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Self-published hand-made book Did we ever meet? Winner of Rock your dummy Award 2013. Full info, edition, price - www.offonroad.com/books/did-we-ever-meet/
Published Photographic Mercadillo
www.facebook.com/media/set/?vanity=PhotographicMercadillo...
February 2021
This photo will be published in the 2010 Yale University "Multi-Faith Calendar"
“Life is a great surprise. I do not see why death should not be an even greater one.”
Vladimir Nabokov
history of event
Dia de los Muertos at Hollywood Forever cemetery was originally envisioned for the purpose of providing an authentic venue, in which this ancient tradition could be genuinely observed, celebrated and preserved. Tyler Cassity and Deisy Marquez conceived this festival of life as a platform which would synthesize creativity for the means of remembering the departed spirits of our lives. This event has provided a gateway for those who wish to re-acquaint themselves with their deeply rooted traditions and profoundly engage with one of the most devotional celebrations for the continuous cycle of life.
At the heart of this sacred event are the meticulously individually crafted altars and spiritual shrines. These dazzling private tributes and offerings which provide a linkage between ancient traditions and modern customs chronicle the perpetual relation between faith, family and history. Representing and understanding the vitality of this ancient custom, Celine Mares conceptualized the necessity of incorporating this enigmatic mystical custom to thrive within the realms of the Forever cemetery.
Interwoven into this effective visionary ensemble lies the creative commitments of dedicated program directors, who have continuously maintained and strengthened the core foundation of this uniquely inspired event through providing a linkage and emerging bond with the many culturally mindful artisans from our diverse community.
In the spirit of the goddess Mictecacihuatl, known as the “Lady of the Dead,” and Samhain, the Celtic day feast of the dead, Hollywood Forever has engrained and developed a much desired and appreciated emotionally driven chord with its surrounding community. On the eve of the 8 th year anniversary of this benevolent observance Tyler, Daisy, Celine and the program directors continue along with countless committed volunteers and artisans to call upon the living to engage and summons the spirits of our lives who shaped, inspired and left their prints engraved in our souls. By providing our community with a genuine setting to learn the importance and significance of this celebration, the original objectives of the founders have been realized and internationally recognized by “tens” of thousands of new and returning faithful visitors who have been continuously welcomed as guests and interactive participants to this annual and growing community based festivity.
www.loc.gov/resource/pan.6a33587
Title
•Pan American flyers and ships
Names
•Goldbeck, E. O. (Eugene Omar), 1892-1986, copyright claimant
•National Photo & News Service.
Created / Published
•c1927.
Headings
•- United States.--Army--Equipment & supplies
•- Seaplanes
•- Hangars
•- Military air pilots
•- United States
Notes
•- J288845 U.S. Copyright Office
•- Copyright deposit; E. O. Goldbeck; January 11, 1927.
•- National Photo & News Service, 757 E. Houston St., San Antonio, Texas.
•- Photo no. 882.
•- Printed on image, left to right: "Capt. A. B. McDaniel, Lt. C. McK. Robinson, pilots of plane 'San Antonio'; Capt. C. F. Woolsey, Lt. J. W. Benton, pilots of plane 'Detroit'; Maj. H. A. Dargue, Lt. E. C. Whitehead (Flight Commander), pilots of flagship 'New York'; Lt. B. F. Thompson, Lt. L. D. Weddington, pilots of plane 'St. Louis'; Capt. I. C. Eaker, Lt. M. F. Fairchild, pilots of plane San Francisco."
Source Collection
•Panoramic photographs (Library of Congress)
Repository
•Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
•ds 06684 //hdl.loc.gov/loc.pnp/ds.06684
•pan 6a33587 //hdl.loc.gov/loc.pnp/pan.6a33587
LCCN Permalink
•https://lccn.loc.gov/2007664420
Hennepin Avenue is pretty cool.
This picture was published in the arts section of themacweekly, along with my cooresponding article on the show:
www.themacweekly.com/articles/20061120/the_arts/10923
By Aaron Brown
Contributing Writer
Photographer
“This is the biggest venue we’ve ever played at in Minnesota. I feel like, we’re getting closer, you know? I’m glad we’re taking this step together. Not like Milwaukee; fuck Milwaukee, she doesn’t mean anything to me! I’m not lookin’ ahead to marriage or anything, I just wanted to say, I like the direction this is going, I have a good feeling about this.”
Indeed, lead singer Ryan Miller and his band Guster lit up Minneapolis two weeks ago, playing to a large crowd of over 2000 at the State Theatre. The band is currently in the midst of an enormous tour in support of their new album, Ganging Up on the Sun.
Ryan Miller, Adam Gardner, and Brian “Thunder God” Rosenworcel met at Tufts University over fifteen years ago and independently produced their first CD “Parachutes.” Their early work is reminiscent of those stereotypical collegiate floormates down the hall that jam on weekends; upbeat guitars, intelligent lyrics and furiously audacious bongo drums helped define their act. The trio continued to refine their sound over the next couple years, signing with a major label in 1999 and achieving national recognition with Lost and Gone Forever, an album that signaled a change in direction for the band’s music, including their first use of electric guitars and drum kits. While many fans were disappointed about the new, “mainstream” sound of the band and their departure from the acoustic-guitar-and-bongo-drums vibe, singles “Amsterdam” and “Careful” from 2003’s Keep it Together received moderate airplay and garnered national attention. Ganging Up on the Sun continues this trend; their latest album reflects their distance from the collegiate scene, and it builds on themes of growing up, dealing with responsibilities and adulthood.
Miller’s gag about playing in a large venue explains a lot about how the band reacts to their successful transformation from teenage jam band to nationally credible band, recently exemplified by Guster’s involvement with the television show The OC and a Nissan commercial. Despite their fame, the band still maintains their humor and wit, and the set list Friday combined elements of their newer, “rock-band” sound (such as the recent single “Satellite”) with classic Guster songs “Either Way” and “Great Escape.”
Perhaps most revealing was the final encore, in which Guster returned to an applauding crowd to demand that everyone “be entirely silent” as the band finished with a one-mic acoustic version of “Jesus on the Radio.” In spite of co-lead singer Adam Gardner’s bout with pneumonia, Ryan’s admittance that “We’ve never tried this in such a large venue,” and the subsequent uneasy hush of the audience, the band pulled off the folksy, banjo-led ballad with astonishingly clear harmonies and the wild approval of the audience. While somewhat of an anticlimactic ending, the acoustic finish solidified the status of a group caught somewhere between “that college band” playing in Harvard Square in front of friends and “that up-and-coming indie band” playing in the State Theatre in front of the Twin Cities. Say what you want about the band becoming too mainstream, these guys can still pull out the stops and bring back the quirky, acoustic roots that brought them success, even in front of a large audience.
In short, while Guster may not be “your” band anymore, and while they aren’t quite as young as they used to be, the band and their music have aged well, and they continue to entertain fans with onstage spontaneity and ever-changing music.
Published under the above title in Volume 3 of the five-volume edition of "Japan: Described and Illustrated by the Japanese," Captain F. Brinkley, Editor (Boston & Tokyo: J.B. Millet Co.: 1904). Photograph by Kusakabe Kimbei.
Here's a link to a hand-colored version of this image:
www.baxleystamps.com/litho/meiji/1898080967/album_1_14-1.jpg
Altagracia Nova
A-Nova Music
Saturday, Desember 3rd, 2016
"El Barrio" (NYC)
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
So you're just hiking along, enjoying the scenery, and suddenly you come upon a wall of graffiti. The peacefulness, the sense of solitude, spoiled...
Actually, finding something like this really magnifies the isolation. People lived here long ago but there are no other signs. The lower part of Dominguez had many boulders like this, one in particular was covered with art. If there's any interest, I'll put that one up as well.
This is an HDR image.
Published by O Globo, Brazil 1941
Timely Comics from Brazil are among the earliest publications in Global History.
The artist's hired by O Globo from the era are some of the best in Global history...
The Postcard
A postally unused Philco Series postcard with photography by Claude Harris Ltd.
On the back of the card the publishers have printed: 'Invest in Government Securities'.
The card was posted on Friday the 25th. July 1919 to:
Miss E. Hallam,
43, Oakfield Street,
Altrincham.
The message on the back of the card was as follows:
"Wishing you a very, very
happy birthday and many
more of them.
Love from
Phyllis".
Philco
The Philco Publishing Co. of 1-6 Holborn Place, London were active between 1905 to 1934. They published many different types of artist-signed cards and photo-based view-cards.
They are noted for three large sets representing Faith, Hope, and Charity.
Most of their cards were printed in Germany, although a set of real photo birthday greeting cards were manufactured in Italy.
Miss Gladys Cooper
Gladys Cooper's most noticeable characteristic is that she rarely if ever smiled when being photographed. In some publicity shots she actually looks quite annoyed.
Dame Gladys Constance Cooper, (18th. December 1888 – 17th. November 1971) was an English actress whose career spanned seven decades on stage, in films and on television.
Beginning as a teenager in Edwardian musical comedy and pantomime, she was starring in dramatic roles and silent films before the First World War.
She also became a manager of the Playhouse Theatre from 1917 to 1933, where she played many roles. From the early 1920's, Cooper was winning praise in plays by W. Somerset Maugham and others.
In the 1930's, she was starring both in the West End and on Broadway. Moving to Hollywood in 1940, Cooper found success in a variety of character roles; she was nominated for three Academy Awards, the last one as Mrs. Higgins in 'My Fair Lady' (1964). Throughout the 1950's and 1960's, she mixed her stage and film careers, continuing to star on stage until her last year.
