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The City of Wolf Point website relates the story of James Cusker and Rolla Cusker, who broke though the ice in February, 1926, while returning home from a basketball game. With the ferry service suspended for the winter, many folks drove across the frozen ice of the Missouri River. The problem is that the river is fast flowing and has unpredictable currents. The ice was strong enough for the two men to drive across earlier in the evening, but on their way home, they hit an open spot despite retracing their earlier tracks. Their bodies were not found for several days.
The Cusker family tragedy spurred the local officials into asking that a highway and bridge be considered as part of the new US highway system that was being formed. Several counties and local cities supported this plan, and the state agreed in October of 1926. The bridge was started shortly afterward, funded half by the State of Montana, and half by matching funds from the federal government. The bridge was completed and a huge dedication ceremony was held on July 9, 1930.
The bridge was situated high above the river since the US Army Corps of Engineers considered the Missouri River to be navigable at that time. Two large concrete piers were built on each side of the river channel, and a 400 foot main through truss span was erected across the river. The main span is flaked by a slightly shorter though truss span on each side. Short segments of steel girders connect the outer truss spans to the bridge abutments, which are built built on fill some 20 feet above ground level. When completed, this was a very imposing structure that sat up tall, occupying is place across the river with pride. The bridge lived up to its billing as the most massive bridge in the state of Montana.
All things do come to an end. Wider and heavier traffic and increased maintenance costs lead to the Lewis & Clark Bridge becoming obsolete. The state built a new river bridge just west of the old bridge in 1997 and 1998. The old bridge now has a second life as a state historical site. The bridge was deeded to the Montana Historical Society, who plans to maintain the bridge as a monument. They also operate a small park and interpretive display at the south end of the bridge. The bridge was also added to the National Register of Historic Places. While the bridge remains closed as of 2007, the historical society is working to develop a plan to make the bridge safe for pedestrian users. That would be a site to see
Accession Number: spa.si.231.2 (Reverse of spa.si.23.1)
This leaflet relates to the Ayr 2000 by-election where Jim Mather stood as the SNP candidate for Holyrood.
Jim Mather is currently MSP for Argyll and Bute. For biographical information about Jim Mather www.scotland.gov.uk/About/14944/Scottish-Cabinet/jimmathe...
This picture forms part of the Scots Independent donation to the Scottish Political Archive. The Scots Independent is a monthly Nationalist newspaper. The paper was founded in 1926 and is the longest surviving political newspaper in Scotland in the twentieth century. For further information about the Scots Independent please visit their website at www.scotsindependent.org
The Scottish Political Archive is housed at the University of Stirling. The archive is home to the oral interviews, personal papers and associated material from prominent Scottish politicians. For further information about the work of the archive please visit our website www.scottishpoliticalarchive.org.uk
Oct. 23, 2014
This image relates to my previous pictures in this album because this is the event that will later on lead to teen pregnancy if the couple does not use a condom in the process. This depicts that teens are ignorant to the possible consequences to unprotected sex and the steps they need to take to prevent unwanted pregnancy. I decided to use this as a concept because I want to show that preventing unwanted pregnancies is easy if you follow the smart and safe steps. My research project would be about the preventative measures couples can take when it comes to sex but simply look over in their ignorance. Overall, I am happy with this topic and the only thing I would hard a little more on to improve for a final project would be the picture, just to make it more professional done and not as sloppy as this beginning stages picture.
This tote bag is available in my current favorite Toronto coffee shop -Balzac's.
Known for his prodigious consumption of coffee, it seems appropriate that this coffee shop bears his name.
Background: www.openculture.com/2013/09/honore-de-balzac-on-the-pleas...
The tank of my bike, filled with Ethanol fuel, around 110 octanes.
Keywords: Alcohol fuel, Bio, Biodiversity, Biofuel, Common ethanol fuel mixtures, Issues relating to biofuels, Honda NXR 150 Bros, On-Off Road, Self-propelled, Self-Blogging.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Rita Silva, a native of Bahia, Brazil has lived in Brooklyn since 1991. A practitioner of candomblé traditions learned from her aunt in Salvador, Ms. Silva has intimate knowledge of the blend of Yoruban animism and Portuguese Catholicism in her native land. She has carried these traditions—of healing, invocation, dance, drumming and altar making—forward in the Brazilian community in Brooklyn. For Once Upon a Time in Brooklyn Ms. Silva will relate the many stories associated with her orixa, Shango. She will participate in the Parks and Gardens Narrative Performance Series.
Photo: Etienne Frossard
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Haggadah Antiquarian Venice 1629 reprint Leather Covers
1629 VENICE HAGGADAH
REPRINT FASCIMILE
VG CONDITION, Leather Covers
A REPRINT OF A BEAUTIFUL HAGGADAH, THE 1629 VENICE HAGGADAH, WITH JUDEO-ITALIAN TRANSLATION. COMPLETELY ILLUSTRATED. THE CLOSEST THING TO THE REAL THING!
THE VENICE HAGGADAH SHEL PESAH FACSIMILE OF 1629 ILLUSTR.
A COPY FROM 350
ISRAEL 1975
EDITOR SHMUEL MOR
LIMITED EDITION OF 350 COPIES.
This is a facsimile of the Venice Haggadah of 1629. Like the 1609 Venice Haggadah, this edition features pages arranged as classical buildings, with two columns, a central space and a pediment. Aside from the pediments, capitals and decorated letters, the Haggadah is accompanied by numerous woodcuts of Biblical scenes relating directly or indirectly to the Exodus, along with woodcuts depicting contemporary Jewish family scenes.
The columns contain notes and Yiddish translation. In contrast to the 1609 edition, this edition contains the exegetic notes of the great Sephardic Rebe, Isaac Abarbanel.
This edition was printed in 1975 – 350 copies on high-quality, parchment-like paper. 400x275mm, no pagination. Leather-bound hardcover
CONDITION:
Excellent and well-preserved.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
“The observer, when he seems to himself to be observing a stone, is really, if physics is to be believed, observing the effects of the stone upon himself.”
- Bertrand Russell
______________________________________________________________
it was extrememly hard for me to get this shot.. i am so glad i could capture it. the way i shot it was extremely funny.. Crea-tive photographed me while i struggled to take this shot. I might post it.. so look out for that one.
(for best viewing, have monitor brightness on highest)
This relates to my blog post
www.heatheronhertravels.com/a-cool-gelateria-in-nuoro-in-...
This photo is licenced under Creative commons for use including commercial on condition that you link back to or credit http://www.heatheronhertravels.com/.
See my profile for more detail.
Carrigeen Castle has featured in columns of the New York Times, Sunday Times, Kaleva (Finland), and Afton Bladet (Sweden) newspapers, besides several American and European publications relating to Ireland. In the mid-1990s, the Frommer Guide to Ireland took the opportunity of placing a picture of Carrigeen Castle on its front cover.
A defensible fortified structure was on this hilltop from at least the sixteenth century. The Pacata Hibernica depiction of the siege of Cahir Castle (1599) shows such a building. In 1690, during the Williamite campaign, earthen and stone outworks were erected around it, presenting an ideally defensible fortification for the Danish troops of William II who, during that winter, had quarters in Cahir and nearby Clonmel. Materials from this earlier structure were incorporated in the present building, while the associated outworks were adapted to serve as the castellated wall encircling the grounds.
In 1809, at the Summer Assize Presentments of the County Tipperary Grand Jury, funding was laid aside for the future provision of a bridewell in the town of Cahir. Bridewells (small town gaols) were generally small two-storey buildings, built of cut-limestone, and costing up to £800 to erect. They held prisoners temporarily, pending space in the county gaol, and were funded by the grand jury system (predecessors of the county councils), but supplementary central resources were also available, in certain circumstances. At Cahir, a committee led by local landlord, Richard Butler, baron of Caher – soon to become first earl of Glengall – was successful in attracting over twice the usual funding. Their chosen architect – Michael Bernard Mullins - submitted two plans, both variants of the same elaborate, castellated structure, costing some £2,000 to build, which would emphasize the fortress origins of the site and overawe the local population. This involved the creation of towers, turrets, battlements and a machicolation (defence mechanism over the main door, through which boiling oil was thrown on attackers of medieval castles) of hand cut limestone, an expensive and time consuming process.
Construction of the Cahir Bridewell commenced in 1813, and it was opened for the admission of prisoners in 1816. The original section is three stories in height, with a cut-limestone spiral staircase in the main tower. It originally comprised five cells, two dayrooms, two keeper's rooms and two exercise yards, the latter incorporating obtuse and acute angles suggestive of late medieval starfort design. The inner grounds – comprising ½ acre – are encircled by a castellated wall and gateway arch, beyond which lies 5½ acres known as The Bridewell Field.
The bridewell was enlarged in 1849-50 – at the height of the Great Famine – when the prison compliment was increased to eight cells (four for males, three for females and one for drunken / violent prisoners), two dayrooms, two storerooms, and two exercise yards. An inter-connecting keeper's residence was also erected – comprising a kitchen, dining room, sitting room, and two bedrooms.
LIFE IN THE BRIDEWELL:
Cahir Bridewell received mention in several noteworthy publications due to its unique appearance and situation. Perhaps the earliest coverage, however, was in May 1827 when the local Clonmel Gazette newspaper carried the headline ‘two men escaped from Cahir Bridewell’. The men managed to escape unnoticed but were recaptured the following day. Following on from this incident, the parapet of the exercise yards was raised!
In 1837 The Lewis Topographical Dictionary of Ireland stated ‘the bridewell is a handsome castellated building, containing five cells, one dayroom and two airing yards. However, the Inspector General of Prisons (Ireland) Reports of the 1830s and 1840s noted a great decline in the condition of the building, notice of which reached a more general readership in The Parliamentary Gazetteer of Ireland (1846), which stated ‘The Gaol is distinct and suitable in architecture. A short time ago, it was remarkable for its dilapidated state and bad management, but in 1841 it underwent repair.’ The keeper was ‘a painter, who occupied the house for his trade’, and was ‘totally unsuitable to his office’.
Following this damning report, the superintendence of all bridewells of the south riding of Tipperary was placed under the governor of HM Richmond Prison, Clonmel – which was appropriate, given that these temporary places of confinement acted as reserve accommodation for that gaol. Thereafter, a system of training keepers and turnkeys at Clonmel gaol was utilised to great effect.
Also, their salaries were increased from £5 in the 1810s (from which minor repairs were paid, leaving little incentive for upkeep) to £30 by the early 1840s, gradually increased to £50 by 1876.
Due to the lawlessness and poverty of the period, large numbers were confined at Cahir Bridewell over the years. In the year September 1825 to September 1826, 156 prisoners were confined here for an average of three days (awaiting transfer to Clonmel Gaol), at an average cost of 5d. per head. Numbers confined continued to increase, peaking during the famine years when, during one quarter of 1851, 533 prisoners were confined. The prisoners were fed a pound of bread and a pint of new milk for breakfast, and a pound of bread and a pint of skimmed milk for dinner. The local Anglican clergyman was the inspector. Each cell contained, per person, one iron bedstead, one bed ticken and three blankets.
Engraving of 1853
This earliest view – an engraving from 1853 – was commissioned when the property was featured as a notable building in the auction catalogue of Cahir Estates. The Encumbered Estates Court sold the majority of the estate, as it had been bankrupted through town improvements and a lack of tenant rents during the Great Famine (1846-51).
Cahir Bridewell was one of 52 gaols closed by the prison authorities in 1878, as part of an island wide rationalization. The estate then leased the keepers’ residence to local military officers until the purchase of the building from Lt. Col. Richard Butler-Charteris by David Butler (1890-1955), in 1919. He continued the estate tradition of leasing the keeper’s residence, for a time, before residing here in retirement. Following the marriage in 1969 of his son, John (Séan) with Margaret (Peig), the couple commenced renovating the remainder of the building, which opened in May 1976, as a guest accommodation.
