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The Postcard
A postally unused Smart Novels Series postcard published prior to 1918. The photography was by the Dover Street Studios.
Mrs. Grundy
Mrs Grundy is a figurative name for an extremely conventional or priggish person, a personification of the tyranny of conventional propriety. A tendency to be overly fearful of what others might think is sometimes referred to as Grundyism.
Mrs Grundy originated as an unseen character in Thomas Morton's 1798 play 'Speed the Plough'.
Sir Johnston Forbes-Robertson
Sir Johnston Forbes-Robertson (16th. January 1853 – 6th. November 1937) was an English actor and theatre manager. He was considered the finest Hamlet of the Victorian era and one of the finest actors of his time, despite his dislike of the job and his lifelong belief that he was temperamentally unsuited to acting.
-- Forbes-Robertson's Early Years
Born in London, he was the eldest of the eleven children of John Forbes-Robertson, a theatre critic and journalist from Aberdeen, and his wife Frances.
One of his sisters, Frances (1866–1956), and three of his brothers, Ian Forbes-Robertson (1859–1936), Norman Forbes-Robertson (1858–1932) and John Kelt (Eric Forbes-Robertson) (1865–1935), also became actors.
He was educated at Charterhouse. Originally intending to become an artist, he trained for three years at the Royal Academy. He began a theatrical career out of a desire to be self-supporting, when the dramatist William Gorman Wills, who had seen him in private theatricals, offered him a role in his play 'Mary Queen of Scots'.
His many performances led him into, among other things, travel to the U.S., and work with Sir Henry Irving. He was hailed as one of the most individual and refined of English actors. He was a personal friend of the Duke of Sutherland and his family, and often stayed with them at Trentham Hall; he is known to have recommended to them various writers and musicians in dire need of assistance.
Forbes-Robertson first came to prominence playing second leads to Henry Irving before making his mark in the role of Hamlet. One of his early successes was in W. S. Gilbert's 'Dan'l Druce, Blacksmith'.
In 1882, he starred with Lottie Venne and Marion Terry in G. W. Godfrey's comedy 'The Parvenu' at the Court Theatre. George Bernard Shaw wrote the part of Caesar in 'Caesar and Cleopatra' for him. Shaw stated:
"I wrote 'Caesar and Cleopatra' for Forbes-Robertson,
because he is the classic actor of our day, and had
a right to require such a service from me.
Forbes-Robertson is the only actor I know who can
find out the feeling of a speech from its cadence.
His art meets the dramatist’s art directly, picking it
up for completion and expression without
explanations or imitations … Without him 'Caesar
and Cleopatra' would not have been written".
Forbes-Robertson's other notable roles were Romeo, Othello, Leontes in 'The Winter's Tale', and the leading role in 'The Passing of the Third Floor Back'; performed on Broadway in 1908.
-- Forbes-Robertson's Later Years
He did not play Hamlet until he was 44 years old, but after his success in the part he continued playing it until 1916, including a surviving silent film (1913). In a theatre review of Forbes-Robertson’s performance in Hamlet published in The Saturday Review (2nd. October 1897) George Bernard Shaw wrote:
"Nothing half so charming has been seen
by this generation. It will bear seeing again
and again. … His intellect is the organ of his
passion.
His eternal self-criticism is alive and thrilling
as it can possibly be. … Mr. Forbes-Robertson’s
own performance has a continuous charm,
interest and variety, which are the result not
only of his well-known grace and
accomplishment as an actor, but of a genuine
delight — the rarest thing on our stage —
in Shakespeare’s art, and a natural familiarity
with the plane of his imagination".
Forbes-Robertson was also a talented painter who did a portrait of his mentor Samuel Phelps that currently hangs in the Garrick Club in London.
Forbes-Robertson acted in plays with the actress Mary Anderson in the 1880's. He became smitten with her, and asked her hand in marriage. She kindly turned him down, though they remained friends. Later he and actress Beatrice Campbell enjoyed a brief affair during the time she starred with him in a series of Shakespearean plays in the mid-1890's.
In 1900, at the age of 47, he married American-born actress Gertrude Elliott (1874–1950), sister of Maxine Elliott, with whom he had four daughters. Their first daughter was Maxine Forbes-Robertson known as 'Blossom', who married the aircraft designer F. G. Miles and became a director and designer of the Miles Aircraft company.
Their second daughter Jean Forbes-Robertson became an accomplished actress. Their third daughter was Chloe Forbes-Robertson (1909–1947), an artist.
Diana Forbes-Robertson (1914–1988), their fourth daughter, was a writer who later wrote a biography of her aunt Maxine Elliott.
Johnston Forbes-Robertson was knighted in 1913 at the age of 60, at which point he retired briefly from acting.
He returned to the stage, however, for his first farewell tour of the US in 1914–1915. It began in with a three month run in New York, then traveled the country using eight rail road freight cars to carry the sets, costumes and properties for eight shows. There were also two passenger cars for the actors and personnel. His last appearance was at the Sanders Theatre in Boston with a performance of Hamlet.
A second farewell tour followed; it traveled to 122 towns, beginning in Detroit in October 1915, with four plays. The tour traveled to Chicago, Indianapolis, St. Louis, Kansas City, Salt Lake City, and San Francisco — where he learned of the birth of his fourth daughter, Diana.
At this point they decided to reduce the itinerary to only three plays, by eliminating 'Caesar and Cleopatra' from the repertoire. In his autobiography he describes how, on one early morning, the set, including the sphinx, was piled onto a beach and set on fire.