Gladys Cooper - The Early Years
Cooper was born at 23 Ennersdale Road, Hither Green, Lewisham, London, the eldest of the three daughters of Charles William Frederick Cooper and Mabel Barnett.
Gladys Cooper spent most of her childhood in Chiswick, where her family moved when she was an infant.
Gladys made her stage debut in 1905 touring with Seymour Hicks in his musical 'Bluebell in Fairyland'. The young beauty was also a popular photographic model.
In 1906, she appeared as Lady Swan in London in 'The Belle of Mayfair', and then in the pantomime 'Babes in the Wood' as Mavis. The following year she became a chorus girl at the Gaiety Theatre, creating the small role of Eva in 'The Girls of Gottenberg'. That Christmas, she was Molly in 'Babes in the Wood'.
In 1908, she appeared in the musical 'Havana', followed the next year by 'Our Miss Gibbs', in which she played Lady Connie. She was then on tour again with Hicks, in 'Papa's Wife', before playing Sadie von Tromp in the hit operetta 'The Dollar Princess' at Daly's Theatre in 1909.
In 1911, she appeared in a production of 'The Importance of Being Earnest' and in 'Man and Superman'. Among several other plays, the next year she was Muriel Pym in 'Milestones' at the Royalty Theatre. A highlight of 1913 was Dora in 'Diplomacy' at Wyndham's Theatre. That year she also played the title role in 'The Pursuit of Pamela' at the Royalty.
In 1913 Cooper appeared in her first film, 'The Eleventh Commandment', going on to make several more silent films during the Great War and shortly afterwards. She continued full-time stage work, however, including appearances as Lady Agatha Lazenby in 'The Admirable Crichton' in 1916, and Clara de Foenix in 'Trelawny of the Wells'.
In addition, in 1917, Cooper became co-manager, with Frank Curzon, of the Playhouse Theatre, taking over sole control from 1927 until she left in 1933. During these years, she starred several times in 'My Lady's Dress'. She appeared in W. Somerset Maugham's 'Home and Beauty' in 1919, repeated Dora at His Majesty's Theatre in 1920 and elsewhere thereafter, and played numerous roles at the Playhouse Theatre.
Gladys Cooper - The Later Years
It was not until 1922, however, now in her mid thirties, that she found major critical success, in Arthur Wing Pinero's 'The Second Mrs. Tanqueray'. Early in her stage career, she was criticised for being too stiff. Aldous Huxley dismissed her performance in 'Home and Beauty', writing:
"She is too impassive, too statuesque,
playing all the time as if she were Galatea,
newly unpetrified and still unused to the
ways of the living world."
Evidently, her acting improved during this period, as Maugham praised her for:
"Turning herself from an indifferent actress
to an extremely competent one through her
common sense and industriousness".
For both the 1923 and 1924 Christmas shows at the Adelphi Theatre, Cooper played the title character in 'Peter Pan', while also playing several other roles at that theatre during those two years. She appeared in Maugham's 'The Letter' in London and on tour in 1927 and 1928, in 'Excelsior' in 1928, and in Maugham's 'The Sacred Flame' in 1929, also in London and on tour.
Among other roles, Cooper was Clemency Warlock in 'Cynara' (1930), Wanda Heriot in 'The Pelican' (1931), Lucy Haydon in 'Dr Pygmalion' (1932), Carola in 'The Firebird' (1932), Jane Claydon in 'The Rats of Norway' (1933), Mariella Linden in 'The Shining Hour' in 1934 and 1935, in London and New York City and on tour (at the same time making her first "talkie" film, 'The Iron Duke'), also playing Desdemona and Lady Macbeth on Broadway in 1935.
She was Dorothy Hilton in 'Call it a Day', again in both London and New York, from 1935 to 1936. A highlight of 1937 was Laura Lorimer in 'Goodbye to Yesterday' in London and on tour. In 1938, she played Tiny Fox-Collier in 'Spring Meeting' in New York, Montreal and Britain, as well as several Shakespeare roles and Fran Dodsworth in 'Dodsworth'. She repeated 'Spring Meeting' in 1939.
Cooper turned to film full-time in 1940, finding success in Hollywood in a variety of character roles, and was frequently cast as a disapproving, aristocratic society woman, although she sometimes played lively, approachable types, as she did in 'Rebecca' (1940).
She was nominated three times for an Academy Award for Best Supporting Actress for her performances as Bette Davis's domineering mother in 'Now, Voyager' (1942), a sceptical nun in 'The Song of Bernadette' (1943), and Rex Harrison's mother, Mrs. Higgins, in 'My Fair Lady' (1964).
In 1945, after playing the role of Clarissa Scott in the film 'The Valley of Decision' for Metro-Goldwyn-Mayer, she was given a contract with the studio. Her credits there included both dramatic and comedy films, including 'The Green Years' (1946), 'The Cockeyed Miracle' (1946) and 'The Secret Garden' (1949).
Other notable film roles were 'The Man Who Loved Redheads' (1955), 'Separate Tables' (1958) and 'The Happiest Millionaire' (1967) as Aunt Mary Drexel, singing "There Are Those".
Her only stage roles in the 1940's were Mrs. Parrilow in 'The Morning Star' in Philadelphia and New York (1942), and Melanie Aspen in 'The Indifferent Shepherd' in Great Britain (1948).
She returned to theatre (between films) more often in the 1950's and 1960's, playing in London and on tour in such roles as Edith Fenton in 'The Hat Trick' (1950); Felicity, Countess of Marshwood, in 'Relative Values' (1951 and 1953); Grace Smith in 'A Question of Fact' (1953); Lady Yarmouth in 'The Night of the Ball' (1954); Mrs. St. Maugham in 'The Chalk Garden' (1955–56), Dame Mildred in 'The Bright One' (1958); Mrs. Vincent in 'Look on Tempests' (1960); Mrs. Gantry (Bobby) in 'The Bird of Time' (1961); Mrs. Moore in a stage adaptation of 'A Passage to India' (1962); Mrs Tabret in 'The Sacred Flame' (1966 and 1967); Prue Salter in 'Let's All Go Down the Strand' (1967); Emma Littlewood in 'Out of the Question' (1968); Lydia in 'His, Hers and Theirs' (1969); and others.
She received two nominations for the Tony Award for Best Actress in a Play, for her roles in 'The Chalk Garden' and 'A Passage to India'.
She also had various television roles in the 1950's and '60's. These included, among others, three episodes of 'The Twilight Zone'. In the first, titled "Nothing in the Dark" (1962), she played an old lady who refuses to leave her flat for fear of meeting 'Death'. A young policeman (Robert Redford) is shot at her doorstep and persuades her to let him inside.
Her second appearance was in "Passage on the Lady Anne", which aired on the 9th. May 1963.
Her final episode was the 1964 "Night Call", where she portrayed a difficult, lonely old lady who is besieged by late-night phone calls. Cooper starred in the 1964–65 series 'The Rogues' with David Niven, Charles Boyer, Gig Young, Robert Coote, John Williams and Larry Hagman. The series lasted a single season of thirty episodes, most of which featured Cooper as the matriarch of a crime family.
In 1967, at the age of 79, she was appointed a Dame Commander of the Order of the British Empire (DBE). Her last major success on the stage was at the age of 82, in 1970–71 in the role of Mrs. St. Maugham in Enid Bagnold's 'The Chalk Garden', a role she had created on Broadway and in the West End in 1955–56.
Marriages of Gladys Cooper
Cooper was married three times. Her husbands were:
- Captain Herbert Buckmaster (1908–1921). The couple had two children: Joan (1910–2005), who was married to the actor Robert Morley, and John Rodney (1915–83).
- Sir Neville Pearson (1927–36). Sir Neville and Lady Pearson had one daughter, Sally Pearson, aka Sally Cooper, who was married (1961–86) to actor Robert Hardy.
- Philip Merivale (1937–1946), a fellow actor. The couple lived for many years in Santa Monica, California as permanent resident aliens. He died at age 59 from a heart ailment. Her stepson from this marriage was John Merivale.
Death of Gladys Cooper
Gladys lived mostly in England in her final years, and died from pneumonia at the age of 82 in Henley-on-Thames, Oxfordshire.
Woodrow Wilson
So what else happened on the day that Phyllis posted the card?
Well, on the 25th. July 1919, in Paris, delegates to the peace conference formally approved the establishment of a Commission on the League of Nations. United States president Woodrow Wilson insisted on chairing the commission.
The League's task was simple - to ensure that war never broke out again. In this respect the League was a total failure.
This photograph was published in an online article in KENT LIVE on 7th October 2023, written by Mary Harris and entitled:
'' The 'gold standard' Kent park with beautiful waterfall where 'children can run wild' - Brockhill Country Park in Kent offers beautiful natural scenery and excellent facilities that make it a fantastic place for families ''
It had previously been used in the same online publication on 19th July 2023, written by Sam Honey and entitled:
'' Kent's underrated country park with a stunning lake and waterfall '' - It’s also a great spot for a bit of wildlife photography
Kent live is part of Reach South East and Cambridge (SEACAM) and is published by Reach PLC, and was launched in 2016 with news and features for the people around Kent and Sussex, and with over four million visitors per month.
This photograph was previously selected for sale in the GETTY IMAGES COLLECTION on July 5th 2018, my 3,614th photograph in the collection at that point. I now have 7,000 photographs in the collection.
