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Another view of Pod Boat. Copper, Sterling, Fine Silver, High quality Freshwater Pearl. Sawn, drilled, soldered, forged. Copper base stiched with Silver wire. Internal pod, stiched with copper wire. Forged open. Applique soldering of copper on silver for ring shank. Sawn and repousseed leaf shape that holds pod above the shank. Pearl is mounted on a hand fabricated screw post. Interior of large pod was created by fusing silver powder (left from electrical etching on silver) to the walls. Patina - Liver of Sulpher. Size varies between 9 - 7.5. Open shank construction. Shank is squared.
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
Statue of Liberty National Monument New Jersey State Register (1971)
Statue of Liberty National Monument National Register #66000058 (1966)
QUEL PLAISIR DE VOUS RETROUVER !
Après deux ans sans rencontre estivale, nous sommes heureux de vous retrouver pour vous présenter une programation très riche et variée.
Des SPECTACLES à la salle du PANIER FEURI où vous découvrirez la musique et la danse de nombreuses cultures : MEXIQUE, MADAGASCAR, PEROU, IRLANDE, REPUBLIQUE TCHEQUE, EQUATEUR, PORTUGAL, NOUVELLE AQUITAINE ET BRETAGNE
Le CABARET à la MAIRIE ANNEXE DE PARAME vous proposera des CONCERTS d'artistes BRETONS, QUEBECOIS, IRLANDAIS, PERUVIENS...
Temps fort du festival le WEEK END du 09 et 10 JUILLLET avec le spectacle de danses bretonnes et la finale du concours des bagadou de 4ème Catégorie, le fest noz LE SAMEDI.
et la grande parade et le spectacle le DIMANCHEau PARC DES CHENES .
Saint-Malo : le festival Folklores du monde de retour pour une 26e édition, du 5 au 10 juillet
Après deux ans sans rencontres estivales, le festival Folklores du monde va enfin pouvoir retrouver le public, du 5 au 10 juillet 2022, à Saint-Malo.
De retour à Saint-Malo du mardi 5 au dimanche 10 juillet 2022, le festival Folklores du monde retrouve son format habituel avec sept pays invités : Portugal, Pérou, République tchèque, Équateur, Mexique, Madagascar et Irlande, et de nombreux groupes bretons.
« La journée du mardi 5 juillet sera dense pour marquer notre retour », précise Gérard Besnard, président d’Arts et cultures traditionnels du monde.
De plus :
Tous les jours, il y aura des défilés Intra-muros, de la porte Saint-Vincent à la porte de Dinan, des soirées cabaret à la mairie annexe de Paramé et des spectacles au Panier Fleuri.
Gérard Besnard, président d’Arts et cultures traditionnels du monde
Notons aussi que « le club de boules de Rochebonne invitera le public à venir s’initier à la boule bretonne toute la semaine à la porte de Dinan (Intra-muros), à Bel-Air (Saint-Servan) et à Rochebonne ».
Exposition
Une exposition de broderie sur mannequins, réalisée par le spécialiste Paul Balbous, se tiendra pendant 15 jours, du lundi 27 juin au dimanche 10 juillet dans le bâtiment de l’Académie malouine d’arts et plastiques situé dans rue de Bonneville à Paramé. Présence du brodeur le samedi 9 juillet. L’entrée est libre.
Le programme 2022
Mardi 5 juillet
• À 11h, sur l’esplanade de la médiathèque, représentation en plein air des Gourganes (chants de marins) et de l’Expédition Côtes du Nord (Bretagne). Gratuit.
• À 11h, sur l’esplanade Saint-Vincent à côté de l’office de tourisme, représentation en plein air du duo Gloaguen-Le Hénaff (initiation à la danse bretonne). Gratuit.
• De 14h à 18h, sur l’esplanade Saint-Vincent, représentations du duo Gloaguen-Le Hénaff (initiation à la danse bretonne), des Gourganes (chants de marins), de Los Uros (Pérou) et d’Expédition Côtes du Nord (Bretagne). Gratuit.
• À 18h, Intra-Muros, défilé d’ouverture du festival avec Expédition Côtes du Nord (Bretagne), l’Équateur, Madagascar, le Pérou et la République tchèque. Gratuit.
• À 21h, au Panier Fleuri, spectacle de Danceperados of Ireland (ballet irlandais). Tarif 18 € / 5 € pour les moins de 18 ans.
• À 21h15, mairie annexe de Paramé, cabaret, soirée chants de marins avec Djibou. Tarif 12 €.
Mercredi 6 juillet
À 21h, salle du Panier Fleuri, spectacle de Compania Folklorica Sinaloense (Mexique) et Benja Gasy (Madagascar). Tarif 12 € / 5 € pour les moins de 18 ans.
• À 21h15, mairie annexe de Paramé, cabaret, soirée Bretagne avec Soig Sibéril et Jean-Félix Lalanne puis Fred Guichen et Jean-Pierre Riou. Tarif 12 €.
Jeudi 7 juillet
• À 21h, salle du Panier Fleuri, spectacle de Brensky Valasek (République tchèque) et Nukanchik (Équateur). Tarif 12 € / 5 € pour les moins de 18 ans.
• À 21h15, mairie annexe de Paramé, cabaret, soirée Musiques du monde par Hervé Guillo et Tony Mac Carthy (Irlande) puis Bon débarras (Québec). Tarif 12 €.
Jeudi 7 et vendredi 8 juillet
• De 10h à 12h puis de 14h à 17h, au 7 rue de la Trinidad à Saint-Malo, stage de broderie animé par Paul Balbous sous l’égide de l’association Gwik Alet. Inscriptions au 06 76 54 41 00 ou par courriel à contact@folkloresdumonde.bzh. Tarif 25 € la journée, repas du midi compris.
Vendredi 8 juillet
• À 18h, terrasse du grand hôtel des Thermes Marins (100 boulevard Hébert) accessible depuis la digue du sillon, animation avec le groupe du Mexique. Gratuit.
• À 21h, salle du panier Fleuri, spectacle de Lo Gerbo Baudo (Nouvelle-Aquitaine) et Quic-en-Groigne (Bretagne). Tarif 12 € / 5 € pour les moins de 18 ans.
• À 21h15, mairie annexe de Paramé, cabaret, soirée Musiques du monde par Arzan puis Los Uros (Pérou) Tarif 12 €.
Samedi 9 juillet
• De 14h à 17h, salle du Panier Fleuri, Kement’Tu (spectacle des cercles celtiques de Bretagne). Tarif 7 €.
• De 14h à 17h, au parc des chênes, concours sonerion (finale des bagadou de 4e catégorie). Gratuit.
• De 21h à 2h, salle du Panier Fleuri, Fest-Noz avec Sonerien Du (50 ans de scène), Skrijus, Launay Savidan et l’Haridon Bodros. Tarif 7 €.
Dimanche 10 juillet
• Grande journée de clôture marquée par un défilé à partir de 11h depuis le boulevard de Rochebonne, jusqu’au parc des Chênes. De 12h à 18h, 16 groupes bretons et étrangers seront en représentation sur une grande scène aménagée au parc des Chênes.
• Le triomphe de clôture, à 18h30, marquera la fin des festivités. Événement gratuit. Restauration sur place à partir de 11h au parc des Chênes (possibilité de réservation au 06.08.24.47.28). Des animations de jeux en bois anciens et des démonstrations de lutte bretonne auront lieu au village du festival, des boutiques d’objets divers seront présentes sur le site du parc des Chênes.
Du mardi 5 au vendredi 8 juillet
• Cours de danses bretonnes animés par Karl Blanchet, de 10h à 12h, au dojo de la salle du Panier Fleuri, rue de Bonneville à Saint-Malo. Tarif 5 €.
Musiques et danses des 4 coins du monde
Le Festival Folklores du Monde revient cet automne à Saint-Malo ! Ce festival à l’identité celtique revient chaque année à Saint-Malo depuis 1996. Du 5 au 10 juillet 2022, Le Festival Folklores du Monde s’invite dans les quartiers malouins, plus particulièrement dans le quartier de Paramé pour vous faire découvrir les musiques et danses présentes aux 4 coins du monde. En après-midi ou en soirée, de nombreuses animations sont prévues : concerts, danse, animations de rues ou encore du spectacle vivant.
Comme chaque année, le festival Folklores du Monde revient à Saint-Malo cet été ! Pour sa 25e édition, il se tiendra du 5 au 12 juillet 2022. Un rendez-vous incontournable pour ceux qui aiment découvrir d’autres cultures, le tout en danse et en musique !
Des artistes internationaux à Saint-Malo
Les bretons ont beau avoir la réputation d’être chauvins, ils n’en sont pour autant pas moins ouverts à d’autres cultures ! Cette année encore, des artistes internationaux sont invités à défiler dans les quartiers malouins, principalement dans le quartier de Paramé.
Le public malouin pourra donc découvrir des artistes venus d’Afrique du Sud, de Cuba, d’Équateur, du Mexique et de la Tchéquie, grâce aux artistes et groupes suivants :
• Ama Zebra,
• Kamagua,
• Nukanchick,
• La Compañia Folclórica Sinaloense,
• Brnensky Valasek.
Des provinces françaises sont également invitées : c’est le cas pour Tahiti, la Nouvelle-Aquitaine et bien évidemment la Bretagne, avec l’ensemble folklorique de danse et musique traditionnelle Quic-en-Groigne.
Enfin, une place particulière sera donnée à la tête d’affiche 2022 : le groupe Sonerien Du fêtera avec le public ses 50 ans de scène. Un anniversaire à ne pas manquer le 9 juillet prochain : ambiance festive garantie !
À Saint-Malo, la billetterie du festival Folklores du Monde est ouverte
Après une année blanche en 2020 et une suivante repoussée à l’automne 2021, tout rentre enfin dans l’ordre pour cette 26e édition du festival malouin Folklores du Monde.
Le grand rendez-vous se déroulera du 5 au 10 juillet. Avec cette année, une nouveauté : un démarrage d’enfer le mardi 5 juillet. Après des animations devant la gare le matin et sur l’esplanade Saint-Vincent l’après-midi, place à un défilé d’ouverture dans les rues de l’Intra-Muros à compter de 18 h, suivis d’une soirée chants de marin et d’un spectacle de danse irlandaise.
Une soirée retient plus particulièrement l’attention : le samedi 9 juillet, avec le spectacle du groupe Sonerien Du, qui fête cette année ses 50 ans de scène. Autre moment fort et gratuit : la grande parade des Nations, le dimanche 10 juillet, à 11 h, boulevard de Rochebonne.
Il ne faut pas tarder à s’inscrire aux spectacles proposés par les pays invités : République tchèque, Madagascar, Irlande, Équateur, Mexique…
Dimanche 10 juillet est venu clôturer cette semaine de festival Folklores du Monde à Saint-Malo (Ille-et-Vilaine). Pour ce grand défilé, 18 troupes ont animé les rues de Paramé avant d'arriver au parc des Chênes ou de nombreuses animations attendaient un public venu en nombre.
Dans ces groupes de danseurs et de musiciens, étaient invitées cette année six délégations étrangères. Madagascar, l'Equateur, la République Tchèque, le Mexique, le Pérou et le Portugal sont venus gonfler les rangs du défilé. Bien sûr de nombreux bagadoù étaient là pour enjouer les passants.
Le coup d’envoi de la 26e édition du festival Folklores du Monde a été donné mardi 5 juillet. Durant cinq jours, Saint-Malo vibre au rythme des sonorités et danses de tous les continents.
Les rues d’intra-muros ont résonné aux sons venus de République tchèque, Madagascar, Pérou ou encore d’une formation bretonne aux allures quelque peu loufoque (Expédition Côtes du Nord). En ouverture de la 26e édition de son festival, Folklores du Monde a organisé un défilé haut en couleur dans la cité corsaire. De quoi ravir les visiteurs, parfois étonnés de rencontrer ce mélange de cultures déambulant sur les pavés d’intra-muros.
Une invitation culturelle au voyage
Avec deux spectacles par soir, au Panier Fleuri et à la mairie annexe de Paramé, le festival Folklores du Monde propose, une nouvelle fois, un mini-tour du monde jusqu’au 10 juillet. Une place de choix est aussi réservée à la culture bretonne sur la scène du festival, avec notamment les 50 ans des Sonerien Du, programmés le samedi 9 juillet. Après deux années marquées par les contraintes sanitaires, cette 26e édition est aussi celle du retour de la grande parade des Nations. Elle s’élancera le dimanche 10 juillet à 11 h du boulevard de Rochebonne pour rejoindre le Parc des Chênes.
Discours de bienvenue adressé aux volontaires de retour des raids des Fenians.
Cette belle perspective nous dévoile l'emplacement de l'ancienne église St.Gabriel's Church of Scotland au coin Sud-Ouest du site du Champs de Mars www.flickr.com/photos/urbexplo/5609127472
À l'extrême gauche on voit l'ancien Palais de Justice avant son agrandissement.
IRB (Irish Republican Brotherhood / Fraternité républicaine irlandaise).
Féniens ou Fenians, secte politique et religieuse, formée en 1857, dans le but d'arracher l'Irlande à la domination anglaise. En 1866, les Féniens des États-Unis envahirent le Canada à Niagara et à St-Albans; leur chef, O'Neil, fut fait prisonnier et l'invasion repoussée sur toute la ligne par les troupes canadiennes (photo); ils firent une autre tentative en 1870, sans plus de succès.
Source texte: dictionnaire Beauchemin Canadien.
Source photo: Archives du Musée McCord-Stewart / William Notman (1826-1891): négatif à la gélatine argentique sur plaque de verre.
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
New Jersey State Register (1971)
National Register #66000058 (1966)
Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane.[1] What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting.
There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is only very slightly lower than the sculpted elements. There is also sunk relief, which was mainly restricted to Ancient Egypt (see below). However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work.
The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece.[7] Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER-RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
à l'intérieur du batiment dessiné par Zaha Hadid devant l'institut du monde arabe.
une superbe exposition du travail de Zaha Hadid, où la forme est repoussée dans ses limites... pas facile à rendre...
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
The Vines, 81 Lime Street, Liverpool, 1907.
By Walter William Thomas (1849-1912).
Walkers Ales of Warrington.
Grade ll* listed.
See also:-
pubheritage.camra.org.uk/pubs/112
breweryhistory.com/wiki/index.php?title=Vines,_Liverpool
www.govserv.org/GB/Liverpool/236929139665303/The-Vines-%2...
m.facebook.com/The-Vines-the-Big-House-236929139665303/
ymliverpool.com/historic-lime-street-pub-vines-plans-attr...
www.theguardian.com/artanddesign/2020/feb/07/liverpool-pu...
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The Vines public house
Statutory Address: 79-87 Lime Street, Liverpool, L1 1JQ
Grade II* Listed
List Entry Number: 1084210
National Grid Reference: SJ3505890334
Summary
Public house, 1907, by Walter Thomas for Robert Cain & Sons. Neo-Baroque style.
Reasons for Designation
The Vines, constructed in 1907 to the designs of Walter W Thomas for Robert Cain & Sons, is listed at Grade II* for the following principal reasons:
Architectural interest:
* it has an impressive neo-Baroque design with flamboyant principal elevations that maximise its prominent corner location;
* its imposing composition and highly ornate interior reflect the status, wealth and ambition of Robert Cain who sought to create public houses of great beauty;
* the interior decoration is of a superior quality and includes plasterwork by the Bromsgrove Guild and H Gustave Hiller, carved mahogany woodwork throughout, repousse copper panels, and a stained-glass dome in the former billiards room;
* the interior retains high-quality original fixtures and fittings, including elaborate fireplaces, carved baffles with Art Nouveau stained glass, ornate wall panelling, arcaded screens, a striking wave-shaped beaten-copper bar counter in the lounge, and Art Nouveau fireplaces in the upper-floor accommodation.
Group value:
* it has strong group value with its sister building, the nearby Grade I-listed Philharmonic Dining Rooms, which was also designed by Walter W Thomas for Robert Cain & Sons, as well as other listed buildings on Lime Street and Ranelagh Place, including the Grade II-listed Crown Hotel, Adelphi Hotel and former Lewis's department store.
History
The Vines was constructed in 1907 to the designs of Walter W Thomas for the Liverpool brewery Robert Cain & Sons and replaced an early-C19 pub operated by Albert B Vines from 1867; hence the current pub's name. The interior decoration includes works by the Bromsgrove Guild and H Gustave Hiller.
Walter W Thomas (1849-1912) was a Liverpool architect who is best known for his public house designs, but who also produced designs for Owen Owen's department store known as Audley House, and houses around Sefton Park. As well as The Vines, Thomas also designed The Philharmonic Dining Rooms (1898-1900, Grade I) on Hope Street for Robert Cain & Sons, and rebuilt The Crown (1905, Grade II) for Walkers Brewery of Warrington, which is also on Lime Street.
Robert Cain (1826-1907) was born in Ireland but grew up in Liverpool. As a teenager he became an apprentice to a cooper on board a ship carrying palm oil from West Africa and after returning to Liverpool in 1844 he established himself first as a cooper, and then subsequently as a brewer in 1848. Cain began brewing at a pub on Limekiln Lane, but soon moved to larger premises on Wilton Street, and finally to the Mersey Brewery on Stanhope Street in 1858, which Cain extended in the late C19 and early C20. As well as brewing Cain also invested in property, built pubs, and ran a hotel adjacent to the Mersey Brewery. As his brewery business grew (known as Robert Cain & Sons from 1896) it bought out smaller brewers and took control of their pubs, evolving into a company that owned over 200 pubs in Liverpool by the late 1880s. In 1921 Robert Cain & Sons merged with Walkers Brewery to become Walker Cains and the Liverpool brewery at Stanhope Street was sold to Higsons in 1923. After a succession of owners from the 1980s onwards the brewery is being converted for mixed use.
The Bromsgrove Guild of Fine Arts was established in 1898 by Walter Gilbert as a means of promoting high-qualify craftsmanship in metal casting, woodcarving and embroidery in the style of a medieval guild, and included the creation of apprenticeships. The Guild subsequently expanded into other areas of art and design, including jewellery, enamelling, and decorative plasterwork, and recruited the best craftsmen. In 1900 the Guild was showcased at the British Pavilion at the Exposition Universelle in Paris and in 1908 it received a royal warrant. Famous works included the gates at Buckingham Palace, interior decoration on RMS Lusitania and RMS Queen Mary, and the Liver bird statues on the Royal Liver Building in Liverpool. Although the Guild survived the loss of key craftsmen and the Great Depression of the late 1920s it was finally wound up in the 1960s.
Henry Gustave Hiller (1864-1946) was a Liverpool-based designer and manufacturer of stained glass who trained at the Manchester School of Art under Walter Crane. He established a studio in Liverpool in around 1904 and retired in 1940. Although primarily known for his stained glass he worked in a wide variety of mediums, including plasterwork.
Details
Public house, 1907, by Walter W Thomas for Robert Cain & Sons. Neo-Baroque style.
MATERIALS: sandstone ashlar with a pink-granite ground floor, slate roof coverings.
PLAN: The Vines has a V-shaped plan with a north corner in-filled at ground-floor level by a former billiards room. It occupies a corner plot at the junction of Copperas Hill and Lime Street with principal elevations onto both streets. It is bounded by Copperas Hill to the south-east, Lime Street to the south-west, and adjoining buildings to the north-east and north-west.
EXTERIOR: The Vines is of three-storeys plus attic and basement with a nine-bay elevation onto Lime Street, a canted south corner bay, and a six-bay return on Copperas Hill, and entrances on each elevation. The pub has a steep slate roof set behind ornate Dutch gables and a balustraded parapet, and the ground floor has banded rustication to the pink-granite facings. The ground floor is lit by large bow windows containing original patterned brilliant-cut glass and replaced etched glass, whilst the upper-floors have casement windows set within carved surrounds. A cornice projects out from the main face of the building above the ground floor and stood atop it to both the Lime Street and Copperas Hill elevations are later gold letters that read 'WALKERS WARRINGTON ALES', with additional letters to Lime Street that read 'THE VINES'. Above the first floor is a stringcourse interrupted by segmental floating cornices over some of the windows, and in between the windows are floriated drops attached to corbelled pedestals that support Ionic engaged columns between the second-floor windows. The Lime Street elevation has two large Dutch gables with scroll detailing, elaborate finials, paired casement windows with elaborate surrounds, and oculi to the gable apexes, whilst the Copperas Hill elevation has a single gable in the same style. Projecting out from the right gable on Lime Street is a large bracketed clock.
SOUTH CORNER The south corner has a tall doorway to the ground floor accessing the public bar with a decorative wrought-iron and gilded-copper gate with a vestibule behind containing a patterned mosaic floor incorporating the lettering 'RCS' (Robert Cain & Sons) and two partly-glazed and panelled doors; that to the right is no longer in use. The entrance doorway itself is flanked by engaged Ionic columns with copper capitals and drops, and above are large triple keystones and a segmental open pediment, all exaggerated in size. Inscribed to the central keystone is 'The Vines' in gilded lettering. To the south corner's first floor is a glazed oculi with a festoon above incorporating a figurative head keystone, whilst the second-floor window mirrors that of the other elevations. Rising from the top of the corner bay behind the parapet and sandwiched by the Dutch gables on Lime Street and Copperas Hill is a tall round tower topped by a dome with a squat obelisk finial.
LIME STREET The Lime Street elevation incorporates a further entrance to the centre of the ground floor, which is identically styled to that to the south corner, but the lower section of the original gate has been removed and replaced by late-C20 concertina gates. The vestibule behind is lined with pink granite and has a decorative plasterwork ceiling and a small bow-shaped window (possibly an off-sales opening originally and in 2019 now covered with an advertising sign) directly opposite the doorway with a multipaned segmental overlight above. Partly-glazed panelled doors to each side lead into the lounge and public bar to the left and right respectively; both doors are multipaned to their upper halves with panes of brilliant-cut glass. To the left of the main building on Lime Street is an additional lower, rendered single-bay that comprises 79 Lime Street; part of an earlier (now demolished) building that was partly raised, altered and re-used in the early C20 to house The Vines' main accommodation stair. It has a tall doorway to the ground floor flanked by Corinthian columns with two panelled doors with overlights; that to the left previously served a now-demolished part of the building to the left whilst that to the right accesses the stair for The Vines. Single plate-glass sash windows exist to the right on two floors above; that to the second floor has been altered and made smaller, presumably when the stair was inserted internally. Corresponding windows to the left have been blocked up, but are partly visible internally.