The tour continued into Canada. His last performance as both Hamlet and as an actor, was in 1916 at the Sheldon Lecture Theatre of the University of Harvard, the stage of which had been made to replicate the stage of the Elizabethan Fortune Theatre especially for the Forbes-Robertson’s performance.
His literary works include The Life and Life-Work of Samuel Phelps (actor and theatre manager) as well as his own autobiography A Player Under Three Reigns (1925).
-- Forbes-Robertson's Death
On the 6th. November 1937 Forbes-Robertson died at St. Margaret's Bay, near Dover, Kent, and was cremated at Golders Green Crematorium, London on the 9th. November. Memorial services were held in St. Martin-in-the-Fields, Westminster, London.
A statue of Forbes-Robertson by Brenda Putnam (1932) can be found at the Folger Shakespeare Library in Washington D.C.
Miss Gertrude Elliott
Gertrude Elliott (December 14th. 1874 — December 24th. 1950), later Lady Forbes-Robertson, was an American stage actress, part of an extended family of theatre professionals including her husband, Sir Johnston Forbes-Robertson, and her elder sister, Maxine Elliott.
-- Gertrude Elliott - The Early Years
May Gertrude Dermott was born in Rockland, Maine, a daughter of Thomas and Adelaide Hall Dermott. Her father was a sea captain born in Ireland, and her mother had been a schoolteacher.
Her older sister Maxine left the household for New York City at 16, and Gertrude soon followed. Both of them began using the surname "Elliott" as young women.
-- The Career of Gertrude Elliott
Elliott's career on stage began in 1894, with a role in Oscar Wilde's 'A Woman of No Importance', in a company that was touring New York state.
Both Elliotts joined a company in San Francisco that toured Australia in 1896. The company was run by Nat C. Goodwin, an actor who soon married Maxine Elliott.
Their company went to London in 1899, and the next year Gertrude was hired into the company of Johnston Forbes-Robertson; Gertrude Elliott and Forbes-Robertson married at the end of 1900, and continued to work together for much of their careers. She was, literally, Ophelia to his Hamlet, Desdemona to his Othello, and Cleopatra to his Caesar.
Away from the stage, Gertrude Elliott starred with her husband in a silent film version of Hamlet in 1913, directed by their friend J. H. Ryley. She also appeared in a 1917 silent film, Masks and Faces.
Gertrude Elliott was a co-founder and president of the Actresses' Franchise League.
-- Gertrude Elliott and the Great War
During the Great War Gertrude managed the "Shakespeare Hut" in Bloomsbury, a project of the YMCA for entertaining and raising morale among war workers. In 1923, New Zealand gave Gertrude Elliott an award for her work for ANZAC troops during the war.
-- Personal life of Gertrude Elliott
Gertrude Elliott married English actor Johnston Forbes-Robertson in 1900. They had four daughters, including aircraft designer Maxine (Blossom) Miles, writer Diana Forbes-Robertson, and actress Jean Forbes-Robertson.
Johnston was knighted in 1913, making Gertrude "Lady Forbes-Robertson" from that time. She was widowed when her husband died in 1937, and Gertrude died in 1950, aged 76 years. Her grandchildren include actress Joanna Van Gyseghem.
There is a plaque marking the birthplace of the Elliott sisters in the Trackside Station in Rockland, Maine.
Antique signed bracelet by the Yemen Jewish silversmith. Granulation and beaded wire form geometric motifs round the bracelet. The covering for the hasp is more delicate tracery with filigree wire and tiny granules. The signature is just on the inside of the fastener. If you cannot see it, request an enlargement of that part of the photo if you are considering a purchase.
Such bracelets were created in the early 1900s by the Jewish silversmiths for the brides of Yemen. As all the Jews departed for Israel in those early decades, they took the secrets of their fine silver filigree and granulation with them. The bridal dowry bracelets were usually made in matched pairs one bracelet for each wrist of the bride. If you could see a bride sitting at her wedding, first you would notice the load of jewelry around her neck and on her head which would have explained why she was sitting. The next thing you would realize is that the pairs of bracelets on left and right wrist and along her arms, might have been needed for balance when she eventually stood up under the kilos of bride wealth that she was wearing.
Published in Ornament Magazine Vol. 26, No. 4, 2003, p. 38.
Inside diameter: 5.4 cm
Update: image published on Universe Today here: bit.ly/xxsHcD
It seems to be an age since I was out with the telescope but we finally had a clear night this weekend, albeit one with a high waxing crescent. Despite the moon's interference I tried managed to capture some detail in the Alnitak region. Sky glow did limit exposure to 120 seconds however . Even so I was surprised at how much information the 450D managed to capture through the small William Optics refractor but will still revisit this object if we get a clear moonless night before Orion bids us adieu for another year.
This is a shot of the area close to Alnitak, the left most of the three bright stars in the constellation of Orion The Hunter. Those three starts are often called "Orion's Belt" from which the "sword" of the incredible Orion Nebula hangs.
The Flame Nebula is an emission (and reflection?) nebula designated as NGC 2024 in the New General Catalog and is situated relatively close by at just over 1000 ly. It's quite large at 30 arc minutes in width and fairly bright due to the excitement of the gases in the cloud which causes ionised emmissions, the energy for which is provided by radiation from the nearby blue supergiant Alnitak (which is actually a trinary star system), otherwise known as Zeta Orionis. That said it's nowhere near as bright as it's cousin, the Greater Orion Nebula. The latter is clearly visible in the smallest of telescopes but I have never managed to see the Flame by visual observation. Notice a bunch of secondary nebula surrounding some of the other brighter stars in the image.