CREATIVE RF gty.im/975616424 MOMENT OPEN COLLECTION**
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Photograph taken at an altitude of Forty three metres at 12:17pm on Wednesday 16th May 2018 off Sandling Road, in the grounds of Brockhill Country Park in Hythe, Kent.
The parkland dates back to Norman times and was purchased by the Tournay family in the Fifteenth Century. William Tournay is was the first family member to have the grounds and lake sculpted, and after his death in 1903, the land was purchased by Kent County Council, and opened to the public in 1947.
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Nikon D850 120mm 1/10s f/5.0 iso64 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Hand held. Colour space Adobe RGB. AF-C focus 51 point with 3-D tracking. Manual exposure. Matrix metering. Auto 0 white balance (8030K). Nikon Distortion control on. Vignette control Normal.
Nikkor AF-S 24-120mm f/4G ED VR. Phot-R ultra slim 77mm UV filter. Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.
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LATITUDE: N 51d 4m 50.80s
LONGITUDE: E 1d 3m 49.60s
ALTITUDE: 43.0m
RAW (TIFF) FILE: 130.00MB NEF: 93.1MB
PROCESSED (JPeg) FILE: 33.20MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB DATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
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Alain Prost McLaren Tag MP4/2B F1 at Druids. I have always lived locally to Silverstone, but Brands to me was just incredible, the sight and sound of 1000bhp Turbo F1 cars around the Hilly "Natural Bowl"circuit, i will never forget, you could feel the noise and power, great era.
All of photographs published here are copyright © Anthony Fosh All Rights Reserved. They may not be reproduced and/or used in any form of publication, print or the Internet without my written permission.
Lady Gaga
ARTRAVE "THE ARTPOP BALL"
Boardwalk Hall
Atlantic City, NJ
June 28th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
I got one of my photos published in this magazine: Landscape Trades .
It's in April's edition and it will be available online in May =)
I'm really proud and excited about it :)
Big thanks to Melissa Steep (art director).
This photograph was published in the Illustrated Chronicle on the 25th of November 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
The Postcard
A postally unused postcard that was photographed and published by A. Yallop of Great Yarmouth. They state on the back of the card that it was 'Printed Abroad'.
St. Nicholas
The Norman-era Minster Church of St Nicholas in Great Yarmouth is England's largest parish church. It was founded in 1101 by Herbert de Losinga, the first Bishop of Norwich. Since its construction, it has been Great Yarmouth's parish church.
It is cruciform, with a central tower, which may preserve a part of the original structure. Gradual alterations effectively changed the form of the building. Its nave is 26 feet (7.9 m) wide, and the church's total length is 236 feet (72 m).
These days the church is not only used for religious services, but is also a hub for various other regional and civic events, including concerts by choirs, orchestras and other musical ensembles, art exhibitions and, during festivals and fayres, the church opens permitting stalls and traders inside.
Great Yarmouth
Great Yarmouth is a seaside resort and minster town in Norfolk straddling the River Yare, 20 miles (30 km) east of Norwich. A population of 38,693 in the 2011 Census made it Norfolk's third most populous place.
Its fishing industry, mainly for herring, fell steeply after the mid-20th. century, and has all but vanished. North Sea oil from the 1960's brought an oil-rig supply industry that now services offshore natural gas rigs. More recent offshore wind power and other renewable energy have created further support services.
Yarmouth has been a seaside resort since 1760, and a gateway from the Norfolk Broads to the North Sea. Tourism was boosted when a railway opened in 1844, which gave visitors easier, cheaper access and triggered some settlement.
Wellington Pier opened in 1854 and Britannia Pier in 1858. Through the 20th. century, Yarmouth was a booming resort, with a promenade, pubs, trams, fish-and-chip shops and theatres.
There is also the Pleasure Beach, the Sea Life Centre, the Hippodrome Circus and the Time and Tide Museum, as well as a surviving Victorian seaside Winter Garden in cast iron and glass.
Great Yarmouth in the Past
The town was the site of a bridge disaster and drowning tragedy on the 2nd. May 1845, when a suspension bridge crowded with children collapsed killing 79. They had gathered to watch a clown in a barrel being pulled by geese down the river. As he passed under the bridge the weight shifted, causing the chains on the south side to snap, tipping over the bridge deck.
Great Yarmouth had an electric tramway system from 1902 to 1933. From the 1880's until the Great War, the town was a regular destination for Bass Excursions, when 15 trains would take 8000–9000 employees of Bass's Burton brewery on an annual trip to the seaside.
During the Great War, Great Yarmouth suffered the first aerial bombardment in the UK, by Zeppelin L3 on the 19th. January 1915. That same year on the 15th. August, Ernest Jehan became the first and only man to sink a steel submarine with a sail-rigged Q-ship, off the coast of Great Yarmouth.
Great Yarmouth was bombarded by the German Navy on the 24th. April 1916. The town also suffered Luftwaffe bombing during World War II because it was the last significant place Germans could drop bombs before returning home.
Nevertheless despite war damage, much is left of the old town, including the original 2,000-metre (1.2 mi) protective medieval wall, of which two-thirds has survived. Of the 18 towers, 11 are left.
On the South Quay is a 17th.-century Merchant's House, as well as Tudor, Georgian and Victorian buildings. Behind South Quay is a maze of alleys and lanes known as 'The Rows'. Originally there were 145. Despite bombing, several have remained.
Great Yarmouth was badly affected by the North Sea flood of 1953. More recent flooding has also been a problem, with four floods in 2006, the worst being in September. Torrential rain caused drains to block and an Anglian Water pumping station to break down. This caused flash flooding in which 90 properties were flooded up to a depth of 5 ft (1.5 m).
Great Yarmouth Sights and Amenities
The Tollhouse with its dungeons, dating from the late 13th. century, is one of Britain's oldest former jails and oldest civic buildings. Major sections of the medieval town walls survive around the parish cemetery and in parts of the old town.
Great Yarmouth Minster (The Minster Church of St Nicholas, founded in the 12th. century as an act of penance) stands in Church Plain, just off the market place. It is the third-largest parish church in England, after Beverley Minster in East Yorkshire and Christchurch Priory in Dorset.
Church Plain also has the 17th.-century timber-framed house, in which Anna Sewell (1820–1878), author of Black Beauty, was born.
The market place, one of the largest in England, has been operating since the 13th. century. It is also home to the town's shopping sector and the famous Yarmouth chip stalls. The smaller area south of the market is used as a performance area for community events.
The Scroby Sands Wind Farm of 30 generators is within sight of the seafront. Also visible are grey seals during their breeding season. The country's only full-time circus, the Hippodrome Circus, is just off the seafront.
The Two Piers
Great Yarmouth has two piers, Britannia Pier (which is Grade II listed) and Wellington Pier. The theatre building on the latter was demolished in 2005 and reopened in 2008 as a family entertainment centre, including a ten-pin bowling alley overlooking the beach.
Britannia Pier holds the Britannia Theatre, which during the summer has featured acts such as Jim Davidson, the comedian Jethro, Basil Brush, Cannon and Ball, Chubby Brown, the Chuckle Brothers and the Searchers. It is one of the few end-of-the pier theatres surviving in England.
The Winter Gardens
The Grade II listed Winter Gardens building sits next to the Wellington Pier. The cast iron, framed glass structure was shipped by barge from Torquay in 1903, purportedly without the loss of a single pane of glass. Over the years, it has been used as ballroom, roller skating rink and beer garden.
In the 1990's it was converted into a nightclub by Jim Davidson, and has since been used as a family leisure venue. It is currently (2020) closed. In the meantime it has been named by the Victorian Society as a heritage building at risk of disrepair.
The Marine Parade
Great Yarmouth's seafront, known as 'The Golden Mile' attracts millions of visitors each year to its sandy beaches, indoor and outdoor attractions and amusement arcades.
Great Yarmouth's Marine Parade has twelve Amusement Arcades within 2 square miles.Their names draw heavily on Las Vegas and include: The Flamingo, Circus Circus, The Golden Nugget, The Mint, The Silver Slipper, The Showboat, Magic City, Quicksilver and The Gold Rush.
In addition to the two piers, tourist attractions on Marine Parade include Joyland, Pirates' Cove Adventure Golf, Yesterday's World, the Marina Centre, Retroskate, the Arnold Palmer Putting Green, the Sea Life Centre, Merrivale Model Village and the Pleasure Beach and Gardens.
The Venetian Waterways
In August 2019, the Venetian Waterways and gardens re-opened. The waterways, running parallel to the main beach, were a feature constructed as a work-creation scheme in 1926–1928, consisting of canals and formal gardens, with rowing boats, pedalos and gondolas.
The waterways had been allowed to silt up, decay and become abandoned. With a grant from the Heritage Lottery Fund of £1.7 m and the labour of volunteers, the flowerbeds have been restored with 20,000 plants, and the 1920's cafe has been restored. That and the boat hire are being run by a social enterprise.
The Nelson Monument
The South Denes area is home to the Grade I listed Norfolk Naval Pillar, known locally as the Britannia Monument or Nelson's Monument. This tribute to Nelson was completed in 1819, 24 years before the completion of Nelson's Column in London. The monument, designed by William Wilkins, shows Britannia standing atop a globe holding an olive branch in her right hand and a trident in her left.
There is a popular assumption in the town that the statue of Britannia was supposed to face out to sea but now faces inland due to a mistake during construction, although it is thought she is meant to face Nelson's birthplace at Burnham Thorpe.
