemented.[13] On 9 February 1363 the town was made a staple port.[14] It had by 1372 become a parliamentary borough sending burgesses to the House of Commons of the Parliament of England.[15] It remained part of the Diocese of Thérouanne from 1379, keeping an ecclesiastical tie with France.[16]
The town came to be called the "brightest jewel in the English crown" owing to its great importance as the gateway for the tin, lead, cloth and wool trades (or "staples").[17] Its customs revenues amounted at times to a third of the English government's revenue, with wool being the most important element by far. Of its population of about 12,000 people, as many as 5,400 were recorded as having been connected with the wool trade. The governorship or Captaincy of Calais was a lucrative and highly prized public office; the famous Dick Whittington was simultaneously Lord Mayor of the City of London and Mayor of the Staple in 1407.[18]
Calais was regarded for many years as being an integral part of the Kingdom of England, with its representatives sitting in the English Parliament. The continued English hold on Calais however depended on expensively maintained fortifications, as the town lacked any natural defences. Maintaining Calais was a costly business that was frequently tested by the forces of France and the Duchy of Burgundy, with the Franco-Burgundian border running nearby.[19] The British historian Geoffrey Elton once remarked "Calais—expensive and useless—was better lost than kept".[20] The duration of the English hold over Calais was, to a large extent, the result of the feud between Burgundy and France, under which both sides coveted the town, but preferred to see it in the hands of the English rather than their domestic rivals. The stalemate was broken by the victory of the French crown over Burgundy following Joan of Arc's final battle in the Siege of Compiègne in 1430, and the later incorporation of the duchy into France.[21]
16th century
In 1532, English king Henry VIII visited Calais and his men calculated that the town had about 2400 beds and stabling to keep some 2000 horses.[22] In September 1552, the English adventurer Thomas Stukley, who had been for some time in the French service, betrayed to the authorities in London some French plans for the capture of Calais, to be followed by a descent upon England.[23] Stukley himself might have been the author of these plans.
On 7 January 1558, king Henry II of France sent forces led by Francis, Duke of Guise, who laid siege to Calais.[24] When the French attacked, they were able to surprise the English at the critical strongpoint of Fort Nieulay and the sluice gates, which could have flooded the attackers, remained unopened.[25] The loss was regarded by Queen Mary I of England as a dreadful misfortune. When she heard the news, she reportedly said, "When I am dead and opened, you shall find 'Philip' [her husband] and 'Calais' lying in my heart."[26] The region around Calais, then-known as the Calaisis, was renamed the Pays Reconquis ("Reconquered Country") in commemoration of its recovery by the French.[27] Use of the term is reminiscent of the Spanish Reconquista, with which the French were certainly familiar—and, since it occurred in the context of a war with Spain (Philip II of Spain was at the time Queen Mary's consort), might have been intended as a deliberate snub.[28] After that time the Dutch-speaking population was forced to speak French.
The town was captured by the Spanish on 24 April 1596 in an invasion mounted from the nearby Spanish Netherlands by Archduke Albert of Austria, but it was returned to France under the Treaty of Vervins in May 1598.[29][30]
17th century to World War I
Calais remained an important maritime city and smuggling center throughout the 17th century. However, during the next century the port of Calais began to stagnate gradually, as the nearby ports of Boulogne and Dunkirk began to rise and compete.