To the right we have another jewel of the sky, Barnard 33 - "The Horsehead Nebula". Bet you can see why it's called the Horsehead. It's situated in IC434 which is the red veil of nebuloity you can see moving diagonally down from Alnitak. The Horsehead is actually a "Dark Nebula", in essence a cloud of dust that is partially blocking our view of IC434. The cloud just happens to resemble that of a horse's head, producing a lovely and unusual effect. Another one I've never seen visually. Apparently one would require dark skies and a telescope in the region of 20 inches in aperture!!!! The Horsehead nebula is 86 light years from Earth
The shot of the Flame was made using an ASGT mounted William Optics Megrez 90FD 90mm refractor with a Canon 450D at prime focus. Subs were 120 secods a piece.
Stacked with Deep Sky Stacker. Post processing in Photoshop.
Three of my images have been published in a book about reed warblers, by Dr Karl Schulz-Hagen. If German scientific publications about the acrocephalus family of passerine birds become the next big thing, I'll be famous!
This photograph was published in the Illustrated Chronicle on the 9th of December 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 Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The Postcard
A postcard that was published by F. Frith & Co. Ltd. of Reigate.
The card was posted in Farnham, Surrey on Monday the 18th. February 1907 to:
Miss Barnett,
'The Laurels',
Brighton Road,
Worthing.
The message on the divided back of the card was as follows:
"Pleased to get your
letter.
Shall be writing soon.
Best love to all,
Yours,
Will".
Alfred, Lord Tennyson
Alfred Tennyson, 1st. Baron Tennyson FRS (6 August 1809 – 6 October 1892) was a British poet. He was the Poet Laureate during much of Queen Victoria's reign, and remains one of the most popular British poets.
In 1829, Tennyson was awarded the Chancellor's Gold Medal at Cambridge University for one of his first pieces, "Timbuktu". He published his first solo collection of poems, Poems Chiefly Lyrical in 1830.
"Claribel" and "Mariana", which remain two of Tennyson's most celebrated poems, were included in this volume. Although decried by some critics as overly sentimental, his verse soon proved popular and brought Tennyson to the attention of well-known writers of the day, including Samuel Taylor Coleridge.
Tennyson's early poetry, with its medievalism and powerful visual imagery, was a major influence on the Pre-Raphaelite Brotherhood.
Tennyson also excelled at penning short lyrics, such as "Break, Break, Break", "The Charge of the Light Brigade", "Tears, Idle Tears", and "Crossing the Bar".
Much of his verse was based on classical mythological themes, such as "Ulysses", although "In Memoriam A.H.H." was written to commemorate his friend Arthur Hallam, a fellow poet and student at Trinity College, Cambridge, after he died of a stroke at the age of 22.
Tennyson also wrote some notable blank verse including Idylls of the King, "Ulysses", and "Tithonus". During his career, Tennyson attempted drama, but his plays enjoyed little success.
Two thoughts from Lord Tennyson:
'Tis better to have loved and lost
Than never to have loved at all'.
'Knowledge comes, but wisdom
lingers'.
Aldworth House
Aldworth House, in Tennyson's Lane, Haslemere was designed by Sir James Knowles for Lord Tennyson and built in 1869.
It was occupied by Tennyson until his death, chiefly in the summer months when he wished to escape from the Isle of Wight visitors whom he found had become trouble-
some.
Tennyson died in the house on the 6th. October 1892. It is in semi-Gothic style, with two storeys and an attic.
The house is Grade I listed because of its historical associations.
Billy De Wolfe
So what else happened on the day that Will posted the card?
Well, the 18th. February 1907 marked the birth In Quincy, Mass. of Billy De Wolfe.
Born William Andrew Jones, he became known as Billy De Wolfe. Billy was an American character actor who was active in films from the mid-1940's until his death in 1974.
Billy De Wolfe - The Early Years
Billy was the son of a Welsh bookbinder who encouraged him to become a Baptist minister. Instead, Billy developed an interest in the theatre, and found work as an usher before becoming a dancer with the Jimmy O'Connor Band.
It was at this point that he changed his last name to De Wolfe, which was the last name of the manager of the Massachusetts theatre where he worked.
Billy went on to tour Europe with a dance team, appearing in a London revue called "Revels in Rhythm". He served in the United States Navy during WWII until he was discharged for medical reasons in 1944.
De Wolfe signed with Paramount Pictures in 1943 and became a comedian. His pencil-moustached and often pompous character contrasted humorously with the films' romantic leads.
His best-known role of his Paramount tenure is probably the ham actor-turned-silent movie villain in the 1947 fictionalized Pearl White biography The Perils of Pauline.
De Wolfe became known for his portrayal of fussy, petty men ("Never touch!," he would say imperiously whenever someone accosted him physically). The New York Times review of his 1948 film Isn't It Romantic? strongly criticized the way the other actors' material limited their performances, contrasting their performances with his:
"But Mr. De Wolfe is nothing daunted.
He rips up the place with great delight.
The material is at his mercy. Likewise
the scenery. And he chews it to bits."
He was a good friend of Doris Day until his death, from the time of their meeting during the filming of Tea for Two (1950), also appearing with Day in Lullaby of Broadway the following year.
After his Paramount contract lapsed, De Wolfe returned to the stage. He appeared in the revue John Murray Anderson's Almanac in 1953 and 1954, and starred in the last edition of the Ziegfeld Follies in 1957.
Billy appeared regularly in guest roles on television, including the first two episodes of NBC's The Imogene Coca Show. He portrayed Mr. Jarvis on CBS's The Doris Day Show, and co-starred with Larry Storch in a short-lived TV sitcom, The Queen and I.