The Panel (or Bay) numbers quoted at the end of each entry relate to the panels dedicated to the Regiment served with. In some instances where a casualty is recorded as attached to another Regiment, his name may alternatively appear within their Regimental Panels (or Bays). Please refer to the on-site Memorial Register Introduction to determine the alternative Panel (or Bay) numbers if you do not find the name within the quoted Panel (or Bay). Wheelchair access to the memorial is possible via an alternative entrance at the rear of Faubourg-d'Amiens Cemetery. Location Information: The Arras Memorial is in the Faubourg-d'Amiens Cemetery, which is in the Boulevard du General de Gaulle in the western part of the town of Arras. The cemetery is near the Citadel, approximately 2 kms due west of the railway station.
The French handed over Arras to Commonwealth forces in the spring of 1916 and the system of tunnels upon which the town is built were used and developed in preparation for the major offensive planned for April 1917. The Commonwealth section of the FAUBOURG D'AMIENS CEMETERY was begun in March 1916, behind the French military cemetery established earlier. It continued to be used by field ambulances and fighting units until November 1918. The cemetery was enlarged after the Armistice when graves were brought in from the battlefields and from two smaller cemeteries in the vicinity. The cemetery contains 2,651 Commonwealth burials of the First World War. In addition, there are 30 war graves of other nationalities, most of them German. During the Second World War, Arras was occupied by United Kingdom forces headquarters until the town was evacuated on 23 May 1940. Arras then remained in German hands until retaken by Commonwealth and Free French forces on 1 September 1944. The cemetery contains seven Commonwealth burials of the Second World War. The graves in the French military cemetery were removed after the First World War to other burial grounds and the land they had occupied was used for the construction of the Arras Memorial and Arras Flying Services Memorial. The ARRAS MEMORIAL commemorates almost 35,000 servicemen from the United Kingdom, South Africa and New Zealand who died in the Arras sector between the spring of 1916 and 7 August 1918, the eve of the Advance to Victory, and have no known grave. The most conspicuous events of this period were the Arras offensive of April-May 1917, and the German attack in the spring of 1918. Canadian and Australian servicemen killed in these operations are commemorated by memorials at Vimy and Villers-Bretonneux. A separate memorial remembers those killed in the Battle of Cambrai in 1917. The ARRAS FLYING SERVICES MEMORIAL commemorates nearly 1,000 airmen of the Royal Naval Air Service, the Royal Flying Corps, and the Royal Air Force, either by attachment from other arms of the forces of the Commonwealth or by original enlistment, who were killed on the whole Western Front and who have no known grave. Both cemetery and memorial were designed by Sir Edwin Lutyens, with sculpture by Sir William Reid Dick. The memorial was unveiled by Lord Trenchard, Marshal of the Royal Air Force on the 31 July 1932 (originally it had been scheduled for 15 May, but due to the sudden death of French President Doumer, as a mark of respect, the ceremony was postponed until July).
Crashed aircraft number C423.
Photograph from a series of album pages relating to Camp Mohawk, near Deseronto, Ontario, donated by Allan Dempsey.
A second photo album relating to the Valdes Scott Family. The first album can be viewed here www.flickr.com/photos/runninginsuffolk/albums/72157665423... This album also turned up at a car boot sale but a year later than the other in 2017. Seems to date from 1951 and the birth of Roselle in Chile.
GENERAL DESCRIPTION
PLEASE NOTE: -
“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.
“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.
27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).
Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.
This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.
A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.
Folio 5 recto (Original Folio 6 recto)
TRANSCRIPTION
(38)
lignum vel navigium armatu Vel disarmatum, vel merces ali -
quas de extra Culphum ad aliquas partes de intra Culphum alioquin
venetiis. Sub pena de L. pro .c . totius eius quod portaretur, vel mit -
teretur, aut discarricaretur contra hoc. Et si maiores pene inveni -
rentur apposite p alios ordines nostros, ille maiores pene exigatur
a contrafacientibus: et pro omni bono respectu est etiam ordinatum,
q de cetero nullis fidelis, vel districtualis Venetiarum possit levare
vel levari facere sup aliquibus navigiis armatis vel disarmatis ali -
quod havere Venetiarum subtile vel grossum quod foret conductum de
extra Culphum sub pena de. L .pro .Co . In quam penam etiam incur -
rant nostri Patroni navigiorum armatorum et disarmatorum super
quibus levaretur de Dicto havere : Et si levaretur de havere fo -
rensium cadant tam nostri patroni predicti, super quorum navigiis
levaretur, q nostri mercatores contrafacientes De . Co . Pro . Co . Valoris
eius in quo fuerit contrafactum. Et si maiores pene forent positae
sup hoc exigantur a contrafacientibus, Et predicta omnia inquiren -
da comissimus omnibus officialibus quibus comissa sunt qui banna
qui inquirant de contrafacientibus, et penas exigant habentes partem ut
de aliis sui officii. Et si fuerit Accusator habeat tertium, & sit
de credentia, officium, tertium, et Commune reliquum. Et perpea
Committimus tibi q predicta facias obsuari, & ingras de contra -
facientibus cum illa libertate, et conditione quibus est comissum
in Venetiis officialibus ante dictis, habendo partem sicut haberet
officiales. Et de dictis penis non potest ferie gratia sub pena du -
catorum mille pro quolibet ponentem vel contrafaciente partem in con -
trarium : & predicta revocari non possint nisi p sex Consiliari -
os, tria Capita de xLra. & tres partes consilii rogarum congregarum
ab octnaginta supra.
(39)NUllus ciuis noster vel habitator Venetiis vel alia persona
Folio 5 recto (Original Folio 6 recto)
POSSIBLE ENGLISH TRANSLATION
38. …............. stock or ship armed or unarmed or reward from any outside Culphum to any parts of the Culphum other than Venice under the penalty of 100 pounds instead of the whole of that which he was born with, or be sent to, or discharged against this. And if our ancestors found it appropriate through other means, they opposed a greater punishment being required, and with respect to all the other goods is ordered otherwise in the future it will not be believed that a distracted Venice can raise or levy on some boats or disarmed can have any Venetian fine or anything which would be hired from outside Culphum under penalty of 50 in which also incurs the penalty of our patron' boats upon which the amusement has taken place : And if the amusement of our patrons takes place in public then let them fall as aforesaid, upon whose boats there was amusements that have opposed the merchants 100 for 100 value of that in which it has been against the facts. And if the punishment that should be placed needs to be opposed and said everything looked affable to all officials who have imposed the banns are to enquire concerning who opposed and the pain brought with it as they possess a much apart as others in the same office. And it shall the plaintiff that may have a third, the entrusted officer a third and the commune the other third. And the aforesaid do entrust it, to suffer, and to enter into the battle with her, opposed to the liberty that had been made by officials in Venice, and as said before, the conditions as set out, as they would have been on the part of the officials. And concerning the said grace in the penalties nor can he make the pain of 1,000 ducats for any part of the holiday for any claims that can not be part of or opposed to the contrary, but that they cannot be recalled and to the aforesaid six councillors, three parts of the 40 and three parts to the council asked to store the 80 above.
39. None of our citizens or inhabitants of Venice or any other person …...........
A landing card relating to Albert Einstein's escape from Nazi Germany has been discovered and put on display for the first time at the UK Border Agency's national museum in Liverpool.
The Jewish physicist fled from his homeland when Adolf Hitler came to power. A bounty was put on his head by the Nazis, who named him an enemy of the regime.
Landing cards were completed by all passengers arriving in Britain. Einstein's card is proof of his journey from Ostende, Belgium to Dover on 26 May 1933. On the reverse, he wrote that he was bound for Oxford.
After nearly 80 years stored at Heathrow Airport, it was discovered by curators from the museum, which is called 'Seized! The Border and Customs Uncovered'.
Assistant curator Lucy Gardner said:
'We didn't know this landing card ever existed until we visited UK Border Agency officers at Heathrow. We were keen on acquiring any documents relating to immigration, but were stunned to find paperwork relating to such a prominent historical figure as Albert Einstein.
'What's remarkable is that the landing card bears his signature, has his profession as "professor" and lists his nationality at Swiss. This shows how Einstein had renounced his German citizenship only weeks earlier in angry reaction to Nazi policies.
'This tiny piece of paper brings to life Einstein's escape from the Nazis to England. This country became a safe haven for him until he eventually settled in the US.'
Seized! The Border and Customs Uncovered is located in Liverpool's Merseyside Maritime Museum.
Michael Good relates his emotional experience at the end of one of his spacewalks during STS-132. Upon entering the payload bay of Space Shuttle Atlantis, the location brought back memories of his first shuttle flight, when he was one of six individuals servicing the Hubble Space Telescope.
The Silver Snoopy Award, also known as the astronaut’s personal award, recognizes NASA civil servants and contractors who have provided exemplary support of NASA’s Human Spaceflight Programs. To be selected, an individual must have made significant contributions to flight safety and mission success.
Those selected for the award receive the specially designed sterling Silver Snoopy lapel pin flown on a space shuttle mission, a letter of commendation, and a certificate presented by a member of the astronaut corps.
Credit: NASA/Goddard Space Flight Center/Pat Izzo
NASA Goddard Space Flight Center is home to the nation's largest organization of combined scientists, engineers and technologists that build spacecraft, instruments and new technology to study the Earth, the sun, our solar system, and the universe.
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The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.
A dramatic scene is portrayed when Hanoman is captured by Rahwana’s troops and put inside a circle of fire to burn him alive. Instead of burning to crisp, the white monkey warrior remains unharmed and breaks out only to burn Rahwana’s palace instead. Thus, began the battle between the two forces.
At first, Rahwana and his troops manage to overrun Rama. However, Sugriwa and Hanoman then come to Rama’s aid along with the rest of the monkey troops, defeat the evil king once and for all
Taken @Bali, Indonesia
Activity relating to the carrying of the more than 100 portable shrines (mikoshi) around the Asakusa neighbourhood to bless the businesses and residents with prosperity in the coming year.
Sanja Matsuri (Festival) at the Sensoji Temple, Asakusa,
Tokyo, Japan, 2016
Only the street shots - thestreetzine.blogspot.com/
This lantern slide relates to a photograph taken by Clement Lindley Wragge (b.1852, d.1922), likely dating between 1890-1922.
The slide shows a cluster of electrical energy with radiating lighting strikes against a black background.
Inscription Details: Handwritten in blue ink in lower left corner of plate, 'G17'. VERSO: Printed text (in reverse) above and below image.
Credit: Shared by Auckland War Memorial Museum, Tāmaki Paenga Hira, as part of the Clement Lindley Wragge collection.
Rights: No known copyright restrictions.
Reference: 235964|PH-1984-1-LS78-3-35|17
For more details, please visit: www.aucklandmuseum.com/discover/collections/record/1033251
Various Artists
Monday 4 - Wednesday 13 November, 10:00am - 4:00pm
Wellgate Shopping Centre
Level 1, Space 2
Dundee, DD1 2DB
This exhibition, curated by Weave at Abertay, brings together emerging and established digital artists/activists whose work comments, reflects and challenges ideas relating to socio-political issues and events. It is a survey of media objects of protest against hostile acts and environments over the past 35 years.
How are digital artists using their practice to facilitate conversations around complex socio-political issues? How do we protest differently in a digital age?
It is a turbulent time across the globe – from the challenges of Brexit to the protests in Hong Kong, from the growing Climate Emergency movement to the rise in Nationalism — the international socio-political landscape is increasingly subject to crisis and change.