COPPERAS HILL The ground floor of the pub's Copperas Hill elevation also has a number of entrances, including one with a doorway incorporating a scrolled floating cornice and prominent keystone that leads into the public bar and originally also a former snug (now altered into a kitchenette). A plainer doorway to the right leads to a stair accessing the upper floors at this end of the building. A single-storey flat-roofed section to the far right of the elevation with a plain recessed doorway is a later addition and provides external access to the former billiards room.
REAR ELEVATIONS The rear (north-east and north-west) elevations are plainer and of brick with large casement windows, some of which incorporate Art Nouveau stained glass. The entire rear yard area is occupied by a flat-roofed billiards room with a large lantern roof over a stained-glass dome visible internally. A cast-iron fire escape provides access down onto the roof of the billiards room.
INTERIOR: internally the pub has a linear sequence of rooms from south-east to north-west formed by a public bar, lounge and smoke room, with a large former billiards room at the rear. There are high ceilings and carved mahogany woodwork throughout the ground floor, and plasterwork by the Bromsgrove Guild and H Gustave Hiller.
PUBLIC BAR The south corner entrance leads into a large public bar with a richly moulded plasterwork ceiling and a panelled mahogany bar counter to the north corner that originally ran down the north-east side of the room, but was shortened in 1989. Rising from the bar counter are short mirror-panelled piers supporting a pot shelf surmounted by three twin-armed brass lamps, and in front of the counter is a brass foot rail. The bar-back behind forms part of a carved, arcaded and panelled screen that runs down the north-east side of the public bar and incorporates stained, leaded, and cut glass, and two openings; the opening to the right has lost its original panelled infill, which would have been in similar style to the bar-back, whilst that to the left is an original open doorway with a broken segmental pediment above containing a clock face that gives the appearance of an outsized grandfather clock with the doorway through the pendulum case. The screen separates the public bar from a rear corridor cum drinking lobby that accesses toilets and leads through to the lounge and smoke room at the opposite end of the pub. Bench seating and a mahogany and tiled fireplace with a carved overmantel exist to the public bar's south-west wall, and a small late-C20 stage has been inserted at the south-east end of the room. At the north-west end of the room adjacent to the Lime Street entrance is a panelled and stained-glass arcaded screen with an integral drinking shelf that conceals the bar service area, possible off-sales and basement access from view. In the eastern corner of the bar adjacent to a lobby off the Copperas Hill entrance is an altered glazed screen covered with modern signage chalkboards that probably originally led through to another small room/snug, which is now a kitchenette.
Behind the public bar the corridor/drinking lobby's north-east wall is panelled and incorporates a wide arched opening to the centre with early-C20 signage plaques with incised and gilded lettering and arrows pointing towards the ladies and gents lavatories, which are accessed through an inner screen with Art Nouveau stained glass and a vestibule with panelled doors. Off to the right is a doorway through to the altered snug and access to a stair leading up to the first floor.
LOUNGE The lounge is accessed from the Lime Street entrance and shares a bar servery with the public bar, although the bar counter in the lounge is set within a wide arched opening and is more elaborate and wave-shaped with a decorative beaten-copper front. Above the counter are brass lighting rails with paired globe lights. Ornate carved and fluted Corinthian columns stood atop panelled pedestals support the room's ceiling, which continues the same richly decorated plasterwork as the public bar. Similarly detailed pilasters also exist to the walls, which are panelled. To the room's north-west wall is a tall mahogany and marble fireplace with a decorative beaten-copper panel depicting torches and swags, and a beaten-copper Art Nouveau fire hood, and large caryatids to each side supporting an entablature and segmental pediment above. Two doorways either side of the fireplace with their doors removed (one of the doors with an etched-glass upper panel that reads 'SMOKE ROOM' survives on the second floor in the Lime Street range) lead through into the smoke room, which has a back-to-back fireplace with the lounge.
SMOKE ROOM The smoke room has booth seating set around three walls separated by baffles with Art Nouveau stained-glass panels and fluted octagonal uprights surmounted by paired lamps. The walls above the seating have highly decorative mahogany panelling with fluted pilasters, carved mouldings, marquetry detailing and built-in bell pushes set within decorative plates. To the top of the walls, and set below a coffered ceiling that incorporates a large plasterwork oval to the centre depicting the signs of the zodiac, is a deep plasterwork frieze depicting putti in various Arcadian scenes. The room's elaborate fireplace is also of mahogany, marble and beaten copper, with a semi-circular panel depicting Viking ships in relief and flanking fluted octagonal columns with Art Nouveau floriate capitals supporting an entablature.
FORMER BILLIARDS ROOM At the rear (north-east side) of the ground floor, and accessed from the lounge and rear corridor, is a vast room (probably a billiards room originally and now known as the Heritage Suite) with an exposed floorboard floor, wall panelling incorporating doorcases with shaped heads, giant Corinthian pilasters, carved festoons and cartouches, and a coffered ceiling with a massive, oval, stained-glass domed skylight to the centre with a plasterwork frieze at its base depicting apples, foliage and lion's heads. To the south-west wall is an elaborate carved mahogany and marble fireplace with a large mirror built into the panelling above and surviving to the south-east wall is original built-in bench seating. At the north-west end of the room is a later panelled bar counter with a substantial bar-back behind incorporating Roman Doric columns supporting a deep entablature and flanked by later shelving. A doorway in the east corner leads through to an altered entrance foyer off Copperas Hill.
UPPER FLOORS A steep, narrow stair off Copperas Hill leads up to the first floor and rooms in the south corner and south-east end of the building. The stair has modern tread coverings and has lost its balusters, but an original newel post and handrail survive. The main accommodation stair serving the upper floors in the Lime Street range is contained within the neighbouring single-bay property of 79 Lime Street and rises from a ground-floor foyer with later inserted partitioning. The stair is a wide dog-leg stair with substantial carved newel posts and balusters, pendant drops, a closed string, and a glazed-tiled dado.
The upper floor rooms at the south-east end of the building have been modernised to accommodate en-suite bathrooms and toilets, but the floor plan largely survives with only minor alteration, including boxing-in on the second-floor landing. The rooms and landings retain plain moulded cornicing and door architraves, and a mixture of original four-panel and modern doors. Chimneybreasts also survive, and most rooms retain Art Nouveau cast-iron and tiled fireplaces. A stair flight up to the second floor survives with closed strings and turned balusters and newel posts. On each of the first and second floor landings is a doorway through to the upper-floor rooms facing onto Lime Street, which are no longer in use. These spaces, except for the main stair at the north-west end, have been altered and modernised, along with the attic rooms.
The attic at the south-east end of the building and the basement were not inspected.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 359023
Legacy System: LBS
Sources
Books and journals
Brandwood, G, Davison, A, Slaughter, M, Licensed to Sell. The HIstory and Heritage of the Public House, (2004), 77, 78, 115, 147, 150
Brandwood, G, Britain's Best Real Heritage Pubs. Pub Interiors of Outstanding Historic Interest, (2013), 118
Pye, K, Liverpool Pubs, (2015), 68-72
Sharples, J, Pevsner Architectural Guides: Liverpool, (2004), 184
Websites
The Bromsgrove Guild, accessed 7 November 2019 from www.architectural-heritage.co.uk/garden-ornament-history
The Seaweed Necklace. The inspiration for the Seaweed Necklace was a piece of seaweed, found (obviously) at the beach. The seaweed had dried into a perfect necklace shape and I knew that I needed to make one in metal. After months of trying to figure out how to replicate the look of dried salt and how to get it to stay, I eventually settled on layering liquid polymer clay, embedding the powdered glass, firing, applying another layer of the clay and more glass. Materials used were: sterling silver, for the Herkimer Diamond settings and the "branches" and tube clasp and copper for the pods. To achieve the right color, I painted, in layers - mixed with gel medium - acrylic paint. The flowers, which are set with the Herkimer Diamonds are made from copper mesh. The "branches" have little broken stems that were done by carving, forging and sanding the metal to shape. The pods were first created with the hydraulic press and were then fleshed out and shaped using chasing and repousse´. The mesh flowers were run through a tube ringer and gathered, soldered and melted at the edges - then the settings for the Herkimer's were soldered on.
Gold Repousse Rhyton with foreparts of winged lion. Persian, Achaemenid, 5th Cnetury BC. From the metropolitan Museum, New York, USA. Special Exhibit on Animal-Shaped Vessels in the Ancient World, Feasting with Gods, Heroes and Kings. Harvard Art Museum. Cambridge, Massachusetts, USA. Copyright 2018, James A. Glazier.
La légende veut que c'est en essayant de conquérir l'île de Saba que le flibustier Pinel a été repoussé par ses habitants qui, depuis leur refuge montagnard, ont fait rouler des rochers sur les pirates. Dans leur déroute, les envahisseurs se seraient alors échoués sur l'îlet qui porte le nom de leur capitaine déchu.
Plus : www.iledesaintmartin.org/activites-saint-martin/plages-st...
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Legend has it that in his attempt to capture the island of Saba, the buccaneer Pinel was driven back by the island’s inhabitants who hurled great rocks down on the pirates from their mountain refuge. As they fled, the invaders ran aground on Pinel Island, which has since borne the name of the defeated captain.
More : www.stmartinisland.org/st-martin-st-maarten-activities/st...
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photo L. Benoit - lat17-studio.com
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
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Visit www.ilmaestroacquafresca.com/ to learn more about taking a course in Chasing and Repousse, and to find dates for where around the world courses will be held.
Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane.[1] What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting.
There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is only very slightly lower than the sculpted elements. There is also sunk relief, which was mainly restricted to Ancient Egypt (see below). However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work.
The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture. Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery).
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", French pronunciation: [baʁəljɛf], from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster, which made the technique far easier, was widely used in Egypt and the Near East from antiquity into Islamic times (latterly for architectural decoration, as at the Alhambra), Rome, and Europe from at least the Renaissance, as well as probably elsewhere. However, it needs very good conditions to survive long in unmaintained buildings – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
Mid-relief is probably the most common type of relief found in the Hindu and Buddhist art art of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are rock reliefs. Most of these reliefs are used to narrate sacred scriptures, such as the 1,460 panels of the 9th-century Borobudur temple in Central Java, Indonesia, narrating the Jataka tales or lives of the Buddha. Other examples are low reliefs narrating the Ramayana Hindu epic in Prambanan temple, also in Java, in Cambodia, the temples of Angkor, with scenes including the Samudra manthan or "Churning the Ocean of Milk" at the 12th-century Angkor Wat, and reliefs of apsaras. At Bayon temple in Angkor Thom there are scenes of daily life in the Khmer Empire.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece.[7] Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER-RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
family and cultural treasures: golden repousse amulet prayer-boxes have fantastic details and expression. created by tibetan and nepali goldsmiths by hammering the metal from both sides, these treasured possessions are only worn on the most ceremonial non-religious occasions, and passed down the family generation by generation. full of religious symbolism and monumental in scale, they are believed to provide protection from evil
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Ornaments make up most of the life savings of many Khampa families, and so play an important role in Tibetan families' lives as well as in announcing the social status of the wearers. They are saved up for over many years and handed down for centuries from generation to generation within families. Until very recently, these families were nomadic and have to move every few months because of the snowy seasons in the Himalayas, so Khampas have always needed to store their wealth in portable form. So being unable to store wealth in the form of estates or houses or land or in a bank, for millenia wealth has been stored in art, precious fabrics, and particularly into ornaments.
Their culture is very conservative about the type of ornaments favored: for thousands of years jewelry made from amber, turquoise and coral have been worn because the stones are believed to hold spiritual power. Gold and silver and also naturally found in Tibet, and the use of these metals by the wealthy also goes back thousands of years. Their ornaments are very chunky, bold and colorful. While the gold earrings that Khampa women wear may have cost them a year or maybe several year's of their salary, ornaments carry so much social status in their society that probably didn't have to think twice about the purchase.
To the Khampa people these ornaments have the utmost sentimental value and significance, because they are the physical remnants of generations of their ancestors hard work or success. what these people are wearing is not just their life savings, but also their family history and treasure. this culture has been around for millenia - archeological finds from the 1st century AD in the khampa area unearthed ornaments that are essentially the same in design and materials as today's are. there are also beliefs that the stones provide good luck and protection to disease. dyed red coral is the most sought after stone, but interestingly tibet is very very far from any oceans - all the coral is imported by traders! Religious symbols from Tibetan Buddhism frequency form the designs of pieces, however archeological finds show that the role of ornaments in Tibetan society and peoples' lives long predate the arrival of Buddhism in Tibet. Indeed the beliefs of spiritual protection being provided by coral, amber and turquoise probably originate from the ancient shamanic Bon religion.
Amphora with horned lion chimera handles and repousse reliefs of lotus and palmettes. bull protome and repousse floral designs. Persian, Achaemenid, 480 BC, Gilded silver. Found in a woman's tomb at Kurakova Mogila, Duvanli, Bulgaria. From the National Archaeologucal Institute with Museum, Sofia, Bulgaria. Special Exhibit, Animal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes and Kings. Harvard Art Museum. Cambridge, Massachusetts, USA. Copyright 2018, James A. Glazier.
Shaft Grave V, Grave Circle A, Mycenae. 1600-1500 BC.
National Archaeological Museum, Athens.
Bronze dagger with inlaid decoration. The thin gold and silver decorative sheets are held in place on the bronze blad using a gold, silver, bronze alloy. It has a gold revetment with repoussé lilies on the hilt and shoulders.
Once part of a large cemetery outside the acropolis walls, Grave Circle A was discovered within the Mycenaean citadel by Heinrich Schliemann in 1876 under the supervision of the Greek Ephor of Antiquities Panagiotis Stamatakis.
The tombs in Grave Circle A contained a total of nineteen burials: nine males, eight females and two infants. With the exception of Grave II, which contained a single burial, all of the other graves contained between two and five inhumations.
The amazing wealth of the grave gifts reveals both the high social rank and the martial spirit of the deceased: gold jewelry and vases, a large number of decorated swords and other bronze objects, and artefacts made of imported materials, such as amber, lapis lazuli, faience and ostrich eggs. All of these, together with a small but characteristic group of pottery vessels, confirm Mycenae's importance during this period, and justify Homer's designation of Mycenae as 'rich in gold.'
Shaft Grave V contained three male burials. Two of the deceased wore gold death-masks, one of which is known as the "Mask of Agamemnon". The grave gifts included gold breastplates, elaborate bronze swords and daggers, gold and silver vessels, an ostrich egg rhyton and a wooden pyxis. There was less gold jewelry that in the female graves, but a great number of amber beads.
1909
Eric Otto Woldemar Ehrström
Repoussé copper door panel
Main doors
National Museum of Finland (1916)
Eric Otto Woldemar Ehrström ( February 5, 1881, Helsinki - October 11, 1934, Helsinki) was a Finnish art collector and ornamental artist specializing in metal enamelling . He also designed jewelry and glassware and practiced printmaking.
Ehrströn left high school and went on to study at the Finnish Art Association's drawing school in 1899. He was a student of Akseli Gallen-Kallela in Ruovesi, Kalela, between 1899-1900 and studied forging and metal repoussé and chasing in Paris from 1901 to 1902 and 1908. In Paris, he became acquainted with his wife Olga Gummer . She also had her own exhibition show at the Salon d'Automne in Paris.
Ehrström designed and manufactured a variety of small metal objects such as ashtrays, jars, cups, vases and various boxes using copper, brass, bronze or tin.
He worked on metalwork in several buildings, such as the Hvitträski artist's villa and the Suur-Merijoki mansion in Kannas Karelia.
Ehrström also designed jewelery, and in 1918 he designed the crown of the King of Finland, as well as the Finnish coat of arms and the seals of the authorities. In 1927 Ehrström lost his right hand in an accident, after which his wife Olga Gummerus-Ehrström, who himself was a versatile and talented artist, helped her husband in this work.
Ehrström was a teacher of metal sculpture and interior design at the Art Institute's Industrial School 1904-1905 and 1912-1919. In 1924 he wrote a handbook for the arts industry Konsthantverk: Teknisk rådgivare (published in Finnish as Art: Technical Guide ) as a textbook for students and craftsmen in craft schools.
In 1919 Ehrström, together with sculptor Emil Wikström , Gösta Serlachius, and Paavo Tynelli, together with Taidetakomo Taito, later founded Oy Taito Ab, with Ehrström as the head of the Department of Art and Design.
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
New Jersey State Register (1971)
National Register #66000058 (1966)
Wendie Renard (de son complet Wendie Thérèse Renard1) est une footballeuse internationale française née le 20 juillet 1990 à Schœlcher en Martinique. Elle évolue au poste de défenseur droit ou centre à l'Olympique lyonnais.
Elle remporte avec son club dix championnats de France ainsi que la ligue des champions 2011, 2012 et 2016. Elle compte 76 sélections en équipe de France.
Wendie Renard commence le football à l'âge de sept ans à l'Essor Préchotin au sein d'une équipe de garçons. À l'âge de 15 ans, elle intègre le pôle outre-mer du lycée du François et joue en fin de semaine avec le Rapid Club du Lorrain.
Ses qualités physiques et techniques sont repérées par le conseiller technique régional de la ligue martiniquaise, Jocelyn Germé et elle passe le concours d'entrée du centre national de formation et d'entraînement de Clairefontaine. Malgré l'échec aux tests, Farid Bentisti, entraîneur de l'équipe de l'olympique lyonnais remarque ses capacités et elle intègre le centre de formation lyonnais. Elle intègre le groupe professionnel en juillet 2007 et en octobre, elle est sélectionnée en équipe de France des moins de 19 ans par Stéphane Pillard pour deux matchs amicaux contre l'Angleterre.
Wendie Renard dispute ensuite avec les bleues le Championnat d'Europe de football féminin des moins de 19 ans 2008 puis la coupe du monde des moins de 20 ans au Chili où la France termine 4e. Elle devient une des pièces maîtresses de l'Olympique lyonnais.
En mars 2011, elle est appelée pour la première fois en sélection A par Bruno Bini lors du tournoi de Chypre. Elle dispute son premier match en bleue face à la Suisse (victoire 2-0). En fin de saison, lors de la ligue des champions féminine de l'UEFA, elle marque le 1er but des lyonnaises contre le FFC Turbine Potsdam (2-0). L'année suivante, elle réussit avec ses coéquipières lyonnaises le triplé remportant championnat de France, coupe de France et Ligue des champions. Sélectionnée par Bruno Bini, elle dispute les Jeux olympiques.
En avril 2015, elle est sélectionnée par Philippe Bergeroo pour participer à la Coupe du monde de football féminin 2015 au Canada. En tant que capitaine, elle forme ainsi avec Laura Georges une charnière centrale solide permettant à la France de n'encaisser que 3 buts lors de la compétition. Elle échoue finalement avec ses coéquipières en quart de finale, battue par l'Allemagne (1-1, t.a.b : 6-5). Elle est toutefois élue dans le onze-type de la compétition [archive] par les supporters.
En août 2016, elle est la capitaine de l'équipe de France qui atteint les quarts de finale des Jeux Olympiques, éliminée par le Canada.
Au club depuis le 01 juil. 2007 Né le 13 août 1986 à Colombes Pays : France
Passée par le CNFE et Montpellier, Elodie Thomis rejoint l'OL féminin en 2007 et participe à la première campagne européenne du club. Son impressionnante pointe de vitesse fait de la Martiniquaise une joueuse hors du commun. L'attaquante française a tout gagné avec l'OL, et fait partie des cadres chez les Bleues.
Élodie Thomis (de son nom complet Élodie Ginette Thomis), née le 13 août 1986 à Colombes, est une footballeuse française. Elle évolue au poste d'attaquante. Elle joue à l'Olympique lyonnais et en équipe de France de football.
D'ascendance martiniquaise, Élodie Thomis a d'abord pratiqué l'athlétisme et en particulier le sprint (60 m).
Elle effectue sa première apparition en équipe de France le 6 juin 2005, face à l'Italie. Elle inscrit son premier doublé avec les Bleues le 27 octobre 2007 lors d'un match face à la Serbie.
Élodie a également joué en équipe de France des moins de 20 ans.
Élodie Thomis soutient également la Fondation du Sport : elle a pris part au programme Bien Manger, c’est bien Joué !, programme lancé en 2005 par la Fondation du Sport. Elle a participé à la réalisation de vidéos adressées aux jeunes sportifs pour leur apprendre les bases d'une alimentation adaptée à l'effort physique. Ce programme de la Fondation du Sport sensibilise également les enfants à l'importance de l'activité physique.
Voici une nouvelle centenaire en équipe de France féminine. Ce samedi soir face à la Suède, Elodie Thomis, 27 ans, a disputé son 100e match avec le maillot bleu. Une performance exceptionnelle pour une fille arrivée dans le football à l'âge de 15 ans, devenue depuis l'une des joueuses les plus redoutée de la planète foot féminin. Focus.
Le parcours d'Elodie Thomis est tout sauf banal. À 27 ans, l'attaquante de l'OL vient de célébrer sa 100e sélection en équipe de France de football, ce samedi soir à Amiens lors du match amical entre la France et la Suède remporté par les Bleues sur le score de 3 à 0. Exceptionnel pour une fille arrivée si tard dans le foot.
Ses premiers pas avec le ballon rond, Thomis les fait à 15 ans. Avant cela, l'attaquante supersonique fréquentait les pistes d'athlétisme. En seulement 12 ans, Thomis est passée d'athlète, à footballeuse, pour devenir une joueuse d'exception depuis plusieurs saisons. Une évolution fulgurante, à l'image de son jeu basé sur la vitesse.
Souvent raillée pour sa maladresse il y a encore quelques années, Thomis a petit à petit pris la mesure de son sport. "Il a fallu que je travaille deux fois plus que les autres", nous racontait-elle avant l'Euro 2013, avant d'ajouter qu'elle avait "beaucoup souffert de cette lacune par rapport aux autres qui étaient déjà à l’aise techniquement."
Et les faits sont là. Saison après saison, l’ailière prend du galon. D’abord au CNFE, où elle réussit deux premières belles saisons à 17 ans, claquant 28 buts en D1. Elle fait vite ses premiers pas chez les Bleues lors de l’Euro 2005, en remplaçant Hoda Lattaf à la 72e minute d’une victoire face à l’Italie (3-1).