He often appeared on talk shows and in TV commercials, doing his "Mrs. Murgatroyd" drag routine. Wearing a hat and a shawl (but still sporting his moustache), De Wolfe (as old maid Phoebe Murgatroyd) would claim to be an expert on romance and answered questions from the lovelorn.
De Wolfe's closeted homosexuality has been discussed by John Gielgud, author David Kaufman, and The Advocate.
Generations of TV viewers know Billy De Wolfe only by his voice: his is the voice of the inept magician Professor Hinkle in the 1969 Christmas special Frosty the Snowman. De Wolfe gave the role his usual fussy diction:
"Mess-y, mess-y, mess-y!
Sill-y, sill-y, sill-y!
Bus-y, bus-y, bus-y!"
In 1967–68 (one season, 26 episodes), he co-starred with Joby Baker and Ronnie Schell in the TV sitcom Good Morning World as Roland Hutton, the fussy manager at a radio station.
In 1972, De Wolfe was scheduled to return to Broadway portraying Madame Lucy in the musical revival of Irene starring Debbie Reynolds. However, during the early stages of rehearsals, De Wolfe learned that he was ill with cancer, and was replaced by George S. Irving.
The Death of Billy De Wolfe
Later that year, he recorded a vocal track for the New York cast album of Free to Be... You and Me, starring Marlo Thomas, reprising the role in the animated ABC Television special filmed a year later. The TV show aired on March 11, 1974, six days after his death.
Billy died just after his 67th birthday, from lung cancer, on the 5th. March 1974, at UCLA Medical Center where he had been hospitalized since February 26.
He was laid to rest in Mount Wollaston Cemetery, Quincy.
Description: No published or copyright date listed on postcard.
Date Postmarked: 1909
Rights: This item is in the public domain. Acknowledgement of the Virginia Commonwealth University Libraries as a source is requested.
Reference URL: scholarscompass.vcu.edu/postcard/35
Collection: Rarely Seen Richmond: Early twentieth century Richmond as seen through vintage postcards
Photograph published 2nd December 1918
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 and have any stories and information to add please comment below.
Published 1965
Souvenir of Clairol Carousel at the New York World's Fair 1964-65.
Description of the Clairol Carousel:
Ladies can see themselves in various hair colors, view a film on beauty and talk with experts.
Designed for women only, the carousel encloses a revolving turntable, divided into 38 individual booths in which the film is shown. Elsewhere, ladies may peer into a mirrored device to see themselves in several different hair colors, and beauty consultants provide formulas for the colors desired.
OK, so only 'cos I entered a photo competition in Berkshire Life magazine. Winner of the National competition gets £5000.... Keep your fingers crossed for me.
Still - nice to see one's work (& ugly mug) in print.
Original in comments.....
The Postcard
A postally unused carte postale published by Lévy et Neurdein of 44, Rue Letellier, Paris.
Monte Carlo
Monte Carlo refers to an administrative area of the Principality of Monaco.
Monte Carlo (literally "Mount Charles") is situated on a prominent escarpment at the base of the Maritime Alps. Near the quarter's western end is the world-famous Place du Casino, the gambling center which has made Monte Carlo an international byword for the extravagant display and reckless dispersal of wealth.
It is also the location of the Hôtel de Paris, the Café de Paris, and the Salle Garnier (the casino theatre which is the home of the Opéra de Monte-Carlo).
The quarter's eastern part includes the community of Larvotto with Monaco's only public beach, as well as its new convention center (the Grimaldi Forum), and the Monte-Carlo Bay Hotel & Resort.
At the quarter's western border, one crosses into the French town of Beausoleil (sometimes referred to as Monte-Carlo-Supérieur), and just 8 kilometres (5 mi) to its east is the western border of Italy.
Monte Carlo is host to most of the Circuit de Monaco, on which the Formula One Monaco Grand Prix takes place.
The Opéra de Monte-Carlo or Salle Garnier was built to designs of the architect Charles Garnier, who also designed the Paris opera house.
Although much smaller, the Salle Garnier is very similar in style, with decorations in red and gold, and frescoes and sculptures all around the auditorium. It was inaugurated on 25 January 1879 with a performance by Sarah Bernhardt dressed as a nymph.
Monte Carlo has featured in numerous films and television series, most recently in the 2011 movie of the same name.
Monte Carlo was the setting for the 1922 Erich von Stroheim silent film Foolish Wives, although it was filmed in California.
The casino featured in the James Bond films Never Say Never Again (1983), and GoldenEye (1995).
The Car Crash
To Catch a Thief (1954) was an Alfred Hitchcock film with Monte Carlo and its famous casino as the setting. It featured Cary Grant and Grace Kelly, the future Princess Grace of Monaco, as the stars.
There is a scene in the movie where the-then Grace Kelly drives a car very quickly—and dangerously—along the steep winding roads of Monaco that surround the heights of Monte Carlo; a tragic precursor to her actual fate in 1982.
On the 13th. September 1982, Kelly was driving back to Monaco from her country home in Roc Agel. She lost control of her 1971 Rover P6 and drove off the steep, winding road down the 120 foot (37 m) mountainside.
Her daughter Stéphanie, who was in the passenger seat, tried but failed to regain control of the car. Kelly was taken to the Monaco Hospital (later named the Princess Grace Hospital Centre) with injuries to the brain and thorax and a fractured femur.
Doctors believed that she had suffered a minor stroke while driving. She died the following night aged 52 at 10:55 p.m. after Prince Rainier chose to take her off life support.
Stéphanie suffered light concussion and a hairline fracture of a cervical vertebra, and was unable to attend her mother's funeral.