The monument was originally planned to mark Nelson's victory at the Battle of the Nile, but fund-raising was not completed until after his death, and it was instead dedicated to England's greatest naval hero. It is currently surrounded by an industrial estate but there are plans to improve the area.
Charles Dickens
Charles Dickens used Great Yarmouth as a key location in his novel David Copperfield and described the town as 'The finest place in the universe'. The author stayed at the Royal Hotel on the Marine Parade while writing the novel.
Great Yarmouth Museums
The Norfolk Nelson Museum on South Quay houses the Ben Burgess collection of Nelson memorabilia and is the only dedicated Nelson museum in Britain, other than one in Monmouth. Its several galleries look at Nelson's life and personality, and at what life was like for men who sailed under him.
The Time and Tide Museum in Blackfriars Road was nominated in the UK Museums Awards in 2005. It was built as part of a regeneration of the south of the town in 2003. Its location in an old herring smokery harks back to the town's status as a major fishing port.
Sections of the historic town wall stand opposite the museum, next to the Great Yarmouth Potteries, part of which is housed in another former smoke house. The town wall is among the most complete medieval town walls in the country, with 11 of the 18 original turrets still standing.
Other museums in the town include the National Trust's Elizabethan House, the Great Yarmouth Row Houses, managed by English Heritage, and the privately owned Blitz and Pieces, based on the Home Front during World War II.
The Westland Wessex Crash
On the 13th. October 2014, a memorial stone was unveiled to commemorate the deaths of thirteen people in the 1981 Bristow Helicopters Westland Wessex crash.
G-ASWI was a Westland Wessex 60 operating between Bacton Gas Terminal, in Norfolk, and Amoco gas platforms in the North Sea. On the 13th. August 1981 the helicopter lost power to the main rotor gearbox, going out of control. The flight was carrying 11 gas workers from the Leman gas field to Bacton. All passengers, pilot and cabin attendant on board were lost.
At 15:41, returning from the Leman field to the landing site at Bacton, the commander, Ben Breach, sent a distress message reporting that he was ditching due to engine failure. Radar lost the aircraft three seconds later.
A Royal Air Force Search and Rescue Westland Sea King left RAF Coltishall at 15:47, sighting floating wreckage from G-ASWI at 15:57.
Efforts to recover the wreck were delayed, meaning that the wreck was beyond recovery by the time salvage operations started. There was insufficient evidence to explain either the loss of power or loss of control that caused the aircraft to crash. The inquest into the deaths of those on board recorded an open verdict.
The Kaiser Permanente Center for Total Health is looking forward to a day of service. Martin Luther King, Jr. Monument, Washington, DC USA
Published in Weekend Flashback: 1/17-1/20 | We Love DC
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Cimino
OBITUARY.; Madam Eliza B. Jumel.
New York TImes
Published: July 18, 1865
A single sentence in this morning's TIMES serves to awaken many memories of the past, and revive remembrances of men and parties long since crumbled or forgotten. Thus it reads: "Died, on Sunday morning, July 16, at her late residence, Washington Heights, madam ELIZA B. JUMEL, in the 92d year of her age."
Madam JUMEL, whose death is chronicled above, was a very singular person, about whose name twined many marvelous stories, and with whose history the greatest men of colonial and Revolutionary days were intimately connected. According to one historian, she was born of an English, mother, Mrs. CAPET, in the cabin of a French frigate, which in the year of our Lord 1769 was carrying troops to the West Indies from La Brest. The mother died as the child drew the first breath of life. Somewhat embarrassed by the tender charge, the Captain concluded to keep her, but afterward, when driven into Newport, R.I., harbor, he placed her in the custody of an elderly lady named THOMPSON, who agreed to take good care of her. Mrs. THOMPSON was a good woman, and many clergymen visited her comparatively humble dwelling, so that the early years of the little one were passed amid good influences.
Many of His Britannic Majesty's officers dwelt in Newport. Among them was a certain Col. P. CROIX, whose personal appearance is reported to have been most taking -- whose position in society was excellent. The Colonel met Miss CAPET when she was about seventeen years of age, and fell in love with her pretty face and pleasant figure. She reciprocated the tender passion, which eventuated in an elopement, the indiscreet but entirely happy pair proceeding to New-York, where the lady lodged at a "handsome wooden structure," but recently standing where now rests the north wing of STEWART's marble palace.
Brought at once into contact with the best people in the city, the lady became a cultured woman of the world, fond of its pleasures, versed in its intrigues, interested in the cabals of politicians, and espousing with ardor one side or the other of the continual military emeutes with which the latter days of the eighteenth century were so cursed in New-York City. She was present at the opening of the first session of Congress at Philadelphia, in September, 1774, and at the inauguration of WASHINGTON as President, she created a decided impression by her beauty and general air of savoir faire. She was about twenty years of age then, and very elegant in person and distinguished in bearing. Mme. JUMEL first met AARON BURR when he ranked as a Captain in the army, and was greatly impressed by his power and expression. She was even then intimate with BENEDICT ARNOLD, whose wife she fancied her best friend, and with PATRICK HENRY, in whose breast of reserve she started a dangerous fire of love and passion; but, forgetful of those noted men, and of the scores who bent willingly before her shrine, she wrote thus of the man who, in after years, was destined to be her lord, if not her master. She says:
"Capt. AARON BURR, in the hey-day of his youth, as he now was, appeared to me the perfection of manhood personified. He was beneath the common size of men, only five feet and a half high, but his figure and form had been fashioned in the models of the graces. Petite as he comparatively was, he had a martial appearance, and displayed in all his movements those accomplishments which are only acquired in the camp and embellished in the boudior of the graces. In a word, he was a combined model of Mars and Apollo. His eye was of the deepest black, and sparkled with an incomprehensible brilliancy when he smiled; but if enraged, its power was absolutely terrific. Into whatever female society he chanced, by the fortune of war or by the vicissitudes of private life to be cast, he conquered all hearts without an effort; and, until he became deeply involved in the cares of State, and the vexations incident to the political arena, I do not believe a female capable of the gentle emotions of love ever looked upon him without loving him. Wherever he went he was petted and caressed by our sex, and hundreds vied with each other in a continuous struggle to offer him some testimonial of their adulation. And yet, with all this popularity in the polite circles, he never took advantage of his position, and I do not believe that any female ever had cause to complain of his seductive wiles, perfidy or injustice."
The casual meeting between the two took place at the rooms of Lady STIRLING, and resulted in Miss CAPET's acceptance of an invitation to accompany Capt. BURR that evening to the theatre. On the way to the house, BURR asked permission to stop for a friend, and so doing he brought into the carriage and introduced to Miss CAPET as his friend the afterward celebrated MARGARET MONCRIEF. A desperate flirtation followed, but beyond that nothing of any moment occurred between them, and he soon after was called away, so that for years they did not meet.
Continuing her gay career, Miss CAPET met and knew intimately the great leaders of the Revolutionary struggle. THOMAS JEFFERSON was a frequent visitor at her house, and a friendship formed between them which ceased only with his death, in 1826. Old BEN FRANKLIN called her his "Fairy Queen," and was on terms of such intimacy with her as permitted him to salute her lips in the presence of friends. Gen. KNOX was likewise a worshipper before her, and LAFAYETTE was greatly charmed. That such a woman as this should have gone through escapades and adventures is but natural; that she should take pleasure and pride in bringing men of loftiest position to her feet is quite understandable; that her reputation should materially suffer by the scandal of her rivals and the jealous tattlings of her female friends is what one would expect; but that she should finally accept the hand of, and marry, a quiet, hard-working, adventurous trader, is a vagary difficult of explanation. She did it, however. In the early days of this century she was wooed and won by a Frenchman named STEPHEN JUMEL, who, landing here poor, made an immense fortune in the wine trade. He became noted for his wealth, liberality and kind-hearted benevolence, and singular foresight in business matters. Of him our worthy but eccentric fellow-citizen, GRANT THORBURN, said:
"STEPHEN JUMEL, a Frenchman, was among our early merchant princes. One morning, about 10 o'clock, in the year 1806, this gentleman, in company with WILLIAM BAYARD, HARMON LE ROY, ARCHIBALD GRACIE, Gen. CLARKSON, and some dozen others, was reading and discussing the news just arrived from Liverpool in the extraordinary short passage of seven weeks. The matter mostly concerned NAPOLEON I. and the battle of Wagram. While thus engaged, a carman's horse backed his cart into the Whitehall-slip. The cart was got out, but the horse was drowned, and every one began pitying the poor carman's ill-luck. JUMEL instantly arose, and placing a ten-dollar bill between his thumb and finger, and holding it aloft while it fluttered in the breeze, and with his hat in the other hand he walked through the length and breadth of the crowd, exclaiming, "How much you pity the poor man? I pity him ten dollars. How much you pity him?" By this ingenious and noble coup he collected in a few moments about seventy dollars, which he gave over at once to the unfortunate and fortunate carman. This has since been imitated often, but of its originality with him there can be no question."