Incontournable
Direction Montpellier en 2006, où elle s’affirme, découvre la Ligue des champions et soulève 2 Coupes de France, avant d’aller à Lyon. Là où elle va progresser de manière impressionnante, forgeant son palmarès et sa réputation. Peu utilisée lors de sa première saison dans le Rhône (9 titularisations, 17 matches en D1), encore considérée comme une joueuse avec des lacunes techniques, elle parvient à s’imposer dès la saison suivante. Titulaire en Ligue des champions, mais aussi en équipe de France, elle voit son temps de jeu grimper en 2008-2009. Elle devient définitivement incontournable lors des saisons qui suivent.
A mesure que le football féminin français évolue, Thomis devient une joueuse de plus en plus redoutable. Certainement la plus rapide au monde, elle étoffe sa palette technique. Crochets, passes, frappes, son arsenal s'améliore chaque saison. Une véritable dynamite, imprévisible, qui provoque la peur dans les rangs adverses. « J’ai beaucoup appris surtout et je suis entourée de très bonnes joueuses » nous expliquait-elle cet été. « Quand on a Abily, Necib, Bussaglia et toutes les autres à l’entraînement dans son équipe, on ne peut que progresser. J’ai vu, j’ai essayé et j’ai appris. Certains gestes sont restés, d’autres pas. »
Plus besoin de se justifier...
Depuis avril 2012 et son impressionnant triplé face au Pays de Galles, synonyme de qualification pour l’Euro, l’attaquante n’a plus besoin de justifier son niveau technique. Quelques mois plus tard, en D1 féminine, c’est son doublé face à Juvisy (3-0) qui avait offert le 6e titre de champion de France à l’OL.
Thomis est aujourd’hui la 11e française à atteindre la barre des 100 sélections. 6e meilleure buteuse de l’histoire (27 buts) avec un ratio but/match (0,27) comparable à celui d’une Hoda Lattaf (0,28), Thomis est la 5e française la plus capée de la sélection actuelle. A seulement 27 ans, et avec une telle vitesse dans la progression, on se demande jusqu’où elle pourra aller. En finale au Canada, ce serait bien.
Les Guingampaises n'ont pas vraiment pas été récompensées de leurs efforts. Ce dimanche, elles sont sorties de la Coupe de France face à Lyon (0-5).
La première période timide des Lyonnaises ne profite pas aux Rouge et Noir qui échouent sur le poteau de Fourré (7'). En seconde période, Lyon relève la tête et assomme Guingamp dans la dernière demi-heure.
Si Bremer ouvre le score (0-1, 67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89') et Kumagai sur penalty (90'+3) infligent un lourd score à l'En Avant.
La fiche technique
Arbitre : Mme Bonnin.
BUTS. Lyon : Bremer (67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
GUINGAMP : Gignoux - Dinglor, Debever, Lorgeré, Morin (Quentin 59') - Bueno, Nwuaboku (Fleury 59') - Oparanozir, Pervier, Le Garrec - Fourré. Entraineur : Sarah M'Barek.
LYON : Gérard - Franco, Buchanan, Renard (cap.), Henning (Bremer 46') - Kaci, Kumagai - Thomas, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur: Gérard Prêcheur.
L'OL féminin se déplace sur le terrain de Guingamp, dimanche après-midi (16h40), en 1/8 de finale de la Coupe de France.
Après deux victoires consécutives face à Juvisy (5-2, 1-0), en D1 féminine, les Lyonnaises retrouvent la Coupe de France avec un déplacement à Saint-Brieuc pour affronter Guingamp, en 1/8 de finale. Une équipe chez qui l'OL était allé s'imposer 3-0 en championnat, le 14 janvier dernier, après un succès 9-1 à l'aller.
Lors des tours précédents, les joueuses de Gérard Prêcheur ont sorti l'équipe de DH d'ETG Ambilly (8-0) puis le pensionnaire de D2 Grenoble (6-0), avec des équipes remaniées qui ont permis de donner du temps de jeu à celles qui en avaient besoin. De son côté, Guingamp a obtenu ses qualifications dans des derbys bretons face aux équipes de D2 Saint-Malo (6-0) et Brest (4-2).
Tenantes du titre, les Lyonnaises auront à coeur de décrocher leur qualification pour les 1/4 de finale, tout en préparant au mieux le déplacement décisif à Montpellier, le week-end prochain, en D1 féminine. Mbock, Majri, Houara, Seger, et Morgan sont au repos.
L’OL féminin a décroché son billet pour les quarts de finale de la Coupe de France en allant s'imposer 5-0 dans les Côtes d'Armor.
Les Lyonnaises poursuivent leur route dans la compétition après leur victoire ce dimanche à Saint-Brieuc sur le terrain de l'En-Avant de Guingamp. Une qualification pour les quarts de finale de la Coupe de France qui a été longue à se dessiner.
À la mi-temps le score était toujours de 0-0 et la plus belle occasion était à mettre au crédit des joueuses de Sarah M'Barek qui trouvaient la base du poteau de Méline Gerard sur une frappe d'Adélie Fourre. Durant ces 45 premières minutes, les Lyonnaises avaient eu bien du mal à se montrer dangereuses, si ce n'est sur une tentative de Claire Lavogez sauvée sur la ligne.
Dès le début de la seconde période, Gérard Prêcheur lançait sur le terrain Pauline Bremer et Eugénie Le Sommer. Des changement décisifs puisque Bremer se créait dans la foulée une première occasion. L'attaquante allemande ouvrait finalement le score à la 65e minute sur un corner dévié par Wendie Renard et qu'elle convertissait au second poteau (0-1, 65').
Malgré cet avantage, les Lyonnaises se faisaient dans la foulée une grosse frayeur et il fallait une double parade de Méline Gerard pour éviter l'égalisation guingampaise (70'). Un avertissement sans conséquence car dans la foulée Pauline Bremer mettait fin au suspense en ajoutant deux nouveaux buts : le premier sur une reprise après une déviation d'Ada Hegerberg (0-2) et le second sur un centre de Le Sommer repris de la tête au second poteau (0-3). Dans les derniers instants, Claire Lavogez (sur une passe de Bremer) et Saki Kumagai (sur pénalty) portaient le score à 5-0.
Avec cette large victoire, les tenantes du titre restent en course dans cette édition 2017 et seront attentives au tirage au sort des quarts de finale qui sera effectué ce mardi 21 février. Les quatre rencontres seront jouées le dimanche 12 mars. prochain.
Au Stade Fred Aubert à Saint-Brieuc
CDF féminine (1/8 finale) : EA Guingamp - OL féminin 0-5 (0-0)
Arbitre : Sabine Bonnin. Spectateurs : 800 env.
Buts : Bremer (65', 84' et 87' ), Lavogez (89') et Kumagai (93') pour l’OL
OL : Gerard – Petit, Renard (cap.), Buchanan, Henning (Bremer, 46'), - Kaci (Marozsan, 65'), Kumagai, Dali (Le Sommer, 46'), Thomis - Lavogez, Hegerberg. Entr. G. Prêcheur.
L'EA Guingamp s'est incliné 5-0 contre l'Olympique lyonnais ce dimanche en huitième de finale de la Coupe de France féminine. Les Bretonnes ont craqué en toute fin de match.
e score large de 0-5 ne reflète pas vraiment la physionomie du match entre l'EA Guingamp et l'Olympique lyonnais.
Les Bretonnes ont longtemps tenu tête à la meilleure équipe de football féminin du championnat français. En début de première période, Adélie Fourre a failli donner l'avantage à l'EA Guingamp mais sa frappe a fini sur le poteau.
Triplé de Bremer
Les Lyonnaises n'ont réussi à marquer qu'après l'heure de jeu. Suite à un corner, Renard a dévié le ballon de la tête en direction de Bremer, qui a réussi à passer devant la gardienne guingampaise pour ensuite marquer du pied droit en pivot (0-1, 67').
L'EAG aurait pu égaliser quatre minutes plus tard mais la frappe d'Oparanozie a été repoussée par Méline Gerard, la gardienne de l'OL. Dans la continuité de cette action, la tentative de Fleury est passée de peu à côté du but.
Mais face à l'épuisement des joueuses bretonnes en fin de match, les Lyonnaises ont réussi à prendre le large. Bremer s'est offert un triplé grâce à une reprise de volée (0-2, 84') puis une tête plongeante (0-3, 88'). Claire Lavogez a ensuite corsé l'addition d'une demi-volée en pleine lucarne (0-4, 89') avant que Kumagaï ne transforme un penalty en toute fin de match (0-5, 90'+5).
Les Guingampaises y ont longtemps cru, mais ne sont pas parvenues à faire tomber le tout puissant Olympique Lyonnais. Et ont finalement concédé un lourd score à l'arrivée.
Elles résistent longtemps. Bien plus longtemps que lors des deux confrontations en championnat. Mais en seconde période, les Guingampaises craquent. Pourtant, Wendie Renard et ses partenaires peinent à entrer dans la rencontre. Et elles sont d'ailleurs les premières à se faire peur. La frappe d'Adélie Fourré heurte le montant droit d'une Méline Gérard totalement battue (7'). « Je suis dégoûtée, mais c'est comme ça », regrette l'intéressée, titulaire en lieu et place de Salma Amani, blessée pendant l'échauffement. Si les Lyonnaises mettent peu à peu le pied sur le ballon, elles réalisent un premier acte poussif offensivement. Seule la frappe de Corine Franco dans les six mètres, repoussée par Margaux Bueno, parvient à inquiéter les « Rouge et Noir » (43').
L'ogre lyonnais sort ses crocs
Mécontent de son équipe, Gérard Prêcheur procède à deux changements au retour des vestiaires. À peine entrée en jeu, Pauline Bremer se signale, mais ne trouve pas le cadre (47'). Lyon s'installe dans le camp breton et oblige Gignoux à s'employer sur une tête de Renard (65'). Dans la foulée, Renard reprend le dessus sur la défense guingampaise qui ne parvient pas à se dégager. Dans les parages, Bremer concrétise la domination lyonnaise (0-1, 67'). Loin d'être atterrées, les filles de Sarah M'Barek réagissent immédiatement et se procurent une occasion en or. Sur le flanc droit, Oparanozie bute sur Gérard. Le ballon revient dans les pieds de Fleury. Le stade Fred-Aubert retient son souffle, mais l'Internationale U19 croise légèrement trop sa frappe (71'). Quand l'efficacité n'est pas au rendez-vous, la note est souvent payée cash face à l'OL. L'En Avant n'échappe pas à la règle et plie à nouveau sur une frappe d'Eugénie Le Sommer (0-2, 84').
Guingamp s'écroule, Lyon déroule
Dans les dernières minutes, Lyon se déchaîne et alourdit le score grâce à Ada Hegerberg (0-3, 88') et Claire Lavogez (0-4, 89'). Avant de donner au score son allure finale sur un penalty de Saki Kumagai (0-5, 90'+3). « C'est sévère quand on voit comment on s'est battues et arrachées, concède M'Barek. Mais je suis hyperfière de mes joueuses ». Une défaite globalement logique, mais extrêmement cruelle pour En Avant.
La fiche technique
Mi-temps : 0-0
Arbitre : Mme Bonnin.
BUTS.
Lyon : Bremer (67'), Le Sommer (84') Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
EA Guingamp :
Gignoux ? Dinglor, Debever, Lorgeré, Morin (Quéro 59') ? Bueno, Nwabuoku (Fleury 59') ? Oparanozie, Pervier (cap.), Le Garrec ? Fourré (Ndolo Ewele 77'). Entraîneur. Sarah M'Barek.
Lyon : Gérard ? Franco, Buchanan, Renard (cap.), Henning (Bremer 46') ? Kaci (Marozsan 67'), Kumagai ? Thomis, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur : Gérard Prêcheur.
Hand-crafted engraving has been widely used to the accessories for the Body, Home, or Office, like the fittings of the lighting, katana sword weapons' reproduction, Buddhist Altar, Furniture’s, Mural & Plaque, Clocks, Vases, Rings, and precise lost-wax casting mold, was traditionally created with the pure handmade technique of metal chasing, The art work is made from metal panel, using oxy acetylene flame, graver, chisel and metal hammer. By either sharping, beating, carving, engraving, sculpture on the metal, like brass or stell, in order to emboss the custom image into the copper sheet. It is an exquisite hand work. which is unique & permanent, so hand engraving is different from other decorative techniques in the sharpness of the lines and its permanence. Machine engraving cannot cut as deeply as the hand technique. Stamping and etching are sometimes confused with hand engraving, but the result is not as sharp. Lasers and die cutting can also be used to cut into metal but the results look machined rather than finely crafted. Please call us for more details
The Statue of Liberty's original torch was removed in 1984 and is currently on display in the lobby of the monument. A replacement torch was added in 1986.
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
Statue of Liberty National Monument New Jersey State Register (1971)
Statue of Liberty National Monument National Register #66000058 (1966)
(Patient down for the english version)
Pour passer de Bogotá à Popayan, faut dévaler une cordillère, l'orientale, pour se pédaler la viande toute cuisante sous le soleil de la vallée, remonter une autre cordillère, la centrale, avant de repiquer de la roue dans la vallée de l'autre côté, la suer, la franchir et gravir tranquillement les flancs de la dernière cordillère, l'occidentale. C'est comme de jouer à saute-mouton, mais avec des bêtes de 3000 mètres de haut.
Notre dernière journée en montée de la cordillère centrale se débute à Toche, dans une route rocailleuse. Après quelques bornes, la route serrée et en lacet nous récompense en points de vue stupéfiants sur tout le canyon qu'on grimpe pendant 6 heures ! La Línea, qu'on l'appelle : une route de gravelle sinueuse, qui relie Ibagué à Salento en passant par Toche, un ptit hameau d'une trentaine de maisons dans l'creux des montagnes. Au deux-tiers de la montée, les palmas de cera apparaissent – des palmiers géants qui dépassent le reste de la végétation. L'arbre emblématique de la Colombie. Et cette espèce ne pousse qu'ici, dans cette région. En bonus, on a droit à un ciel bleu profond qui nous les découpe comme une armée de Sideshow Bob végétaux couronnant toute la vallée. On roule à trois dans ce paradis. Joe Sasada, un charmant Britannique rencontré un mois plus tôt dans le Boyaca, nous a rejoint à Ibagué. Tant qu'à aborder une route mythique, autant partager le plaisir entre bonne genses !
Dans le milieux de l'après-midi, on atteint le col, à 3 350 mètres dans les hauteurs. On est brûlés. À cheval sur le point culminant de la route, on sourit. On sait très bien que les vingt prochains kilomètres seront tout en descente. Enfin ! Mais aussitôt, comme pour nous montrer qui décide réellement dans ces montagnes, le temps tourne. Le vent se lève et la pluie commence à grincer. Et nous à grimacer. On sort nos manteaux. Ann et Joe ont leurs beaux habits tous neufs, jaune serin flash, achetés au pays, totalement étanches, même à la respiration. Pratique, que j'me dis, je pourrai les repérer plus facilement dans la colère noire qui se prépare.
Vingt kilomètres de descente. Facile, que vous vous dites ! Une affaire d'une demi-heure ! Pas plus. Cale bien ton cul sur ta selle, repose tes pattes et laisse-toi aller l'menton dans l'vent ! Bein non. Désolé de vous rabattre le fantasme. C'est pas comme ça. Avec tout le poids de l'attirail, dans de la descente rocheuse, ça se passe autrement. Et avec la saison de la mouille qui pleut à pleines gouttes, les routes sont cataractérielles. Celle-ci en manque plusieurs bouts. Disparus dans la coulée, comme ça, du jour au lendemain. Pas pour rien qu'on n'a pas rencontré un seul véhicule depuis le matin. À certains endroits, on peut tout juste passer le vélo: seulement une mince ligne sépare la façade de la montagne qui nous snobe d'un bord et la chute dans le ravin qui nous guette de l'autre. Et puis, quand la route redevient entière, c'est pour se faire ruisseau, quasi rivière. Et pour ajouter un ingrédient à l'ensemble déjà tout jovial, mon bagage arrière a décidé de se lousser jusqu'à vouloir rejoindre la fosse à toutes les dix minutes de valdingue. Faut j'm'arrête donc, faut j'resserre le tout. Mais bon, on l'a choisie, qu'on se dit, on l'a voulue, qu'on se convainc, cette chiasse qui nous tombe dessus. Pis au moins, ça l'a eu le respect d'attendre qu'on soit rendus au sommet avant de s'mettre dans l'idée de nous noyer. Comme ça qu'on se parle dedans la tête. Y nous reste juste ça, on dirait, le dedans de la tête, quand tout l'extérieur est dur à vivre. Le seul endroit où on peut encore respirer. Et c'est pas grand, là-dedans, mais on cherche pareil où c'est qu'on a bein pu la mettre, notre motivation.
Et BAM !!! En un millième de seconde, un tonnerre impossible m'éjecte aussitôt de ma tête pour me la fourrer bien creuse dans les épaules ! Tellement que j'm'écrase presque sur mon vélo, comme une bouillote molle. J'me regonfle et continue à descendre, semi-sonné. Et j'aperçois en avant un des deux serins jaunes qui flotte dans l'océan. C'est Ann. Elle m'attend, la capine sur la tête et les yeux comme fous, malgré tout, de joie. Le plus gros tonnerre de ma vie ! Qu'elle me dit. T'as besoin d'aide pour rattacher ton sac ? Non. Ça va. Que je réponds. Grognon. Et elle renfourche son pédalo, m'annonçant avec un sourire résigné qu'elle sent plus ses orteils. Je me recompose un moral et la suis dans les remous.
On enchaine les buttes formées par le sable des falaises qui s'est effondré sur la route. On traverse des ruisseaux d'bouettes. L'eau nous gicle au corps de tous les bords.
Plus bas, on rejoint Joe sous un arbre qui n'arrive plus vraiment à servir d'abri. Joe a le même sourire contraint que nous. C'est tout ce qui reste à faire devant tout ça. En contrebas, Salento commence à se dessiner, comme en aquarelle coulante derrière le mur d'eau. On se recrinque la carcasse inondée et on rembarque ! Et c'est là, soudainement, qu'on comprend qu'on avait encore rien vu : la grosse pluie pleine se transforme en grêle ! Whaaat ! De toute beauté ! Une finale comme on les aime, ou pas ! Hollywoodienne presque, comme dans les films interminables où la fin est toujours repoussée par un autre revirement encore plus improbable que le dernier. Et on reste pareil. On veut voir la fin. Crisse.
On descend encore. Ça fait déjà plus d'une heure et demie qu'on marine dans l'jus, qu'on se mijote les os dans l'bouillon même pas chaud. La fraicheur s'est dissipée avec la perte d'altitude, mais je suis pas loin de claquer des dents. Encore deux kilomètres.
La grêle s'intensifie, rebondit sur les impers. On a l'air de trois chats qui nagent comme qu'y peuvent pour se sortir d'un gros bain frette, misérables. Quand notre regard croise l'un des deux autres, on sourit. On lance à l'autre: malade, hein ?! Mais dans le dedans de la tête de chacun, ça rit pas pantoute. Ça cherche du renfort. De l'aide. Just take a kayak, me vient en tête. Pourquoi ?! Non, non, non ! Faut pas que je demande pourquoi.. Des plans pour qu'une maudite toune à marde de Céline Daillonne vienne me vriller le cerveau en continu. M'a virer fou, si ça arrive ! J'me fais moine et me concentre sur ma respiration !
La veille, on s'était repéré à l'avance un ptite chambrette cheapette pour pas trop chercher longtemps une fois arrivés sur les lieux. Par chance, on réalise maintenant qu'elle est tout près, tout juste sur les rives du village. On jubile presque. On oeille la rue assez facilement. On crie "Terre" ! On y rame. De chaque côté, des gens recourbés sous des demis-toits nous observent pousser nos grosses montures pleines de bouettes dans cette ruelle-escalier tapissée de grosses roches lisses qui nous déverse le déluge en pleine face. On finit enfin par atteindre le patio à moitié rapiécé de l'auberge, suintant d'un peu partout.
On s'abrite sous le demi-toit et on se retourne pour admirer la puissance de la nature se déchaîner sur le décor. Cette fois, on apprécie, on ne subit plus. On l'a fait. On s'est rendus. On est heureux, pis niaiseux, pis transis comme des radis.
….
To get from Bogotá to Popayan, you have to go down a cordillera, the oriental one, to pedal your cooking meat under the sun of the valley, to go up another cordillera, the central one, before going back to the valley on the other side, to sweat it, to cross it and to climb quietly the slopes of the last cordillera, the occidental one. It's like playing leapfrog, but with amphibians 3000 meters high.
Our last day of climbing the central range starts in Toche, on a rocky road. After a few kilometers, the tight and winding road rewards us with amazing views of the whole canyon that we will climb for 6 hours! La Línea, as it is called, is a winding gravel road that connects Ibagué to Salento, passing through Toche, a small hamlet of about 30 houses in the hollow of the mountains. Two thirds of the way up, the palmas de cera appear - giant palm trees that tower above the rest of the vegetation. The emblematic tree of Colombia. And this species only grows here, in this region. In bonus, we get a deep blue sky which cuts the vegetation like an army of Sideshow Bob plants crowning all the valley. We roll at three in this paradise. Joe Sasada, a charming Briton met a month earlier in Boyaca, joined us in Ibagué. While approaching a mythical road, why not sharing the pleasure between good people!
In the middle of the afternoon, we reach the pass, at 3 350 meters in the heights. We are exhausted. Straddling the highest point of the road, we smile. We know very well that the next twenty kilometers will be all in descent. Finally! But right there, as to show us who really decides in these mountains, the weather turns. The wind rises and the rain begins to squeak. And we to wince. We take out our coats. Ann and Joe have their beautiful new impers, flashy yellow, bought in Colombia, totally waterproof, even for breathing. Practical, that I say to myself, I will be able to locate them more easily in the black anger which is about to rage.