Notable Residents of Monte Carlo
Notable residents of Monte Carlo include:
- Shirley Bassey (singer) United Kingdom
- Bono (singer with U2) Republic of Ireland
- Jenson Button (former Formula One driver) United Kingdom
- David Coulthard (former Formula One driver) United Kingdom
- Mohamed Al-Fayed (ex-Harrods owner) Egypt
- Matthew Goss (professional cyclist) Australia
- Philip Green (entrepreneur) United Kingdom
- Stelios Haji-Ioannou (owner of EasyJet) Cyprus Greece United Kingdom
- Lewis Hamilton (Formula One driver) United Kingdom
- Justin Hayward (singer with the Moody Blues) United Kingdom
- Gina Lollobrigida (actress) Italy
- Helmut Newton (photographer) Germany Australia
- Mike Oldfield (musician) United Kingdom
- Paula Radcliffe (marathon world record holder) United Kingdom
- David Shilling (milliner) United Kingdom
- Ringo Starr (drummer with the Beatles) United Kingdom.
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a photo of mine was published in TIME magazine today. not just any issue - the Person of the Year issue. and my photo was created in reference to said Person of the Year :o)
I also had a photo published in this month's NJ Audubon magazine. my friends Pete and Lisa, who got married last June, used a shot I took of them for an article that describes how they donated wedding favors to the nonprofit conservation group.
(semi-related side note: even though my flickr icon is a raven, and I'm a total nature nerd, I'm really not much of a birder. I just really like ravens)
that, and my hopping horse photo made the front page of Explore. my first time for that. thanks so much you guys - you're truly an awesome group of peeps. also, major props to the other flickrers who got chosen to be in the story. so cool!
headed to Maine for a few days. happy holidays, everyone!
©ALL RIGHTS RESERVED. My pictures may not be downloaded, copied, published, reproduced, uploaded, edited or used in any way without my written permission.
Source: livinghistories.newcastle.edu.au/nodes/view/35452
This image was scanned from a postcard in an album belonging to Francis Richard (Frank) Moore (1878-1964), whose family was based at Bishop's Bridge near Maitland, New South Wales at the time the postcard was sent. Mr Moore was a teacher who taught in schools in northern NSW and in Sydney. The postcards were collected at the turn of the twentieth century.
After Mr Moore's death, the album passed to his sister, Eliza Jane Keily, née Moore (1890-1968). The image is published here with permission of the family.
If you wish to reproduce the image, please acknowledge the Collection and the University of Newcastle Library.
Please contact us or leave a comment if you have any information about the image.
The Postcard
A postally unused postcard that was published by Natural Color Reproductions Ltd. of Vancouver, B.C. The card was printed in Canada by Grant-Mann, Lithographers, Photographers and Designer.
In the space for the stamp, it states:
'Canadian Postage 4c.'
The publishers have also provided some information on the divided back:
'Vancouver, B.C., Canada.
P. N. E. and Second Narrows Bridge.
Aerial view of the Pacific National
Exhibition Grounds, showing stadium
and race track with the Second
Narrows Bridge in the Background'.
Pacific National Exhibition
The Pacific National Exhibition (PNE) is a non-profit organization that operates an annual 15-day summer fair, a seasonal amusement park, and indoor arenas in Vancouver.
The PNE fair is held at Hastings Park, beginning in mid-to-late August, and ending in early September, usually Labour Day.
The organization was established in 1907 as the Vancouver Exhibition Association, and organized its first fair at Hastings Park in 1910. The organization was renamed the Pacific National Exhibition in 1946.
During the mid-20th. century, a number of facilities were built on the PNE grounds, including the Pacific Coliseum and the PNE Agrodome.
In 1993, the amusement park adjacent to the PNE, Playland, became a division of the PNE.
History of the Pacific National Exhibition
The Vancouver Exhibition Association (VEA), the predecessor to the Pacific National Exhibition organization, was first formed in 1907. The VEA had petitioned Vancouver City Council to host a fair at Hastings Park, despite being faced with early opposition from the city council and the local jockey club that used the park for horse races.
However, the city council eventually conceded to the VEA's request, and granted the association a 5-year lease to host a fair at Hastings Park in 1909.
The VEA held its first fair at Hastings Park in August 1910. It was opened by Canadian Prime Minister Sir Wilfrid Laurier as the Vancouver Exhibition.
The biggest attractions of the two-week fair were its numerous shops, stalls, performances, a nightly fireworks show, and the exhibition's Prize Home. From its beginnings, the exhibition was used as a showcase for the region's agriculture and economy.
In the initial years of the Second World War, the fairgrounds saw an increased military presence. However, the exhibition itself was not cancelled until 1942 after the Canadian declaration of war against Japan was issued.
From 1942 to 1946 the exhibition and fair was closed, and like the Canadian National Exhibition in Toronto, served as a military training facility for the duration of World War II.
During this time, the exhibition barns that were used to house livestock were used as processing centres for interned Japanese Canadians from all over British Columbia. The internees were later shipped to other internment camps throughout B.C. and Alberta.
The Momiji (Japanese word for Maple) Gardens on the PNE's grounds serve as a memorial of the event. The barns used for the internment of Japanese Canadians are still used to house livestock during the annual fair, and serve as storage area to house some of the PNE's property during the rest of the year.
On the 7th. February 1946, the Vancouver Exhibition Association changed its name to the Pacific National Exhibition, and later re-opened the fair to the public under that name in 1947.
The highest attendance at the fair was recorded in 1986, with 1.1 million guests visiting the PNE, most likely due to Expo '86 that was occurring at the time.