Shortly after this marriage, the downfall of the great NAPOLEON occurred, and the pacification of Europe was secured. This seemed a favorable opportunity for the wealthy Frenchman, who had long since retired from active business, to take his beautiful and accomplished wife to the centre of continental splendor. They went to Paris, purchased a magnificent establishment, and under the social patronage of LAFAYETTE and his contemporaries, Madame JUMEL became as noted in the salons of the French capital as in the parlors of the western metropolis. Her wit and talent placed her in the very van of the frequenters of the court, and while she never failed to make continual conquests, we are not of those who believe the slanderers of her reputation. Gaiety is not always guilt, frivolity not always the exponent of heartlessness, and despite Madame JUMEL's wonderful gaiety and never-ceasing frivolty, she was deep and shrewd and able enough to maintain her position against the combined attacks of those who envied her.
Her life of prodigious prodigality made sad inroads upon her husband's fortune, and he became low spirited. She rallied him, but investigation demonstrated the comparative wreck of his estate, and she failed to arouse him to the necessary exertion. Self-reliant, bold, independent and clear-sighted, she broke up their establishment in Paris and returned alone to New-York in 1822. Resolved to mend what she had broken, she retired to an estate of her own on the island, and devoted herself to the recuperation of her husband's fortune with such signal success that when, in 1828, at the age of sixty-four, he returned to this country, he found himself possessed of means at once abundant and satisfactory. They lived happily together until his death, which resulted in his seventieth year, from an accidental fall.
At this time Col. BURR was practicing law, with great success, in New-York. His legal position was in the front rank: triumph succeeded triumph and although old in years, he seemed but in the prime of life. There was talk of cholera in the city, and Madame JUMEL, who had large interests in real estate determined upon a carriage tour in the country siring, however, to take legal advice on some matters before leaving, she determined to consult Col. BURR, whose preeminence in real estate law was universally conceded. It was a long time since she had seen him. Years had changed them both; oceans and events had separated them; marriage and its consequences had turned the thoughts of each in other directions; and now, when the one was an old man and the other a well-advanced woman, they were to meet. He was perfect in all the subtleties of social life; she was the exponent, ne plus ultra, of fashionable life. The one could not hope to blind, mislead, or seduce the other. His office was at No. 23 Nassau-street, and she drove thither to consult him. Never forgetful of eye, or feature, or figure, he recognized her in a moment, and, as PARTON in his Life of Aaron Burr, says:
"He received her in his courtliest manner, complimented her with admirable tact, listened with soft deference to her statement. He was the ideal man of business -- confidential, self-possessed, polite -- giving his client the flattering impression that the faculties of his whole soul were concentrated upon the affair in hand. She was charmed, yet feared him. He took the papers, named the day when his opinion would be ready and handed her to her carriage with winning grace. At seventy-eight years of age, he was still straight, active, agile, fascinating.
On the appointed day she sent to his office a relative, a student of law, to receive his opinion. This young gentleman, timid and inexperienced, had an immense opinion of BURR's talents; had heard all good and all evil of him; supposed him to be, at least, the acutest of possible men. He went. BURR behaved to him in a manner so exquisitely pleasing, that, to this hour, he has the liveliest recollection of the scene. No topic was introduced but such as were familiar and interesting to young men. His manners were such as this age of slangy familiarity cannot so much as imagine. The young gentleman went home to Madame JUMEL only to extol and glorify him.
Madame and her party began their journey, revisiting Ballston, whither, in former times, she had been wont to go in a chariot drawn by eight horses; visiting Saratoga, then in the beginning of its celebrity, where, in exactly ten minutes after her arrival, the decisive lady bought a house and all it contained. Returning to New-York to find that her mansion had been despoiled by robbers in her absence, she lived for a while in the city. Col. BURR called upon the young gentleman who had been Madame's messenger, and, after their acquaintance had ripened, said to him, "Come into my office; I can teach you more in one year than you can learn in ten, in an ordinary way." The proposition being submitted to Madame JUMEL, she, anxious for the young man's advancement, gladly and gratefully consented. He entered the office. BURR kept him close at his books. He did teach him more in a year than he could have learned in ten in an ordinary way. BURR lived then in Jersey City. His office swarmed with applicants for aid, and he seemed to have quite lost the power of refusing. In no other respects, bodily or mental, did he exhibit signs of decrepitude.
Some months passed on without his again meeting Madame JUMEL. At the suggestion of the student, who felt exceedingly grateful to BURR for the solicitude with which he assisted his studies, Madame JUMEL invited Col. BURR to dinner. It was a grand banquet, at which he displayed all the charms of his manner and shone to conspicuous advantage. On handing to dinner the giver of the feast, he said: "I give you my hand, Madame; my heart has long been yours." This was supposed to be merely a compliment and was little remarked at the time. Col. BURR called upon the lady; called frequently; became ever warmer in his attentions; proposed, at length, and was refused. He still plied his suit, however, and obtained at lost, not the lady's consent, but an undecided no. Improving his advantage on the instant, he said, in a jocular manner, that he should bring out a clergyman to Fort Washington on a certain day, and there he would once more solicit her hand.
He was as good as his word. At the time appointed, he drove out in his gig to the lady's country residence, accompanied by Dr. BOGART, the very clergy, man who, just fifty years before, had married him to the mother of his THEODOSIA. The lady was embarrassed, and still refused. But then the scandal! And, after all, why not? Her estate needed a vigilant guardian, and the old house was lonely. After much hesitation, she at length consented to be dressed and to receive her visitors. And she was married. The ceremony was witnessed only by the members of Madame JUMEL's family and by the eight servants of the household, who peered eagerly in at the doors and windows. The ceremony over, Mrs. BURR ordered supper. Some bins of M. JUMEL'L wine cellar, that had not been opened for half a century, were laid under contribution. The little party was a very merry one. The parson, in particular, it is remembered, was in the highest spirits, overflowing with humor and anecdote. Except for Col. BURR's great age, (which was not apparent,) the match seemed not an unwise one. The lurking fear he had had of being a poor and homeless old man was put to rest. She had a companion who had been ever agreeable, and her estate a steward than whom no one living was supposed to be more competent.
As a remarkable circumstance connected with this marriage, it may be just mentionen that there was a woman in New-York who had aspired to the band of Col. BURR and who, when she heard of his union with another, wrung her hands and shed tears. A feeling of that nature can seldom, since the creation of man, have been excited by the marriage of a man on the verge of fourscore.
A few days after the wedding, the 'happy pair' paid a visit to Connecticut, of which State a nephew of Col. BURR's was then Governor. They were received with attention. At Hartford, BURR advised his wife to sell out her shares in the bridge over the Connecticut at that place and invest the proceeds in real estate. She ordered them sold. The stock was in demand and the shares brought several thousand dollars. The purchaser offered to pay her the money, but she said, "No; pay it to my husband." To him, accordingly, it was paid, and he had it sewed up in his pocket, a prodigious bulk, and brought it to New-York and deposited it in his own bank to his own credit.
Texas was then beginning to attract the tide of emigration which, a few years later, set so strongly thither. BURR had always token a great interest in that country. Persons with whom he had been variously connected in life had a scheme on foot for settling a large colony of Germans on a tract of land in Texas. A brig had been chartered and the project was in a state of forwardness, when the possession of a sum of money enabled BURR to buy shares in the enterprise. The greater part of the money which he had brought from Hartford was invested in this way. It proved a total loss. The time had not yet come for emigration to Texas. The Germans became discouraged and separated, and, to complete the failure of the scheme, the title of the lands, in the confusion of the times, proved defective. Meanwhile, Madame, who was a remarkable thrifty woman, with a talent for the management of property, wondered that her husband made no allusion to the subject of the investment, for the Texas speculation had not been mentioned to her. She caused him to be questioned on the subject. He begged to intimate to the lady's messenger that it was no affair of her's and he requested him to remind the lady that she now had a husband to manage her affairs and one who would manage them.
Coolness between the husband and wife was the result of this colloquy. Then came remonstrances. Then estrangement. BURR got into the habit of remaining in his office in the city. Then, partial reconciliation. Full of schemes and spebulations to the last, without retaining any of his former ability to act successfully, he lost more money, and more, and more. The patience of the lady was exhausted. She filed a complain accusing him of infidelity and praying that he might have no more control or authority over her affairs. The accusation is now known to have been groundless; nor, indeed, at the time was it seriously believed. It was used merely as the most convenient legal mode of depriving him of control over her property. At first, he answered the complaint vigorously, but afterward he allowed it to go by default and the proceedings were carried no further. A few short weeks of happiness, followed by a few alternate months of alternate estrangment and reconciliation, and this union, that begun not inauspiciously, was, in effect, though never in law, dissolved."
Since then Madame JUMEL, who has never resumed her late husband's name, has resided in her home at Washington Heights, comparatively alone. She knew but few, and cored not to extend her list of friends. She died on Sunday, possessed of considerable property, which her grand-children will doubtless inherit. Her funeral will be to-day.
The Postcard
A postally unused carte postale that was published by Lichtenstern & Harari. The card has an undivided back.
Qaitbay
Sultan Abu Al-Nasr Sayf ad-Din Al-Ashraf Qaitbay (Arabic: السلطان أبو النصر سيف الدين الأشرف قايتباي), otherwise known as Kait Bey was born circa 1416/1418.
He was the eighteenth Burji Mamluk Sultan of Egypt from 1468–1496 C.E. He was Circassian by birth, and was purchased by the ninth sultan Barsbay (1422 to 1438) before being freed by the eleventh Sultan Jaqmaq (1438 to 1453).
During his reign, Qaitbay stabilized the Mamluk state and economy, consolidated the northern boundaries of the Sultanate with the Ottoman Empire, engaged in trade with other countries, and emerged as a great patron of art and architecture.