Twenty kilometers of descent. Easy, you're saying! A matter of half an hour! No more. Put your ass on the saddle, rest your legs and let your chin fly in the wind! Well, no. Sorry to put you off your fantasy. With all the weight of the gear, on a rocky descent, it's not like that. And with the wet season pouring down, the roads are cataracterious. Actually, this one is missing several segments. Disappeared in the ravine, just like that, overnight. Here's the reason why we haven't met a single vehicle since the morning. In some places, we can just pass through with the bike: only a thin line of earth separates the mountain slope that snubs us on one side and the fall into the ravine that threatens us on the other. And then, when the road becomes whole again, it is to become a stream, almost a river. And to add an ingredient to the already jovial situation, my rear luggage decided to slack off to the point where it seems to desire to join the pit every ten minutes. So I have to stop, I have to tighten it up. But hey, we chose it, we say to ourselves, we wanted it, this shit that falls on us. And at least it had the respect to wait until we reached the top before getting into the project of drowning us. That's how we talk to each other inside our heads. That's all we have left, it seems, the inside of our heads, when everything outside is hard to live. The only place where we can still breathe. And it's not big, in there, but enough to still be searching where the fuck could we have hang our motivation.
And BAM!!! In one thousandth of a second, an impossible thunder ejects me at once from my head to stick it well deep in my shoulders! So much so that I almost collapse on my bike, like a deflated balloon's skin. I pump myself up and continue to descend. And I see in front of me one of the two yellow birds floating in the ocean. It is Ann. She is waiting for me, with her hood on her head and her eyes as if she was crazy, despite everything, with joy. The biggest thunder of my life! She says to me. Do you need help to reattach your bag? No. I'm fine. I answer. Grumpy. And she swims back on her pedalo, announcing with a resigned smile that she can't feel her toes. I recompose myself and follow her in the swirls.
We chain the humps formed by the sand of cliffs which fell apart on the road. We cross streams of mud. The water splashes our bodies from all sides.
Further down, we join Joe under a tree which does not know any more how to be a shelter. Joe has the same constrained smile as us. It is all that remains to do in front of all that. Below, Salento begins to take shape, as in watercolor behind the water wall. We shake off our flooded carcasses and we get back on the saddles. And it is there, suddenly, that we understand that we had still seen nothing: the big full rain turns into hail! Whaaat! A beauty! A final as we like them, or not! Hollywood almost, as in the endless films where the end is always pushed back by another turn even more unlikely than the last one. And we keep watching. We want to see the end. Damn.
We go down again. It's already been more than an hour and a half that we've been marinating in that juice, that we've been simmering our bones in that broth that's not even hot. The coolness has dissipated with the loss of altitude, but I am not far from chattering my teeth. Two more kilometers.
The hail intensifies, bouncing off the impers. We look like three cats who swim as they can to get out of the bath, miserable. When our eyes meet one of the other two, we smile. We say : sick, huh?! But in the inside of each one's head, it's no laugh at all. We are looking for support. For help. Just take a kayak, comes to my mind. Why?! No, no, no! Don't ask why. A damn Céline Daillonne crap song could come and screw with my brain continuously. And drive me crazy ! I refuse! So I try being a monk and concentrate on my inner breath!
The day before, we had located in advance a small cheap room to avoid searching too long once arrived. By chance, we realize now that it is very close, just on the banks of the village. We almost gloat. We eye the street rather easily. We shout "Land"! We row there. On each side, people curved under half-roofs observe us pushing our big bikes full of mud in this alley-stairway lined with big smooth rocks which pours us the flood right in the face. We finally reach the half patched patio of the inn, leaking from everywhere.
We take shelter under the roof and we turn over to admire the power of the nature unleashed on the scenery. This time, we appreciate, we do not have to endure it any more. We did it. We are happy, and silly, and soaked to the brain.
Trésor de Boscoreale : gobelet aux squelettes
[50 BCE to 25 CE]
found in Boscoreale - 1895 (villa de la Pisanella)
Inv-No: MNC 1981 ; Bj 1923
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Two silver cups decorated with skeletons. The two silver cups have similar and complementary repoussé decoration depicting the skeletons of tragic and comic poets and famous Greek philosophers, beneath a garland of roses.
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Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
New Jersey State Register (1971)
National Register #66000058 (1966)
QUEL PLAISIR DE VOUS RETROUVER !
Après deux ans sans rencontre estivale, nous sommes heureux de vous retrouver pour vous présenter une programation très riche et variée.
Des SPECTACLES à la salle du PANIER FEURI où vous découvrirez la musique et la danse de nombreuses cultures : MEXIQUE, MADAGASCAR, PEROU, IRLANDE, REPUBLIQUE TCHEQUE, EQUATEUR, PORTUGAL, NOUVELLE AQUITAINE ET BRETAGNE
Le CABARET à la MAIRIE ANNEXE DE PARAME vous proposera des CONCERTS d'artistes BRETONS, QUEBECOIS, IRLANDAIS, PERUVIENS...
Temps fort du festival le WEEK END du 09 et 10 JUILLLET avec le spectacle de danses bretonnes et la finale du concours des bagadou de 4ème Catégorie, le fest noz LE SAMEDI.
et la grande parade et le spectacle le DIMANCHEau PARC DES CHENES .
Saint-Malo : le festival Folklores du monde de retour pour une 26e édition, du 5 au 10 juillet
Après deux ans sans rencontres estivales, le festival Folklores du monde va enfin pouvoir retrouver le public, du 5 au 10 juillet 2022, à Saint-Malo.
De retour à Saint-Malo du mardi 5 au dimanche 10 juillet 2022, le festival Folklores du monde retrouve son format habituel avec sept pays invités : Portugal, Pérou, République tchèque, Équateur, Mexique, Madagascar et Irlande, et de nombreux groupes bretons.
« La journée du mardi 5 juillet sera dense pour marquer notre retour », précise Gérard Besnard, président d’Arts et cultures traditionnels du monde.
De plus :
Tous les jours, il y aura des défilés Intra-muros, de la porte Saint-Vincent à la porte de Dinan, des soirées cabaret à la mairie annexe de Paramé et des spectacles au Panier Fleuri.
Gérard Besnard, président d’Arts et cultures traditionnels du monde
Notons aussi que « le club de boules de Rochebonne invitera le public à venir s’initier à la boule bretonne toute la semaine à la porte de Dinan (Intra-muros), à Bel-Air (Saint-Servan) et à Rochebonne ».
Exposition
Une exposition de broderie sur mannequins, réalisée par le spécialiste Paul Balbous, se tiendra pendant 15 jours, du lundi 27 juin au dimanche 10 juillet dans le bâtiment de l’Académie malouine d’arts et plastiques situé dans rue de Bonneville à Paramé. Présence du brodeur le samedi 9 juillet. L’entrée est libre.
Le programme 2022
Mardi 5 juillet
• À 11h, sur l’esplanade de la médiathèque, représentation en plein air des Gourganes (chants de marins) et de l’Expédition Côtes du Nord (Bretagne). Gratuit.
• À 11h, sur l’esplanade Saint-Vincent à côté de l’office de tourisme, représentation en plein air du duo Gloaguen-Le Hénaff (initiation à la danse bretonne). Gratuit.
• De 14h à 18h, sur l’esplanade Saint-Vincent, représentations du duo Gloaguen-Le Hénaff (initiation à la danse bretonne), des Gourganes (chants de marins), de Los Uros (Pérou) et d’Expédition Côtes du Nord (Bretagne). Gratuit.
• À 18h, Intra-Muros, défilé d’ouverture du festival avec Expédition Côtes du Nord (Bretagne), l’Équateur, Madagascar, le Pérou et la République tchèque. Gratuit.
• À 21h, au Panier Fleuri, spectacle de Danceperados of Ireland (ballet irlandais). Tarif 18 € / 5 € pour les moins de 18 ans.
• À 21h15, mairie annexe de Paramé, cabaret, soirée chants de marins avec Djibou. Tarif 12 €.
Mercredi 6 juillet
À 21h, salle du Panier Fleuri, spectacle de Compania Folklorica Sinaloense (Mexique) et Benja Gasy (Madagascar). Tarif 12 € / 5 € pour les moins de 18 ans.
• À 21h15, mairie annexe de Paramé, cabaret, soirée Bretagne avec Soig Sibéril et Jean-Félix Lalanne puis Fred Guichen et Jean-Pierre Riou. Tarif 12 €.
Jeudi 7 juillet
• À 21h, salle du Panier Fleuri, spectacle de Brensky Valasek (République tchèque) et Nukanchik (Équateur). Tarif 12 € / 5 € pour les moins de 18 ans.
• À 21h15, mairie annexe de Paramé, cabaret, soirée Musiques du monde par Hervé Guillo et Tony Mac Carthy (Irlande) puis Bon débarras (Québec). Tarif 12 €.
Jeudi 7 et vendredi 8 juillet
• De 10h à 12h puis de 14h à 17h, au 7 rue de la Trinidad à Saint-Malo, stage de broderie animé par Paul Balbous sous l’égide de l’association Gwik Alet. Inscriptions au 06 76 54 41 00 ou par courriel à contact@folkloresdumonde.bzh. Tarif 25 € la journée, repas du midi compris.
Vendredi 8 juillet
• À 18h, terrasse du grand hôtel des Thermes Marins (100 boulevard Hébert) accessible depuis la digue du sillon, animation avec le groupe du Mexique. Gratuit.
• À 21h, salle du panier Fleuri, spectacle de Lo Gerbo Baudo (Nouvelle-Aquitaine) et Quic-en-Groigne (Bretagne). Tarif 12 € / 5 € pour les moins de 18 ans.
• À 21h15, mairie annexe de Paramé, cabaret, soirée Musiques du monde par Arzan puis Los Uros (Pérou) Tarif 12 €.
Samedi 9 juillet
• De 14h à 17h, salle du Panier Fleuri, Kement’Tu (spectacle des cercles celtiques de Bretagne). Tarif 7 €.
• De 14h à 17h, au parc des chênes, concours sonerion (finale des bagadou de 4e catégorie). Gratuit.
• De 21h à 2h, salle du Panier Fleuri, Fest-Noz avec Sonerien Du (50 ans de scène), Skrijus, Launay Savidan et l’Haridon Bodros. Tarif 7 €.
Dimanche 10 juillet
• Grande journée de clôture marquée par un défilé à partir de 11h depuis le boulevard de Rochebonne, jusqu’au parc des Chênes. De 12h à 18h, 16 groupes bretons et étrangers seront en représentation sur une grande scène aménagée au parc des Chênes.
• Le triomphe de clôture, à 18h30, marquera la fin des festivités. Événement gratuit. Restauration sur place à partir de 11h au parc des Chênes (possibilité de réservation au 06.08.24.47.28). Des animations de jeux en bois anciens et des démonstrations de lutte bretonne auront lieu au village du festival, des boutiques d’objets divers seront présentes sur le site du parc des Chênes.
Du mardi 5 au vendredi 8 juillet
• Cours de danses bretonnes animés par Karl Blanchet, de 10h à 12h, au dojo de la salle du Panier Fleuri, rue de Bonneville à Saint-Malo. Tarif 5 €.
Musiques et danses des 4 coins du monde
Le Festival Folklores du Monde revient cet automne à Saint-Malo ! Ce festival à l’identité celtique revient chaque année à Saint-Malo depuis 1996. Du 5 au 10 juillet 2022, Le Festival Folklores du Monde s’invite dans les quartiers malouins, plus particulièrement dans le quartier de Paramé pour vous faire découvrir les musiques et danses présentes aux 4 coins du monde. En après-midi ou en soirée, de nombreuses animations sont prévues : concerts, danse, animations de rues ou encore du spectacle vivant.
Comme chaque année, le festival Folklores du Monde revient à Saint-Malo cet été ! Pour sa 25e édition, il se tiendra du 5 au 12 juillet 2022. Un rendez-vous incontournable pour ceux qui aiment découvrir d’autres cultures, le tout en danse et en musique !
Des artistes internationaux à Saint-Malo
Les bretons ont beau avoir la réputation d’être chauvins, ils n’en sont pour autant pas moins ouverts à d’autres cultures ! Cette année encore, des artistes internationaux sont invités à défiler dans les quartiers malouins, principalement dans le quartier de Paramé.
Le public malouin pourra donc découvrir des artistes venus d’Afrique du Sud, de Cuba, d’Équateur, du Mexique et de la Tchéquie, grâce aux artistes et groupes suivants :
• Ama Zebra,
• Kamagua,
• Nukanchick,
• La Compañia Folclórica Sinaloense,
• Brnensky Valasek.
Des provinces françaises sont également invitées : c’est le cas pour Tahiti, la Nouvelle-Aquitaine et bien évidemment la Bretagne, avec l’ensemble folklorique de danse et musique traditionnelle Quic-en-Groigne.
Enfin, une place particulière sera donnée à la tête d’affiche 2022 : le groupe Sonerien Du fêtera avec le public ses 50 ans de scène. Un anniversaire à ne pas manquer le 9 juillet prochain : ambiance festive garantie !
À Saint-Malo, la billetterie du festival Folklores du Monde est ouverte
Après une année blanche en 2020 et une suivante repoussée à l’automne 2021, tout rentre enfin dans l’ordre pour cette 26e édition du festival malouin Folklores du Monde.
Le grand rendez-vous se déroulera du 5 au 10 juillet. Avec cette année, une nouveauté : un démarrage d’enfer le mardi 5 juillet. Après des animations devant la gare le matin et sur l’esplanade Saint-Vincent l’après-midi, place à un défilé d’ouverture dans les rues de l’Intra-Muros à compter de 18 h, suivis d’une soirée chants de marin et d’un spectacle de danse irlandaise.
Une soirée retient plus particulièrement l’attention : le samedi 9 juillet, avec le spectacle du groupe Sonerien Du, qui fête cette année ses 50 ans de scène. Autre moment fort et gratuit : la grande parade des Nations, le dimanche 10 juillet, à 11 h, boulevard de Rochebonne.
Il ne faut pas tarder à s’inscrire aux spectacles proposés par les pays invités : République tchèque, Madagascar, Irlande, Équateur, Mexique…
Dimanche 10 juillet est venu clôturer cette semaine de festival Folklores du Monde à Saint-Malo (Ille-et-Vilaine). Pour ce grand défilé, 18 troupes ont animé les rues de Paramé avant d'arriver au parc des Chênes ou de nombreuses animations attendaient un public venu en nombre.
Dans ces groupes de danseurs et de musiciens, étaient invitées cette année six délégations étrangères. Madagascar, l'Equateur, la République Tchèque, le Mexique, le Pérou et le Portugal sont venus gonfler les rangs du défilé. Bien sûr de nombreux bagadoù étaient là pour enjouer les passants.
Le coup d’envoi de la 26e édition du festival Folklores du Monde a été donné mardi 5 juillet. Durant cinq jours, Saint-Malo vibre au rythme des sonorités et danses de tous les continents.
Les rues d’intra-muros ont résonné aux sons venus de République tchèque, Madagascar, Pérou ou encore d’une formation bretonne aux allures quelque peu loufoque (Expédition Côtes du Nord). En ouverture de la 26e édition de son festival, Folklores du Monde a organisé un défilé haut en couleur dans la cité corsaire. De quoi ravir les visiteurs, parfois étonnés de rencontrer ce mélange de cultures déambulant sur les pavés d’intra-muros.
Une invitation culturelle au voyage
Avec deux spectacles par soir, au Panier Fleuri et à la mairie annexe de Paramé, le festival Folklores du Monde propose, une nouvelle fois, un mini-tour du monde jusqu’au 10 juillet. Une place de choix est aussi réservée à la culture bretonne sur la scène du festival, avec notamment les 50 ans des Sonerien Du, programmés le samedi 9 juillet. Après deux années marquées par les contraintes sanitaires, cette 26e édition est aussi celle du retour de la grande parade des Nations. Elle s’élancera le dimanche 10 juillet à 11 h du boulevard de Rochebonne pour rejoindre le Parc des Chênes.
Elements are no larger than 4cm in height.
To read how each was made click here for the lemon; www.flickr.com/photos/fluxplay/6931359333/in/photostream
here for the diamond; www.flickr.com/photos/fluxplay/6931359557/in/photostream
here for the ice cube; www.flickr.com/photos/fluxplay/6931358933/in/photostream
and here to find out what the hatpins are all about....; www.flickr.com/photos/fluxplay/6785242476/in/photostream/
Bangui (RCA) - 13 janvier 2021: Des casques bleus de l’Unité sénégalaise de Police constituée de la MINUSCA avec les forces armées centrafricaines, ce matin au PK12, périphérie de la capitale, après avoir repoussé l’attaque lancée par les groupes armés coalisés anti-Balaka, UPC, 3R et MPC et leurs alliés politiques, dans leur tentative de s’emparer de Bangui.
Bangui (CAR) - 13 January 2021: Peacekeepers of the MINUSCA Senegalese Formed Police Unit with the Central African Armed Forces, this morning at PK12, on the outskirts of the capital, after repelling the attack launched by the anti-Balaka, UPC, 3R and MPC coalition of armed groups and their political allies, in their attempt to capture Bangui.
Gold repousse plaque with feline faced gods with bird masks and snakes. Chavin, 400 BC - 200 BC, Peru, Cajamarca. From the Museo Larco, Lima, Peru. Special Exhibit, Golden Kingdoms: Luxury and Legacy in the Ancient Americas. Metropolitan Museum of Art, New York, New York, USA. Copyright 2018, James A. Glazier.
Donaufelder Parish
View from Danube Tower to the Donaufelder church
Inside view towards to the altar of the Donaufelder Church
The Roman Catholic Donaufelder parish church (St. Leopold) is located in 21 District of Vienna Floridsdorf. The according to plans of building officer Franz Ritter von Neumann built neo-Gothic brick building (with Art Nouveau interior design) is surrounded by a small park on the Kinzerplatz in the district part of Danube field (Donaufeld).
History
The Donaufelder parish church originally was planned as a bishop's church of a new Lower Austrian diocese. This explains the enormous scale of this parish (in the parish about 7,000 Catholics live). But the higher policy had it otherwise and the new diocese was never established. Thus Danube field came to its imposing parish church.
At the laying of the foundation stone on 6 June 1905 took part a number of important personalities, at the head of those participants, Emperor Franz Joseph I. with the then Mayor of Vienna Dr. Karl Lueger. Furthermore, were Archduke Friedrich, Archduke Leopold Salvator and the provost of Klosterneuburg monastery Bernhard Johannes Peitl present. The foundation stone now is walled in the apse to the left of the high altar.
With the construction of the church building originally building officer Franz Ritter von Neumann was commissioned. When he died even before the foundation stone was laid, architects Karl Troll and Johann Stobble supervised the construction in strict accordance with the plans of Neumann.
The solemn consecration was carried out by Cardinal Archbishop Dr. Friedrich Piffl. On the part of the Imperial family participated Archduke Peter Ferdinand. The capstone was walled in opposite the foundation stone and provided with a decorative plate.
When the church was already completed, yet two emergency exits had to be built, as subsequently was detected that with a capacity of 5,000 people too few outputs were provided.
The Sacramental altar of the church stems from the Academic Gymnasium and was only in 1940 erected. However, since it was believed it was disturbing the Art Nouveau overall picture of the church, they wanted it to have removed again. After becoming aware of the cost of 30,000 shillings, the idea of removing it later on was abandoned (for good). The Sacramental altar is still in the church today.
The building
Description
The neo-Gothic hall church made of brick has a nave with transversely positioned gabled roofs above the side aisles and a slightly lower retracted choir, which is structured by buttresses and two-part to four-part lancet windows. Side of the choir there are two storey extensions and a domed staircase turret. The northwestern gable front is flanked by domed staircase turrets; put in front is the mighty tower with an open porch and an octagonal spire.
Dimensions
The church is 35 m wide and 80 m long; the clear height of the arch is 18 m. The church tower is 96 m high. Thus, the tower is the third highest of all of Vienna. Hence, the Donaufelder parish is to be found in the center field of the list of the highest constructions in the world. Furthermore, it is also the third largest church in Vienna and has the largest timber roof of Vienna. According to official reports, It offers 5,000 people space.
The interior
In designing the interior particular emphasis was placed. The imposing high altar, carved in metal repoussé work rests on a marble base and shows the group "St. Leopold and his wife Agnes kneeling before the Virgin Mary with the Child Jesus". The Pietà of the left side altar created Arthur Kaan. From him stem also the chandeliers "Heart of Jesus" and "Heart of Mary". The right side altar comes from the Viennese artist Alexander Illitsch and displays "The Holy Family on the Flight into Egypt".
From the art historical point of view, the interior of the church is a unique Art Nouveau Gesamtkunstwerk.
Organ
The organ of the Donaufelder parish church was built in 1910 by the Viennese organ builder Josef Swoboda and is the largest yet playable left in its original state Swoboda organ. It has a total of 1,940 pipes, the smallest measuring 10 cm, the largest 9 m. The organ sonically never was changed and is regarded as a sound monument.
The prospectus of the organ adorn sculptures in relief and show the figure group "The Saint Cecilia and two kneeling angels".
مادر و کودک، آویز طلایی با نگاره مینایی ، سده ۱۹ ترسایی
A gold and enamelled pendant featuring a mother and child, Persia, 19th century
of quatrefoil form, featuring a polychrome enamelled scene with mother and child, hanging gold elements, the reverse decorated in repoussé with foliate motifs, small hook above for hanging
4.3cm. diam.
La commune de Valmeinier était une paroisse dépendant de la Maison de Savoie et de l'évêque de Maurienne. Les seigneurs de La Chambre y exerçaient les droits du vicomte.
Lieu d'exploitation minière au 17e siècle (d'où le nom de Valmeinier qui vient de Val des mines), le village fut incendié et pillé pendant la Révolution.
Le 1er octobre 1793, une bataille opposa les troupes françaises républicaines, fortes de 900 hommes stationnés à Valloire, aux soldats piémontais renforcés par les habitants de Valmeinier qui refusaient l’ordre révolutionnaire. Ceux-ci avaient été insurgés par un parent du seigneur de Saint-Michel-de-Maurienne, appelé Joseph Mareschal Luciane, de Saint-Martin-la Porte. Le capitaine français à Valloire scinda sa troupe en sept colonnes qui investirent les hameaux de la commune. Les Piémontais et les insurgés durent se réfugier sur les hauteurs et furent fait prisonniers le 2 octobre, y compris le meneur Joseph Mareschal Luciane. Celui-ci fut fusillé à Valloire le 3 octobre à 9 heures du matin.