During 1997-1998, the PNE grounds were transformed with the demolition of a number of buildings including the Food Building, Showmart and the Poultry Building. This gave way to the Sanctuary, a parkland setting with a pond. The pond restored part of a stream that once flowed in the park out to the Burrard Inlet. The city restored a large portion of the park.
Two attractions at the PNE were named as heritage sites by the City of Vancouver in August 2013. The Pacific Coliseum and the Wooden Roller Coaster were added to the list.
In 2020, the fair went on hiatus due to the COVID-19 pandemic, alongside other agricultural and county fairs across Canada, including the Calgary Stampede, the Canadian National Exhibition, and K-Days.
The Pacific National Exhibition occupies approximately 42 hectares (105 acres) at Hastings Park. This includes the 6.1 hectares (15 acres) of land used by Playland, a PNE-operated amusement park.
The PNE grounds maintains several gardens and natural preserves in the grounds including The Sanctuary, which is a small pond that serves as a resting place and breeding ground for approximately 130 species of birds. There is also an Italian garden. Another memorial located in the park is dedicated to the 29th. Battalion, (Vancouver), CEF, an infantry battalion whose lineage is perpetuated by the British Columbia Regiment (Duke of Connaught's Own).
Approximately 24 hectares (60 acres) of Hastings Park is not managed by the Pacific National Exhibition. This includes Hastings Racecourse, a 19 hectare (48 acre) facility operated by Great Canadian Gaming; and several facilities maintained by the municipal government, including Empire Field, an emergency dispatch centre, and local community centre.
Structures of the PNE
The PNE grounds contain several buildings and exhibition halls.
The PNE Forum is a 4,200 square metre (45,000 sq ft) exhibition facility that is used for large displays and trade shows. Rollerland is a 1,840 square metre (19,800 sq ft) exhibition and banquet hall.
Two buildings in the PNE grounds are indoor arenas. The Pacific Coliseum is a multi-purpose arena that holds 15,713 permanent seats, with provisions for 2,000 temporary seats for concerts and certain sports.
The PNE Agrodome is a smaller indoor arena with 3,000 permanent seats, with provisions to expand up to 5,000 seats.
Entertainment facilities includes the Garden Auditorium, a building that features a built-in stage and dance hall.
The PNE grounds also feature an amphitheatre with bench-style seating for 4,500 visitors.
Other buildings on the PNE grounds include the Livestock Barns, a large multi-use facility, and the organization's administrative offices.
Demolished buildings
Buildings that have been demolished include:
-- Armed Services Display Building (1950's)
-- Aquarium
-- Baby Dipper
-- Band Stand
-- 1950's BC Pavilion; later BC Sports Hall of Fame
-- Dining Hall
-- Dip the Dips (1915)
-- Directors' Dining Room
-- Display Barn
-- District Display Exhibit
-- Empire Stadium (1954); later Empire lot and now Empire Field
-- Feed Store
-- Ferryboat Wharf (1910)
-- Food Building (a.k.a. Pure Foods Building, 1931); now part of the Sanctuary parkland
-- Forestry Hall (1913)
-- Fountain
-- Giant Dipper
-- Grandstand (1910)
-- Green House
-- Happyland Carousel Building
-- Horticultural Building
-- Industrial Building (1910); later the Women's Building
-- Livestock Judging Pavilion
-- Manufacturers' Building; also Machinery Hall and later Transportation Building (1910)
-- Mineral Exhibit
-- Miniature Railway
-- Post Office
-- Poultry & Pigeon building (1950's)
-- Press Bureau
-- Race Track and Stables (around 1905)
-- Racing Paddock
-- Refreshment Stands
-- Sheep Stables
-- Shoot the Chutes
-- Showmart (1931); now part of the Italian Gardens
-- Skid Road (Midway) (1910)
-- Stable Restaurant
-- Stock Judging Building
-- Streetcar Station (1910)
-- Swine Building (1950s)
-- Vaudeville Stage.
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A photo from Ofgr. Krüger's collection is published in Prien, Rodeike and Stemmer 1995, p. 441, identifying it as Bf 109 G-14 W.Nr. 46. ... "Weisse 13", Lt. Wolf Otto, 13./JG 27, possibly at Pomssen, October 1944.
Auction courtesy of Sinisa Sestanovic, Messerschmitt Bf 109 1935-1945 and beyond Group, FB, 14 July 2019
The Postcard
A postally unused carte postale published by Lévy Fils et Cie of Paris.
The Notre-Dame Fire
On the 15th. April 2019, fire broke out in the attic beneath the cathedral's roof at 18:18. At 18:20 the fire alarm sounded and guards evacuated the cathedral. A guard was sent to investigate, but to the wrong location – the attic of the adjoining sacristy – where he found no fire. About fifteen minutes later the error was discovered, but by the time guards had climbed the three hundred steps to the cathedral attic the fire was well advanced.
The alarm system was not designed to automatically notify the fire brigade, which was summoned at 18:51 after the guards had returned. Firefighters arrived within ten minutes.
Fighting the Notre-Dame Fire
More than 400 firefighters were engaged. A hundred government employees along with police and municipal workers moved precious artefacts to safety via a human chain.
The fire was primarily fought from inside the structure, which was more dangerous for personnel, but reduced potential damage to the cathedral - applying water from outside risked deflecting flames and hot gases (at temperatures up to 800 °C) inwards. Deluge guns were used at lower-than-usual pressures to minimise damage to the cathedral and its contents. Water was supplied by pump-boat from the Seine.