The French revolution at the end of the 18th century did not disturb Calais and no executions took place.[31]
World War II bunkers at Calais
In 1805, Calais hosted part of Napoleon's army and invasion fleet for several months before his aborted invasion of Britain.[32] From October to December 1818, the British army used Calais as their departing port to return home after occupying post-Waterloo France. General Murray appointed Sir Manley Power to oversee the evacuation of British troops from France. Cordial relations had been restored by that time and on 3 December the mayor of Calais wrote a letter to Power to express thanks for his "considerate treatment of the French and of the town of Calais during the embarkation."[33]
Debris from the Siege of Calais
The British Expeditionary Force or BEF arrived in Calais on its way to the nearby frontline cutting through Nord-Pas-de-Calais and Flanders. Calais was a key port for the supply of arms and reinforcements to the Western Front.[34] In the 1930s, the town was known for being a politically socialist stronghold.[35]
World War II
Calais was virtually razed to the ground during World War II.[36] In May 1940, it was a key objective of the invading German forces and became the scene of a last-ditch defence—the Siege of Calais—which diverted a sizable amount of German forces for several days immediately prior to the Battle of Dunkirk. 3,000 British and 800 French troops, assisted by Royal Navy warships, held out from 22 to 27 May 1940 against the 10th Panzer Division. The town was flattened by artillery and precision dive bombing and only 30 of the 3800-strong defending force were evacuated before the town fell. This may have helped Operation Dynamo, the evacuation of Allied forces at Dunkirk, as 10th Panzer would have been involved on the Dunkirk perimeter had it not been busy at Calais.[37] Between 26 May and 4 June 1940, some 330,000 Allied troops escaped from the Germans at Dunkirk.[38]
During the ensuing German occupation, it became the command post for German forces in the Pas-de-Calais/Flanders region and was very heavily fortified, as it was generally believed by the Germans that the Allies would invade at that point.[39] It was also used as a launch site for V1 flying bombs and for much of the war, the Germans used the region as the site for railway guns used to bombard the south-eastern corner of England. In 1943 they built massive bunkers along the coast in preparation for launching missiles on the southeast of England.[40] Despite heavy preparations for defence against an amphibious assault, the Allied invasion took place well to the west in Normandy on D-Day. Calais was very heavily bombed and shelled in a successful effort to disrupt German communications and persuade them that the Allies would target the Pas-de-Calais for invasion (rather than Normandy). The town, by then largely in ruins, was liberated by General Daniel Spry's 3rd Canadian Infantry Division between 25 September and 1 October 1944.[41] On 27 February 1945 Calais suffered a last bombing raid—this time by British bombers who mistook the town for Dunkirk, which was at that time still occupied by German forces.[42] After the war there was little rebuilding of the historic city and most buildings were modern ones.
21st century - migration issues
Since 1999 or earlier, an increasingly large number of migrants and refugees have started to arrive in the vicinity of Calais, where they remain living in the Calais jungle, the nickname given to a series of makeshift camps. The people live there while they attempt to enter the United Kingdom by stowing away on lorries, ferries, cars, or trains travelling through the Port of Calais or the Eurotunnel Calais Terminal.[43] The people are a mix of refugees, asylum seekers and economic migrants from Darfur, Afghanistan, Syria, Iraq, Eritrea and other troubled areas of the world.
The Calais migrant crisis[44] led to escalating tension between the UK and France in the summer of 2015.[45] The UK blamed France for not doing enough to stop migrants from entering the tunnel or making attempts to scale fences built along the border. The British Prime Minister David Cameron released a statement saying that illegal immigrants would be removed from the UK even if they reach the island.[46] To discourage migrants and refugees from jumping on train shuttles at Calais, the UK government supplied fencing to be installed in the Eurotunnel where the vehicles are loaded on to train shuttles in Calais.
Geography and climate
Calais is located on the Pas de Calais, which marks the boundary between the English Channel and North Sea and located at the opposite end of the Channel Tunnel, 34 kilometres (21 miles) from Dover. On a clear day the White cliffs of Dover can be viewed across the channel.[47] Aside from being an important port and boarding point between France and England, it is at the nucleus of many major railway and highway networks and connected by road to Arras, Lens, Béthune and St. Omer. Dunkirk is located about 47 km (29 mi) by road to the east.[48] Calais is located 288 km (179 mi) north by road from the French capital of Paris, roughly a 3-hour 15 minute journey.[48] The commune of Calais is bordered by the English channel to the north, Sangatte and Coquelles to the west, Coulogne to the south and Marck to the east. The core area of the city is divided into the Old Town area within the old city walls, and the younger suburbs of St. Pierre, which are connected by a boulevard.
Calais is part of the Côte d'Opale (Opal Coast), a cliff-lined section of northern French coast that parallels the white cliffs on the British coast and is part of the same geological formation. It is known for its scenic cliffs such as Cape Blanc Nez and Cape Gris Nez and for its wide area of dunes. Many artists have been inspired by its landscapes, among them the composer Henri Dutilleux, the writers Victor Hugo and Charles Dickens, and the painters J. M. W. Turner, Carolus-Duran, Maurice Boitel and Eugène Boudin. It was the painter Édouard Lévêque who coined the name for this area in 1911 to describe the distinctive quality of its light.[49]
The climate is temperate oceanic in Calais. Temperature ranges are moderate and the winters are mild with unstable weather. It rains on average about 700 to 800 mm (28 to 31 in) per year.