These events and activities, while tied to specific cultural and socio-political contexts, often transcend borders and speak to collective concerns for alternative forms of democracy and citizen-informed solutions to complex issues.
Digital devices and platforms have encouraged the public to engage more with social and political issues, expanding opportunities for citizens to directly participate in civil society action. Blogs, petition platforms, crowdfunding sites, e-voting and other online forums and tools offer new means for individuals to contribute to shaping political debate and driving ‘real-world’ change.
It is against this diverse backdrop of politics, and the participatory nature of digital technologies, that many artists are producing work today.
The exhibition reflects on gun culture through Joseph Delappe’s Elegy: GTA USA Gun Homicides and Addie Wagenknecht’s series The Liberator Vases of 3D printed vases made using the first open source downloadable handgun. Irene Tokini Fubara-Manuel’s videogame ‘Dreams of Disguise: Errantry’ we explore issues of agency at border control and in Tina Keane’s video installation we recognise women’s historical struggle against nuclear weapons at Greenham Common . Igor Vamos’ (Yes Men) Barbie Liberation Organization playfully challenges gender-norms and Echo Youth by Matthew Plummer-Fernandez frames physical protest for a digital era.
The title of the exhibition is inspired by Roxy Music’s song, ‘Re-make/Re-model’ and makes reference to musician and theorist Brian Eno’s perspectives on technology, society and the future.
Weave by Abertay, based at Abertay University, creates a vibrant programme of cultural events across the city of Dundee, sharing local and global creativity.Weave gives a platform to national and international artists and designers to share their practice. Weave supports the talent and innovation of Abertay students and staff by working closely with the School of Design and Informatics. They collaboratively explore creative projects relating to Digital Culture, building on Abertay’s international reputation for excellence in computer games education. Through a series of talks, workshops, exhibitions and performances Weave collaborates with cultural partners across the city to make new connections, share knowledge and create cultural happenings across Dundee.
With gratitude and thanks to
Abertay University’s School of Design and Informatics
Adam Lockhart
Andrew McLean
Andy Slater
bitforms gallery
Creative Scotland
DJCAD, University of Dundee
Gerald High
Joseph DeLappe
Martin Zeilinger
Sarah Cook
Steve Page
Wellgate Centre
And our brilliant volunteer team.
Photography Kathryn Rattray
This, the Yakutiye Medresesi, an Ilkhanate masterpiece, was built in 1310 by local Mongol emir Cemaleddin Hoca Yakut on behalf of Gazan Khan and Bolugan Hatun. Its portal and one remaining minaret were designed in the Selcuk style and "show marked Persian influence." (Bradt) See the turquoise tiling on the minaret in this shot. The central dome in the ceiling has impressive muqarnas work. 4 eivans with students' cells /b/ them are arranged @ an inner courtyard. It's on the tentative list for Unesco designation (see below). It houses the obligatory local (and generally dry) 'Turkish and Islamic Arts and Ethnography museum', "one of Eastern Turkey's better museums". (LP) A mock-up of the interior of an Ottoman house, carpets, kilims, copperwork, weapons, womens' clothes, dervish accoutrements, Seljuk ceramics, "exhibits relating to the black amber jewellery trade", etc. are on show, per the LP. I spent at least a few hours in here. www.youtube.com/watch?v=b0rB0DCEXL0
- Impressive Erzurum (Air-zooroom) was more similar to Sivas (and to Tokat but less so) than any place that I would tour further east, but it was the most exotic of those 3, a showcase of some wonderful Saltuqid, Selcuk and Ilkhanate buildings, in particular two grand, well-preserved medreses, jewels of medieval architecture, and some unusual kümbets incl. that of the founder of the Saltuqid dynasty. It and at least one mosque are 12th cent. Saltuqid, among the oldest Islamic bldg.s I'd seen in Turkey to that point. (The city has its share of concrete apt. blocks too.) I enjoyed Erzurum and found it to be restful, untouristy, and atmospheric. I wonder if my impression that it was exotic was a result in part of the relative social conservatism and piety of the locals, with more head-scarves, chadors and prayer-beads on show than I'd yet seen that trip. It also sits at nearly 2,000 m.s above sea level (Turkey's loftiest provincial capital) on an almost treeless plain, set in a great bowl surrounded by distant mountains. www.youtube.com/watch?v=PewFgGXCR5Y
- In the early 1st mill., 'Erzurum [was known by] the Armenian name Karin. During the reigns of the Artaxiad and Arsacid kings of Armenia, it served as capital of the canton of Karin in the province Bardzr Hayk (Upper Armenia). Following the partition of Armenia in 387, the city passed into Roman control, was fortified and renamed Theodosiopolis after Emperor Theodosius I, became the chief military stronghold along the eastern border of the empire and was fiercely contested in wars between the Byzantines and Persians. Anastasius I and Justinian I both refortified the city.
- Conquered by Umayyad general Abdallah ibn Abd al-Malik in 700/701, it became the capital of the emirate of Ḳālīḳalā and was used as a base for raids into Byzantine territory. Notwithstanding that it was only an island of Arab power in Armenian territory, the city was generally a reliable client of the Caliph's governors. With the decline of the Caliphate and the resurgence of Byzantium, local Armenian leaders preferred the government of the city by relatively impotent Muslim emirs than by Byzantine emperors. In 931 and in 949, Byzantine forces led by Theophilos Kourkouas, grandfather to future emperor John I Tzimiskes, captured Theodosiopolis, expelled is Arab population and resettled it with Greeks and Armenians. Basil II rebuilt the city and its defenses in 1018 with the help of the local Armenians. In 1071, following Manzikert, the Seljuks took possession. The Saltukids, rulers of an Anatolian beylik (principality) centered in Theodosiopolis, ruled from the city [, their capital,] from 1071 to 1202. They repelled several attacks and campaigns by the Seljuks and Georgians until 1201 and the conquest of the city and province by Seljuk sultan Süleymanshah II. Erzen-Erzurum then fell to the Mongols in 1242 who looted and devastated the city. With the fall of the Sultanate of Rum in the early 14th cent., it became a province of the Ilkhanate, then became part of the Çoban beylik under the Black Sheep Turkmen, then of the empire of Timur Lenk and the White Sheep Turkmen, and then passed to the Safavids until the Ottomans, led by Selim the Grim, conquered it at Chaldiran in 1514. The city would then serve as the main base of Ottoman military power in the region and as the capital of the eyalet of Erzurum. ... In 1733, Nader Shah took Erzurum in the Ottoman-Persian War (1730-35), but it was retaken by the Ottomans following his death in 1747.
- In 1821, during the last major Ottoman-Persian War, the Ottomans were defeated by the Qajars at the Battle of Erzurum. In 1829 the city was captured by the Russians, [a consequential victory for Russia "mark[ing] a high point of achievement after which political divisions shaped by the 1825 Decembrist Revolt hardened; a pivotal moment which brought British India and Russia face to face in Persia and Ottoman Turkey [and] cast the die for an Asian rivalry which would be played back from India to London as Russian inheritance of Napoleon’s “threat to India” royalasiaticsociety.org/derek-davis-pushkins-journey-to-a... ]. But it was returned to the Ottomans later that year per the Treaty of Adrianople (Edirne). In Feb. 1878, the Russians took Erzurum without resistance, but then returned the city to the Ottomans per the Treaty of San Stefano. There were massacres of the city's Armenian citizens in 1894–1896.
- The 40,000-strong Armenian population was deported and massacred in the 1915 genocide. Their churches, clubs, schools, etc. were looted, destroyed, or otherwise left derelict. When the Russians reoccupied Erzurum in 1916, there were only @ 200 Armenians left alive.
- Erzurum was the site of a key battle in the Caucasus campaign of WWI /b/ the Ottoman and Russian Empires and was captured by the Russians under Grand Duke Nicholas and Nikolai Nikolaevich Yudenich on Feb. 16, 1916. It reverted to Ottoman control per the Treaty of Brest-Litovsk in March, 1918. In 1919, Atatürk resigned from the Ottoman army in Erzurum and was declared an "Honorary Native" and freeman of the city, which issued him his first citizenship registration and certificate (Nüfus Cuzdanı) of the new Turkish Republic. (all Wikipedia) The Erzurum Congress of 1919, at which the outlines of post-Ottoman Turkish foreign policy and Turkey's modern boundaries were drawn up, would lead to the Turkish War of Independence." (Bradt)
- Erzurum was a 'listening post' for NATO in the cold war, with the code-name 'the Rock'. (Wikipedia)
- The Arabs referred to the place as 'Arz Er-Rum', 'land of the Romans' (the Byzantines), and the Seljuks kept the name. (Bradt)
- Pushkin visited the city and then wrote one of the first traveler's diaries in literature: "A Journey to Arzrum during the Campaign of 1829." "The Tsarist authorities [hadn't] allowed Pushkin to travel abroad [he'd been a social activist, influenced by the Kantian liberal individualist A.P. Kunitsyn and the ideas of the French Enlightenment. Outspoken, he angered the tsarist government, and was sent into exile on his mother's estate for a spell; not such a bad exile]; he was only permitted to travel as far south as Tiflis (Tbilisi). His unauthorized journey to Turkey infuriated Nicholas I, who "threatened to confine Pushkin to his estate once again." His text challenged, although it didn't entirely reject, the orientalist romanticism of his earlier 'Prisoner of the Caucasus'" and wasn't a hit with his fans who expected a romantic epic poem. (Wikipedia) It was adapted into an opera in 1987 by Armenian composer Edgar Hovhannisyan www.youtube.com/watch?v=dtJRxzdUchY and into a Soviet film in 1936 directed by Moisei Levin. (I can't find a clip on Youtube.) A quote from the book: "One of the Pashas, a wizened old man, terribly fussy, was talking animatedly to our generals. Seeing me in a frock-coat, he asked who I was. Pushchin gave me the title of poet. The pasha folded his arms on his chest and bowed to me, saying through an interpreter: 'Blessed is the hour when we meet a poet. The poet is brother to the dervish. He possesses neither fatherland nor worldly goods; and while we, poor souls, fret about glory, power, and treasures, he stands equal with the rulers of the earth and they bow down to him.'"
I toured the following (I think) per the LP.:
- The highlight in Erzurum (together with the medresesi in this photo) was the grand, atmospheric Cifte Minareli (Twin Minaret) medrese (Seljuk, 1253), surrounded and filled with promenading locals late in the day when I toured it. I recall a time-capsule-ish atmosphere at this medrese that was almost intense. [Update: I might have to edit this and my comment re Sivas further as I think I'm confusing my impression of this medrese with the Bucuriye in Sivas. It's been a long time.] Built by the Seljuk sultan Alaettin Keykubad II, at 35 x 48 m.s, with 2 storeys, a towering limestone portal and 30-m.-high, brick-ribbed, fluted minarets, it's the largest medrese in Anatolia. (!) A carved relief of a double-headed eagle appears on a panel to the right of the portal, a motif for the Seljuks. The central courtyard is surrounded by 4 eivans with double colonnades on the eastern and western sides and seminarians' cells on the upper levels. At the far end of the courtyard sits a 12-sided domed hall, the Hatuniye Turbesi, the tomb of the sultan's daughter Huant Hatun. A small room beneath it with vents to allow in light and air may have been a mescit (prayer room) with a cenotaph, with the tomb itself beneath the floor. (LP)
- The said 'domed hall' is round with blind arches, a conical roof, and is similar to the ancient mosque in the kale and the famous kümbets in town (see below). These are also quite similar to contemporary Armenian churches. It seems obvious that the city's Saltuqid, Seljuk and Mongol rulers employed Armenian architects here. In fact, some claim that the 'domed hall' and the very similar mosque in the kale are converted Armenian churches. allinnet.info/antiquities/erzurum-karin-ancient-armenian-... (To be clear, I'm referring to the cylindrical bldg.s or components of complexes with conical roofs. The eivans and the muqarnas moulding in the portal, sky-lights and elsewhere [inspired by the pomegranate], are Persian in origin. In fact the eivan is early Sassanian in origin, pre-dating Islam.)