Aerial firefighting was not used because water dropped from heights could have caused structural damage, and heated stone can crack if suddenly cooled. Helicopters were also not used because of dangerous updrafts, but drones were used for visual and thermal imaging, and robots for visual imaging and directing water streams. Molten lead falling from the roof posed a special hazard for firefighters.
By 18:52, smoke was visible from the outside; flames appeared within the next ten minutes. The spire of the cathedral collapsed at 19:50, creating a draft that slammed all the doors and sent a fireball through the attic. Firefighters then retreated from within the attic.
Shortly before the spire fell, the fire had spread to the wooden framework inside the north tower, which supported eight very large bells. Had the bells fallen, it was thought that the damage done as they fell could have collapsed the towers, and with them the entire cathedral.
At 20:30, firefighters abandoned attempts to extinguish the roof and concentrated on saving the towers, fighting from within and between the towers. By 21:45 the fire was under control.
Adjacent apartment buildings were evacuated due to concern about possible collapse, but on the 19th. April the fire brigade ruled out that risk. One firefighter and two police officers were injured.
Damage to Notre-Dame
Most of the wood/metal roof and the spire of the cathedral was destroyed, with about one third of the roof remaining. The remnants of the roof and spire fell atop the stone vault underneath, which forms the ceiling of the cathedral's interior. Some sections of this vaulting collapsed in turn, allowing debris from the burning roof to fall to the marble floor below, but most sections remained intact due to the use of rib vaulting, greatly reducing damage to the cathedral's interior and objects within.
The cathedral contained a large number of artworks, religious relics, and other irreplaceable treasures, including a crown of thorns said to be the one Jesus wore at his crucifixion. Other items were a purported piece of the cross on which Jesus was crucified, the Tunic of St. Louis, a pipe organ by Aristide Cavaillé-Coll, and the 14th.-century Virgin of Paris statue.
Some artwork had been removed in preparation for the renovations, and most of the cathedral's sacred relics were held in the adjoining sacristy, which the fire did not reach; all the cathedral's relics survived. Many valuables that were not removed also survived.
Lead joints in some of the 19th.-century stained-glass windows melted, but the three major rose windows, dating back to the 13th. century, were undamaged. Several pews were destroyed, and the vaulted arches were blackened by smoke, though the cathedral's main cross and altar survived, along with the statues surrounding it.
Some paintings, apparently only smoke-damaged, are expected to be transported to the Louvre for restoration. The rooster-shaped reliquary atop the spire was found damaged but intact among the debris. The three pipe organs were not significantly damaged. The largest of the cathedral's bells, the bourdon, was also not damaged. The liturgical treasury of the cathedral and the "Grands Mays" paintings were moved to safety.
Environmental Damage
Airparif said that winds rapidly dispersed the smoke, carrying it away aloft along the Seine corridor. It did not find elevated levels of particulate air pollution at monitoring stations nearby. The Paris police stated that there was no danger from breathing the air around the fire.
The burned-down roof had been covered with over 400 metric tons of lead. Settling dust substantially raised surface lead levels in some places nearby, notably the cordoned-off area and places left open during the fire. Wet cleaning for surfaces and blood tests for children and pregnant women were recommended in the immediate area.
People working on the cathedral after the fire did not initially take the lead precautions required for their own protection; materials leaving the site were decontaminated, but some clothing was not, and some precautions were not correctly followed; as a result, the worksite failed some inspections and was temporarily shut down.
There was also more widespread contamination; testing, clean-up, and public health advisories were delayed for months, and the neighbourhood was not decontaminated for four months, prompting widespread criticism.
Reactions to the Notre-Dame Fire
President of France Emmanuel Macron, postponing a speech to address the Yellow Vests Movement planned for that evening, went to Notre-Dame and gave a brief address there. Numerous world religious and government leaders extended condolences.
Through the night of the fire and into the next day, people gathered along the Seine to hold vigils, sing and pray.
White tarpaulins over metal beams were quickly rigged to protect the interior from the elements. Nettings protect the de-stabilised exterior.
The following Sunday at Saint-Eustache Church, the Archbishop of Paris, Michel Aupetit, honoured the firefighters with the presentation of a book of scriptures saved from the fire.
Investigation Into The Notre-Dame Fire
On the 16th. April, the Paris prosecutor said that there was no evidence of a deliberate act.
The fire has been compared to the similar 1992 Windsor Castle fire and the Uppark fire, among others, and has raised old questions about the safety of similar structures and the techniques used to restore them. Renovation works increase the risk of fire, and a police source reported that they are looking into whether such work had caused this incident.
The renovations presented a fire risk from sparks, short-circuits, and heat from welding (roof repairs involved cutting, and welding lead sheets resting on timber). Normally, no electrical installations were allowed in the roof space due to the extreme fire risk.
The roof framing was of very dry timber, often powdery with age. After the fire, the architect responsible for fire safety at the cathedral acknowledged that the rate at which fire might spread had been underestimated, and experts said it was well known that a fire in the roof would be almost impossible to control.
Of the firms working on the restoration, a Europe Echafaudage team was the only one working there on the day of the fire; the company said no soldering or welding was underway before the fire. The scaffolding was receiving electrical supply for temporary elevators and lighting.
The roofers, Le Bras Frères, said it had followed procedure, and that none of its personnel were on site when the fire broke out. Time-lapse images taken by a camera installed by them showed smoke first rising from the base of the spire.
On the 25th. April, the structure was considered safe enough for investigators to enter. They unofficially stated that they were considering theories involving malfunction of electric bell-ringing apparatus, and cigarette ends discovered on the renovation scaffolding.