Economy
Town centre
The city's proximity to England has made it a major port for centuries. It is the principal ferry crossing point between England and France, with the vast majority of Channel crossings being made between Dover and Calais. Companies operating from Calais include SeaFrance (currently in liquidation[57]), DFDS Seaways,[58] and P&O Ferries.[59] The French end of the Channel Tunnel is situated in the vicinity of Calais, in Coquelles some 4 miles (6.4 km) to the west of the town. Calais possesses direct rail links to Paris, 148 miles (238 km) to the south. More than 10 million people visit Calais annually.[32]
From medieval times, English companies thrived in Calais. Calais was a particularly important centre in the production and trade of wool and cloth, which outweighed the costs of maintaining the town as part of England. In 1830 some 113 manufacturers were based in Calais and the St Pierre suburbs, the majority of which were English.[60] There are still two major lace factories in Calais with around 700 looms and 3000 employees.[60] The town exports in the early 20th century were lace, chemicals, paper, wines, especially champagne, spirits, hay, straw, wool, potatoes, woven goods, fruit, glass-ware, lace and metal-ware.[61] Principal imports in the early 20th century included cotton and silk goods, coal, iron and steel, petroleum, timber, raw wool, cotton yarn and cork.[61] During the five years 1901–1905 the average annual value of exports was £8,388,000 (£6,363,000 in the years 1896–1900), of imports £4,145,000 (£3,759,000 in 1896–1900).[61]
As a fishing port, Calais has several notable fishing markets including Les Délices de la Mer and Huîtrière Calaisenne on the Boulevard La Fayette, the latter of which is noted for its oysters, lobster and crabs from Brittany. The Emile Fournier et Fils market on the Rue Mouron sells mainly smoked fish including salmon, trout, herring and halibut.[62]
Notable landmarks
Place d'Armes
Place d'Armes is one of the largest squares in the city of Calais, adjoins the watchtower, and during medieval times was once the heart of the city. During the English occupation (1347–1558), it became known as Market Square (place du Marché). Only at the end of English occupation did it take the name of Place d'Armes. After the reconquest of Calais in 1558 by Francis, Duke of Guise, Francis II gave Calais the right to hold a fair twice a year on the square, which still exists today, as well as a bustling Wednesday and Saturday market.[63]
Hôtel de Ville
The town centre, which has seen significant regeneration over the past decade, is dominated by its distinctive town hall (Hôtel de Ville) at Place du Soldat Inconnu. It was built in the Flemish Renaissance style between 1911 and 1925 to commemorate the unification of the cities of Calais and Saint Pierre in 1885.[64] A previous town hall had been erected in 1818.[65] One of the most elegant landmarks in the city, its ornate 74 metre (246 ft) high clock tower and belfry can be seen from out to sea and chimes throughout the day and has been protected by UNESCO since 2005 as part of a series of belfries across the region.[66] The building parts have also been listed as a series of historic monuments by government decree of 26 June 2003, including its roofs and belfry, main hall, glass roof, the staircase, corridor serving the first floor, the rooms on the first floor (including decoration): the wedding room, the VIP lounge, the lounge of the council and the cabinet room. The hall has stained glass windows and numerous paintings and exquisite decor.[64] It houses police offices.[35]
Église Notre-Dame
Église Notre-Dame is a cathedral which was originally built in the late 13th century and its tower was added in the late 14th or early 15th century. Like the town hall it is one of the city's most prominent landmarks. It was arguably the only church in the English perpendicular style in France.[67] Much of the current 1400 capacity church dates to 1631–1635.[67] It contains elements of Flemish, Gothic, Anglo-Norman and Tudor architecture. In 1691, an 1800 cubic metre cistern was added to the church under orders by Vauban.[68] The church is dedicated to the Virgin, and built in the form of a cross, consisting of a nave and four aisles—[69] The old grand altar dated to 1628 and was built from Carrara marble wrecked on the coast, during its transit from Genoa to Antwerp. It contained eighteen figures, the two standing on either side of the altar-piece—representing St. Louis and Charlemagne.[69] The organ—of a deep and mellow tone, and highly ornamented by figures in relief—was built at Canterbury sometime around 1700. The pulpit and reading-desk, richly sculptured in oak, is another well-executed piece of ecclesiastical workmanship from St. Omers. The altar-piece, the Assumption, was often attributed to Anthony van Dyck, though in reality it is by Van Sulden; whilst the painting over the side altar, believed to be by Peter Paul Rubens.[69] A high and strongly built wall, partaking more of the fortress than a cathedral in its aspect, flanks the building, and protects it from the street where formerly ran the old river, in its course through Calais to the sea.[69]
The square, massive Norman tower has three-arched belfry windows on each face, surmounted by corner turrets, and a conically-shaped tower of octagonal proportions, topped again by a short steeple. The tower was a main viewing point for the Anglo-French Survey (1784–1790) which linked the Paris Observatory with the Royal Greenwich Observatory using trigonometry. Cross-channel sightings were made of signal lights at Dover Castle and Fairlight, East Sussex.