Au cours de cette bataille, des Valloirins enlevèrent les bestiaux et les objets mobiliers de valeur, car ils avaient été prévenus que les habitations seraient incendiées. Des Saint-Martenots en profitèrent également pour s’approprier les deux cloches de l’église, car la leur en était dépourvue. Les habitants de Saint Martin la Porte, venus en renfort des soldats français, se ruèrent sur l’église et la sacristie, sans oublier le presbytère, emportant archives et parchemins.
Les hameaux de Valmeinier furent incendiés, à l’exception de celui des Combes, peut-être grâce à une somme de 200 francs qu’un vieillard, du nom de Noraz, versa au capitaine. Une femme, dans un autre hameau, refusant que l’on incendiât sa maison, s’opposa aux soldats avec une fourche mais elle fut repoussée à l’intérieur et mourut brûlée vive. Un soldat, ayant aperçu un combattant s’enfuyant avec son arme pour aller la dissimuler, le signala au capitaine et le mit en joue pour le tuer. Mais le capitaine lui baissa son arme et lui dit que ce combattant étant un héros, il ne fallait pas le tuer. Il sera fait prisonnier et son arme sera récupérée.
On raconte aussi que le curé, aidé par sa bonne, qui lui prêta quelques uns de ses vêtements, s’enfuit déguisé en femme portant un enfant dans ses bras. Il aurait été arrêté par deux soldats français placés en sentinelles pour contrôler d’éventuels fuyards. L’un de ceux-ci trouvant la voix du curé trop grave pour être celle d’une femme, lui arracha sa coiffe et dévoila sa chevelure bien trop rase et clairsemée pour une chevelure féminine. Il voulut le tuer mais l’autre, ayant eu vraisemblablement une éducation religieuse, refusa de pratiquer ce sacrilège et aurait décidé de lui laisser la vie. Après leur avoir donné une poignée de monnaie en guise de remerciement, le curé put continuer sa route et garda la vie sauve.
Les Guingampaises n'ont pas vraiment pas été récompensées de leurs efforts. Ce dimanche, elles sont sorties de la Coupe de France face à Lyon (0-5).
La première période timide des Lyonnaises ne profite pas aux Rouge et Noir qui échouent sur le poteau de Fourré (7'). En seconde période, Lyon relève la tête et assomme Guingamp dans la dernière demi-heure.
Si Bremer ouvre le score (0-1, 67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89') et Kumagai sur penalty (90'+3) infligent un lourd score à l'En Avant.
La fiche technique
Arbitre : Mme Bonnin.
BUTS. Lyon : Bremer (67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
GUINGAMP : Gignoux - Dinglor, Debever, Lorgeré, Morin (Quentin 59') - Bueno, Nwuaboku (Fleury 59') - Oparanozir, Pervier, Le Garrec - Fourré. Entraineur : Sarah M'Barek.
LYON : Gérard - Franco, Buchanan, Renard (cap.), Henning (Bremer 46') - Kaci, Kumagai - Thomas, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur: Gérard Prêcheur.
L'OL féminin se déplace sur le terrain de Guingamp, dimanche après-midi (16h40), en 1/8 de finale de la Coupe de France.
Après deux victoires consécutives face à Juvisy (5-2, 1-0), en D1 féminine, les Lyonnaises retrouvent la Coupe de France avec un déplacement à Saint-Brieuc pour affronter Guingamp, en 1/8 de finale. Une équipe chez qui l'OL était allé s'imposer 3-0 en championnat, le 14 janvier dernier, après un succès 9-1 à l'aller.
Lors des tours précédents, les joueuses de Gérard Prêcheur ont sorti l'équipe de DH d'ETG Ambilly (8-0) puis le pensionnaire de D2 Grenoble (6-0), avec des équipes remaniées qui ont permis de donner du temps de jeu à celles qui en avaient besoin. De son côté, Guingamp a obtenu ses qualifications dans des derbys bretons face aux équipes de D2 Saint-Malo (6-0) et Brest (4-2).
Tenantes du titre, les Lyonnaises auront à coeur de décrocher leur qualification pour les 1/4 de finale, tout en préparant au mieux le déplacement décisif à Montpellier, le week-end prochain, en D1 féminine. Mbock, Majri, Houara, Seger, et Morgan sont au repos.
L’OL féminin a décroché son billet pour les quarts de finale de la Coupe de France en allant s'imposer 5-0 dans les Côtes d'Armor.
Les Lyonnaises poursuivent leur route dans la compétition après leur victoire ce dimanche à Saint-Brieuc sur le terrain de l'En-Avant de Guingamp. Une qualification pour les quarts de finale de la Coupe de France qui a été longue à se dessiner.
À la mi-temps le score était toujours de 0-0 et la plus belle occasion était à mettre au crédit des joueuses de Sarah M'Barek qui trouvaient la base du poteau de Méline Gerard sur une frappe d'Adélie Fourre. Durant ces 45 premières minutes, les Lyonnaises avaient eu bien du mal à se montrer dangereuses, si ce n'est sur une tentative de Claire Lavogez sauvée sur la ligne.
Dès le début de la seconde période, Gérard Prêcheur lançait sur le terrain Pauline Bremer et Eugénie Le Sommer. Des changement décisifs puisque Bremer se créait dans la foulée une première occasion. L'attaquante allemande ouvrait finalement le score à la 65e minute sur un corner dévié par Wendie Renard et qu'elle convertissait au second poteau (0-1, 65').
Malgré cet avantage, les Lyonnaises se faisaient dans la foulée une grosse frayeur et il fallait une double parade de Méline Gerard pour éviter l'égalisation guingampaise (70'). Un avertissement sans conséquence car dans la foulée Pauline Bremer mettait fin au suspense en ajoutant deux nouveaux buts : le premier sur une reprise après une déviation d'Ada Hegerberg (0-2) et le second sur un centre de Le Sommer repris de la tête au second poteau (0-3). Dans les derniers instants, Claire Lavogez (sur une passe de Bremer) et Saki Kumagai (sur pénalty) portaient le score à 5-0.
Avec cette large victoire, les tenantes du titre restent en course dans cette édition 2017 et seront attentives au tirage au sort des quarts de finale qui sera effectué ce mardi 21 février. Les quatre rencontres seront jouées le dimanche 12 mars. prochain.
Au Stade Fred Aubert à Saint-Brieuc
CDF féminine (1/8 finale) : EA Guingamp - OL féminin 0-5 (0-0)
Arbitre : Sabine Bonnin. Spectateurs : 800 env.
Buts : Bremer (65', 84' et 87' ), Lavogez (89') et Kumagai (93') pour l’OL
OL : Gerard – Petit, Renard (cap.), Buchanan, Henning (Bremer, 46'), - Kaci (Marozsan, 65'), Kumagai, Dali (Le Sommer, 46'), Thomis - Lavogez, Hegerberg. Entr. G. Prêcheur.
L'EA Guingamp s'est incliné 5-0 contre l'Olympique lyonnais ce dimanche en huitième de finale de la Coupe de France féminine. Les Bretonnes ont craqué en toute fin de match.
e score large de 0-5 ne reflète pas vraiment la physionomie du match entre l'EA Guingamp et l'Olympique lyonnais.
Les Bretonnes ont longtemps tenu tête à la meilleure équipe de football féminin du championnat français. En début de première période, Adélie Fourre a failli donner l'avantage à l'EA Guingamp mais sa frappe a fini sur le poteau.
Triplé de Bremer
Les Lyonnaises n'ont réussi à marquer qu'après l'heure de jeu. Suite à un corner, Renard a dévié le ballon de la tête en direction de Bremer, qui a réussi à passer devant la gardienne guingampaise pour ensuite marquer du pied droit en pivot (0-1, 67').
L'EAG aurait pu égaliser quatre minutes plus tard mais la frappe d'Oparanozie a été repoussée par Méline Gerard, la gardienne de l'OL. Dans la continuité de cette action, la tentative de Fleury est passée de peu à côté du but.
Mais face à l'épuisement des joueuses bretonnes en fin de match, les Lyonnaises ont réussi à prendre le large. Bremer s'est offert un triplé grâce à une reprise de volée (0-2, 84') puis une tête plongeante (0-3, 88'). Claire Lavogez a ensuite corsé l'addition d'une demi-volée en pleine lucarne (0-4, 89') avant que Kumagaï ne transforme un penalty en toute fin de match (0-5, 90'+5).
Les Guingampaises y ont longtemps cru, mais ne sont pas parvenues à faire tomber le tout puissant Olympique Lyonnais. Et ont finalement concédé un lourd score à l'arrivée.
Elles résistent longtemps. Bien plus longtemps que lors des deux confrontations en championnat. Mais en seconde période, les Guingampaises craquent. Pourtant, Wendie Renard et ses partenaires peinent à entrer dans la rencontre. Et elles sont d'ailleurs les premières à se faire peur. La frappe d'Adélie Fourré heurte le montant droit d'une Méline Gérard totalement battue (7'). « Je suis dégoûtée, mais c'est comme ça », regrette l'intéressée, titulaire en lieu et place de Salma Amani, blessée pendant l'échauffement. Si les Lyonnaises mettent peu à peu le pied sur le ballon, elles réalisent un premier acte poussif offensivement. Seule la frappe de Corine Franco dans les six mètres, repoussée par Margaux Bueno, parvient à inquiéter les « Rouge et Noir » (43').
L'ogre lyonnais sort ses crocs
Mécontent de son équipe, Gérard Prêcheur procède à deux changements au retour des vestiaires. À peine entrée en jeu, Pauline Bremer se signale, mais ne trouve pas le cadre (47'). Lyon s'installe dans le camp breton et oblige Gignoux à s'employer sur une tête de Renard (65'). Dans la foulée, Renard reprend le dessus sur la défense guingampaise qui ne parvient pas à se dégager. Dans les parages, Bremer concrétise la domination lyonnaise (0-1, 67'). Loin d'être atterrées, les filles de Sarah M'Barek réagissent immédiatement et se procurent une occasion en or. Sur le flanc droit, Oparanozie bute sur Gérard. Le ballon revient dans les pieds de Fleury. Le stade Fred-Aubert retient son souffle, mais l'Internationale U19 croise légèrement trop sa frappe (71'). Quand l'efficacité n'est pas au rendez-vous, la note est souvent payée cash face à l'OL. L'En Avant n'échappe pas à la règle et plie à nouveau sur une frappe d'Eugénie Le Sommer (0-2, 84').
Guingamp s'écroule, Lyon déroule
Dans les dernières minutes, Lyon se déchaîne et alourdit le score grâce à Ada Hegerberg (0-3, 88') et Claire Lavogez (0-4, 89'). Avant de donner au score son allure finale sur un penalty de Saki Kumagai (0-5, 90'+3). « C'est sévère quand on voit comment on s'est battues et arrachées, concède M'Barek. Mais je suis hyperfière de mes joueuses ». Une défaite globalement logique, mais extrêmement cruelle pour En Avant.
La fiche technique
Mi-temps :
0-0
Arbitre :
Mme Bonnin.
BUTS.
Lyon : Bremer (67'), Le Sommer (84') Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
EA Guingamp :
Gignoux ? Dinglor, Debever, Lorgeré, Morin (Quéro 59') ? Bueno, Nwabuoku (Fleury 59') ? Oparanozie, Pervier (cap.), Le Garrec ? Fourré (Ndolo Ewele 77'). Entraîneur. Sarah M'Barek.
Lyon : Gérard ? Franco, Buchanan, Renard (cap.), Henning (Bremer 46') ? Kaci (Marozsan 67'), Kumagai ? Thomis, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur : Gérard Prêcheur.
Gold hollow bracelet with relief running spiral and scroll design. La tene, 300 BC - 100 AD. Irish. National Museum. Dublin, Ireland. Copyright 2014, James A. Glazier.
Les Guingampaises n'ont pas vraiment pas été récompensées de leurs efforts. Ce dimanche, elles sont sorties de la Coupe de France face à Lyon (0-5).
La première période timide des Lyonnaises ne profite pas aux Rouge et Noir qui échouent sur le poteau de Fourré (7'). En seconde période, Lyon relève la tête et assomme Guingamp dans la dernière demi-heure.
Si Bremer ouvre le score (0-1, 67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89') et Kumagai sur penalty (90'+3) infligent un lourd score à l'En Avant.
La fiche technique
Arbitre : Mme Bonnin.
BUTS. Lyon : Bremer (67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
GUINGAMP : Gignoux - Dinglor, Debever, Lorgeré, Morin (Quentin 59') - Bueno, Nwuaboku (Fleury 59') - Oparanozir, Pervier, Le Garrec - Fourré. Entraineur : Sarah M'Barek.
LYON : Gérard - Franco, Buchanan, Renard (cap.), Henning (Bremer 46') - Kaci, Kumagai - Thomas, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur: Gérard Prêcheur.
L'OL féminin se déplace sur le terrain de Guingamp, dimanche après-midi (16h40), en 1/8 de finale de la Coupe de France.
Après deux victoires consécutives face à Juvisy (5-2, 1-0), en D1 féminine, les Lyonnaises retrouvent la Coupe de France avec un déplacement à Saint-Brieuc pour affronter Guingamp, en 1/8 de finale. Une équipe chez qui l'OL était allé s'imposer 3-0 en championnat, le 14 janvier dernier, après un succès 9-1 à l'aller.
Lors des tours précédents, les joueuses de Gérard Prêcheur ont sorti l'équipe de DH d'ETG Ambilly (8-0) puis le pensionnaire de D2 Grenoble (6-0), avec des équipes remaniées qui ont permis de donner du temps de jeu à celles qui en avaient besoin. De son côté, Guingamp a obtenu ses qualifications dans des derbys bretons face aux équipes de D2 Saint-Malo (6-0) et Brest (4-2).
Tenantes du titre, les Lyonnaises auront à coeur de décrocher leur qualification pour les 1/4 de finale, tout en préparant au mieux le déplacement décisif à Montpellier, le week-end prochain, en D1 féminine. Mbock, Majri, Houara, Seger, et Morgan sont au repos.
L’OL féminin a décroché son billet pour les quarts de finale de la Coupe de France en allant s'imposer 5-0 dans les Côtes d'Armor.
Les Lyonnaises poursuivent leur route dans la compétition après leur victoire ce dimanche à Saint-Brieuc sur le terrain de l'En-Avant de Guingamp. Une qualification pour les quarts de finale de la Coupe de France qui a été longue à se dessiner.
À la mi-temps le score était toujours de 0-0 et la plus belle occasion était à mettre au crédit des joueuses de Sarah M'Barek qui trouvaient la base du poteau de Méline Gerard sur une frappe d'Adélie Fourre. Durant ces 45 premières minutes, les Lyonnaises avaient eu bien du mal à se montrer dangereuses, si ce n'est sur une tentative de Claire Lavogez sauvée sur la ligne.
Dès le début de la seconde période, Gérard Prêcheur lançait sur le terrain Pauline Bremer et Eugénie Le Sommer. Des changement décisifs puisque Bremer se créait dans la foulée une première occasion. L'attaquante allemande ouvrait finalement le score à la 65e minute sur un corner dévié par Wendie Renard et qu'elle convertissait au second poteau (0-1, 65').
Malgré cet avantage, les Lyonnaises se faisaient dans la foulée une grosse frayeur et il fallait une double parade de Méline Gerard pour éviter l'égalisation guingampaise (70'). Un avertissement sans conséquence car dans la foulée Pauline Bremer mettait fin au suspense en ajoutant deux nouveaux buts : le premier sur une reprise après une déviation d'Ada Hegerberg (0-2) et le second sur un centre de Le Sommer repris de la tête au second poteau (0-3). Dans les derniers instants, Claire Lavogez (sur une passe de Bremer) et Saki Kumagai (sur pénalty) portaient le score à 5-0.
Avec cette large victoire, les tenantes du titre restent en course dans cette édition 2017 et seront attentives au tirage au sort des quarts de finale qui sera effectué ce mardi 21 février. Les quatre rencontres seront jouées le dimanche 12 mars. prochain.
Au Stade Fred Aubert à Saint-Brieuc
CDF féminine (1/8 finale) : EA Guingamp - OL féminin 0-5 (0-0)
Arbitre : Sabine Bonnin. Spectateurs : 800 env.
Buts : Bremer (65', 84' et 87' ), Lavogez (89') et Kumagai (93') pour l’OL
OL : Gerard – Petit, Renard (cap.), Buchanan, Henning (Bremer, 46'), - Kaci (Marozsan, 65'), Kumagai, Dali (Le Sommer, 46'), Thomis - Lavogez, Hegerberg. Entr. G. Prêcheur.
L'EA Guingamp s'est incliné 5-0 contre l'Olympique lyonnais ce dimanche en huitième de finale de la Coupe de France féminine. Les Bretonnes ont craqué en toute fin de match.
e score large de 0-5 ne reflète pas vraiment la physionomie du match entre l'EA Guingamp et l'Olympique lyonnais.
Les Bretonnes ont longtemps tenu tête à la meilleure équipe de football féminin du championnat français. En début de première période, Adélie Fourre a failli donner l'avantage à l'EA Guingamp mais sa frappe a fini sur le poteau.
Triplé de Bremer
Les Lyonnaises n'ont réussi à marquer qu'après l'heure de jeu. Suite à un corner, Renard a dévié le ballon de la tête en direction de Bremer, qui a réussi à passer devant la gardienne guingampaise pour ensuite marquer du pied droit en pivot (0-1, 67').
L'EAG aurait pu égaliser quatre minutes plus tard mais la frappe d'Oparanozie a été repoussée par Méline Gerard, la gardienne de l'OL. Dans la continuité de cette action, la tentative de Fleury est passée de peu à côté du but.
Mais face à l'épuisement des joueuses bretonnes en fin de match, les Lyonnaises ont réussi à prendre le large. Bremer s'est offert un triplé grâce à une reprise de volée (0-2, 84') puis une tête plongeante (0-3, 88'). Claire Lavogez a ensuite corsé l'addition d'une demi-volée en pleine lucarne (0-4, 89') avant que Kumagaï ne transforme un penalty en toute fin de match (0-5, 90'+5).
Les Guingampaises y ont longtemps cru, mais ne sont pas parvenues à faire tomber le tout puissant Olympique Lyonnais. Et ont finalement concédé un lourd score à l'arrivée.
Elles résistent longtemps. Bien plus longtemps que lors des deux confrontations en championnat. Mais en seconde période, les Guingampaises craquent. Pourtant, Wendie Renard et ses partenaires peinent à entrer dans la rencontre. Et elles sont d'ailleurs les premières à se faire peur. La frappe d'Adélie Fourré heurte le montant droit d'une Méline Gérard totalement battue (7'). « Je suis dégoûtée, mais c'est comme ça », regrette l'intéressée, titulaire en lieu et place de Salma Amani, blessée pendant l'échauffement. Si les Lyonnaises mettent peu à peu le pied sur le ballon, elles réalisent un premier acte poussif offensivement. Seule la frappe de Corine Franco dans les six mètres, repoussée par Margaux Bueno, parvient à inquiéter les « Rouge et Noir » (43').
L'ogre lyonnais sort ses crocs
Mécontent de son équipe, Gérard Prêcheur procède à deux changements au retour des vestiaires. À peine entrée en jeu, Pauline Bremer se signale, mais ne trouve pas le cadre (47'). Lyon s'installe dans le camp breton et oblige Gignoux à s'employer sur une tête de Renard (65'). Dans la foulée, Renard reprend le dessus sur la défense guingampaise qui ne parvient pas à se dégager. Dans les parages, Bremer concrétise la domination lyonnaise (0-1, 67'). Loin d'être atterrées, les filles de Sarah M'Barek réagissent immédiatement et se procurent une occasion en or. Sur le flanc droit, Oparanozie bute sur Gérard. Le ballon revient dans les pieds de Fleury. Le stade Fred-Aubert retient son souffle, mais l'Internationale U19 croise légèrement trop sa frappe (71'). Quand l'efficacité n'est pas au rendez-vous, la note est souvent payée cash face à l'OL. L'En Avant n'échappe pas à la règle et plie à nouveau sur une frappe d'Eugénie Le Sommer (0-2, 84').
Guingamp s'écroule, Lyon déroule
Dans les dernières minutes, Lyon se déchaîne et alourdit le score grâce à Ada Hegerberg (0-3, 88') et Claire Lavogez (0-4, 89'). Avant de donner au score son allure finale sur un penalty de Saki Kumagai (0-5, 90'+3). « C'est sévère quand on voit comment on s'est battues et arrachées, concède M'Barek. Mais je suis hyperfière de mes joueuses ». Une défaite globalement logique, mais extrêmement cruelle pour En Avant.
La fiche technique
Mi-temps :
0-0
Arbitre :
Mme Bonnin.
BUTS.
Lyon : Bremer (67'), Le Sommer (84') Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
EA Guingamp :
Gignoux ? Dinglor, Debever, Lorgeré, Morin (Quéro 59') ? Bueno, Nwabuoku (Fleury 59') ? Oparanozie, Pervier (cap.), Le Garrec ? Fourré (Ndolo Ewele 77'). Entraîneur. Sarah M'Barek.
Lyon : Gérard ? Franco, Buchanan, Renard (cap.), Henning (Bremer 46') ? Kaci (Marozsan 67'), Kumagai ? Thomis, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur : Gérard Prêcheur.
To the consternation of one and all, when the King was struck down with appendicitis his Coronation - originally planned for June 1902 - had to be postponed.
In their reports of the local celebrations of Coronation Day, 9th August 1902, the local press commented that "it was decided, after some amount of opposition, to erect a permanent memorial, and, after many suggestions had been made, it was decided to erect in the Market Square an ornamental wrought-iron standard and lamp, with medallions of repousse work in copper, the supplying of which was placed in the hands of the well-known firm of Messrs. Barnard & Bishop, Norwich, and the total cost of which well exceeded £80."
The lamp that originally shone from its top was supplied with gas from Fakenham's own gasworks.
................
For a fuller history of the monument, and its peregrinations over the following century, see...
fakenhamcommunityarchive.weebly.com/fakenhams-coronation-...
... and for more photos of town and its unusual gasworks museum....
Donaufelder Parish
View from Danube Tower to the Donaufelder church
Inside view towards to the altar of the Donaufelder Church
The Roman Catholic Donaufelder parish church (St. Leopold) is located in 21 District of Vienna Floridsdorf. The according to plans of building officer Franz Ritter von Neumann built neo-Gothic brick building (with Art Nouveau interior design) is surrounded by a small park on the Kinzerplatz in the district part of Danube field (Donaufeld).