Le Bras Frères confirmed its workers had smoked cigarettes, contrary to regulations, but denied that a cigarette butt could have started the fire. The Paris prosecutor's office announced on the 26th. June that no evidence had been found to suggest a criminal motive.
The security employee monitoring the alarm system was new on the job, and was on a second eight-hour shift that day because his relief had not arrived. Additionally, the fire security system used confusing terminology in its referencing parts of the cathedral, which contributed to the initial confusion as to the location of the fire.
As of September, five months after the fire, investigators thought the cause of the fire was more likely an electrical fault than a cigarette. Determining the exact place in which the fire started was expected to take a great deal more time and work. By the 15th. April 2020, investigators stated:
"We believe the fire to have been
started by either a cigarette or a
short circuit in the electrical system".
Reconstruction of Notre-Dame Cathedral
On the night of the fire Macron said that the cathedral, which is owned by the state, would be rebuilt, and launched an international fundraising campaign. France's cathedrals have been owned by the state since 1905, and are not privately insured.
The heritage conservation organisation Fondation du Patrimoine estimated the damage in the hundreds of millions of euros, but losses from the fire are not expected to substantially impact the private insurance industry.
European art insurers stated that the cost would be similar to ongoing renovations at the Palace of Westminster in London, which currently is estimated to be around €7 billion.
This cost does not include damage to any of the artwork or artefacts within the cathedral. Any pieces on loan from other museums would have been insured, but the works owned by the cathedral would not have been insurable.
While Macron hoped the cathedral could be restored in time for the 2024 Paris Summer Olympics, architects expect the work could take from twenty to forty years, as any new structure would need to balance restoring the look of the original building, using wood and stone sourced from the same regions used in the original construction, with the structural reinforcement required for preventing a similar disaster in the future.
There is discussion of whether to reconstruct the cathedral in modified form. Rebuilding the roof with titanium sheets and steel trusses has been suggested; other options include rebuilding in the original lead and wood, or rebuilding with modern materials not visible from the outside (like the reinforced concrete trusses at Reims Cathedral).
Another option would be to use a combination of restored old elements and newly designed ones. Chartres Cathedral was rebuilt with wrought iron trusses and copper sheeting after an 1836 fire.
French prime minister Édouard Philippe announced an architectural design competition for a new spire that would be:
"Adapted to the techniques
and the challenges of our era."
The spire replacement project has gathered a variety of designs and some controversy, particularly its legal exemption from environmental and heritage rules. After the design competition was announced, the French senate amended the government's restoration bill to require the roof to be restored to how it was before the fire.
On the 16th. July, 95 days after the fire, the law that will govern the restoration of the cathedral was finally approved by the French parliament. It recognises its UNESCO World Heritage Site status and the need to respect existing international charters and practices, to:
"Preserve the historic, artistic and architectural
history of the monument, and to limit any
derogations to the existing heritage, planning,
environmental and construction codes to a
minimum".
On the 15th. April 2020, Germany offered to restore some of the large clerestory windows located far above eye level with three expert tradesmen who specialize in rebuilding cathedrals. Monika Grütters, Germany's Commissioner for Culture was quoted as saying that her country would shoulder the costs.
As of the 30th. November all of the tangled scaffolding was removed from the spire area, and was therefore no longer a threat to the building.
The world will now have to wait for Notre-Dame de Paris to be restored to its former magnificence.
Walking around during Vivid we came across this decorated pair.
They were stepping rythmically across the cobbled streeet, clicking their heels together on completing each step.
The result was remarkably like a clock ticking...
This is the first time that I have used the Zeiss Batis lens to photograph the various follies in St.Anne’s Park and I must admit that I am very happy with the results mainly because of the detail captured in the images that I have published online. I am so pleased with the 25mm lens that I have decided to purchase the new 18mm Batis if I can raise the cash. I am also considering the new Sony GM lenses but they may prove to be too expensive for me.
St. Annes is known for its follies, of which there are approximately ten, mainly around the Naniken river. The follies include a Herculanean Temple on a mock-ruined bridge abutment along the Naniken river, which served as a tearoom for the family, a Pompeian Water Temple of Isis on the banks of the duckpond, and the Annie Lee Tower and Bridge near the chestnut walk.
Other follies include Saint Anne's Well beside the duckpond, after which the park gets its name, the Hermitage Bridge, Yew Circle and Fountain (behind the formal walled garden beside the house), rustic cave and bridge, three rustic archways and a rock work feature. A "Druidic Circle" of Giant's Causeway basalt was lost at an earlier stage. An unusual folly is the Roman style viewing tower which stands on the hill overlooking the duckpond. This started out as an observation tower on the roof of the original house. Later, the tower was removed during extensive refurbishment of St. Anne's house in about 1873 and placed in its current location. It is modelled on the Tomb of the Julii at Glanum near St. Rémy in France.
Many of the follies are in a neglected condition at present, with graffiti being an ongoing problem. For example, the Roman style viewing tower is graffiti covered and has been closed for many years. In addition it is completely hidden by mature trees and could only be revealed by felling them, which would be detrimental to the environment of the park. An alternative proposal is that the tower be moved instead to the site of the old rockery, near the junction of James Larkin Road and Mount Prospect Avenue.
In 2010, Dublin City Council, with the support of the Heritage Council, commissioned a strategy by conservation architects (Shaffrey and Associates) for the long-term conservation of these follies, and it is planned to implement this on a phased basis. It is now 2016 and I have visited the park at least twice per year since 2010 and I am convinced that the follies are now in a worse condition than they were back in 2010 and I am not at all sure that they can be saved
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