The church was assigned as a historic monument by decree of 10 September 1913, only to have its stained glass smashed during a Zeppelin bombardment on 15 January 1915, falling through the roof.[70][71] General de Gaulle married Yvonne Vendroux on 6 April 1921 at the cathedral.[68] The building experienced extensive damage during World War II, and was partially rebuilt, although much of the old altar and furnishings were not replaced.
Towers
Tour de Guet
The Tour du Guet (Watch Tower), situated in Calais Nord on the Places d'Armes, is one of the few surviving pre-war buildings. Dating from 1229, when Philip I, Count of Boulogne, built the fortifications of Calais, it is one of the oldest monuments of Calais, although the oldest remaining traces date to 1302.[72] It has a height of 35–39 metres (sources differ). An earthquake in 1580 split the tower in two, and at one time it threatened to collapse completely.[73] The tower was repaired in 1606, and then had the purpose of serving as a hall to accommodate the merchants of Calais.[73] It was damaged in 1658 when a young stable boy set fire to it, while it was temporarily being used as royal stables during a visit of King Louis XIV.[74] It was not repaired for some 30 years. In 1770,[39] a bell identical to the original bell of 1348 was cast. Due to its height, from the late 17th century it became an important watchout post for the city for centuries until 1905;[72] the last keeper of the tower was forced to leave in 1926. Abraham Chappe, (a brother of Ignace Chappe) installed a telegraph office in the tower in 1816 and operated for 32 years.[65] It was this office which announced the death of Napoleon I to the French public in 1821. It also had the dual function as lighthouse with a rotating beacon fuelled by oil from 1818.[72] The lantern was finally replaced by a new lighthouse on 15 October 1848. During the First World War, it served as a military observation post and narrowly missed destruction during World War II.[73] This tower has been classified as a historic monument since 6 November 1931.[73]
The Calais Lighthouse (Le phare de Calais) was built in 1848, replacing the old watch tower as the lighthouse of the port. The 55 metre high tower was electrified in 1883 and automated in 1992. The staircase has 271 steps leading up to the lantern. By day it is easily distinguishable from other coastal lighthouses by its white color and black lantern. The lighthouse was classified as a historical monument on 22 November 2010.
Forts
The Citadel of Calais
The Citadel, located on the Avenue Roger Salengro, was built between 1560 and 1571 on the site of a former medieval castle which was built in 1229 by Philippe de Hureprel.[29] Its purpose of its construction was to fend off would-be invaders, but it wasn't long until the city was successfully invaded by Archduke Albert of Austria on 24 April 1596. Both Louis XIII and Cardinal Richelieu at one time considered expanding the citadel and Calais into a great walled city for military harbour purposes but the proposals came to nothing.[29]
Fort Risban
Fort Risban, located on the coast on the Avenue Raymond Poincaré at the port entrance, was besieged by the English in November 1346 and was used by them until 1558 when Calais was restored to France. In 1596, the fort was captured by the Spanish Netherlands until May 1598 when it was returned to the French following the Treaty of Vervins. It was rebuilt in 1640.[75] Vauban, who visited the fort some time in the 1680s, described it as "a home for owls, and place to hold the Sabbath" rather than a fortification.[76] During World War II it served as an air raid shelter. It contains the Lancaster Tower, a name often given to the fort itself.[73]
Fort Nieulay, located along the Avenue Pierre Coubertin originally dated to the 12th or 13th century. During the English invasion in 1346, sluices gates were added as water defences and a fort was built up around it in 1525 on the principle that the people of the fort could defend the town by flooding it.[77] In April and May 1677, Louis XIV and Vauban visited Calais and ordered a complete rebuilding of Fort Nieulay. It was completed in 1679, with the purpose to protect the bridge of Nieulay crossing the Hames River.[78] By 1815 the fort had fallen into a ruined state and it wasn't until 1903 that it was sold and improved by its farmer tenants.[77] The fort was briefly the site of a low-key scuffle with Germans in May 1940.