History
The Donaufelder parish church originally was planned as a bishop's church of a new Lower Austrian diocese. This explains the enormous scale of this parish (in the parish about 7,000 Catholics live). But the higher policy had it otherwise and the new diocese was never established. Thus Danube field came to its imposing parish church.
At the laying of the foundation stone on 6 June 1905 took part a number of important personalities, at the head of those participants, Emperor Franz Joseph I. with the then Mayor of Vienna Dr. Karl Lueger. Furthermore, were Archduke Friedrich, Archduke Leopold Salvator and the provost of Klosterneuburg monastery Bernhard Johannes Peitl present. The foundation stone now is walled in the apse to the left of the high altar.
With the construction of the church building originally building officer Franz Ritter von Neumann was commissioned. When he died even before the foundation stone was laid, architects Karl Troll and Johann Stobble supervised the construction in strict accordance with the plans of Neumann.
The solemn consecration was carried out by Cardinal Archbishop Dr. Friedrich Piffl. On the part of the Imperial family participated Archduke Peter Ferdinand. The capstone was walled in opposite the foundation stone and provided with a decorative plate.
When the church was already completed, yet two emergency exits had to be built, as subsequently was detected that with a capacity of 5,000 people too few outputs were provided.
The Sacramental altar of the church stems from the Academic Gymnasium and was only in 1940 erected. However, since it was believed it was disturbing the Art Nouveau overall picture of the church, they wanted it to have removed again. After becoming aware of the cost of 30,000 shillings, the idea of removing it later on was abandoned (for good). The Sacramental altar is still in the church today.
The building
Description
The neo-Gothic hall church made of brick has a nave with transversely positioned gabled roofs above the side aisles and a slightly lower retracted choir, which is structured by buttresses and two-part to four-part lancet windows. Side of the choir there are two storey extensions and a domed staircase turret. The northwestern gable front is flanked by domed staircase turrets; put in front is the mighty tower with an open porch and an octagonal spire.
Dimensions
The church is 35 m wide and 80 m long; the clear height of the arch is 18 m. The church tower is 96 m high. Thus, the tower is the third highest of all of Vienna. Hence, the Donaufelder parish is to be found in the center field of the list of the highest constructions in the world. Furthermore, it is also the third largest church in Vienna and has the largest timber roof of Vienna. According to official reports, It offers 5,000 people space.
The interior
In designing the interior particular emphasis was placed. The imposing high altar, carved in metal repoussé work rests on a marble base and shows the group "St. Leopold and his wife Agnes kneeling before the Virgin Mary with the Child Jesus". The Pietà of the left side altar created Arthur Kaan. From him stem also the chandeliers "Heart of Jesus" and "Heart of Mary". The right side altar comes from the Viennese artist Alexander Illitsch and displays "The Holy Family on the Flight into Egypt".
From the art historical point of view, the interior of the church is a unique Art Nouveau Gesamtkunstwerk.
Organ
The organ of the Donaufelder parish church was built in 1910 by the Viennese organ builder Josef Swoboda and is the largest yet playable left in its original state Swoboda organ. It has a total of 1,940 pipes, the smallest measuring 10 cm, the largest 9 m. The organ sonically never was changed and is regarded as a sound monument.
The prospectus of the organ adorn sculptures in relief and show the figure group "The Saint Cecilia and two kneeling angels".
Salma Amani, née le 28 novembre 1989 à Rabat, est une footballeuse franco-marocaine évoluant au poste de milieu de terrain.
Salma Amani commence le football à 5 ans au SC Brest 2, avec son frère jumeau Salam, évoluant avec les garçons jusqu'à l'âge de 13 ans. Elle joue ensuite un an à l'AS Brestoise puis au FC Lorient.
Elle rejoint à l'été 2005 le CNFE Clairefontaine, avec lequel elle réalise ses débuts en première division lors de la saison 2005-2006. Elle joue à compter de l'été 2007 au Stade briochin, devenu l'En Avant de Guingamp en 20113.
En juin 2016, elle prolonge son contrat jusqu'en 2019 avec l'EA Guingamp.
Elle évolue au sein de l'équipe de France des moins de 17 ans entre 2004 et 2005, jouant trois rencontres amicales.
Gendarme au sein du Peloton de Surveillance et d’Intervention de la Gendarmerie de Saint-Brieuc de 2011 à 2016, elle fait partie de l'équipe de France militaire féminine avec lequel elle participe aux Jeux mondiaux militaires d'été de 2011, terminant quatrième.
Elle fait sa première apparition en équipe du Maroc féminine de football le 14 janvier 2012 contre la Tunisie pour le compte des éliminatoires du Championnat d'Afrique de football féminin 2012 (victoire 2-0).
Fidélité, rigueur et discrétion… Autant d’atouts qui ont propulsé Salma Amani à la tête des féminines d’En Avant de Guingamp. Elle aime aussi endosser le maillot du Maroc…
Yeux pétillants, chevelure noire bouclée rassemblée en queue-de-cheval, look décontracté… Salma Amani respire le bien-être et le dynamisme. À 27 ans, la jeune femme a un beau parcours. Capitaine de l’équipe féminine d’En Avant de Guingamp, elle a travaillé dur pour en arriver là. Et avoue n’éprouver aucun regret, « surtout quand on voit l’évolution du football féminin ! »
Cette passionnée du ballon rond n’entend pas mettre en avant son titre de capitaine. « Le capitanat, ce n’est pas mon truc, glisse-t-elle. Cela peut me mettre mal à l’aise, pas avec mes coéquipières, mais plutôt avec l’extérieur. Car je n’aime pas le prestige. » Elle préfère jouer la discrétion. Et conçoit son rôle de capitaine comme « un exemple à suivre. Celle qui porte le brassard doit emmener la dynamique de groupe, le tirer vers le haut ! »
Ses débuts à 4 ans
Ce rôle, elle l’assume avec bienveillance et beaucoup de rigueur. Une rigueur qui la caractérise dans sa vie de tous les jours. « Je me donne encore quatre ou cinq ans avant d’arrêter ma carrière, lance-t-elle. Pour pouvoir me construire une vie de famille… Même si je vis et je suis foot, je sais qu’il serait impossible pour moi de combiner sport de haut niveau et vie de famille… »
Celle qui porte le maillot Rouge et Noir, numéro 17, sourit quand elle évoque ses débuts… « J’ai commencé à 4 ans avec Salam, mon frère jumeau, au SC Brest 2, raconte-t-elle. Le foot, c’était notre passion commune ! »
L’occasion pour elle de retracer son plus beau souvenir d’enfance. « Nos grands-parents, qui nous ont élevés, ne pouvaient pas nous acheter une paire de chaussures de foot, sourit-elle. Je me souviens encore du jour où le président du club nous a ouvert les portes du local où étaient rangées des dizaines de paires de crampons… Une vraie caverne d’Ali Baba. »
Et c’est à Brest que Salma jouera jusqu’à l’âge de 14 ans. Au grand dam de ses grands-parents qui ont même tenté de l’orienter vers un autre sport, le judo en l’occurrence ; le foot étant perçu comme un sport exclusivement masculin. « Je jouais avec les garçons, parce qu’il n’y avait pas d’équipe féminine. Avec eux, j’ai toujours été protégée, même chouchoutée… »
Le maillot du Maroc
À 14 ans, Salma quitte le cocon familial et footballistique. « Je suis partie à Clairefontaine, où je suis restée pendant trois ans. C’était la première fois que je partais de chez moi. Et c’est là que j’ai découvert le football féminin. » Durant sa première année, elle rentrait bien en Bretagne tous les week-ends, à Lorient, où elle était licenciée. « Le quotidien était bien rempli entre le foot et la scolarité. »
Car si le foot comptait plus que tout pour elle, l’adolescente d’alors avait la ferme intention de ne rien lâcher sur le plan scolaire. Ce qui lui a valu d’obtenir un Bac STG. Diplôme en poche, la jeune footballeuse signe alors au Stade briochin, « déjà en D1 à l’époque », aujourd’hui rattaché à EAG. « Je pensais n’y rester que deux ou trois ans, mais je n’imagine pas quitter ce club et la région », avoue-t-elle.
Milieu de terrain offensif, « le poste où je suis le plus à l’aise », elle a occupé un poste de gendarme adjoint à Saint-Brieuc. Et a remporté le championnat du monde de futsal de la gendarmerie à trois reprises. Mais, ce qu’elle savoure par-dessus tout, c’est endosser le maillot de l’équipe nationale marocaine.
Celle qui bénéficie de la double nationalité avoue qu’elle gardera toujours en mémoire cette année 2012. « C’était la première fois que je portais le maillot du Maroc. Mes parents, mes frères et sœurs étaient là. Et ils étaient fiers de moi… » Une tunique que, depuis lors, elle enfile régulièrement.
Des moments privilégiés au cours desquels elle mouille le maillot pour « faire évoluer les mentalités, parce que là-bas, même si beaucoup de filles jouent au foot, certaines avec le voile, il y a encore trop peu de clubs féminins… »
Les Guingampaises n'ont pas vraiment pas été récompensées de leurs efforts. Ce dimanche, elles sont sorties de la Coupe de France face à Lyon (0-5).
La première période timide des Lyonnaises ne profite pas aux Rouge et Noir qui échouent sur le poteau de Fourré (7'). En seconde période, Lyon relève la tête et assomme Guingamp dans la dernière demi-heure.
Si Bremer ouvre le score (0-1, 67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89') et Kumagai sur penalty (90'+3) infligent un lourd score à l'En Avant.
La fiche technique
Arbitre : Mme Bonnin.
BUTS. Lyon : Bremer (67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
GUINGAMP : Gignoux - Dinglor, Debever, Lorgeré, Morin (Quentin 59') - Bueno, Nwuaboku (Fleury 59') - Oparanozir, Pervier, Le Garrec - Fourré. Entraineur : Sarah M'Barek.
LYON : Gérard - Franco, Buchanan, Renard (cap.), Henning (Bremer 46') - Kaci, Kumagai - Thomas, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur: Gérard Prêcheur.
L'OL féminin se déplace sur le terrain de Guingamp, dimanche après-midi (16h40), en 1/8 de finale de la Coupe de France.
Après deux victoires consécutives face à Juvisy (5-2, 1-0), en D1 féminine, les Lyonnaises retrouvent la Coupe de France avec un déplacement à Saint-Brieuc pour affronter Guingamp, en 1/8 de finale. Une équipe chez qui l'OL était allé s'imposer 3-0 en championnat, le 14 janvier dernier, après un succès 9-1 à l'aller.
Lors des tours précédents, les joueuses de Gérard Prêcheur ont sorti l'équipe de DH d'ETG Ambilly (8-0) puis le pensionnaire de D2 Grenoble (6-0), avec des équipes remaniées qui ont permis de donner du temps de jeu à celles qui en avaient besoin. De son côté, Guingamp a obtenu ses qualifications dans des derbys bretons face aux équipes de D2 Saint-Malo (6-0) et Brest (4-2).
Tenantes du titre, les Lyonnaises auront à coeur de décrocher leur qualification pour les 1/4 de finale, tout en préparant au mieux le déplacement décisif à Montpellier, le week-end prochain, en D1 féminine. Mbock, Majri, Houara, Seger, et Morgan sont au repos.
L’OL féminin a décroché son billet pour les quarts de finale de la Coupe de France en allant s'imposer 5-0 dans les Côtes d'Armor.
Les Lyonnaises poursuivent leur route dans la compétition après leur victoire ce dimanche à Saint-Brieuc sur le terrain de l'En-Avant de Guingamp. Une qualification pour les quarts de finale de la Coupe de France qui a été longue à se dessiner.
À la mi-temps le score était toujours de 0-0 et la plus belle occasion était à mettre au crédit des joueuses de Sarah M'Barek qui trouvaient la base du poteau de Méline Gerard sur une frappe d'Adélie Fourre. Durant ces 45 premières minutes, les Lyonnaises avaient eu bien du mal à se montrer dangereuses, si ce n'est sur une tentative de Claire Lavogez sauvée sur la ligne.
Dès le début de la seconde période, Gérard Prêcheur lançait sur le terrain Pauline Bremer et Eugénie Le Sommer. Des changement décisifs puisque Bremer se créait dans la foulée une première occasion. L'attaquante allemande ouvrait finalement le score à la 65e minute sur un corner dévié par Wendie Renard et qu'elle convertissait au second poteau (0-1, 65').
Malgré cet avantage, les Lyonnaises se faisaient dans la foulée une grosse frayeur et il fallait une double parade de Méline Gerard pour éviter l'égalisation guingampaise (70'). Un avertissement sans conséquence car dans la foulée Pauline Bremer mettait fin au suspense en ajoutant deux nouveaux buts : le premier sur une reprise après une déviation d'Ada Hegerberg (0-2) et le second sur un centre de Le Sommer repris de la tête au second poteau (0-3). Dans les derniers instants, Claire Lavogez (sur une passe de Bremer) et Saki Kumagai (sur pénalty) portaient le score à 5-0.
Avec cette large victoire, les tenantes du titre restent en course dans cette édition 2017 et seront attentives au tirage au sort des quarts de finale qui sera effectué ce mardi 21 février. Les quatre rencontres seront jouées le dimanche 12 mars. prochain.
Au Stade Fred Aubert à Saint-Brieuc
CDF féminine (1/8 finale) : EA Guingamp - OL féminin 0-5 (0-0)
Arbitre : Sabine Bonnin. Spectateurs : 800 env.
Buts : Bremer (65', 84' et 87' ), Lavogez (89') et Kumagai (93') pour l’OL
OL : Gerard – Petit, Renard (cap.), Buchanan, Henning (Bremer, 46'), - Kaci (Marozsan, 65'), Kumagai, Dali (Le Sommer, 46'), Thomis - Lavogez, Hegerberg. Entr. G. Prêcheur.
L'EA Guingamp s'est incliné 5-0 contre l'Olympique lyonnais ce dimanche en huitième de finale de la Coupe de France féminine. Les Bretonnes ont craqué en toute fin de match.
e score large de 0-5 ne reflète pas vraiment la physionomie du match entre l'EA Guingamp et l'Olympique lyonnais.
Les Bretonnes ont longtemps tenu tête à la meilleure équipe de football féminin du championnat français. En début de première période, Adélie Fourre a failli donner l'avantage à l'EA Guingamp mais sa frappe a fini sur le poteau.
Triplé de Bremer
Les Lyonnaises n'ont réussi à marquer qu'après l'heure de jeu. Suite à un corner, Renard a dévié le ballon de la tête en direction de Bremer, qui a réussi à passer devant la gardienne guingampaise pour ensuite marquer du pied droit en pivot (0-1, 67').
L'EAG aurait pu égaliser quatre minutes plus tard mais la frappe d'Oparanozie a été repoussée par Méline Gerard, la gardienne de l'OL. Dans la continuité de cette action, la tentative de Fleury est passée de peu à côté du but.
Mais face à l'épuisement des joueuses bretonnes en fin de match, les Lyonnaises ont réussi à prendre le large. Bremer s'est offert un triplé grâce à une reprise de volée (0-2, 84') puis une tête plongeante (0-3, 88'). Claire Lavogez a ensuite corsé l'addition d'une demi-volée en pleine lucarne (0-4, 89') avant que Kumagaï ne transforme un penalty en toute fin de match (0-5, 90'+5).
Les Guingampaises y ont longtemps cru, mais ne sont pas parvenues à faire tomber le tout puissant Olympique Lyonnais. Et ont finalement concédé un lourd score à l'arrivée.
Elles résistent longtemps. Bien plus longtemps que lors des deux confrontations en championnat. Mais en seconde période, les Guingampaises craquent. Pourtant, Wendie Renard et ses partenaires peinent à entrer dans la rencontre. Et elles sont d'ailleurs les premières à se faire peur. La frappe d'Adélie Fourré heurte le montant droit d'une Méline Gérard totalement battue (7'). « Je suis dégoûtée, mais c'est comme ça », regrette l'intéressée, titulaire en lieu et place de Salma Amani, blessée pendant l'échauffement. Si les Lyonnaises mettent peu à peu le pied sur le ballon, elles réalisent un premier acte poussif offensivement. Seule la frappe de Corine Franco dans les six mètres, repoussée par Margaux Bueno, parvient à inquiéter les « Rouge et Noir » (43').
L'ogre lyonnais sort ses crocs
Mécontent de son équipe, Gérard Prêcheur procède à deux changements au retour des vestiaires. À peine entrée en jeu, Pauline Bremer se signale, mais ne trouve pas le cadre (47'). Lyon s'installe dans le camp breton et oblige Gignoux à s'employer sur une tête de Renard (65'). Dans la foulée, Renard reprend le dessus sur la défense guingampaise qui ne parvient pas à se dégager. Dans les parages, Bremer concrétise la domination lyonnaise (0-1, 67'). Loin d'être atterrées, les filles de Sarah M'Barek réagissent immédiatement et se procurent une occasion en or. Sur le flanc droit, Oparanozie bute sur Gérard. Le ballon revient dans les pieds de Fleury. Le stade Fred-Aubert retient son souffle, mais l'Internationale U19 croise légèrement trop sa frappe (71'). Quand l'efficacité n'est pas au rendez-vous, la note est souvent payée cash face à l'OL. L'En Avant n'échappe pas à la règle et plie à nouveau sur une frappe d'Eugénie Le Sommer (0-2, 84').
Guingamp s'écroule, Lyon déroule
Dans les dernières minutes, Lyon se déchaîne et alourdit le score grâce à Ada Hegerberg (0-3, 88') et Claire Lavogez (0-4, 89'). Avant de donner au score son allure finale sur un penalty de Saki Kumagai (0-5, 90'+3). « C'est sévère quand on voit comment on s'est battues et arrachées, concède M'Barek. Mais je suis hyperfière de mes joueuses ». Une défaite globalement logique, mais extrêmement cruelle pour En Avant.
La fiche technique
Mi-temps : 0-0
Arbitre : Mme Bonnin.
BUTS.
Lyon : Bremer (67'), Le Sommer (84') Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
EA Guingamp :
Gignoux ? Dinglor, Debever, Lorgeré, Morin (Quéro 59') ? Bueno, Nwabuoku (Fleury 59') ? Oparanozie, Pervier (cap.), Le Garrec ? Fourré (Ndolo Ewele 77'). Entraîneur. Sarah M'Barek.
Lyon : Gérard ? Franco, Buchanan, Renard (cap.), Henning (Bremer 46') ? Kaci (Marozsan 67'), Kumagai ? Thomis, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur : Gérard Prêcheur.
Birmingham Oratory seen from Beaufort Road.
It's founder is now Saint John Henry Newman.
The Birmingham Oratory is an English Catholic religious community of the Congregation of the Oratory of St. Philip Neri, located in the Edgbaston area of Birmingham. The community was founded in 1849 by the Blessed John Henry Newman, Cong.Orat., the first house of that congregation in England.
Part of the complex of the Oratory is the Parish Church of the Immaculate Conception, commonly referred to as the Oratory Church. It now also serves as the national shrine to Newman.
The current church was constructed between 1907 and 1910 in the Baroque style to replace the original structure as a memorial to Newman. It was designed by the architect Edward Doran Webb. It is familiarly called the Little Rome in Birmingham.
Prior to a final determination regarding the beatification of Newman, the Holy See gave instructions that his remains were to be transferred from the Oratorian cemetery in the West Midlands to the Oratory Church. A marble tomb was built for this but not installed in the church. When church and civil authorities opened the grave in October 2008, however, they found no human remains from his grave.
The Grade II* listed church continues to serve the Congregation of the Oratory there. Elsewhere in England, there are also communities of the Congregation at the Brompton Oratory in London and the Oxford Oratory.
In February 2012, the church suffered the theft of a large metal cross from its roof. The loss was valued at £30,000.
Grade II* Listed Building
Summary
A Roman Catholic, Oratory church, designed by E Doran Webb and built between 1903-1909, incorporating earlier work by John Hungerford Pollen of 1858, Henry Clutton of 1872-3, and an addition by G B Cox in 1927, together with the accompanying presbytery building, designed by Terence Flanagan in 1851 and the former Oratory School buildings designed by Henry Clutton in 1861-2 and 1872-3.
Description
ORATORY CHURCH
A Roman Catholic, Oratory church, designed by E Doran Webb from 1903-1909 and incorporating earlier work by John Hungerford Pollen of 1858, Henry Clutton of 1872-3, and an addition by G B Cox in 1927.
MATERIALS: the building is of limestone ashlar with a lead roof and internally clad with a rich variety of marble veneers, inlays and mosaic work. The Tunnel vault over the nave is of chestnut which was painted in 1959.
PLAN: the building is oriented north-south, with the northern end representing the ritual eastern end. Ritual compass directions are used throughout this description. The basilican plan has a nave flanked by aisles. At either side of the nave alternating bays contain either a side chapel or a confessional, placed against the outer walls of the side aisles. The sanctuary has an apsidal end and there are transepts to each side whose outer walls are flush with those of the nave aisles. Above the crossing is a dome, and clerestory lighting is by large lights which pierce the sides of the tunnel vault. Further side chapels are placed at either side of the sanctuary. The organ gallery and loft are positioned in the south transept, above the altar of the Sacred Heart. The earlier St Philip’s Chapel (now dedicated to the Blessed John Newman) is attached to the south side of the south transept. The gallery at the western end of the nave is placed over bays of the earlier school cloister. The Oratory House lies to the south and is connected to the church through the Sacristy.
EXTERIOR: the west end of the church is fronted by the cloister garth of the former Oratory School. The façade is of three bays, divided by Composite pilasters with paired pilasters to the corners. At ground floor level it has three openings which front bays of the cloister. The central, taller, opening has a moulded, lugged surround above which is a pulvinated frieze and a broken, segmental pediment with figures of angels at either side, carved in relief and supporting an escutcheon with a coat of arms and a cardinal’s hat. At either side are portals with Gibbs surrounds and prominent triple keystones set against pulvinated friezes. At gallery level is a single, central light with segmental top, flanked by corbel brackets. The top of the wall has an entablature with pulvinated frieze and a triangular pediment.