- This medrese is thought to be the model for the Gok medrese in Sivas, and likely influenced the construction of the Bucuriye medrese in that city as well.
- Erzurum's Cifte Minareli medrese and the Yakutiye medresesi (in this photo) are 2 of 10 medreses in a proposal for designation as a collective Unesco site, 'Anatolian Seljuk medreses' (although at least 2 are Ilkhanate), on Turkey's (very lengthy) tentative list. I toured 5 this trip, incl. 3 in Sivas: the Gök, Çifte Minareli (in that city), and the Bucuriye.
- www.youtube.com/watch?v=d4L5lNdvvAQ
- (More re Anatolian medreses): "These were educational institutions that first appeared in Islamic countries. Before madrasahs, mosques were used as schools outside the hours of worship and education was limited to the study of the Koran and theology. But the use of mosques as schools came to be considered inappropriate, and so hodjas began to give lessons in their homes. The earliest traces of bldg.s known as madrasahs date to the 10th cent. and are found in Khorasan and Transoxiana. These consist of rooms arranged around an internal courtyard with an iwan at the centre of each side and student cells between. This layout influenced the plans of madrasahs constructed in Anatolia: a courtyard, iwan, winter dershane and student cells are found in all madrasahs constructed in this period that have survived to the present day. Madrasahs were built by wealthy people and high state officials and were not bound to the state, and so patrons would devote a portion of their income-generating properties to the madrasah to meet its expenses, incl. feeding students (20 to 40 students per madrassah), employee salaries and bldg. maintenance. Each madrasah was a waqf institution. ..." (Unesco) whc.unesco.org/en/tentativelists/5907/
- the austere Ulu Cami (1179, Saltuqid), built by Nasreddin Aslan Mehmed, the Saltuklu emir of Erzurum and restored 5 x since, has 7 aisles running north-south and 6 east-west resulting in a forest of columns in cut-stone. An impressive muqarnas dome in the centre is open to the sky, and a wooden dome and a pair of bull's-eye windows are at the end of the central aisle opposite the entrance. The mosque is also replete with elaborate, low-hanging chandeliers.
- a photogenic group of 3 kümbets or tombs, the Üç Kümbetler. The largest, oldest and most unusual is a 12th-cent., octagonal, 'flattened-cone-domed' Saltuqid tomb, thought to be that of Emir Saltuq, founder of the Saltuqid dynasty in the late 11th cent. (!) It was built with red volcanic and gray cut-stone "in a blend of Georgian, Armenian and early Turkish styles" (Bradt), with reliefs of bulls, snakes, bats, eagles and one of a human head /b/ the horns of a bull in its niches. (I'll scan a photo.) The other 2 are Seljuk, 14th cent., cylindrical with blind arches and conical domes (very Armenian in appearance), and are similar to one another. A 4th much smaller, squarish kümbet stands behind. "In the medieval period, these would've been outside the city walls not far from Tabriz Kapisi (Tabriz Gate)." (Archnet) They stand near some centuries-old 2-story houses built with field stones.
- the Kale or citadel, erected on a hilltop by Theodosius @ the 5th cent., was damaged and renovated repeatedly over the centuries, including a restoration by Suleyman the Magnificent in 1555. "In Ottoman times, the citadel was the eastern stronghold for many years of the dreaded Janissaries, the Ottoman SS." (Bradt) It's surmounted by a clock tower converted from a 12th cent. Saltuqid minaret. Its walls are intact and harbour some old cannons with Russian or Ottoman emblems and inscriptions, and a fine Seljuk or Saltuqid mosque (not in use) with 3 minarets, blind arches and a conical dome. Steps lead to the top of the rough walls for a fine view over the Cifte Minareli medrese and environs, surrounded by broad mtn.s. The clock-tower/minaret can be climbed too (I don't recall climbing it; it might've been closed?); the clock was made in Croydon, England and was given to the Ottomans by Queen Victoria in 1877. I do recall an event which involved making a phone call (home I assume, long dist.) from a phone booth overlooking the city by this kale.
- the small Caferiye Camii (Ottoman, 1645) built on the order of Ebubekiroglu Haci Cafer;
- the Lala Mustafa Pasa Camii (Ottoman, 1563). Lala Mustafa Pasa was a grand vizier, and this mosque might have been designed by Sinan or one of his followers;
- the small Pervizoglu Camii (Ottoman, 1715);
- What a beauty this is, the Solakzade camii (a miss), and it's not in any of the guidebooks.: www.youtube.com/shorts/M0_rJIlUspM
- I toured the 'Erzurum museum' which displays fragments of Seljuk tiles, Urartian and Trans-Caucasian pottery, jewellery found in Hellenistic and Roman-era tombs, and artifacts discovered in digs at Büyüktepe Höyük and Sos Höyük (per the LP). I don't recall any of this, but it's been entirely renovated and modernized since. I bought the only postcard on sale, a photo of an object on display, an ancient, phallic incense-burner with a face on what could be the glans (? They must've been low on postcards). I'd become accustomed to buying postcards across Eastern Europe and in Western Turkey, but they were rare to non-existent in the east.
- Some exhibits "document the massacre and mass burial of the Muslim inhabitants of Yeşilyayla and Alaca Köyü by Armenian insurgents at the beginning of the [20th] cent., but the labelling is only in Turkish" (LP, 1995). I don't recall this either, but in 2000 there was a 4-paragraph write-up in a frame on a wall in the museum (I took a photo). Unusually it was in English and was clearly intended to be read by Western tourists. Entitled 'The Problem of Armenia and [unintelligible]' (my photo's a bit blurry), it includes the following.: "... The Armenians were naturally influenced by the emergent Nationalist movement in Europe in the XIX cent. and began to rebel against the Ottomans, whose good intentions and tolerance they had exploited for centuries. [Ouch] ... These separatist movements were changed into rebels when the Ottoman Empire __ __ __ [unintell.] as to collapse during the World War I. Moreover they began to massacre Turks with whom they had lived together for long years. They were also treacherous to benefit from the incapability of the Ottoman empire during the ___ conquest of East Anatolia, mercilessly massacring the inhabitants there from the ___ and innocent babies to the elderly people. ... " It then refers to evidence found in 2 villages in the district of Erzurum and one near Kars. It's fair to say that the Turks have been on the defensive as to the events of 1915 for decades, but the saying goes that the best defense is a good offense. (That said, no-one denies that the Russian Empire, with whom the Armenians were allied, waged a series of brutal wars of aggression for territorial expansion in Eastern Turkey in the 19th and early 20th cent.s, "each [war] more horrible than the last, culminating in the bloody Battle of Sarikamis during World War I." [Bradt])
- I didn't mention the Armenian genocide when I was in Eastern Turkey, but it seems that when foreigners bring up the subject in videos online (at least with elderly local men), the response is 'No, they were jerks and killed our people'. Here's a site that claims that 'Armenian gangs' massacred at least 523,955 Turks from 1910 to 1922. www.genocidestudiescenter.org/turkishgenocideofarmenians
- www.youtube.com/watch?v=eBVJH8Y9CmI See the interaction in Kars from the 2:12 min. pt. to 6:50 in this Dutch doc.
- www.youtube.com/watch?v=4VOkOZlm6WQ
- www.youtube.com/watch?v=2-zaXNF1sLM
- www.youtube.com/watch?v=P_WDJwmxFhY
- The LP praises an old hamam in town, but if I visited it I don't recall.
- I don't recall if I toured the Rustem Pasa Hani, a "severe, dark stone, 16th cent. caravanserai, named after the grand vizier of Suleyman the Magnificent." Used today as a covered bazaar, it currently specializes in the sale of jewellery and prayer beads made from the local 'black amber' or 'oblutas', an obsidian-like black jet.
- There's a museum devoted to the Erzurum Congress, at which Ataturk officiated in July and August, 1919, in the bldg. in which it was held, the Sanasarian College, with more school-desks and the photos of participants (as at Sivas), a printing press, and the brass bed in which Ataturk slept. I don't recall if I toured it. (That college had been a prestigious Armenian school, founded in 1881. Most of its teachers perished in the genocide.)
- As to Armenian religious heritage, the 'Cathedral church of the Holy Mother of Garin' (1838-'44) had stood somewhere in the north of town on the site of 2 older churches, but it was demolished at an unknown date after WWI. I can't find any other churches in town in a search online.
- I wrote much in the description to the last photo (of the Ulu Cami in Divrigi) re the interesting Armenian heritage sites not far off my route from Divrigi to Erzurum, none of which were written up in the LP or the other guidebooks, and still aren't notwithstanding the importance of several to the early history of the Armenian church. By contrast, a series of abandoned Georgian churches in the valleys north of Erzurum were in the LP in 2000. I don't know how much the authors of these guides rely on sources in the Turkish tourism industry and in Turkish government when they conduct their research, but I hope the omission of those Armenian sites isn't the result in part of Turkish sensitivities as to the genocide. (The RG writes that "there's not been nearly the degree of official stonewalling as to Georgian Christians as there is concerning Armenians", although 'stonewalling' is open to interpretation.) But, that said, promotion of the Georgian churches to tourists makes good sense in light of their setting in the dramatic and beautiful valleys of the Yusufelli region, the most scenic region I toured in Turkey that trip. (According to Bradt, "the closest thing to these magnificent Georgian valleys are scenes in the remotest corners of the Pyrenees or the Alps.") Not as much can be said for the region @ Kemah from İliç to Erzincan. And these Georgian churches and monastic complexes are more accessible and are generally much better preserved than the Armenian bldg.s at those sites south of Erzincan, and several are quite important to the history of medieval Georgia and the early history of the Georgian Orthodox church. 2 of the churches were converted to mosques centuries ago by Georgians who converted, and have been maintained as such since.
- So from Erzurum I hitched north to the region of the Tortum valley, once the medieval home of Georgian Christians and ambitious architects. Further motivation for this detour north was that I'd heard that some of the valleys in the Yusufelli region were set to be flooded for hydroelectric 'development', and that I should tour them then, if ever.
- "The mountainous country north of Erzurum towards Artvin was once part of the medieval Georgian kingdom [of Tao-Klarjeti], and has numerous castles and churches to show for it. The trouble you take to see this region will be amply rewarded. The mountain scenery is at times spectacular. ..." (LP)
- I hitched up the D950 from Erzurum towards the turn-off for Bağbaşı and the Haho manastiri. Only @ 4 km.s north of Erzurum and 2 or 3 east of the hwy. is Çayırtepeköyü. The Armenian 'Holy Illuminator monastery of Mudurga', a scriptorium from the 16th to the 18th cent.s and the residence of the primates of Erzurum, had stood somewhere nearby but, per the collectif2015.org site, it's been "entirely destoyed" and a Muslim place of pilgrimage has been built on-site (the Çayırtepe Köyü Cami?).