Museums, theatres and cultural centres
Calais Theatre
Calais contains several museums. These include the Musée des Beaux-Arts et de la Dentelle de Calais, Cité internationale de la Dentelle et de la Mode de Calais and the Musée de la Seconde Guerre Mondiale (World War II museum). Cité internationale de la Dentelle et de la Mode de Calais is a lace and fashion museum located in an old Boulart factory on the canalside and contains workshops, a library and a restaurant and regularly puts on fashion shows.[60] The World War II museum is located at Parc St Pierre opposite the town hall and south of the train station. The building is a former Nazi bunker and wartime military headquarters, built in 1941 by the Todt Organisation. The 194-metre-long structure contains twenty rooms with relics and photographs related to World War II, and one room dedicated to World War I.[60][79]
Theatres and cultural centres include Le théâtre municipal, Le Centre Culturel Gérard Philipe, Le Conservatoire à rayonnement départemental (CRD), L'auditorium Didier Lockwood, L'École d'Art de Calais, Le Channel, Le Cinéma Alhambra and La Médiathèque municipale. Le théâtre municipal or Calais Theatre is located on the Boulevard Lafayette and was built in 1903 on a plot of land which was used as a cemetery between 1811 and 1871.[80] The theatre opened in 1905. On the first floor of the façade are statues which represent the performing arts subjects of Poetry, Comedy, Dance and Music.[80]
Monuments and memorials
The Burghers of Calais
Louis XVIII column
Directly in front of the town hall is a bronze cast of Les Bourgeois de Calais ("The Burghers of Calais"), a sculpture by Auguste Rodin to commemorate six men who were to have been executed by Edward III in 1347. The cast was erected in 1895, funded by a public grant of 10,000 francs.[11] Rodin (who based his design on a fourteenth-century account by Jean Froissart) intended to evoke the viewer's sympathy by emphasizing the pained expressions of the faces of the six men about to be executed.[11]
Monument Le Pluviôse
The Monument des Sauveteurs ("Rescuers' Monument") was installed in 1899 on Boulevard des Alliés, and transferred to the Quartier of Courgain in 1960. It is a bronze sculpture, attributed to Edward Lormier.
The Monument Le Pluviôse is a 620 kg (1,367 lb) bronze monument built in 1912 by Émile Oscar Guillaume on the centre of the roundabout near the beach of Calais, commemorating the accidental sinking of the submarine Pluviôse in May 1910, off the beach by the steamer Pas de Calais.[81] Armand Fallières, president of the Republic, and his government came to Calais for a state funeral for its 27 victims. One of these victims, Delpierre Auguste, (1889–1910), drowned at age 21 before the beach at Calais; a dock in the city is named for him. The monument was dedicated on June 22, 1913.
Monument "Jacquard" was erected on the square in 1910, opposite the entrance to the Calais theatre. It commemorates Joseph Marie Jacquard, popular in Calais because of his contribution to the development of lace through his invention of the Jacquard loom.[82]
A tall column in the Courgain area of the city commemorates a visit by Louis XVIII.