The north flank of the nave has seven bays. The division of the bays is unmarked at ground-floor level, but buttresses with concave tops appear between the clerestory bays. At the top of the aisle walls is a balustrade with vase-shaped balusters and square piers. A similar balustrade is placed above the clerestory, along the skyline, and encircles the building above a full entablature with pulvinated frieze. The narrow nave windows which light the alternate bays housing confessionals have moulded surrounds and the larger clerestory windows have pilasters at either side and pedimental tops. The transept at left is blank, save for a niche with an arched head containing a statue of Philip Neri. The left corner has an octagonal staircase turret with a pepper-pot top. In the re-entrant angle between the eastern flank of the north transept and the chancel is the later Shrine of St Philip. This has walls clad with faience tiles, channelled rustication, canted corners and a stone surround to the half-glazed double doors at the centre of its north front. There is a dentilled cornice to the top of the wall. Above this is the drum of the dome, with pilasters placed between the segment-headed windows. Above the entablature the ribbed copper dome has a cross finial.
The chancel has a single window to the upper wall at left, but is otherwise blind, with square buttresses rising for the full height of the wall and continuing the cornice.
The south flank is largely masked by the Oratory House building, the Sacristy and Pollen’s Chapel of St Philip (now the Blessed John Newman), which are all characterised by red brick walling. The chapel has an apsidal end with three arched windows and above this the library has sash windows, all with stone surrounds. The eastern end of the south transept has an octagonal staircase turret, similar to that seen on the north side. In the re-entrant angle with the chancel is the lower Chapel of St Charles, which has three windows to its south flank. Above it both the transept and chancel have windows with moulded, pedimental surrounds.
The dome has four windows to its drum with moulded surrounds and floating pediments. Each window is flanked by three pairs of engaged Tuscan columns. There are four piers with arched niches, which were intended to be filled with carvings of the Evangelists, but this work was not carried out and the attached blocks project from the walls. Above the entablature is a parapet with balustrade panels and the ribbed dome, with its copper sheathing, rises above that to the stone lantern, which has arched lights and small, engaged columns. The domed top culminates in a ball and gilded cross.
INTERIOR: the nave has mosaic flooring laid in overlapping fan-shaped patterns. The aisle arcades have monolithic, unfluted columns of Breccia marble with bases of green Swedish marble and Composite capitals. These support a full entablature with plain frieze, from which springs the painted timber barrel vault.
The walls of the sanctuary are covered with panels of red African onyx with borders of yellow Siena marble. The altar stands forward from the rear wall on a stepped platform. It was designed by Dunstan Powell in 1899 for the old church. The tabernacle is circular with a domed roof which has enamel inlay. The frontal is of green Connemara marble with lapis lazuli plaques around the edges. Above the altar is a suspended baldacchino of gilded and painted wood. The ceiling of the apse has mosaic decoration representing the Coronation of the Virgin flanked by St John the Baptist and St John the Evangelist. Fixed to the side walls are choir stalls of Italian walnut, with tall backs, divided by panelled Corinthian pilasters and with a frieze of swags and ribbons to the top.
The pendentives at the crossing, below the dome, have mosaics representing the Prophets Isaiah, Jeremiah, Ezekiel and Daniel. Later decoration around the drum represents the Evangelists and major saints. The choir gallery is supported by a double colonnade supporting round arches. The grille to the front of the gallery is elaborately carved and gilded, as is the organ case above, both designed by Ernesto Sensi. At ground level, the altar of the Sacred Heart lies behind the double colonnade and was designed by John Pollen for the earlier church on this site. Against the northern wall of the north transept is Our Lady’s altar. The altar and altar rails were brought from the Church of S Andrea della Valle in Rome in 1911. The altar is flanked by columns of Siberian onyx, originally intended for Westminster Cathedral, which now support gilded statues of kneeling angels. The Shrine of St Philip Neri leads off from the east side of the transept. Its richly decorated interior has walls veneered in Siena marble and monolithic columns of red Languedoc marble to the corners. The Cosmatesque floor has a variety of inlayed patterns. The marble altar contains a wax effigy of the saint and the altar piece (after Guido Reni) has an elaborate gilded frame. To the south wall is a reliquary chest with relics and souvenirs of the saint given to Newman in Rome in 1846-7.
The series of side chapels off the nave all take the form of an apsidal niche with mosaic semi-dome and are richly decorated with panels of different marble veneers. Fixed altars have mosaic or marble fronts or, in the case of the chapel of St Athanasius, a glass panel revealing the decorated coffin of St Valentine. Confessionals are set in alternate bays which each have a stone screen, formed of a round arched central portal, flanked by two flat-headed entrances. Above this is a central stone sculpture niche, with carved consoles to its sides, flanked by a wrought metal screen. The wooden confessionals are set behind the stone screens, at the back of each side bay.
The baptistery is set in the western-most side bay of the north aisle. It was designed by Dunstan Powell and opened in 1912. It has a decorated metal barrier and richly-moulded plaster walls with swags and putti in high relief above ebony panelling. The bowl is of alabaster and the bronze cover (Hardman), which swings to one side, has a figure of St John the Baptist as finial.
The earlier side chapel, approached from the south transept and designed by JH Pollen in 1858, has an altarpiece of Chellaston alabaster designed by Giles Gilbert Scott in 1880.
ORATORY PRIESTS' HOUSE
A presbytery for Fathers of the Oratory, designed by Terence Flanagan in 1851 in an Italian Renaissance style.
MATERIALS & PLAN: the house is of red brick laid in Flemish bond, with ashlar dressings and a hipped, slate roof. It has three floors and a T-shaped arrangement of corridors on each floor, off which are individual rooms.
EXTERIOR: the southern front, facing Hagley Road, has five bays, symmetrically disposed. There are stone quoins at the corners and stone string courses between the floors, that between the ground and first floors having Vitruvian scroll ornament. A sill band also runs across the façade at first floor level. There are sash windows of twelve panes at ground and first floor levels, and six panes to the attic. Window surrounds are aedicular with lugs and panelled cornice heads at ground floor level. The central doorway has a similarly-moulded surround, above which is a square panel with a broken, segmental pediment, flanked by scrolls. The first floor windows are plainer with brackets below their sills, save for the central opening, which has a lugged surround with panelled cornice, as before, and scrolls to its side. The central, second-floor window has a lugged and shouldered surround. To the top of the wall is a dentilled cornice and the ridge carries four chimneys to full height.
The east front has two bays at left which continue the pattern of the street front. Recessed at right is a lower, two-storey range of four bays which have plainer window surrounds and a string course between the floors. At right again and projecting are five bays to the original height and pattern.
The north front has two widely-spaced bays at left, of the established pattern, with a C20 addition at ground floor level housing the kitchen. To right of this is a projecting single bay with Venetian window to the ground floor and at right again is the curved wall which marks the apsidal end of the chapel of St Philip Neri at ground floor level (now dedicated to the Blessed John Newman), added to the earlier church by Pollen in 1858. This has three arched lights at lower level, above which is the library of the Oratory House, with two blind windows with rectangular heads. Above the parapet and recessed is the curved timber and glass lantern which lights the library.
Chimneys across the building are to their original height and take the form of two square stacks joined by an arch.
INTERIOR: the entrance lobby is flanked by parlours with cornices. A central corridor runs north-south on all floors and a stone staircase with rectangular well is placed at the southern end. This has two metal balusters per tread and a mahogany handrail. The recreation room has an ante-room, divided from the main room by an arch, cornicing and a black marble fire surround. The dining room has wooden panelling, divided by pilasters with applied paterae and plaster anthemia to the top. There is an arched stove recess in the centre of the northern wall and a revolving cupboard by which food could be served to the fathers. In the north-east corner is a pulpit with panelled sides, tester and steps. At first floor level is a Chapter room with fitted platform, benches, cupboards and desk. Individual rooms at first floor level have an outer baize door, to denote private study, as well as an inner door. The study of Blessed John Newman is preserved as it was at his death, with bookcases, an altar and suspended baldacchino. The House library is at second floor level and has fitted bookcases to the walls and a cast iron gallery approached by a spiral staircase. Its deeply coved ceiling rises to the central timber and glass lantern.
ORATORY SCHOOL
A range of former school buildings, now part of the Oratory complex. The School Hall range facing the street was designed by Henry Clutton in 1861-2 and the cloister range, to the north, was designed in 1872-3.
MATERIALS & PLAN: red brick walling laid in English bond, with ashlar dressings and a slate roof. The building has two storeys and is arranged around a rectangular cloister at the southern (ritual western) end of the Oratory church.
EXTERIOR: the southern front faces Hagley Road and abuts the earlier Oratory Priests' House to its right, which is slightly set back. The street frontage has blind brick walling at ground floor left, with a deep, flush stone band at the level of the springing of the round-arched portal at far right. This has a wrought-iron screen with a central gate and repoussé panels and leads through to the cloister behind this range. At first floor level are six windows with arched heads and pilasters at either side, supported by brackets. Flush stone bands run below the sills and at the level of the springing of the arches. The spandrel between the two central windows carries a circular, metal clock face. To the top of the wall is a cornice with brackets and above is a blocking course, sheathed with lead.
The short east flank is blind and abuts the Oratory Priests' House.
The west flank has two bays with first floor windows as before and two arched ground floor lights with prominent keystones. Projecting at left of this is a similar, single bay which appears to be part of an incomplete extension. A C20 extension in plum brick extends to the north of this.
The cloisters have brick vaults with stone dressings to the passage beneath the roadside range and to the northern side which abuts the ritual west front of the church. The east and west sides have beamed ceilings and the south side has deep stone brackets extending from square piers to support a first floor corridor. The east and west ranges and the northern range at either side of the church façade, which runs in front of part of the cloister, have short columns on high, tapered bases with Italian Romanesque capitals. First floor windows above the east and west cloister are arched lights or square-headed lancets.
INTERIOR: the ground floor former gymnasium (now the parish room) has transverse iron H-beams, from which hooks are suspended for gym equipment. A central row of iron columns supports the ceiling. A dog-leg staircase with stone treads leads to the generous first floor landing. The former school room has encased, transverse beams to the ceiling and arched sash windows to the north, south and west sides with a raised platform at the east end. The first floor Chapel has a canted north (ritual east) end, circular windows to the sides and a rectangular skylight.
Persuant to s1 (5) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that the angled lift extension to the west of the School buildings and the triangular, single-storey kitchen block to the north of the Oratory Priests' House are not of special architectural or historic interest.
History
The congregation of the Oratory was founded in Rome in around 1552 by Philip Neri. His system of devotion was dependant on private and public prayer and contemplation, mixed with practical acts of charity. He attracted a group of disciples and their meetings, which included music and sermons, were moved to an ‘oratory’ or place of prayer. His group continued to grow and was granted the Church of S Maria in Valicella, which it rebuilt as the ‘Chiesa Nuova’, in which St Philip Neri is buried. The order spread widely in the C17 and C18, but contracted following the French Revolution and during the Italian Risorgimento. It was revived, especially in England, by John Newman, who had been an Anglican clergyman, but converted to Catholicism in 1845 and was then ordained priest in Rome in 1847. He founded the first Oratorian congregation in Birmingham in 1848, followed the following year by a second house in London. The first Birmingham community was based at Maryvale and then moved to a former gin distillery in Digbeth, where the community worked with the poor. Pope Pius IX had charged Newman with converting the educated classes, as well as the poor, and for this reason he moved the community to Edgbaston in 1852. The present House was built in that year, together with a temporary church. In 1859 he founded the Oratory School, a boarding school which was intended to be run on different lines to the Benedictine abbey schools which had previously dominated Catholic education in England. The school hall, which fronts Hagley Road, was designed by Henry Clutton in 1861-2 with a cloister range behind of 1872-3. All three buildings exist on the same site and physically overlap. Newman continued to live in the Oratory House as one of the community, even after his appointment as Cardinal in 1879, up until his death in 1890. In September 2010 Newman was beatified.
The church that John Newman had built in 1853 was designed by Terence Flanagan, who had also built the Oratory Priests' House. Despite ambitious designs by Louis Joseph Duc, also of 1853, and H R Yeoville Thomason, of 1860 (both in a Lombard Romanesque style), the initial construction was architecturally modest, and the roof timbers were salvaged from an abandoned factory. To this John Hungerford Pollen added an aisle with a round-arched arcade and an apse and transepts in 1858, but the essential form of the Flanagan church survived until after Newman’s death. In the following years it was decided to build a new church as a fitting tribute to the Cardinal and his work. The foundation stone of the new church, designed by E Doran Webb, was laid in 1903 and it was officially opened six years later. At its southern (ritual west) end it incorporates cloister bays of the former Oratory School, designed by Henry Clutton, of 1872-3, as well as the chapel of St Philip Neri (now dedicated to Cardinal Newman) designed by Pollen and built in 1858. The Shrine of St Philip Neri was designed by G B Cox and added to the north-west corner of the church (ritual north-east) in 1927.
Following the removal of the Oratory School to a site in Berkshire the school at Edgbaston was renamed St Philip's Grammar School. This has closed on the present site and the C19 buildings are now used as parish rooms.
Cardinal John Newman was beatified in September 2010 by Pope Benedict XVI during his visit to Birmingham.
Reasons for Listing
The Church of the Immaculate Conception (Birmingham Oratory), The Oratory Priests' House and The Oratory School Buildings are listed at Grade II* for the following principal reasons:
* Architectural quality and fittings: the group of three, inter-related Oratory buildings – church, school and priests’ house – have considerable design quality and form a unified whole; the design and craftsmanship of the fittings of the church are of very high quality;
* Survival of the original plan: the church, priests’ house and school are all very largely as they were originally completed and although the function of the school buildings has changed, its appearance is little altered;
* Interrelated grouping: the three parts of the group show the religious mission of the Congregation of the Oratory as interpreted by John Newman with a central church, its attendant priesthood and school.
Creator: unknown
Date: 1887
Object origin: Brisk, Lithuania
Medium: Silver: repoussé , gilt, cast, and engraved; semi-precious stones
Repository: Yeshiva University Museum
Call Number: 1987.122
Parent Collection: The Max Stern Collection
Rights Information: No known copyright restrictions; may be subject to third party rights. For more copyright information, click here.
See more information about this image and others at CJH Museum Collections.
This material may be used for personal, research and educational purposes only. Any other use without prior authorization is prohibited. Please contact the Yeshiva University Museum at YUMinquiries@cjh.org for further information.
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
Statue of Liberty National Monument New Jersey State Register (1971)
Statue of Liberty National Monument National Register #66000058 (1966)
Birmingham Oratory seen from Beaufort Road.
It's founder is now Saint John Henry Newman.
The Birmingham Oratory is an English Catholic religious community of the Congregation of the Oratory of St. Philip Neri, located in the Edgbaston area of Birmingham. The community was founded in 1849 by the Blessed John Henry Newman, Cong.Orat., the first house of that congregation in England.
Part of the complex of the Oratory is the Parish Church of the Immaculate Conception, commonly referred to as the Oratory Church. It now also serves as the national shrine to Newman.
The current church was constructed between 1907 and 1910 in the Baroque style to replace the original structure as a memorial to Newman. It was designed by the architect Edward Doran Webb. It is familiarly called the Little Rome in Birmingham.
Prior to a final determination regarding the beatification of Newman, the Holy See gave instructions that his remains were to be transferred from the Oratorian cemetery in the West Midlands to the Oratory Church. A marble tomb was built for this but not installed in the church. When church and civil authorities opened the grave in October 2008, however, they found no human remains from his grave.
The Grade II* listed church continues to serve the Congregation of the Oratory there. Elsewhere in England, there are also communities of the Congregation at the Brompton Oratory in London and the Oxford Oratory.
In February 2012, the church suffered the theft of a large metal cross from its roof. The loss was valued at £30,000.
Grade II* Listed Building
Summary
A Roman Catholic, Oratory church, designed by E Doran Webb and built between 1903-1909, incorporating earlier work by John Hungerford Pollen of 1858, Henry Clutton of 1872-3, and an addition by G B Cox in 1927, together with the accompanying presbytery building, designed by Terence Flanagan in 1851 and the former Oratory School buildings designed by Henry Clutton in 1861-2 and 1872-3.
Description
ORATORY CHURCH
A Roman Catholic, Oratory church, designed by E Doran Webb from 1903-1909 and incorporating earlier work by John Hungerford Pollen of 1858, Henry Clutton of 1872-3, and an addition by G B Cox in 1927.
MATERIALS: the building is of limestone ashlar with a lead roof and internally clad with a rich variety of marble veneers, inlays and mosaic work. The Tunnel vault over the nave is of chestnut which was painted in 1959.
PLAN: the building is oriented north-south, with the northern end representing the ritual eastern end. Ritual compass directions are used throughout this description. The basilican plan has a nave flanked by aisles. At either side of the nave alternating bays contain either a side chapel or a confessional, placed against the outer walls of the side aisles. The sanctuary has an apsidal end and there are transepts to each side whose outer walls are flush with those of the nave aisles. Above the crossing is a dome, and clerestory lighting is by large lights which pierce the sides of the tunnel vault. Further side chapels are placed at either side of the sanctuary. The organ gallery and loft are positioned in the south transept, above the altar of the Sacred Heart. The earlier St Philip’s Chapel (now dedicated to the Blessed John Newman) is attached to the south side of the south transept. The gallery at the western end of the nave is placed over bays of the earlier school cloister. The Oratory House lies to the south and is connected to the church through the Sacristy.
EXTERIOR: the west end of the church is fronted by the cloister garth of the former Oratory School. The façade is of three bays, divided by Composite pilasters with paired pilasters to the corners. At ground floor level it has three openings which front bays of the cloister. The central, taller, opening has a moulded, lugged surround above which is a pulvinated frieze and a broken, segmental pediment with figures of angels at either side, carved in relief and supporting an escutcheon with a coat of arms and a cardinal’s hat. At either side are portals with Gibbs surrounds and prominent triple keystones set against pulvinated friezes. At gallery level is a single, central light with segmental top, flanked by corbel brackets. The top of the wall has an entablature with pulvinated frieze and a triangular pediment.
The north flank of the nave has seven bays. The division of the bays is unmarked at ground-floor level, but buttresses with concave tops appear between the clerestory bays. At the top of the aisle walls is a balustrade with vase-shaped balusters and square piers. A similar balustrade is placed above the clerestory, along the skyline, and encircles the building above a full entablature with pulvinated frieze. The narrow nave windows which light the alternate bays housing confessionals have moulded surrounds and the larger clerestory windows have pilasters at either side and pedimental tops. The transept at left is blank, save for a niche with an arched head containing a statue of Philip Neri. The left corner has an octagonal staircase turret with a pepper-pot top. In the re-entrant angle between the eastern flank of the north transept and the chancel is the later Shrine of St Philip. This has walls clad with faience tiles, channelled rustication, canted corners and a stone surround to the half-glazed double doors at the centre of its north front. There is a dentilled cornice to the top of the wall. Above this is the drum of the dome, with pilasters placed between the segment-headed windows. Above the entablature the ribbed copper dome has a cross finial.
The chancel has a single window to the upper wall at left, but is otherwise blind, with square buttresses rising for the full height of the wall and continuing the cornice.
The south flank is largely masked by the Oratory House building, the Sacristy and Pollen’s Chapel of St Philip (now the Blessed John Newman), which are all characterised by red brick walling. The chapel has an apsidal end with three arched windows and above this the library has sash windows, all with stone surrounds. The eastern end of the south transept has an octagonal staircase turret, similar to that seen on the north side. In the re-entrant angle with the chancel is the lower Chapel of St Charles, which has three windows to its south flank. Above it both the transept and chancel have windows with moulded, pedimental surrounds.
The dome has four windows to its drum with moulded surrounds and floating pediments. Each window is flanked by three pairs of engaged Tuscan columns. There are four piers with arched niches, which were intended to be filled with carvings of the Evangelists, but this work was not carried out and the attached blocks project from the walls. Above the entablature is a parapet with balustrade panels and the ribbed dome, with its copper sheathing, rises above that to the stone lantern, which has arched lights and small, engaged columns. The domed top culminates in a ball and gilded cross.
INTERIOR: the nave has mosaic flooring laid in overlapping fan-shaped patterns. The aisle arcades have monolithic, unfluted columns of Breccia marble with bases of green Swedish marble and Composite capitals. These support a full entablature with plain frieze, from which springs the painted timber barrel vault.
The walls of the sanctuary are covered with panels of red African onyx with borders of yellow Siena marble. The altar stands forward from the rear wall on a stepped platform. It was designed by Dunstan Powell in 1899 for the old church. The tabernacle is circular with a domed roof which has enamel inlay. The frontal is of green Connemara marble with lapis lazuli plaques around the edges. Above the altar is a suspended baldacchino of gilded and painted wood. The ceiling of the apse has mosaic decoration representing the Coronation of the Virgin flanked by St John the Baptist and St John the Evangelist. Fixed to the side walls are choir stalls of Italian walnut, with tall backs, divided by panelled Corinthian pilasters and with a frieze of swags and ribbons to the top.
The pendentives at the crossing, below the dome, have mosaics representing the Prophets Isaiah, Jeremiah, Ezekiel and Daniel. Later decoration around the drum represents the Evangelists and major saints. The choir gallery is supported by a double colonnade supporting round arches. The grille to the front of the gallery is elaborately carved and gilded, as is the organ case above, both designed by Ernesto Sensi. At ground level, the altar of the Sacred Heart lies behind the double colonnade and was designed by John Pollen for the earlier church on this site. Against the northern wall of the north transept is Our Lady’s altar. The altar and altar rails were brought from the Church of S Andrea della Valle in Rome in 1911. The altar is flanked by columns of Siberian onyx, originally intended for Westminster Cathedral, which now support gilded statues of kneeling angels. The Shrine of St Philip Neri leads off from the east side of the transept. Its richly decorated interior has walls veneered in Siena marble and monolithic columns of red Languedoc marble to the corners. The Cosmatesque floor has a variety of inlayed patterns. The marble altar contains a wax effigy of the saint and the altar piece (after Guido Reni) has an elaborate gilded frame. To the south wall is a reliquary chest with relics and souvenirs of the saint given to Newman in Rome in 1846-7.
The series of side chapels off the nave all take the form of an apsidal niche with mosaic semi-dome and are richly decorated with panels of different marble veneers. Fixed altars have mosaic or marble fronts or, in the case of the chapel of St Athanasius, a glass panel revealing the decorated coffin of St Valentine. Confessionals are set in alternate bays which each have a stone screen, formed of a round arched central portal, flanked by two flat-headed entrances. Above this is a central stone sculpture niche, with carved consoles to its sides, flanked by a wrought metal screen. The wooden confessionals are set behind the stone screens, at the back of each side bay.