- One real miss @ 6 km.s beyond the village of Tortum and a few east of the road as the crow flies was the dramatic, photogenic ruin of the vertiginous Tortum Kalesi. Wow. www.youtube.com/watch?v=FHLmIyvp4vc It sits on a rocky ridge above the village of Tortumkale in a valley. Said to have been built by a Georgian king named Mameroz or Mamerol, it probably incorporated an earlier fortress. It was taken in 1282 by the Seljuks, was swiftly retaken by the Georgians, but was retaken a week later by the Turks. It was then modified over the centuries by a succession of Persian, Byzantine, Georgian, Ilkhanid, Aq Koyunlu and Ottoman overlords and warlords. www.castles.nl/tortum-castle
- At the 1st of 3 turn-offs from the D950 for the Serdarli Yolu valley road to the west, there's an impressive, ancient cut-limestone bridge with one high pointed arch, the Kireçli Köprü (which I don't recall), believed to have been renovated by the Seljuks in the 13th cent. and again later by the Ottomans.
HAHO - I followed the Serdarli Yolu north to the turn-off for the road up alongside the Bağbaşı Creek and followed that @ 8 clicks to the village of Bağbaşı and the grand high-domed Khakhuli manastiri in Haho (10th cent., Georgian Orthodox). "For a tip an elderly local with the key let me in" (from a note on the back of a photo). Part of it's in use as the village mosque and it was more intact and enclosed (certainly as a result) than most of the Georgian churches I would see further north. Several interesting stone reliefs had been left intact over the many centuries despite the bldg.'s use as a mosque and which were all the more impressive for that reason. According to Bradt, the bldg. had been carefully restored by the locals. "Most of the Georgians in the area converted to Islam in the 17th cent.," which might help to explain the state of things. (I'll scan a photo.)
- The monastery was built by David III Kurapalates, king of the Bagrat kingdom /b/ 976 and 1001. It then became "an important centre of literature and Georgian culture and many Georgian scholars and theologians studied and worked there incl. Basil of Khakhuli, Ioane Khakhuleli, Davit Tbileli, and Giorgi Mtatsmindeli." The region advanced economically in centuries to follow with the growth of 300 villages ruled by 30 independent minor feudal lords. Khakhuli was absorbed into the Kartli Catholicate in the 16th cent., but became isolated from Georgia following the Ottoman conquest of the southern Georgian territories. (Wikipedia)
- Khakhuli is a Georgian cross-dome church. The west arm divides into 3 'naves' and the east arm ends in a semicircular apse flanked with a compartment on each side, also topped with small apses. The drum's exterior is decorated with blind arches in the Armenian and Georgian style. (I can't find the dimensions of this church, the height and diameter of the dome, etc. on-line.) Several small chapels surround the church within the circuit wall, one dating from the 10th cent.
- Reliefs on the interior and exterior walls and windows include images of "a lion, a bull, a cock, a pig and a griffon" (a plaque), eagles grasping does in their talons, the regurgitation of Jonah by the whale (resembling a toothy pig with front legs and pointy ears), and 'the aerial flight of Alexander the Great' (in which he's carried by birds). The old man with the key pointed the 'flight' out to me.: "Iskander, Iskander", pointing. en.wikipedia.org/wiki/Khakhuli_Monastery#/media/File:Sain... (I'll scan photos). From an abstract to an article at jstor.org, 'Alexander of Macedon in Georgian Folktales': "Alexander the Great never visited Georgia during his campaigns, yet is one of the most popular characters in Georgian folklore. The Georgian folktales featuring Alexander draw on literary influences from Antiquity and the Middle Ages, representing at the same time an integral part of national folklore."
- An intricate, lovely 12th-century triptych icon of the Mother of God, originally assembled at Khakhuli on a gilded and silver frame with a collection of Georgian and Byzantine enamels, is one of Georgia's finest examples of medieval Georgian goldsmithery, and is now displayed in the Art Museum of Georgia. (Wikipedia) upload.wikimedia.org/wikipedia/commons/2/25/Georgia_Khakh...
According to this site, that icon is "the largest [in] the entire Eastern Christian World." !!
www.atinati.com/news/6388a71b7103640043fa3670
Highly skilled and accomplished Georgian jewellers and goldsmiths crafted 'the Holy crown of Hungary', which has pride of place in the Parliament bldg. in Budapest.
- www.youtube.com/watch?v=Eb0GH3YhSSI
- From Haho, I hitched back to and north up the twisty D950 right past and below one of my biggest misses en route in Turkey that trip, the supernatural Engüzek or Üngüzek kapı kalesi (castle), straight from my childhood fantasies and yours too. Looking over my route on google maps for the first time since then, I've just learned of its existence and saw it for the first time (at least since Sept. 2000) in this video in which the vlogger runs through it, obligingly.: www.youtube.com/watch?v=UjRMCSrV_A8 ("Çok güzel, çok" at the 6 sec. pt., "Very beautiful, very". See how quiet Turks can be?) If I saw it from the road (how'd I miss it if I didn't?) I don't recall. None of those metal walkways nor the bridge had been installed by 2000, so it would've been quite a trick to gain entry, and the whole pile would've been an obstacle course before it was cleaned up. But I would've had the view that you see at the 32 to 50 sec. pt., and in this photo too (unless the access road is new too, which it looks to be).: www.castles.nl/unguzek-castle (When I first watched the vlogger arrive at the bridge at the 47 sec. pt., I thought of the famous scene from 1:23:20 to 1:25:45 in this.: www.youtube.com/watch?v=uYhv0O0gUTk )
- The net reveals a surfeit of mtn.-top castles in the area that are handy to the hwy., but you'd expect as much from this Eastern Turkish 'World of Warcraft'. I saw at least a few en route high above and beyond the road, but none up close (that I recall) and none as accessible nor as dramatic as this. From the 'Castles' blog in the link above: "Üngüzek Castle ... tower[s] above the Tortum river and the road from Erzurum to Artvin. ... It was probably built in the Middle Ages by Turkish beys. [Some attribute its construction] to the Byzantines or the Genoese. [I think the Georgians probably built it.] ... I couldn't find a safe way in."
- Again, I continued north along the D950 /b/ rising mountainous slopes to the turn-off west up the Gölbaşı Köyü Yolu to the village of Gölbaşı and past that to Çamlıyamaç, home to the ruined Öşvank or Oshki manastırı. (See the next photo taken hiking along the Gölbaşı Köyü Yolu.)
This relates to my blog post
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Activity relating to the carrying of the more than 100 portable shrines (mikoshi) around the Asakusa neighbourhood to bless the businesses and residents with prosperity in the coming year.
Sanja Matsuri (Festival) at the Sensoji Temple, Asakusa,
Tokyo, Japan, 2016
Only the street shots - thestreetzine.blogspot.com/
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
Venedig - Markusplatz
seen from Canal Grande
gesehen vom Canal Grande
Piazza San Marco (Italian pronunciation: [ˈpjattsa san ˈmarko]; Venetian: Piasa San Marco), often known in English as St Mark's Square, is the principal public square of Venice, Italy, where it is generally known just as la Piazza ("the Square"). Almost all the other urban spaces in the city (except the Piazzetta and the Piazzale Roma) are called campi ("fields"). The Piazzetta ("little Piazza/Square") is an extension of the Piazza towards San Marco basin in its southeast corner (see plan). The two spaces together form the social, religious and political centre of Venice and are referred to together. This article relates to both of them.
A remark usually attributed (though without proof) to Napoleon calls the Piazza San Marco "the drawing room of Europe".
Description
The square is dominated at its eastern end by St Mark's Basilica. It is described here by a perambulation starting from the west front of the church (facing the length of the piazza) and proceeding to the right.
St Mark's Basilica has a western façade with great arches and marble decoration, Romanesque carvings around the central doorway, and four horses which preside over the whole piazza. The four horses are potent symbols of pride and power in Venice. In 1379, the Genoese said there could be no peace between the two cities until these horses had been bridled.[3] Four hundred years later, Napoleon, after he had conquered Venice, had them taken down and shipped to Paris.
The Piazzetta dei Leoncini is an open space on the north side of the church named after the two marble lions (presented by Doge Alvise Mocenigo in 1722), but now officially called the Piazzetta San Giovanni XXIII. The neo-classic building on the east side adjoining the Basilica is the Palazzo Patriarcale, the seat of the Patriarch of Venice.
Beyond that is St Mark's Clocktower (Torre dell'Orologio), completed in 1499, above a high archway where the street known as the Merceria (a main thoroughfare of the city) leads through shopping streets to the Rialto, the commercial and financial centre. To the right of the clock-tower is the closed church of San Basso, designed by Baldassarre Longhena (1675), sometimes open for exhibitions.
To the left is the long arcade along the north side of the piazza, the buildings on this side are known as the Procuratie Vecchie, the old procuracies, formerly the homes and offices of the Procurators of St Mark, high officers of state in the days of the republic of Venice. They were built in the early 16th century. The arcade is lined with shops and restaurants at ground level, with offices above. The restaurants include the famous Caffè Quadri, which was patronized by the Austrians when Venice was ruled by Austria in the 19th century, while the Venetians preferred Florian's on the other side of the piazza.
Turning left at the end, the arcade continues along the west end of the piazza, which was rebuilt by Napoleon about 1810 and is known as the Ala Napoleonica (Napoleonic Wing). It holds, behind the shops, a ceremonial staircase which was to have led to a royal palace but now forms the entrance to the Museo Correr (Correr Museum).
Turning left again, the arcade continues down the south side of the Piazza. The buildings on this side are known as the Procuratie Nuove (new procuracies), which were designed by Jacopo Sansovino in the mid-16th century but partly built (1582–86) after his death by Vincenzo Scamozzi apparently with alterations required by the procurators and finally completed by Baldassarre Longhena about 1640.[6] Again, the ground floor has shops and also the Caffè Florian, a famous cafe opened in 1720 by Floriano Francesconi, which was patronised by the Venetians when the hated Austrians were at Quadri's. The upper floors were intended by Napoleon to be a palace for his stepson Eugène de Beauharnais, his viceroy in Venice, and now houses the Museo Correr. At the far end the Procuratie meet the north end of Sansovino's Libreria (mid-16th century), whose main front faces the piazzetta and is described there. The arcade continues round the corner into the Piazzetta.
Opposite to this, standing free in the piazza, is St Mark's Campanile (1156–73 last restored in 1514), rebuilt in 1912 com'era, dov'era ("as it was, where it was") after the collapse of the former campanile on 14 July 1902. Adjacent to the campanile, facing towards the church, is the small building known as the Loggetta del Sansovino, built by Sansovino in 1537–46 and used as a lobby by patricians waiting to go into a meeting of the Great Council in the Doge's Palace and by guards when the council was sitting.
Across the piazza in front of the church are three large mast-like flagpoles with bronze bases decorated in high relief by Alessandro Leopardi in 1505. The Venetian flag of St Mark used to fly from them in the time of the republic of Venice and now shares them with the Italian flag.
Description of the Piazzetta
The Piazzetta di San Marco is, strictly speaking, not part of the Piazza but an adjoining open space connecting the south side of the Piazza to the waterway of the lagoon. The Piazzetta lies between the Doge's Palace on the east and Jacopo Sansovino's Biblioteca (Library) which holds the Biblioteca Marciana on the west.
At the corner near the campanile, this (west) side is occupied entirely by the Biblioteca (Library) designed by Jacopo Sansovino to hold the Biblioteca Marciana (library of St Mark). Building started in 1537 and it was extended, after the death of Sansovino, by Vincenzo Scamozzi in 1588–91. The building was said by Palladio to be "the most magnificent and ornate structure built since ancient times". The arcade continues to the end of the building with cafés and shops and also the entrances to the Archaeological Museum, the Biblioteca Marciana and the National Library, which occupy the floors above.