Parc Richelieu, a garden behind the war memorial, was built in 1862 on the old city ramparts and redesigned in 1956.[83] It contains a statue designed by Yves de Coëtlogon in 1962, remembering both world wars with an allegorical figure, representing Peace, which clutches an olive branch to her breast.[84]
Hotels and nightclubs
Hôtel Meurice de Calais is a hotel, established in 1771 as Le Chariot Royal by the French postmaster, Charles-Augustin Meurice, who would later establish the five-star Hôtel Meurice, one of Paris' most famous luxury hotels. It was one of the earliest hotels on the continent of Europe to specifically cater for the British elite.[85] The hotel was rebuilt in 1954–55.[86] It has 41 en-suite rooms.
The main centre of night activity in Calais is at the Casino Le Touquet’s on the Rue Royale and at the 555 Club. Every month, Casino Le Touquet hosts a dinner and dance cabaret. The casino features slot machines, blackjack, roulette, and poker facilities.[87]
Education
There are several schools in Calais. These include Groupe Scolaire Coubertin, Eglise Saint-Pierre, Universite du Littoral, Centre Universitaire,[48] Lycée HQE Léonard de Vinci on Rue du Pasteur Martin Luther-King, École d'Art de Calais on Rue des Soupirants, and the Centre Scolaire Saint-Pierre on Rue du Four à Chaux which provides education in the primary grades, high school, and vocational school.[88] There are at least seven colleges in the city, such as Collège Martin Luther King on Rue Martin Luther King, Collège Nationalisé Lucien Vadez on Avenue Yervant Toumaniantz, Collège Les Dentelliers on Rue Gaillard, College Jean Mace on Rue Maréchaux, Collège République on Place République, Collège Vauban on Rue Orléansville, and Collège Privé Mixte Jeanne d'Arc on Rue Champailler.
Sport
Calais is represented in association football by the Calais RUFC, who compete in the Championnat National. The club was founded 1902 as Racing Club de Calais and in 1974 was renamed as Calais Racing Union Football Club.[89] Calais RUFC have a good reputation in French cup competitions and went as far as the final in the 1999/2000 season, losing out finally to Nantes. Since 2008 they have played at the Stade de l'Épopée, a stadium which holds about 12,000 spectators. The rugby club in Calais is Amicale Rugby Calaisien. Basketball is popular in Calais with the teams Calais Basket (male) and COB Calais (female) as is volleyball with the Lis Calais (male) and Stella Calais (female) teams. There is also the SOC club which caters in a range of sports including athletics, handball and football and Yacht Club de Calais, a yachting club. Calais also has Les Seagulls, an American football team.
Transport
Sea
The Port of Calais was the first cable ship port in Europe and is the fourth largest port in France and the largest for passenger traffic.[97] The port accounts for more than a third of economic activity of the town of Calais. Cargo traffic has tripled over the past two decades. In 2007 more than 41.5 million tonnes of traffic passed through Calais with some 11.52 million passengers, 1.4 million trucks and trailers, 2.249 million cars and 4,700 crossings a year. On average, ships sail from the port every 30 minutes. A new 400 million euro project is underway at the port to create a breakwater protecting a pool of 700 meters long, thus allowing virtually all types of ships to stop at Calais.
Rail
As well as the large port, the town is served by three railway stations: Gare de Calais-Fréthun, Gare de Calais-Ville, and Gare des Fontinettes, the former being the first stop on mainland Europe of the Eurostar line. Gare de Calais-Ville is the nearest station to the port with trains to Gare de Boulogne-Ville and either Gare de Lille Flandres or Gare de Lille Europe.
Road
Local bus services are provided by STCE. Free car parking facilities are available in front of the Calais ferry terminal and the maximum stay is three days. Calais is served by an airport and an airfield. Calais–Dunkerque Airport is located at Marck, 7 kilometres (4.3 mi) east north east of Calais. Saint-Inglevert Airfield is located at Saint-Inglevert, 13 kilometres (8.1 mi) south west of Calais.
RM Sotheby's Paris 2017
châssis : GTZ 48
moteur : D2L
Présenté par Barker au Salon de l'Automobile à Paris en 1933
Six cylindres en ligne de 65 CV, 3 669 cm3 à soupapes en tête, avec carburateur à deux jets, avec commande de colonne de direction et valve automatique à air, boîte manuelle à quatre vitesses, suspension à ressorts à lames semi-elliptiques avant et arrière, et servofrein à expansion interne freins assistés avec frein à main indépendant sur les roues arrière. Empattement: 3 350 mm