The baptistery is set in the western-most side bay of the north aisle. It was designed by Dunstan Powell and opened in 1912. It has a decorated metal barrier and richly-moulded plaster walls with swags and putti in high relief above ebony panelling. The bowl is of alabaster and the bronze cover (Hardman), which swings to one side, has a figure of St John the Baptist as finial.
The earlier side chapel, approached from the south transept and designed by JH Pollen in 1858, has an altarpiece of Chellaston alabaster designed by Giles Gilbert Scott in 1880.
ORATORY PRIESTS' HOUSE
A presbytery for Fathers of the Oratory, designed by Terence Flanagan in 1851 in an Italian Renaissance style.
MATERIALS & PLAN: the house is of red brick laid in Flemish bond, with ashlar dressings and a hipped, slate roof. It has three floors and a T-shaped arrangement of corridors on each floor, off which are individual rooms.
EXTERIOR: the southern front, facing Hagley Road, has five bays, symmetrically disposed. There are stone quoins at the corners and stone string courses between the floors, that between the ground and first floors having Vitruvian scroll ornament. A sill band also runs across the façade at first floor level. There are sash windows of twelve panes at ground and first floor levels, and six panes to the attic. Window surrounds are aedicular with lugs and panelled cornice heads at ground floor level. The central doorway has a similarly-moulded surround, above which is a square panel with a broken, segmental pediment, flanked by scrolls. The first floor windows are plainer with brackets below their sills, save for the central opening, which has a lugged surround with panelled cornice, as before, and scrolls to its side. The central, second-floor window has a lugged and shouldered surround. To the top of the wall is a dentilled cornice and the ridge carries four chimneys to full height.
The east front has two bays at left which continue the pattern of the street front. Recessed at right is a lower, two-storey range of four bays which have plainer window surrounds and a string course between the floors. At right again and projecting are five bays to the original height and pattern.
The north front has two widely-spaced bays at left, of the established pattern, with a C20 addition at ground floor level housing the kitchen. To right of this is a projecting single bay with Venetian window to the ground floor and at right again is the curved wall which marks the apsidal end of the chapel of St Philip Neri at ground floor level (now dedicated to the Blessed John Newman), added to the earlier church by Pollen in 1858. This has three arched lights at lower level, above which is the library of the Oratory House, with two blind windows with rectangular heads. Above the parapet and recessed is the curved timber and glass lantern which lights the library.
Chimneys across the building are to their original height and take the form of two square stacks joined by an arch.
INTERIOR: the entrance lobby is flanked by parlours with cornices. A central corridor runs north-south on all floors and a stone staircase with rectangular well is placed at the southern end. This has two metal balusters per tread and a mahogany handrail. The recreation room has an ante-room, divided from the main room by an arch, cornicing and a black marble fire surround. The dining room has wooden panelling, divided by pilasters with applied paterae and plaster anthemia to the top. There is an arched stove recess in the centre of the northern wall and a revolving cupboard by which food could be served to the fathers. In the north-east corner is a pulpit with panelled sides, tester and steps. At first floor level is a Chapter room with fitted platform, benches, cupboards and desk. Individual rooms at first floor level have an outer baize door, to denote private study, as well as an inner door. The study of Blessed John Newman is preserved as it was at his death, with bookcases, an altar and suspended baldacchino. The House library is at second floor level and has fitted bookcases to the walls and a cast iron gallery approached by a spiral staircase. Its deeply coved ceiling rises to the central timber and glass lantern.
ORATORY SCHOOL
A range of former school buildings, now part of the Oratory complex. The School Hall range facing the street was designed by Henry Clutton in 1861-2 and the cloister range, to the north, was designed in 1872-3.
MATERIALS & PLAN: red brick walling laid in English bond, with ashlar dressings and a slate roof. The building has two storeys and is arranged around a rectangular cloister at the southern (ritual western) end of the Oratory church.
EXTERIOR: the southern front faces Hagley Road and abuts the earlier Oratory Priests' House to its right, which is slightly set back. The street frontage has blind brick walling at ground floor left, with a deep, flush stone band at the level of the springing of the round-arched portal at far right. This has a wrought-iron screen with a central gate and repoussé panels and leads through to the cloister behind this range. At first floor level are six windows with arched heads and pilasters at either side, supported by brackets. Flush stone bands run below the sills and at the level of the springing of the arches. The spandrel between the two central windows carries a circular, metal clock face. To the top of the wall is a cornice with brackets and above is a blocking course, sheathed with lead.
The short east flank is blind and abuts the Oratory Priests' House.
The west flank has two bays with first floor windows as before and two arched ground floor lights with prominent keystones. Projecting at left of this is a similar, single bay which appears to be part of an incomplete extension. A C20 extension in plum brick extends to the north of this.
The cloisters have brick vaults with stone dressings to the passage beneath the roadside range and to the northern side which abuts the ritual west front of the church. The east and west sides have beamed ceilings and the south side has deep stone brackets extending from square piers to support a first floor corridor. The east and west ranges and the northern range at either side of the church façade, which runs in front of part of the cloister, have short columns on high, tapered bases with Italian Romanesque capitals. First floor windows above the east and west cloister are arched lights or square-headed lancets.
INTERIOR: the ground floor former gymnasium (now the parish room) has transverse iron H-beams, from which hooks are suspended for gym equipment. A central row of iron columns supports the ceiling. A dog-leg staircase with stone treads leads to the generous first floor landing. The former school room has encased, transverse beams to the ceiling and arched sash windows to the north, south and west sides with a raised platform at the east end. The first floor Chapel has a canted north (ritual east) end, circular windows to the sides and a rectangular skylight.
Persuant to s1 (5) of the Planning (Listed Buildings and Conservation Areas) Act 1990 (‘the Act’) it is declared that the angled lift extension to the west of the School buildings and the triangular, single-storey kitchen block to the north of the Oratory Priests' House are not of special architectural or historic interest.
History
The congregation of the Oratory was founded in Rome in around 1552 by Philip Neri. His system of devotion was dependant on private and public prayer and contemplation, mixed with practical acts of charity. He attracted a group of disciples and their meetings, which included music and sermons, were moved to an ‘oratory’ or place of prayer. His group continued to grow and was granted the Church of S Maria in Valicella, which it rebuilt as the ‘Chiesa Nuova’, in which St Philip Neri is buried. The order spread widely in the C17 and C18, but contracted following the French Revolution and during the Italian Risorgimento. It was revived, especially in England, by John Newman, who had been an Anglican clergyman, but converted to Catholicism in 1845 and was then ordained priest in Rome in 1847. He founded the first Oratorian congregation in Birmingham in 1848, followed the following year by a second house in London. The first Birmingham community was based at Maryvale and then moved to a former gin distillery in Digbeth, where the community worked with the poor. Pope Pius IX had charged Newman with converting the educated classes, as well as the poor, and for this reason he moved the community to Edgbaston in 1852. The present House was built in that year, together with a temporary church. In 1859 he founded the Oratory School, a boarding school which was intended to be run on different lines to the Benedictine abbey schools which had previously dominated Catholic education in England. The school hall, which fronts Hagley Road, was designed by Henry Clutton in 1861-2 with a cloister range behind of 1872-3. All three buildings exist on the same site and physically overlap. Newman continued to live in the Oratory House as one of the community, even after his appointment as Cardinal in 1879, up until his death in 1890. In September 2010 Newman was beatified.
The church that John Newman had built in 1853 was designed by Terence Flanagan, who had also built the Oratory Priests' House. Despite ambitious designs by Louis Joseph Duc, also of 1853, and H R Yeoville Thomason, of 1860 (both in a Lombard Romanesque style), the initial construction was architecturally modest, and the roof timbers were salvaged from an abandoned factory. To this John Hungerford Pollen added an aisle with a round-arched arcade and an apse and transepts in 1858, but the essential form of the Flanagan church survived until after Newman’s death. In the following years it was decided to build a new church as a fitting tribute to the Cardinal and his work. The foundation stone of the new church, designed by E Doran Webb, was laid in 1903 and it was officially opened six years later. At its southern (ritual west) end it incorporates cloister bays of the former Oratory School, designed by Henry Clutton, of 1872-3, as well as the chapel of St Philip Neri (now dedicated to Cardinal Newman) designed by Pollen and built in 1858. The Shrine of St Philip Neri was designed by G B Cox and added to the north-west corner of the church (ritual north-east) in 1927.
Following the removal of the Oratory School to a site in Berkshire the school at Edgbaston was renamed St Philip's Grammar School. This has closed on the present site and the C19 buildings are now used as parish rooms.
Cardinal John Newman was beatified in September 2010 by Pope Benedict XVI during his visit to Birmingham.
Reasons for Listing
The Church of the Immaculate Conception (Birmingham Oratory), The Oratory Priests' House and The Oratory School Buildings are listed at Grade II* for the following principal reasons:
* Architectural quality and fittings: the group of three, inter-related Oratory buildings – church, school and priests’ house – have considerable design quality and form a unified whole; the design and craftsmanship of the fittings of the church are of very high quality;
* Survival of the original plan: the church, priests’ house and school are all very largely as they were originally completed and although the function of the school buildings has changed, its appearance is little altered;
* Interrelated grouping: the three parts of the group show the religious mission of the Congregation of the Oratory as interpreted by John Newman with a central church, its attendant priesthood and school.
Bronze vessel ('shield') with Orientalizing repoussé decoration. Central feline (lion?) protome subduing two sphinxes; above a nude female deity stands flanked by two lions.
From Crete, Eleutherna, Orthi Petra necropolis, tomb A1K1, ca. 830-730 BCE.
On loan from the Rethymnon Archaeological Museum, M 2803.
N.P. Goulandris Museum of Cycladic Art
Athens, Greece
"Soul Service Station"
artist: Alison Saar
Desert X 2025
Desert Hot Springs, CA
Drawing inspiration from gas stations that have populated the American West, including the Coachella Valley, Saar’s station offers more than practical services; it provides fuel for the soul. She invites weary travelers to get “their blues flushed, spirits inflated, hearts charged, and souls filled.”
Inside the station, a sculptural assemblage handcrafted by Saar contains a collection of devotional objects. Saar has collaborated with Coachella Valley students to create foil repoussé medallions expressing prayers and wishes for healing and hope. These community-crafted elements, combined with furnishings made from salvaged materials, form a sanctuary that merges collective dreams with Saar’s vision of a spiritual oasis. At the center stands a life-size, hand-carved female figure, the guardian and healer of the site, exuding strength and protection.
Liberty Enlightening the World (French: La liberté éclairant le monde), commonly known as the Statue of Liberty (French: Statue de la Liberté), has stood on Liberty Island in New York Harbor, welcoming visitors, immigrants, and returning Americans, since it was presented to the United States by the people of France. Dedicated on October 28, 1886, the gift commemorated the centennial of the signing of the United States Declaration of Independence and has since become one of the most recognizable national icons--a symbol of democracy and freedom.
The 151-foot (46-meter) tall statue was sculpted by Frédéric Auguste Bartholdi and stands atop Richard Morris Hunt's 154-foot (93-meter) rectangular stonework pedestal with a foundation in the shape of an irregular eleven-pointed star. Maurice Koechlin, chief engineer of Gustave Eiffel's engineering company and designer of the Eiffel Tower, engineered the internal structure. Eugène Viollet-le-Duc was responsible for the choice of copper and adoption of the repoussé technique, where a malleable metal is hammered on the reverse side. The Statue of Liberty depicts a woman clad in Roman Stola and holding a torch and tablet, and is made of a sheeting of pure copper, hung on a framework of steel with the exception of the flame of the torch, which is coated in gold leaf.
Affectionately known as Lady Liberty, the figure is derived from Libertas, ancient Rome's goddess of freedom from slavery, oppression, and tyranny. Her left foot, fitted in Roman sandals, tramples broken shackles, symbolizing freedom from opression and tyranny, while her raised right foot symbolizes Liberty and Freedom refusing to stand still. Her torch signifies enlightenment. The tablet in her hand represents knowledge and shows the date of the Declaration of Independence--July 4, 1776. The seven spikes on the crown represent the Seven Seas and seven continents. Visually the the Statue of Liberty draws inspiration from the ancient Colossus of Rhodes of the Greek Sun-god Zeus or Helios, and is referred to in the 1883 sonnet The New Colossus by Emma Lazarus, which was later engraved inside.
The Statue of Liberty National Monument was designated a landmark by the New York City Landmarks Preservation Commission in 1976.
Statue of Liberty National Monument New Jersey State Register (1971)
Statue of Liberty National Monument National Register #66000058 (1966)
Les Guingampaises n'ont pas vraiment pas été récompensées de leurs efforts. Ce dimanche, elles sont sorties de la Coupe de France face à Lyon (0-5).
La première période timide des Lyonnaises ne profite pas aux Rouge et Noir qui échouent sur le poteau de Fourré (7'). En seconde période, Lyon relève la tête et assomme Guingamp dans la dernière demi-heure.
Si Bremer ouvre le score (0-1, 67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89') et Kumagai sur penalty (90'+3) infligent un lourd score à l'En Avant.
La fiche technique
Arbitre : Mme Bonnin.
BUTS. Lyon : Bremer (67'), Le Sommer (84'), Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
GUINGAMP : Gignoux - Dinglor, Debever, Lorgeré, Morin (Quentin 59') - Bueno, Nwuaboku (Fleury 59') - Oparanozir, Pervier, Le Garrec - Fourré. Entraineur : Sarah M'Barek.
LYON : Gérard - Franco, Buchanan, Renard (cap.), Henning (Bremer 46') - Kaci, Kumagai - Thomas, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur: Gérard Prêcheur.
L'OL féminin se déplace sur le terrain de Guingamp, dimanche après-midi (16h40), en 1/8 de finale de la Coupe de France.
Après deux victoires consécutives face à Juvisy (5-2, 1-0), en D1 féminine, les Lyonnaises retrouvent la Coupe de France avec un déplacement à Saint-Brieuc pour affronter Guingamp, en 1/8 de finale. Une équipe chez qui l'OL était allé s'imposer 3-0 en championnat, le 14 janvier dernier, après un succès 9-1 à l'aller.
Lors des tours précédents, les joueuses de Gérard Prêcheur ont sorti l'équipe de DH d'ETG Ambilly (8-0) puis le pensionnaire de D2 Grenoble (6-0), avec des équipes remaniées qui ont permis de donner du temps de jeu à celles qui en avaient besoin. De son côté, Guingamp a obtenu ses qualifications dans des derbys bretons face aux équipes de D2 Saint-Malo (6-0) et Brest (4-2).
Tenantes du titre, les Lyonnaises auront à coeur de décrocher leur qualification pour les 1/4 de finale, tout en préparant au mieux le déplacement décisif à Montpellier, le week-end prochain, en D1 féminine. Mbock, Majri, Houara, Seger, et Morgan sont au repos.
L’OL féminin a décroché son billet pour les quarts de finale de la Coupe de France en allant s'imposer 5-0 dans les Côtes d'Armor.
Les Lyonnaises poursuivent leur route dans la compétition après leur victoire ce dimanche à Saint-Brieuc sur le terrain de l'En-Avant de Guingamp. Une qualification pour les quarts de finale de la Coupe de France qui a été longue à se dessiner.
À la mi-temps le score était toujours de 0-0 et la plus belle occasion était à mettre au crédit des joueuses de Sarah M'Barek qui trouvaient la base du poteau de Méline Gerard sur une frappe d'Adélie Fourre. Durant ces 45 premières minutes, les Lyonnaises avaient eu bien du mal à se montrer dangereuses, si ce n'est sur une tentative de Claire Lavogez sauvée sur la ligne.
Dès le début de la seconde période, Gérard Prêcheur lançait sur le terrain Pauline Bremer et Eugénie Le Sommer. Des changement décisifs puisque Bremer se créait dans la foulée une première occasion. L'attaquante allemande ouvrait finalement le score à la 65e minute sur un corner dévié par Wendie Renard et qu'elle convertissait au second poteau (0-1, 65').
Malgré cet avantage, les Lyonnaises se faisaient dans la foulée une grosse frayeur et il fallait une double parade de Méline Gerard pour éviter l'égalisation guingampaise (70'). Un avertissement sans conséquence car dans la foulée Pauline Bremer mettait fin au suspense en ajoutant deux nouveaux buts : le premier sur une reprise après une déviation d'Ada Hegerberg (0-2) et le second sur un centre de Le Sommer repris de la tête au second poteau (0-3). Dans les derniers instants, Claire Lavogez (sur une passe de Bremer) et Saki Kumagai (sur pénalty) portaient le score à 5-0.
Avec cette large victoire, les tenantes du titre restent en course dans cette édition 2017 et seront attentives au tirage au sort des quarts de finale qui sera effectué ce mardi 21 février. Les quatre rencontres seront jouées le dimanche 12 mars. prochain.
Au Stade Fred Aubert à Saint-Brieuc
CDF féminine (1/8 finale) : EA Guingamp - OL féminin 0-5 (0-0)
Arbitre : Sabine Bonnin. Spectateurs : 800 env.
Buts : Bremer (65', 84' et 87' ), Lavogez (89') et Kumagai (93') pour l’OL
OL : Gerard – Petit, Renard (cap.), Buchanan, Henning (Bremer, 46'), - Kaci (Marozsan, 65'), Kumagai, Dali (Le Sommer, 46'), Thomis - Lavogez, Hegerberg. Entr. G. Prêcheur.
L'EA Guingamp s'est incliné 5-0 contre l'Olympique lyonnais ce dimanche en huitième de finale de la Coupe de France féminine. Les Bretonnes ont craqué en toute fin de match.
e score large de 0-5 ne reflète pas vraiment la physionomie du match entre l'EA Guingamp et l'Olympique lyonnais.
Les Bretonnes ont longtemps tenu tête à la meilleure équipe de football féminin du championnat français. En début de première période, Adélie Fourre a failli donner l'avantage à l'EA Guingamp mais sa frappe a fini sur le poteau.
Triplé de Bremer
Les Lyonnaises n'ont réussi à marquer qu'après l'heure de jeu. Suite à un corner, Renard a dévié le ballon de la tête en direction de Bremer, qui a réussi à passer devant la gardienne guingampaise pour ensuite marquer du pied droit en pivot (0-1, 67').
L'EAG aurait pu égaliser quatre minutes plus tard mais la frappe d'Oparanozie a été repoussée par Méline Gerard, la gardienne de l'OL. Dans la continuité de cette action, la tentative de Fleury est passée de peu à côté du but.
Mais face à l'épuisement des joueuses bretonnes en fin de match, les Lyonnaises ont réussi à prendre le large. Bremer s'est offert un triplé grâce à une reprise de volée (0-2, 84') puis une tête plongeante (0-3, 88'). Claire Lavogez a ensuite corsé l'addition d'une demi-volée en pleine lucarne (0-4, 89') avant que Kumagaï ne transforme un penalty en toute fin de match (0-5, 90'+5).
Les Guingampaises y ont longtemps cru, mais ne sont pas parvenues à faire tomber le tout puissant Olympique Lyonnais. Et ont finalement concédé un lourd score à l'arrivée.
Elles résistent longtemps. Bien plus longtemps que lors des deux confrontations en championnat. Mais en seconde période, les Guingampaises craquent. Pourtant, Wendie Renard et ses partenaires peinent à entrer dans la rencontre. Et elles sont d'ailleurs les premières à se faire peur. La frappe d'Adélie Fourré heurte le montant droit d'une Méline Gérard totalement battue (7'). « Je suis dégoûtée, mais c'est comme ça », regrette l'intéressée, titulaire en lieu et place de Salma Amani, blessée pendant l'échauffement. Si les Lyonnaises mettent peu à peu le pied sur le ballon, elles réalisent un premier acte poussif offensivement. Seule la frappe de Corine Franco dans les six mètres, repoussée par Margaux Bueno, parvient à inquiéter les « Rouge et Noir » (43').
L'ogre lyonnais sort ses crocs
Mécontent de son équipe, Gérard Prêcheur procède à deux changements au retour des vestiaires. À peine entrée en jeu, Pauline Bremer se signale, mais ne trouve pas le cadre (47'). Lyon s'installe dans le camp breton et oblige Gignoux à s'employer sur une tête de Renard (65'). Dans la foulée, Renard reprend le dessus sur la défense guingampaise qui ne parvient pas à se dégager. Dans les parages, Bremer concrétise la domination lyonnaise (0-1, 67'). Loin d'être atterrées, les filles de Sarah M'Barek réagissent immédiatement et se procurent une occasion en or. Sur le flanc droit, Oparanozie bute sur Gérard. Le ballon revient dans les pieds de Fleury. Le stade Fred-Aubert retient son souffle, mais l'Internationale U19 croise légèrement trop sa frappe (71'). Quand l'efficacité n'est pas au rendez-vous, la note est souvent payée cash face à l'OL. L'En Avant n'échappe pas à la règle et plie à nouveau sur une frappe d'Eugénie Le Sommer (0-2, 84').
Guingamp s'écroule, Lyon déroule
Dans les dernières minutes, Lyon se déchaîne et alourdit le score grâce à Ada Hegerberg (0-3, 88') et Claire Lavogez (0-4, 89'). Avant de donner au score son allure finale sur un penalty de Saki Kumagai (0-5, 90'+3). « C'est sévère quand on voit comment on s'est battues et arrachées, concède M'Barek. Mais je suis hyperfière de mes joueuses ». Une défaite globalement logique, mais extrêmement cruelle pour En Avant.
La fiche technique
Mi-temps :
0-0
Arbitre :
Mme Bonnin.
BUTS.
Lyon : Bremer (67'), Le Sommer (84') Hegerberg (88'), Lavogez (89'), Kumagai (90'+3 sp).
EA Guingamp :
Gignoux ? Dinglor, Debever, Lorgeré, Morin (Quéro 59') ? Bueno, Nwabuoku (Fleury 59') ? Oparanozie, Pervier (cap.), Le Garrec ? Fourré (Ndolo Ewele 77'). Entraîneur. Sarah M'Barek.
Lyon : Gérard ? Franco, Buchanan, Renard (cap.), Henning (Bremer 46') ? Kaci (Marozsan 67'), Kumagai ? Thomis, Dali (Le Sommer 46'), Lavogez - Hegerberg. Entraîneur : Gérard Prêcheur.