At the end of this building is the Molo (the quay fronting the lagoon) and the adjoining building to the right is the Zecca (mint) also by Sansovino (completed 1547) and now part of the Biblioteca Marciana. Turning to the left at the end of the Biblioteca one crosses the open end of the Piazzetta marked by two large granite columns carrying symbols of the two patron saints of Venice. The first is Saint Theodore, who was the patron of the city before St Mark, holding a spear and with a crocodile to represent the dragon which he was said to have slain. This is made up of parts of antique statues and is a copy (the original is kept in the Doge's Palace). The second (eastern) column has a creature representing a winged lion — the Lion of Venice — which is the symbol of St Mark. This has a long history, probably starting as a winged lion-griffin on a monument to the god Sandon at Tarsus in Cilicia (Southern Turkey) about 300 BC. The columns are now thought to have been erected about 1268, when the water was closer and they would have been on the edge of the lagoon, framing the entry to the city from the sea. Gambling was permitted in the space between the columns and this right was said to have been granted as a reward to the man who first raised the columns. Public executions also took place between the columns.
On the far side of the Piazzetta is the side wall of the Doge's Palace with Gothic arcades at ground level and a loggia on the floor above. Up to the seventh pillar from the front this is the building as rebuilt in 1340, while the extension towards the Basilica was added in 1424. The capitals of the columns of the extended part are mostly copies of those in the front of the Palace. The seventh pillar is marked by a tondo (circular sculpture) of Venice as Justice above the first floor loggia. To the left of this, there are two red pillars in front of the first-floor loggia, contrasting with the other pillars which are of white Istrian stone. The red pillars are made of red Verona marble. They may have framed the Doge's chair on ceremonial occasions, but it seems that important malefactors found guilty of crimes against the state would sometimes be executed there.
On the rear corner of the Doge's Palace is a sculpture of the Judgment of Solomon with the archangel Gabriel above. The sculptors are not known. Set back from this corner is the Porta della Carta, the ceremonial entrance to the palace, built in fine Gothic style in 1438–43, probably by Giovanni and Bartolomeo Bon. Again, there is at the top a figure of Venice as Justice, the theme of fair judgment and justice being much emphasised on this side of the palace. Below this, the head of Doge Francisco Foscari and the lion before which he is kneeling were replaced in 1885, the originals having been destroyed on French orders in 1797. The statues on either side of the gateway represent the cardinal virtues of Temperance, Fortitude, Prudence and Charity.
Next to this, on an outside corner of the basilica of St Mark, are four antique figures carved in porphyry, a very hard red granite. They are usually known as the Tetrarchs and said to represent the four joint rulers of the Roman Empire appointed by Diocletian and were formerly thought to be Egyptian. It is now thought probable (or, at least very possible) that they represent the sons of the Emperor Constantine, praised for their loving co-operation on his death in 337, especially as the work originally stood in the Philadelphion (Place of Brotherly Love) in Constantinople, where the missing foot of one of the figures has been found.
Beyond this, in front of the South wall of the Basilica are two rectangular pillars always known as the Pillars of Acre. They were thought to be booty taken by the Venetians from Acre after their great victory over the Genoese there in 1258, but this traditional story has also had to be revised. The pillars actually came from the church of St Polyeuktos in Constantinople (524-7), and were probably taken by the Venetians soon after the fourth crusade in 1204. The ruins of this church were discovered in 1960 and it was excavated in the 1990s, when capitals were found, which matched the pillars.
Beyond these pillars, opposite the corner of the Basilica, is a great circular stone of red porphyry known as the Pietra del Bando (Proclamation Stone) from which official proclamations used to be read. It has been suggested that this may have formed part of a column on which the so-called Tetrarchs stood.
Across the water (the Bacino di San Marco) at the end of the Piazzetta can be seen the island of San Giorgio Maggiore and the brilliant white façade of Palladio's church there.
History
The history of the Piazza San Marco can be conveniently covered in four periods, but the only pre-renaissance buildings and monuments still standing there are St Mark's, the Doge's Palace and the two great columns in the Piazzetta.
Beginnings (800–1100)
The first patron saint of Venice was St Theodore, a Greek warrior saint, and the first chapel of the Doge was dedicated to him. It was probably built about 819 and stood near the site of the present church of St Mark. In 828–829 relics of St Mark were stolen from Alexandria and brought to Venice, and in time the Venetians and the Doge adopted the apostle as their new patron. He was the missionary-apostle who was said to have converted their district; the relics of an apostle would increase the importance of the city and their acquisition was a further step in the gradual process of freeing Venice from the domination of Byzantium. The relics were temporarily placed in the palace (or castle) of the Doge, Justinian Partecipacius, who provided in his will for a new church to be built. This first church of St Mark was begun on the south side of the existing chapel; by 836 construction was sufficiently advanced for the relics to be moved there. The design of the church was based on the Church of the Twelve Apostles in Constantinople and it seems to have covered the same area as the central part of the present church. A campanile was first built in the time of Doge Pietro Tribuno (888–91).
At that time there was probably an empty space covered with grass in front of the new church, but it cannot have extended more than about 60 metres to the west, where there was a stream (the Rio Baratario) bisecting the area now occupied by the Piazza. On the other side of this stream was a small church dedicated to San Geminiano. The Doge's palace, in the same area as its modern successor, was at that time surrounded by water. The lagoon was to the south, the Rio di Palazzo (the canal beneath the Bridge of Sighs) to the east, and another stream to the north between the palace and the church. There was an inlet from the lagoon occupying much of the space now covered by the Piazzetta and this seems to have been used as a dock for the city.
In 976 there was a rebellion against the Doge and the church was set on fire. The wooden parts, including the roof and wooden dome, were probably lost, but the church was not completely destroyed and it seems to have been rebuilt much as before. In 1063 a complete rebuilding commenced. The new church was finished in the time of Doge Vitale Falier (1084–96), and in its main structure this is the present church, though the west front facing the Piazza was then in the Romanesque style with undecorated brickwork (like the exterior of the apse today). It had five domes, but their exterior profile was low, unlike the present high, onion-shaped structures.
Medieval piazza (1100–1490)
Great changes to the area came when Sebastiano Ziani was Doge (1172–78). Venice was growing in importance and the Doge was a very wealthy man. He initiated the changes which created the piazza as we know it. The Rio Baratario was filled in and the church of San Geminiano on the far side was demolished and rebuilt much farther back at the western end of what became the Piazza. An orchard which occupied part of the area was acquired from the convent of San Zaccharia and the Doge bought up a number of buildings which obstructed the site. By his will he left these buildings to the state and in due course they were demolished to clear the area. The rebuilding of the 9th-century Doge's palace also commenced in his time as Doge. The precise date of the various new buildings is not known and much must have been done in the time of his son, Pietro Ziani, who was Doge from 1205 to 1229.
The area of the piazza was now defined by the erection of buildings on the north and south sides. On the north side were the procuratie, residences and offices for the procurators of St Mark. The original procuratie were a range of two-storey buildings with a continuous arcade of stilted (i.e. tall and narrow) Byzantine arches below and a single storey above, with two windows above each arch. The ground floor rooms were let out for shops to provide an income. These buildings remained in place for about 300 years and we can see exactly how they looked in 1496 in Gentile Bellini's painting of a procession in the piazza. This painting also shows the buildings on the opposite (south) side of the Piazza, of which the most important was the Ospizio Orseolo, an inn or hostel for pilgrims going to the Holy Land. It can be seen that the piazza was then considerably narrower than it is today, because these buildings abutted directly against the west wall of the campanile.
In 1204, Constantinople was captured in the course of the 4th Crusade and, both at that time and later during the 13th century, much valuable material was taken from the city and shipped back for the adornment of Venice. This included marbles and pillars for the façade of St Mark's, the two square pillars in the piazzetta known (wrongly) as the Pillars of Acre and probably also the Pietra del Bando (near the south west corner of St Mark's) and the four porphyry figures known as the Tetrarchs, which were eventually installed near the entrance to the Doge's Palace from the piazzetta.
The two great granite columns in the Piazzetta are usually said to have been erected about 1170, but it is now thought more probable that this was done in the time of Doge Ranieri Zeno (1253–68) about 1268; the bases and capitals are 13th-century. Their origin is unknown, but Chios is suggested as possible. The lion is first mentioned in a decree of the Great Council in 1293, and the wording makes it clear that it was already on the pillar at that date. A statue of St Theodore (but not the present statue) was in place by 1329.
It was also at this time, in the later 13th century, that St Mark's was being given its new west façade embellished with marble and mosaics and trophies from Constantinople, including the four horses.
The original 9th-century Doge's palace was soon found too small for the number of patricians sitting on the Great Council after the right to do so was made hereditary in 1297, and rebuilding started in 1340. Work was held up by the Black Death in 1348 but the first stage was completed by 1365. This comprised the front part of the palace facing the lagoon, but in the Piazzetta the new building only extended to the seventh pillar back from the front corner, now marked by a circular relief of Venice as Justice on the outside of the first-floor arcade. Further back, part of the old palace, known as the Palace of Justice, remained, much as it had stood for about 200 years.
Because of the great expense involved, nothing more was done for many years, but in 1422 the Doge Tomaso Mocenigo insisted that for the honour of the city the remaining part of the old palace should be demolished and the new part extended. It was resolved that the existing façade should be continued in the same style, and work started in 1424 under the new Doge Francesco Foscari. The extended façade had reached the corner by 1438 and the point where the 15th-century part joins the 14th-century part can only be recognised by the circular relief of Justice above the seventh pillar from the front corner and the fact that that pillar is larger than the others, having held up the corner of the building for 80 years. The capitals on this façade are, for the most part, copies of the existing capitals on the front façade. The last pillar, at the north-western corner of the building, is a very large column and, continuing the theme of Justice, bears a large relief carving of the Judgment of Solomon, with the archangel Gabriel above it. The sculptor is not known, although various suggestions have been made including Bartolomeo Buon from Venice and Jacopo della Quercia from Siena and several art historians think that the sculpture of the Judgment of Solomon (which must have been made in the period 1424/38) shows influence from Tuscany. Eduardo Arslan, after reviewing all the theories in 1971, concluded that this sculpture "remains for us a great mystery".
In 1438 a contract was made with Giovanni and Bartolomeo Buon for the construction of a great ceremonial doorway into the palace. This was the Porta della Carta and connected the newly constructed wing of the palace with the south wall of St Mark's. Giovanni was nearing the end of his life and the gateway is mainly the work of Bartolomeo. It was completed by 1442 and included a sculpture of the Doge Francesco Foscari kneeling before the lion of St Mark. The statues of the cardinal virtues on either side were by another hand. Originally the whole gateway was painted and gilded.[35] This is just visible in the right background of Gentile Bellini's painting of 1496, which shows the piazza in its state at this time, still narrow and with the old 13th-century buildings on either side.[citation needed]
From the Renaissance to the fall of the Republic (1490–1797)
In 1493 an astronomical clock was commissioned by Venice and it was decided to install it in a new clocktower in the Piazza with a high archway beneath it leading into the street known as the Merceria, which leads to the Rialto. The building, which was probably designed by Codussi, was started in 1496, a section of the original Procuratie being demolished for the purpose. The building was completed with the clock installed by February 1499. It can be seen, flanked by the original Procuratie building, in de Barbari's woodcut of Venice in 1500. The Procuratie then were only two storeys high and the tower stood higher above them than it does today.
Buildings on either side to support the tower were added by 1506 and in 1512, when there was a fire in the old Procuratie, it became obvious that the whole range would have to be rebuilt.
Despite the fact that Venice was then at war with much of Europe (War of the League of Cambrai) the whole of the south side of the Piazza was rebuilt, starting in 1517. The new buildings, known today as the Procuratie Vecchie, were three storeys high instead of two. Like the previous Procuratie they had an arcade on the ground level with two windows above each arch, but without the high Byzantine arches and with classical details.