In fact, although Qaitbay fought sixteen military campaigns, he is best remembered for the spectacular building projects that he sponsored, leaving his mark as an architectural patron on Mecca, Medina, Jerusalem, Damascus, Aleppo, Alexandria, and every quarter of Cairo.
Qaitbay - The Early Years
Qaitbay was born in Great Circassia of the Caucasus. His skill in archery and horsemanship attracted the attention of a slave merchant who purchased him and brought him to Cairo when he was already over twenty years of age. He was quickly purchased by the reigning sultan Barsbay and became a member of the palace guard.
He was freed by Barsbay's successor, Jaqmaq, after learning that Qaitbay was a descendant of Al-Ashraf Musa Abu'l-Fath al-Muzaffar ad-Din, and appointed the third executive secretary.
Under the reigns of Sayf ad-Din Inal, Khushqadam and Yilbay, he was further promoted through the Mamluk military hierarchy, eventually becoming taqaddimat alf, commander of a thousand Mamluks.
Under the Sultan Timurbugha, Qaitbay was appointed atabak, or field marshal of the entire Mamluk army. During this period, Qaitbay amassed a considerable personal fortune which would enable him to exercise substantial acts of beneficence as sultan without draining the royal treasury.
Accession
The reign of Timurbugha lasted less than two months, as he was dethroned in a palace coup on the 30th. January 1468. Qaitbay was proposed as a compromise candidate acceptable to the various court factions.
Despite some apparent reluctance, he was enthroned on the 31st. January 1468. Qaitbay insisted that Timurbugha be granted an honorable retirement, instead of the enforced exile usually imposed on dethroned sovereigns.
He did, however, exile the leaders of the coup, and created a new ruling council composed of his own followers and veteran courtiers who had fallen into disgrace under his predecessors.
Yashbak min Mahdi was appointed dawadar, or executive secretary, and Azbak min Tutkh was named atabak; the two men would remain Qaitbay's closest advisors until the ends of their careers, despite their profound dislike for each other.
In general Qaitbay seems to have pursued a policy of appointing rivals to posts of equal authority, thus preventing any single subordinate from acquiring too much power and maintaining the ability to settle all disputes via his own autocratic authority.
Qaitbay's Early Reign
Qaitbay's first major challenge was the insurrection of Shah Suwar, leader of a small Turkmen dynasty, the Dhu'l-Qadrids, in eastern Anatolia.
A first expedition against the upstart was soundly defeated, and Suwar threatened to invade Syria. A second Mamluk army was sent in 1469 under the leadership of Azbak, but was likewise defeated.
Not until 1471 did a third expedition, this time commanded by Yashbak, succeed in routing Suwar's army. In 1473, Suwar was captured and led back to Cairo, together with his brothers; the prisoners were drawn and quartered and their remains were hung from Bab Zuwayla.
Qaitbay's reign was also marked by trade with other countries. Excavations in the late 1800's and early 1900's at over fourteen sites in the vicinity of Borama in modern-day Somalia unearthed coins derived from Qaitbay. Most of these finds were sent to the British Museum in London.
Consolidation of Power
Following the defeat of Suwar, Qaitbay set about purging his court of opposing factions and installing his own Mamluks in all positions of power. He frequently went on excursions, ostentatiously leaving the Citadel with limited guards to display his trust in his subordinates and the populace.
He traveled throughout his reign, visiting Alexandria, Damascus, and Aleppo, among other cities, and personally inspecting his many building projects.
In 1472 he performed the Hajj to Mecca. He was struck by the poverty of the citizens of Medina, and devoted a substantial portion of his private fortune to the alleviation of their plight. Through such measures Qaitbay gained a reputation for piety, charity, and royal self-confidence.
The Ottoman-Mamluk War
In 1480 Yashbak led an army against the Aq Qoyunlu dynasty in Mesopotamia, but was soundly defeated while attacking Urfa, taken prisoner, and executed. These events foreshadowed a longer military engagement with the far more powerful Ottoman Empire in Anatolia.
In 1485 Ottoman armies began to campaign on the Mamluk frontier, and an expedition was dispatched from Cairo to confront them. These Mamluk troops won a surprising victory in 1486 near Adana.
A temporary truce ensued, but in 1487 the Ottomans reoccupied Adana, only to be defeated once more by a massive Mamluk army. As Turkish expansion in the western Mediterranean represented an increased threat to the Catholic Monarchs of Spain, Ferdinand II of Aragon made a temporary alliance with the Mamluks against the Ottomans from 1488 until 1491, shipping wheat and offering a fleet of 50 caravels to oppose the Ottomans.
In 1491 a final truce was signed that would last through the remaining reigns of Qaitbay and the Ottoman Sultan Bayezid II. Qaitbay's ability to enforce a peace with the greatest military power in the Muslim world further enhanced his prestige at home and abroad.
Qaitbay's Final Years
The end of Qaitbay's reign was marred by increasing unrest among his troops and a decline in his personal health, including a riding accident that left him comatose for days.
Many of his most trusted officials died, and were replaced by far less scrupulous upstarts; a long period of palace intrigue ensued.
In 1492 the plague returned to Cairo, and claimed 200,000 lives. Qaitbay's health became markedly poor in 1494, and his court, now lacking a figure of central authority, was weakened by infighting, factionalism, and purges.
Qaitbay died on the 8th. August 1496 aged 77 - 80, and was interred in the spectacular mausoleum attached to his mosque in Cairo's Northern Cemetery which he had built during his lifetime.
He was succeeded by his son, an-Nasir Muhammad.
Qaitbay's Legacy
Qaitbay's reign was the happy culmination of the Burji Mamluk dynasty. It was a period of political stability, military success, and prosperity, and Qaitbay's contemporaries admired him as a defender of traditional Mamluk values.
At the same time, he could be criticized for his failure to innovate in the face of new challenges.
Following Qaitbay's death, the Mamluk state descended into a prolonged succession crisis lasting for five years until the accession of Al-Ashraf Qansuh al-Ghawri.
Architectural Patronage
Today Qaitbay is best known for his wide-ranging architectural patronage. At least 230 monuments, either surviving or mentioned in contemporary sources, are associated with his reign.
In Egypt, Qaitbay's buildings are found throughout Cairo, as well as in Alexandria and Rosetta; in Syria he sponsored projects in Aleppo and Damascus; in addition, he was responsible for the construction of madrasas and fountains in Jerusalem and Gaza, which still stand – most notably the Fountain of Qayt Bay and al-Ashrafiyya Madrasa.
On the Arabian peninsula, Qaitbay sponsored the restoration of mosques and the construction of madrasas, fountains and hostels in Mecca and Medina.
After a serious fire struck the Mosque of the Prophet in Medina in 1481, the building, including the Tomb of the Prophet, was extensively renewed through Qaitbay's patronage.
One of Qaitbay's largest building projects in Cairo was his funerary complex in the Northern Cemetery, which included his mausoleum, a mosque/madrasa, a maq'ad (reception hall), and various auxiliary structures and functions attached to it. It is considered a masterpiece of late Mamluk architecture, and is featured today on Egypt's 1 pound note.
His other contributions in Cairo include a Wikala at Bab al-Nasr, a Wikala-Sabil-Kuttab near al-Azhar Mosque, a Sabil-Kuttab on Saliba street, a madrasa-mosque at Qal'at al-Kabsh, a mosque on Rhoda Island, and a palace that is now incorporated into the Bayt Al-Razzaz palace.
Other amirs and patrons also built notable projects under his reign, such as the Mosque of Amir Qijmas al-Ishaqi, which feature the same refined architectural style of his time.
In Alexandria he notably built a fortress on the site of the ruined Pharos, now known as the Citadel of Qaitbay.
Postcard. Postally unused.
Published by the Photochrom Co. Ltd., Royal Tunbridge Wells.
Bought from an eBay seller in Kent, United Kingdom.
en.wikipedia.org/wiki/Fordwich
"The ducking-stool was a strongly made wooden armchair (the surviving specimens are of oak) in which the victim was seated, an iron band being placed around her so that she should not fall out during her immersion. The earliest record of the use of such is towards the beginning of the 17th century, with the term being first attested in English in 1597. It was used both in Europe and in the English colonies of North America.
Usually the chair was fastened to a long wooden beam fixed as a seesaw on the edge of a pond or river. Sometimes, however, the ducking-stool was not a fixture but was mounted on a pair of wooden wheels so that it could be wheeled through the streets, and at the river-edge was hung by a chain from the end of a beam. In sentencing a woman the magistrates ordered the number of duckings she should have. Yet another type of ducking-stool was called a tumbrel. It was a chair on two wheels with two long shafts fixed to the axles. This was pushed into the pond and then the shafts released, thus tipping the chair up backwards. Sometimes the punishment proved fatal and the victim died of shock.
The last recorded cases are those of a Mrs. Ganble at Plymouth (1808); Jenny Pipes, a notorious scold (1809), and Sarah Leeke (1817), both of Leominster. In the last case the water in the pond was so low that the victim was merely wheeled round the town in the chair." - en.wikipedia.org/wiki/Cucking_stool#Ducking-stools
Goethe's Secret Revelation PART TWO THE RIDDLE IN FAUST Esoteric Two Addresses given 11nth and 12th March, 1909, at Berlin . It was in August, 1831, that Goethe sealed up a packet and handed it to his faithful secretary Eckermann and prepared his testamentary directions for the editing of this sealed-up treasure. This packet contained in a comprehensive way the whole striving of Goethe's life. It contained the second part of Goethe's Faust; which was not to be published until after Goethe's death. Goethe was aware that in this work he had given the contents of his rich, many-sided, far-reaching and deeply-penetrating life to human existence, and the importance of this moment for him may be gathered from the words he uttered at the time, ‘I am now finished my life's true work, anything I do further and whether I do it or not, is all the same!’ If we permit a fact such as this to work on the soul we can say: It would not be easy for a human life to become fruitful for the rest of humanity in a more beautiful, harmonious way, or indeed to become fruitful in a more conscious manner. There is something deeply affecting in the thought of Goethe's life at this point of time — for he lived barely one year longer — in that he should have visited Ilmenau once more and there re-read the beautiful verse he had written on the 7th of September, 1783, when he was still a comparatively young man.‘Above all heights Is rest, In the tree tops Thou feelest Scarce a breath,The birds are silent in the woods, Only wait, soon Thou too shalt rest.’One may well ask whether these lines may not have signified at that time a frame of mind regulating Goethe's ideas in a new way as he re-read them in the evening of his life with affecting tears.Goethe's Faust is truly a testament of the very first order when considered with reference to its literary and intellectual standpoint.In 1831 Goethe finished the work which had occupied him from his earliest youth, having worked energetically from the year 1824 at the second part of Faust. We find that Goethe knew from the beginning of 1770 that he had what may be called the Faust disposition and that he began in 1774 to write down the first part of Faust, returning again and again to this poem in the most important moments of his life.Notably he took the first part of Faust with him when he went to Weimar and owing to his position there entered the great world. Certainly it was not produced there. But because one of the Weimar Court ladies, Fräulein von Göchhausen, preserved a copy of the Faust which Goethe took with him to Weimar, we to-day possess the form in which it was when he took it there. We therefore know the form in which Faust was printed for the first time and published in 1790, and further we know the setting in which the whole of Goethe's works appeared in 1808 in the first edition. All that we have of Faust, including that very important document which Goethe left as his testament, shows us the different stages of Goethe's growth. It is endlessly interesting to observe how these four stages of Goethe's Faust-creation appear to us in different ways, according to its inner nature, and how they represent a crescendo in the whole of Goethe's life-endeavour. What Goethe took with him to Weimar is a literary work of a quite personal character into which he had poured the feelings, the degrees of knowledge and also the despair of knowledge, as they went with him through the Frankfort time into the Strassburg time and also into the first Weimar period. It is the work of a man hotly striving after knowledge, striving to feel himself into life, experiencing every despair that an upright honourable man can go through, and all this he had poured into this work. All this is in the first part of Faust. But when Faust appeared in 1790 as a fragment, it was recognized that Goethe had worked at it and transformed it out of a longing lying deep in his soul and inner life which had become enlightened through his contemplation of Italian nature and of Italian works of Art. Out of this personal work of one who had been tossed to and fro in life's storms there emerged the work of one, who to a certain degree, had become unshackled and who had a very clear view of life before his soul.Then came the time of Goethe's friendship with Schiller. The time when in his inner being he learned to know and experience a world which had long become rooted within him. A world of which one can say that he who experiences it has had his spiritual eyes opened, so that he can see into the surrounding spiritual world. And now Faust's personality becomes a being placed between two worlds, between the spiritual world to which man can raise himself through purification, through the ennobling of himself and that world which drags him down. Faust becomes a being placed between the world of good and the world of evil. And while previously we saw in Faust the life of the single striving personality, now we see before us a great conflict carried on between the good and evil powers around man. Man is thus placed in the centre as the worthiest object for which the good and evil beings fight in the world. Though in the very beginning Faust is seen as a man doubting all knowledge, he now comes before us as one placed between heaven and hell. Thus the poem reaches an essentially higher stage and a higher existence.In the form in which Faust appears in 1808 it seems as if thousands of years of human development resound. We are reminded of the great dramatic representation of man's life produced in ancient times in the Book of Job, where the evil spirit went among men and stood up before God, and God said to him: ‘Thou hast been to and fro on the earth, hast thou considered my servant Job?’ What is here said we find in the poem, ‘The Prologue in Heaven’ where God speaks with Mephistopheles, the messenger of the evil spirituality: ‘The self in them expands to a spiritual universe.’ At that time at Frankfort he had the feeling, ‘Away from the mere striving after ideas! Away from the merely perceptive sense observation! There must be a path to the sources of existence!’ and he came into touch with what one can call alchemistic, mystical and theosophical literature. He himself attempted the practice of alchemy. He relates how he came to know of a work through which many sought for similar knowledge at that time, Welling's ‘Opus Mago-Cabalisticum et Theosophicum.’ This book was much thought of then as giving a knowledge of the sources of existence. Goethe studied by degrees Paracelsus, Valentinus and above all a work which from its whole method must have produced a deep impression on all those who strove after such knowledge, ‘Aurea Catena Homeri.’ This was a representation of nature the Mystics in the Middle Ages believed to see. The study of these mystical, alchemistic, theosophical books must have had a similar effect on Goethe to that which a man striving to-day after the same things would experience if he took up the books of Eliphas Levy or any other thinker on the same lines. Indeed at that time these things must have had an even more bewildering effect upon Goethe because these different writers no longer really understood the magic, theosophy, etc., of which they wrote. It was impossible to speak in direct way of the real grandeur and meaning of these things, proceeding from an ancient wisdom which had lived in human souls, for the meaning was hidden under an outer garb which included all kinds of physical and chemical forms. For those who merely saw what appeared outwardly in these books it was the greatest nonsense, and at that time it was most difficult to penetrate behind these secrets and arrive at the real meaning. But we must not forget that Goethe from his deep striving for knowledge had developed an intuitive mind. He must have been greatly pleased when on opening the ‘Aurea Catena Homeri’ he saw on the first page a symbol which had a deep effect on his soul; two triangles interlaced; in the corners the signs of the planets, drawn in a wonderful way, a flying dragon wound round in a circle, beneath which another dragon had fixed stiffening itself, and when he read the words on the first page, saying that the flying dragon symbolizes the stream which sends those forces which stream down from out of the Cosmos to the stiffened dragon, showing how heaven and earth hang together, or as it is expressed there: ‘How the spiritual forces of heaven pour into the earth's centre.’These mysterious signs and words must have made a great impression upon Goethe. For instance, those which depict the whole growth of the earth: ‘From chaos to that which is called the universal quintessence’ — a remarkable sentence, curiously mixed up with signs of a chaotic nature, still undifferentiated right through the mineral, plant and animal kingdoms, right up to man and to that perspective to which man is developing in ever greater refinement. But it was not easy to find a way of penetrating to the deeper meaning. So Goethe left Frankfort in a frame of mind which can be described in the following words: I have found nothing. These seekers into nature can only give me dry, empty ideas; anything that can be squeezed out of them is but life's water. I have busied myself with much that has come down to us from the past from those who declare that they saw into the secrets of life. But the way, the way drives one to despair!This was sometimes the mood in Goethe's soul. He was not to be bewitched by easy speculations or philosophizing, or by confused symbols and explanations from those old books, which worked so wonderfully and forebodingly on him. They looked at him with their mysteries as something to which he could find no way. But anyone who knew Goethe's soul, knew the seed was already sown in his soul which was to germinate later. But he felt himself as one who was rejected and unworthy to unravel the secrets of life. Then he went to Strassburg.There he met people who must have interested him in one way or the other. He got to know Jung-Stilling with his deeply mystical soul, who owing to the development of peculiar forces generally found sleeping in men, had looked deeply into the hidden side of existence. He met Herder at Strassburg, who had gone through similar moods and who in times of desperation had often been at the point of a denial of future life. In Herder he learnt to know a man who suffered from a surfeit of life and who said, I have studied much, discerning sundry things connected with men's works and men's strivings on the earth. But he was unable to say to himself, I have had one moment when my longing after the sources of life has been satisfied. This was when he was ill and inclined to deny everything with bitter irony. Yet it was Herder who pointed out many depths in the riddles of life, and Goethe found in him a truly human Faust. But that side of negation which is not the outcome of mockery and scorn Goethe learnt to know later through his friend Merck. Goethe's mother who disliked criticism of people and all moralizing said of Merck, he can never leave Mephistopheles at home, in him we are quite used to it. In Merck Goethe found a disclaimer of much that is worth striving for in life. Over against all these impressions which Goethe received from the Strassburg people, it was through Nature and his observation of Nature that many of life's puzzles were cleared up for him.At the same time we must think of Goethe as a man possessed of a sharp, penetrating mind; he was not an unpractical man. He was an advocate, but only practised for a short time. Those who knew Goethe's work as an advocate and later as a Minister, were acquainted with his eminently practical mind. As advocate he knew little more than what he had learnt by heart from law books. But he was a man able to decide very quickly on any point laid before him; such a man can also map out clearly life's course.Let us consider Goethe when during his Italian journey, he gradually arrived at the discovery of the primeval plant, he collected stones, prepared himself diligently to take up the work of research, and did not seek to know immediately ‘how one thing strives to enter another’ but said to himself: ‘If you would gain a premonition’ of ‘how one thing works and lives in another’ as heavenly powers rise and fall, offering each the ‘golden urn,’ examine the vertebras of the spinal column and the way in which one bone is connected with the next; and how one faculty helps another. Seek in the smallest thing the picture of the greatest.Goethe became a very diligent student during his travels in Italy, examining everything. He formed the opinion that if an artist acted ‘according to the laws which are followed by nature herself’ and understood by the Greeks, the divine will be present in his works even as it is in the works of creation. For Goethe, art is a ‘manifestation of the secret laws of nature.’ The creations of the artists are works of nature on a higher stage of perfection. Art is man's continuation and conclusion of nature. ‘For since man is the head of nature so he regards himself as a complete nature, but also as one which can call forth a further rise. He strives for this through the acquisition of all accomplishments and virtues which call for choice, order, harmony, and meaning, and at last rises to the production of the work of art.’