In 1527 Jacopo Sansovino came to Venice, fleeing from the sack of Rome, and by 1529 he had been appointed as Proto (consultant architect and buildings manager) to the Procurators of St. Mark. The Procurators wished to rebuild the old buildings on the south side of the Piazza, but Sansovino persuaded them that the opportunity should be taken to enlarge the Piazza and that these buildings should be demolished and the building line moved back clear of the campanile. He also convinced them that the old hostelries and shops on the west side of the Piazzetta opposite the Doge's Palace should be replaced by a new building worthy of the site. It was decided that the library of books and manuscripts, which had been bequeathed to the city by Cardinal Bessarion but had still not found a permanent home, should be housed there and Sansovino originally intended that the façade of this building (the Libreria) should eventually be continued along the south side of the Piazza and round the south-west corner as far as the church of San Geminiano in the middle of the west side. These changes also made it necessary to rebuild the Loggetta and at the same time the government of Venice had commissioned Sansovino to rebuild the mint (the Zecca) on the west side of the Libreria. All these works were proceeding together for many years after 1537. The new Loggetta was complete by 1545 and the Zecca by 1547 (though a third storey was added by 1566), but work on the Libreria was held up by the difficulty of finding new premises for the businesses which were displaced as well as by shortage of funds and only sixteen bays (out of twenty-one) had been finished before the death of Sansovino in 1570. By that date it had not yet been possible to start on the rebuilding of the south side of the Piazza beyond the Libreria.
Sansovino also completed the rebuilding of the old church of San Geminiano at the west end of the Piazza, facing St Mark's. Much of the work had been done before he took it over in 1557, but he was responsible for the façade in white Istrian stone. He also continued the range of Procuratie Vecchie on the north side of the Piazza round the corner as far as this church.
After the death of Sansovino funds were at last made available to start the rebuilding of the south side of the Piazza in its new position well clear of the campanile. His idea of a two-storey building continuing the façade of the Libreria had to be abandoned, as the Procurators required three storeys. However Vincenzo Scamozzi based the design on the façade of the Libreria and completed ten bays between 1582 and 1586, The Procuratie Nuove (New Procuracies), as they are called, were not completed until 1640, when the remaining bays on the south side were completed and continued round the corner to the church of San Geminiano by Baldassarre Longhena.
Napoleon and later (1797 onwards)
Venice surrendered to Napoleon on 12 May 1797. By 4 June a "Tree of Liberty" had been placed in the Piazza. Soon afterwards stonemasons were sent out on the orders of the Municipality to destroy images of the winged lion, which was seen as a symbol of Venetian independence and aristocratic rule. On the Porta della Carta in the Piazzetta the head of Doge Francesco Foscari was removed as well as that of the lion before which he was kneeling. (They were replaced by copies later in the century). The French ordered the four horses of San Marco to be taken down and sent to Paris together with the bronze lion on the column in the Piazzetta. They were removed in December 1797.
In January 1798 under the Treaty of Campoformio the Austrians moved into Venice in place of the French. This first Austrian ascendancy lasted from 1798 to 19 January 1806, when the French moved back after Napoleon's victories at Austerlitz and Jena and his establishment of the kingdom of Italy in 1804. Napoleon appointed his stepson Eugène de Beauharnais as his viceroy and in 1807 it was ordered that the Procuratie Nuove were to become the royal palace for his occupation. Napoleon himself paid a ceremonial visit to Venice later in 1807, landing at the Piazzetta on his way to the new palace.
It was decided that the new palace should extend across the whole of the west end of the Piazza and this made it necessary to demolish the church of San Geminiano, rebuilt by Sansovino, and also the buildings on either side, Sansovino's extension of the Procuratie Vecchie to the north and part of the Procuratie Nuove to the south. The original architect was Gianni Antolini from Milan, but the new building caused much controversy and in 1810 he was replaced by Giovanni Soli from Modena. The present building, known as the Ala Napoleonica (the Napoleonic Wing) was built between 1810 and 1813. The façade of the two lower storeys is in the manner of the Procuratie Nuove, but the upper storey, containing the ceremonial entrance and the ballroom, has no windows or arches and is decorated with statues and sculpture in low relief. In the centre there was originally to have been a statue of Napoleon as Jupiter with the imperial arms above, but this was abandoned after the fall of Napoleon in 1814 and there is now no focal point on the west side of the Piazza.
After the abdication of Napoleon the Austrians re-occupied Venice (under the Treaty of Fontainebleau) in April 1814. The Austrian chancellor, Prince Metternich, was instrumental in arranging the return to Venice of the four horses of St Mark and the lion from the Piazzetta. The horses were re-installed in front of the Basilica on 13 December 1815, but the bronze lion had been badly broken and had to be repaired. It was placed back on its pillar in April 1816.
Pavement
The Piazza was paved in the late 12th century with bricks laid in a herringbone pattern. Bands of light-colored stone ran parallel to the long axis of the main piazza. These lines were probably used in setting up market stalls and in organizing frequent ceremonial processions. This original pavement design can be seen in paintings of the late Middle Ages and through the Renaissance, such as Gentile Bellini's Procession in Piazza San Marco of 1496.
In 1723 the bricks were replaced with a more complex geometrical pavement design laid out by Venetian architect Andrea Tirali. Little is known about Tirali's reasoning for the particulars of the design. Some have speculated that the pattern was used to regulate market stalls, or to recall their former presence in the square. Others believe the pattern was drawn from oriental rugs, a popular luxury item in this trading centre.
A field of dark-colored igneous trachyte with geometrical designs executed in white Istrian stone, similar to travertine composed the design. Squares of diagonally laid blocks alternated with rectangular and oval designs along broad parallel bands. The squares were pitched to the centre, like a bowl, where a drain conducted surface water into a below-grade drainage system. The pattern connected the central portal of the Basilica with the centre of the western opening into the piazza. This line more closely parallels the façade of the Procuratie Vecchie, leaving a nearly triangular space adjacent to the Procuratie Nuove with its wider end closed off by the Campanile. The pattern continued past the campanile, stopping at a line connecting the three large flagpoles and leaving the space immediately in front of the Basilica undecorated. A smaller version of the same pattern in the Piazzetta paralleled Sansovino's Library, leaving a narrow trapezoid adjacent to the Doge's palace with the wide end closed off by the southwest corner of the Basilica. This smaller pattern had the internal squares inclined to form non-orthogonal quadrilaterals.
The overall alignment of the pavement pattern serves to visually lengthen the long axis and reinforce the position of the Basilica at its head. This arrangement mirrors the interior relationship of nave to altar within the cathedral.
As part of the design, the level of the piazza was raised by approximately one meter to mitigate flooding and allow more room for the internal drains to carry water to the Grand Canal.
In 1890, the pavement was renewed "due to wear and tear". The new work closely follows Tirali's design, but eliminated the oval shapes and cut off the west edge of the pattern to accommodate the Napoleonic wing at that end of the Piazza.
Flooding
The Piazza San Marco is not far above sea level and during the Acqua Alta, the "high water" from storm surges from the Adriatic or heavy rain, it is quick to flood. Water pouring into the drains in the piazza runs directly into the Grand Canal. This normally works well but, when the sea is high, it has the reverse effect, with water from the lagoon surging up into the square. A historically important flood was the 1966 Venice flood, when an abnormal occurrence of high tides, rain-swollen rivers and a severe sirocco wind caused the canals to rise to a height of 194 cm or 6 ft 4 in.
(Wikipedia)
Der Markusplatz (italienisch Piazza San Marco, venetisch Piasa San Marco) ist der bedeutendste und bekannteste Platz in Venedig.
Der Markusplatz ist 175 m lang und bis zu 82 m breit und ist der einzige Platz der Stadt, der die Bezeichnung piazza trägt. Die anderen Plätze Venedigs werden campi genannt (von ital. campo ‚das Feld‘), da sie ursprünglich nicht gepflastert waren. Alfred de Musset nannte den Markusplatz den „Salon Europas“. Der Platz, der sich im Stadtsechstel San Marco befindet, ist geprägt von der Fassade des Markusdoms (Basilica di San Marco) und seinem Campanile und wird umschlossen von den alten und neuen Prokuratien. In der Verlängerung durch die sogenannte Piazzetta reicht er bis vor den Dogenpalast und öffnet sich dort zum Wasser, dem Bacino di San Marco, mit dem Beginn des Canal Grande. Vor der Markuskirche befinden sich seit 1480 drei Schiffsmasten, an denen an Sonn- und Feiertagen das Markus-Banner weht.
Da sich der Platz nur wenig über den Meeresspiegel erhebt, wird er bei Hochwasser immer wieder überflutet. Der Platz ist, wie nahezu die gesamte Innenstadt, eine einzige große Fußgängerzone. Der „schönste Festsaal Europas“, wie Napoleon ihn nannte, wird von Touristen, Fotografen und Tauben bevölkert.
Geschichte
Die Topographie des Platzes, wie sich im frühen Mittelalter darstellte, ließ sich ansatzweise rekonstruieren. Die Küste verlief demnach weiter nördlich, also näher am Dogenpalast, wobei das Gebiet des Molo mindestens bis ins 13. Jahrhundert einen flach abfallenden Küstensaum darstellte. Darüber hinaus erwies sich ein bei der Biblioteca Marciana 1888/89 entdeckter Kanal, der Rio Batario, als ein bis zu seiner Zuschüttung im 12. Jahrhundert quer über den Platz verlaufender Wasserweg. Untersuchungen unter der Bibliothek und unter dem Platz förderten Siedlungsspuren ab der 2. Hälfte des 7. Jahrhunderts zutage.
Der Platz stammt aus dem 9. Jahrhundert, als vor einer bescheidenen Markus-Kirche eine kleine Freifläche entstand. Seit dieser Zeit war er der Ort für die Ankündigungen und Staatsakte der Stadtverwaltung (siehe: Doge) wie auch für die zahlreichen Feste der Bevölkerung, beispielsweise des Karnevals von Venedig.
Der Marktplatz in seiner heutigen Form ist das Ergebnis zeitlich weit auseinander liegender städtebaulicher Maßnahmen zwischen 1200 und 1600.
Begonnen wurde 829 mit der Errichtung einer kleinen Grabeskirche für die Gebeine des Heiligen Markus unter dem 11. und 12. Dogen. Nach der Legende waren die Gebeine des Evangelisten aus Alexandria (Ägypten) nach Venedig entführt worden. Für sie wurde in unmittelbarer Nachbarschaft zu einem vorhandenen Dogenkastell an der Stelle des heutigen Dogenpalastes eine Kirche errichtet. 976 brannten Kastell, Kirche und rund 300 Häuser vollständig ab. Der dadurch entstandene Freiraum wurde von dem Dogen Pietro I. Orseolo für eine Neuordnung des Areals genutzt.
Seine jetzige Größe erhielt er nach 1156 durch Zuschüttung des Flusslaufes des Rio Batario im Westen und einer Schiffsanlegestelle, die sich zwischen Platz und Dogenpalast befand. Zwischen 1172 und 1178 wurde er unter dem Dogen Sebastiano Ziani nach Westen erweitert und er zeigte sich schon 1177, als Kaiser Friedrich I. die Stadt besuchte, als repräsentatives Zentrum der Stadtrepublik. Ab 1267 war der Platz gepflastert. 1340 wurde der Neubau des Dogenpalastes beschlossen, der nach dem verheerenden Brand von 1577 in seiner alten Form wiederaufgebaut wurde. Der heutige Umriss von Piazza und Piazzetta wurde erst durch die Bauten des 16. Jahrhunderts endgültig festgelegt.
Seit 1722 ist der Platz von einem Pflaster aus Trachyt nach einem Entwurf von Andrea Tirali bedeckt,[2] wobei dem dunkleren Untergrund ein helleres geometrisches Muster beigegeben ist, das den Platz länger erscheinen lässt. Davor war er, ähnlich der Piazza del Campo in Siena, mit einem fischgrätartig verlegten Ziegelpflaster bedeckt, das man noch auf den Gemälden von Canaletto und Bellini sehen kann.
Gebäude
Beginnend am Canal Grande befinden sich, gegen den Uhrzeigersinn, folgende Gebäude am Platz: der Dogenpalast, die Porta della Carta (das Verbindungsglied zum anschließenden Markusdom), der Uhrenturm, die Procuratie Vecchie, der napoleonische Flügel der Prokuratien, die Procuratie Nuove, der Campanile mit der Loggetta und die Biblioteca Marciana.
Porta della Carta
Das Torhaus zum Dogenpalast (ital. Palazzo Ducale), die Porta della Carta, wegen seiner einst üppigen Vergoldung auch porta aurea genannt, wurde zwischen 1438 und 1442 unter der Leitung von Giovanni und Bartolomeo Buon erbaut. Sie öffnet den Zugang zur Scala dei Giganti, wo das prunkvolle Schauspiel der Dogenkrönung inszeniert wurde. Die Skulptur des Auftraggebers Francesco Foscari befindet sich über dem Portal. Der Doge kniet vor Venedig, dargestellt durch den geflügelten Markuslöwen.
Uhrturm
Der Uhrturm (Torre dell’Orologio) selbst wurde zwischen 1496 und 1499 von Mauro Codussi errichtet, die angrenzenden Flügelbauten (1502–1506) stammen von Pietro Lombardo und wurden 1755 von dem Architekten Giorgio Massari mit einem dritten Geschoss aufgestockt. Die astronomische Uhr mit ihrem Zifferblatt aus Lapislazuli zeigt die Mond- und Sonnenphasen und die Tierkreiszeichen an. Zwei riesige Figuren aus Bronze schlagen auf einer Bronzeglocke die Stunden an.
Städtebaulich wird durch den Turm die Einmündung zur Merceria betont, andererseits ist er Endpunkt einer von der Seeseite des Platzes geführten Blickachse, die Piazza und Piazzetta optisch verbindet.
Im Prince-Alfred-Courtyard des Großmeisterpalastes in Valletta befindet sich an einem Turm mit der Pinto-de-Fonseca-Uhr eine dem venezianischen Original nachempfundene Uhr mit Glockenspiel. Das Glockenspiel diente später dem des Leipziger Krochhochhauses (1927/28) als Vorbild.
Prokuratien
Nord-, Süd- und Westseite des Platzes werden eingefasst von den Prokuratien, ehemaligen Verwaltungsgebäuden der Republik. Die alten Prokuratien im Norden wurden nach dem Brand eines Vorgängerbaus ab 1514 unter der Leitung von Bartolomeo Buon errichtet. Die neuen Prokuratien wurden ab 1583 unter der Leitung von Vincenzo Scamozzi und von 1616 bis 1640 unter Baldassare Longhena erbaut. Der früher rechteckige Platz erhielt jetzt seine trapezartige Form. Der Verbindungsriegel an der Westseite – ala napoleonica – ist ein Bau des 19. Jahrhunderts. Auf Veranlassung der französischen Besatzungsmacht war die zuvor dort den Platz abschließende Kirche San Geminiano mit der Fassade von Sansovino abgebrochen worden, um Raum für einen an die Architektur der Prokuratien angepassten Neubau zu schaffen. Dieser enthält einen großen Ballsaal, heute Teil des Museo Correr. Die Prokuratien beherbergen daneben das Archäologische Museum Venedigs.
Im Erdgeschoss der Gebäude findet man kleine Läden und Cafés, darunter die beiden berühmtesten Cafés Venedigs, das Gran Caffè Quadri, Lavena und das Caffè Florian, eröffnet im Jahr 1683 und damit das älteste Caféhaus Europas.
Campanile
Der freistehende Markusturm ist der Campanile, der Glockenturm der Kirche San Marco. Der Ziegelbau mit den für Venedig charakteristischen Bauteilen aus hellem istrischem Stein wurde auf einem älteren Fundament errichtet und im 12. Jahrhundert vollendet. Er diente den Seefahrern als festes Landzeichen und konnte bei Bedarf in der Nacht durch ein Feuer als Leuchtturm dienen. Der Turm wurde durch Erdbeben oder den Ausbruch von Feuer mehrmals beschädigt. Nach 1500 wurde das Obergeschoss des Turms nach der Zerstörung durch einen Blitzschlag mit einem pyramidenartigen Helm bekrönt, auf dem eine Figur aus vergoldetem Kupfer des Erzengels Gabriel errichtet wurde. Daraufhin nahm die Anzahl der Blitze, die den Turm trafen, zu, bis schließlich 1776 ein Blitzableiter installiert wurde. Am 14. Juli 1902 fiel der Turm in sich zusammen, ohne einen Menschen zu verletzen; anschließend wurde er in seiner alten Form, also als Rekonstruktion wieder vollständig aufgebaut: dov’era e com’era‚ wo und wie er war‘.
Loggetta
Die Loggetta am Fuß des Campanile wurde zwischen 1537 und 1540 von Sansovino errichtet. Sie diente den Patriziern der Stadt als Versammlungsort. In den Reliefs und den Skulpturen wird die Republik Venedig mit all ihren Tugenden – Geschicklichkeit im Krieg und beim Handel, politische Eintracht, Redegewandtheit ihrer Protagonisten – verherrlicht und ihre Friedensliebe und die besondere Protektion durch den Evangelisten Markus dargestellt. Beim Einsturz des Campanile wurden Teile ihres Figurenschmucks zerstört.
Biblioteca Marciana
Das Gebäude der Biblioteca Marciana wurde von Sansovino an die neuen Prokuratien angebaut, es verbindet architektonisch die Piazzetta mit dem Markusplatz.
Olivetti-Ausstellungsraum
Olivetti ließ von 1957 bis 1958 von dem Venezianer Carlo Scarpa einen Ausstellungsraum am Markusplatz Nr. 101 errichten. 2006 wurde dieser Shop durch das Unternehmen restauriert und mitsamt den ausgestellten Produkten als Museum in die 1950er Jahre zurückversetzt.
Piazzetta
Der vom übrigen Platz etwas abgesetzte Teil zwischen Dogenpalast, Biblioteca Marciana und der Lagune wird Piazzetta San Marco genannt. Die Piazzetta (kleiner Platz, von italienisch piazza, „Platz“[4]) wird von den beiden Säulen dominiert, die Venedigs Stadtheiligen Markus (Marco) und Theodorus (Todaro) gewidmet sind; auf den Säulen befinden sich daher der Markuslöwe bzw. die San-Todaro-Statue (mit Todaro auf einem Krokodil posierend). Hier wurden Staatsgäste empfangen und Hinrichtungen durchgeführt, aber auch Glücksspieler gingen hier ihrem Geschäft nach.
Jenseits der durch den Canal Grande gebildeten Wasserfläche (hier als Bacino di San Marco) befindet sich die Punta della Dogana neben der von Baldassare Longhena errichteten Santa Maria della Salute. Außerdem steht hier das alte, 1678–1682 von Giuseppe Benoni errichtete Zollhaus Venedigs (Dogana da Mar), dessen Turm einen von Atlanten getragenen Erdball trägt.
(Wikipedia)
立法會鐵路事宜小組委員會視察廣深港高速鐵路香港段西九龍總站的建築工地
立法会铁路事宜小组委员会视察广深港高速铁路香港段西九龙总站的建筑工地
LegCo Subcommittee on Matters Relating to Railways visits the construction site of the West Kowloon Terminus of the Hong Kong Section of Guangzhou-Shenzhen-Hong Kong Express Rail Link (2014.04.28)
Description: Monotype books. SH.2009.292.1 A pocket picture book of monotype machines. SH.2009.292.2 Copyfitting tables for Monotype and Monophoto faces. SH.2009.292.3 Scientific Copyfitting for composition in monotype machines. SH.2009.292.4 Monotype Display Faces SH.2009.292.5 Monotype Composition Faces SH.2009.292.6 International Paper Sizes: A Review.
Used in Edinburgh
Further Notes: Alex & Seggie & Son were based at Broughton Market in Edinburgh. They produced letterpress printing machines, lithographic machines and presses, bookbinding presses and bronzing machines among many other machines.
History: George Kay taught typography at Heriot Watt College, Chambers Street, Edinburgh.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
Detail of miniature from scroll relating the Mahabharata. Shows Krishna, armed with a bow and arrow, riding a chariot, aiming at another chariot which is following it.
One of two major Sanskrit epics of Ancient India, the Mahabharata tells the tale of a dynastic struggle between two sets of cousins for control of the Bharata kingdom in central India. One of the longest poems ever written, eclipsed only by the Gesar Epic of Tibet, it is said to have been composed between 900 and 400BCE by the sage Vyasa, although, in reality, it is likely to have been created by a number of individuals. To Hindus, it is important in terms of both dharma (moral law) and history (itihasa), as its themes are often didactic.
This scroll dates to 1795CE and was donated to the university in 1821 by Colonel Walker of Bowland. It is 13.5cm wide and 72m long and has 78 miniatures of varying sizes. All of the illustrations are in the late Mughul or Kangra style, with gold backgrounds and floral patterning in red, white and gold, as well as green leaves and blue diamond-shaped designs.
Sources:
www.brown.edu/Departments/Sanskrit_in_Classics_at_Brown/M... (accessed 16/06/14).
www.britannica.com/EBchecked/topic/357806/Mahabharata (accessed 16/06/14).
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEsha~4~4~61054~1...
© The University of Edinburgh Library
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
Nonsense: Physicality, Perspective and the Consciousness of Relating: Joe Grimm and Erica Moore, curated by Cecilia Vargas
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FREE Download: www.lulu.com/product/file-download/(non)sense/10290670
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
The phrase 'Unity vs. Diversity' used to sound like a lofty ideal, a big and grand idea that it didn't quite touch me personally; I couldn't relate to it individually. But I just realized that for me, personally and practically, it's nothing but the age-old battle of Ego vs. Soul; Mind vs. Divine.
No matter how inclusive I want to be, there is no way an ego and the soul are compatible. The ego is constantly fighting and struggling to keep itself separate, special, different, superior, and if that doesn't work, makes itself feel inferior, or a victim. It's constantly striving to get attention in whatever way it can. The soul, on the other hand, doesn't stoop to fighting - it just waits. It waits for the ego to someday realize and give up and put its unnecessary burdens down.
This is the same battle as Rama vs. Ravana, Buddha vs. Mara, Jesus vs. Satan; except in this day and age, this battle is going on within each person, every minute of every day. Just like Ravana, Mara or Satan, the Ego doesn't give up, it keeps thinking of devious ways to maintain the upper hand. But it is infinitely consoling that in the end, Rama, Buddha and Jesus won, and so will the Soul. The ego will give in - not all at once - may be little by little, but it will give in. This is a pre-destined outcome.
Once the self gets a taste of its higher Self, the Soul (the Atma), the peace and bliss that accompanies the Soul, it will try to touch, feel and reach the Soul more and more. And the magical touch of the Soul heals the splintered pieces of the self that the ego created. It unifies all the broken, wounded pieces of the self into the divine Soul, the universal Soul, Brahman.
Ego divides; Soul unifies.
This is what Unity vs. Diversity means to me now. The diversity in the universe is only an illusion that the mind created. When the mind and the ego give in and stop striving to be diverse and separate, everything is unified into one entity - the one and only absolute reality - God.
Sai Ram and love
sai_sravanthi_ 999@yahoo. com
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