We can say that during the Italian journey everything that came before Goethe took on definite forms and through inner soul experiences appeared clearly before him. So once again he took up ‘Faust,’ and we perceive how he endeavoured to bring the separate parts into union. But we also perceive how he interested himself in an objective manner in what Faust could become for the people of the North. In Italy he became particularly conscious of the great difference between people who had been brought up amid classical surroundings and those who had not. He found it strange that so little should be heard in Rome of ghost stories such as were common in the North. In the Villa Borghese he wrote at this time the ‘Witches Kitchen’ scene, as one who had lost touch with all such things, but also as one who recalled to memory the spirit of the earth. When he had previously written about the earth spirit, he represented it in such a way that Faust turned away from it, as from a ‘hideous worm.’ But the fact of turning away from it, even without understanding why, remains in the soul and works on further, as it did in Goethe. But those who become impatient and refuse to wait until after long years the seed grows, are unable to see the way clearly. And when in Italy Goethe knew that a turning away from the terrible countenance would have its effect upon his soul, and now these words arise:‘Sublime Spirit, thou gavest me, gavest me all For which I begged. It was not without reason That thou didst turn thy face in fire to me And for a kingdom gavest me the glorious nature With strength to feel it and to enjoy it. Not A coldly astonished gaze didst thou grant to me But didst permit me to look into her profound bosom As into that of a friend. Past me didst thou lead the ranks of the living And didst teach me to know, in the quiet bushes, In air, and in water, my brother. And when the storm roared and rattled in the woods And there fell the neighbouring branches of the giant fir Squashing the undergrowth and in their fall Sounding like thunder in the hollow of the hills, Thou didst lead me to a safe Grotto, where Thou didst show me myself and opened my heart To deep and secret wonders.’Before Goethe, there stands the possibility of the human soul, through its own development expanding to a spiritual universe. Through a patient sacrificial resigned search, the fruits stand before his soul which as germs were planted when he came into touch with the earth spirit. We can see through this monologue in ‘Wald und Höhle’ (wood and grotto) what a forward jerk this was towards the ripening of the fruits in his soul, for it shows us that the seed already sown was not sown in vain. And as a warning to have patience, to wait until such seeds had ripened in his soul, that fragment of ‘Faust’ meets us which appeared with this setting in 1790. And now we see how Goethe finds the way step by step after being led to his ‘safe grotto where the secret deep wonders of his own heart were opened to him,’ he obtains that comprehensive survey which bids him no longer abide with his own sorrow, but teaches him to rise above his sorrow, to send his foreseeing spirit out into the Macrocosmos, watch the fighting of the good and evil spirits and see men on their battle ground. And in ‘Faust’ in 1808 he sent out beforehand the ‘Prologue in Heaven:’Raphael: ‘The sun-orb sings, in emulation, 'Mid brother-spheres, his ancient round: His path predestined through Creation He ends with step of thunder-sound.’We next see how the macrocosmic Mights oppose the forces of the great world. We see too from out the experiences of Goethe's soul, what a remarkable light falls on the two dragons with which at one time in his youth he came in touch.‘Faust’ is such a universal poem because it contains so many warnings. It also gives us that golden saying: ‘Wait in confidence for the development of thy inner forces, even if that means waiting a very long time!’ These words also sound as a warning which stand as an attribute before Faust, when Goethe looks back to those ‘fluctuating figures which in early days had once shown a troubled countenance’ but which now are flooded with light. Now he had waited so long that the friends who had taken such a vivid interest in Faust as he had appeared to them in the first form, had died, and those who had not died were very far away. Goethe had been obliged to wait for the development of the seed already sown in him.Now these striking words meet us:‘My sorrow speaks to an unknown crowd, Their applause e'en makes my heart feel heavy, And those who once delighted in my song If they still live, in other lands are scattered.’No longer did it matter to those who in youth had felt with him. He had had to wait, as the last lines of this dedication so beautifully express it — ‘What was once a reality to me, has gone into the unreal: but what has remained for me and appears to outer vision as unreal, that to me is now true, and it is only now that I can give it as truth.’ So we see how this poem, even if only looked at in such an external manner as we have to-day, leads us into the depths of the human soul.‘Faust’ was begun in a desultory manner, some parts being pushed in between others, and therefore Goethe was unable to show in a continuous way what he had experienced in his soul. But something else led to the fact that Goethe expressed his deepest experiences in ‘Faust.’The ‘Helena scene’ also belongs to the first part of ‘Faust’ written by Goethe. But we find it was not included even in the ‘Faust’ of 1808. Why not? Because the manner in which Goethe had finished ‘Faust’ at that time would not allow it. What Goethe wished to say through the Helena scene was the expression of such a deep premonition of the deepest riddle of existence, that the first part was not sufficiently prepared to allow of this. Only when Goethe had reached an advanced age, was he able to give a true form to what really was the inner work of his life.We see how his mind had expanded so that he was able to grasp the worlds of the macrocosm, as expressed in the ‘Prologue in Heaven.’ We shall also see the way in which Goethe represents the stages of the soul's experience, leading men from the first stage up to that of imaginative vision, where the soul penetrating ever deeper and deeper, bursts at last the doors of the spiritual world, which Mephistopheles would close. Goethe also represents these inner experiences. For he places in the second part of ‘Faust’ the experiences of a soul through secret scientific study, and we see here one of the deepest riddles of existence, which if recognized, would be found to be an announcement of Western spiritual science given in imposing language. One is tempted to place such a poem as the ‘Bhagavad Gita’ and the second part of ‘Faust’ side by side. For great and powerful wisdom speaks out of such Eastern writings. It seems as if the gods themselves desired in them to speak with men to express the wisdom out of which the world was formed. Indeed it is so.Now let us look at the second part of ‘Faust.’ Here we see a striving human soul which has raised itself to spiritual vision from outer physical perception; we see how it has worked its way up to true clairvoyance when Faust enters the spiritual world and finds the spiritual choir around him ...‘Hearken! Hark! — The Hours careering Sounding loud to spirit-hearing. See the new-born day appearing! Rocky portals jarring shatter, Phœbus' wheels in rolling clatter, With a crash the Light draws near! Pealing rays and trumpet-blazes — Eye is blinded, ear amazes: The Unheard can no one hear!’Faust II, Act I.to that passage where Faust is outwardly dazzled, so that the outer world is lost to his perception and he says to himself: ‘Only within shines clear light! ...’ up to that passage in which the soul works itself up to the spheres of world existence, where the spiritual worlds are to be seen in all their purity, and the riddle of the world discloses itself to the soul. This is a way which we must designate as an esoteric one.The way in which we can penetrate from the outer to the inner life of Goethe's world enigma, we shall see to-morrow, and we shall also see from out of what depths Goethe spoke the word which at last gave him the certainty he needed with reference to all the longings, all the sorrows, pains and strivings for knowledge in his life.‘Whoever zealously strives We can redeem him; And if love from above Feels an interest in him, The blest choir will be there With a friendly greeting.’We shall consider to-morrow how Goethe solved this riddle of existence, and how that which lives in the soul can rise up to its true home. It will give us the answer to what Goethe placed as the riddle of his existence and about which he gives us such a hopeful answer at the end of the second part of ‘Faust:’‘For the spiritual world, That noble member, Is saved from evil. Whoever strives zealously We can redeem him! ...’This tells us Faust can be saved and those spirits will not conquer who by bringing men into the material bring them also to destruction.
I like to take pictures and to present them - now there's an interview, introducing me, sorry to say: in German language - but the photos there don't need any translation, isn't it? www.happyphoton.de/2009/10/08/interview-dietmar-fritze/ + but because I've been asked, what is your favorite photographer: here is, what I've written on INGE MORATH
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After working on Time Out for ten issues i finally have one of my shots on the cover.
For this we hired a model and makeup artist and it was thought up by our art director.
My job was easy really. Just the one light needed and shot in our meeting room.
Published article @Photologio.gr
www.photologio.gr/photo-travelers/skodra-i-diastasi-tou-x...
July 2023
[Published in Academic Emergency Medicine, Volume 13, Number 7 p.739, titled "Fatal GSW Right Chest"]
No... this is not Iraq or Israel...
this is 2 miles west of the Loop In Chicago Illinois USA, the wild Westside, circa 2005.
The sea of humanity that floods most urban EDs across the country, contuses the soul of our collective consciousness... how do we allow the degree of hopelessness among millions of humans fester unchecked, amidst the beautiful rolling fields and glowing towers of American wealth, power and global influence?
The pure spirit of our people must harmonize and evolve... the direction of willful change guided by the anticipated effect our actions leave on our children, five generations from now. Regardless of the religious specifics we cherish with gentle hands, when our lasting creations, anoint the souls of distant infants with peace, love and comfort from suffering, we are eternal... our toil insuring the cycle propagates endlessly. I can think of few greater purposes.
...from my eleven years teaching emergency medicine at an inner-city trauma center.
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