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International Monetary Fund Managing Director Christine Lagarde delivers a statement on the conclusion of the IMF's Executive Board regular five-yearly review of the Special Drawing Rights (SDR) November 30, 2015 at the IMF Headquarters in Washington, DC. Lagarde stated “The Executive Board's decision to include the RMB in the SDR basket is an important milestone in the integration of the Chinese economy into the global financial system. It is also a recognition of the progress that the Chinese authorities have made in the past years in reforming China’s monetary and financial systems. The continuation and deepening of these efforts will bring about a more robust international monetary and financial system, which in turn will support the growth and stability of China and the global economy.” IMF Staff Photo/Stephen Jaffe
PP-22 - Policy Statements
H.E. Mr Gospel KAZAKO
Minister
Ministry of Information and Digitalization
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
PP-22 - Policy Statements
H.E. Mr Toelupe Poumulinuku Onesemo
Minister of Communication and Information Technology
Ministry of Communication and Information Technology
Bucharest, Romania
28th September 2022
©ITU/Rowan Farrell
784 Lawrence Street, Kelowna, BC.
Statement of Significance:
Description of Historic Place:
The historic place is the one-and-one-half-storey W.R. Trench House, built in 1911 and located at 784 Lawrence Avenue in Kelowna's North Central neighbourhood.
Heritage Value:
The heritage value of the W.R. Trench House lies in its association with W.R. Trench, who was prominent in civic and commercial affairs in the community, and with subsequent owners, who contributed to the commercial sector. It is also valued for its architecture. There is value in its growth over the years, as the original cottage was enlarged to accommodate the changing expectations of homeowners.
William Robert and Elizabeth Laura Trench moved to Kelowna from Manitoba in 1908. William Trench opened a pharmacy in partnership with a Mr. Currie. Soon he had his own company, W.R. Trench Ltd., which was located on Bernard Avenue at the corner of Water Street. He operated this until 1935, when he sold it to G.A. Elliott and J.D. Whitham, who retained the Trench name.
William Trench served his community for more than 20 years. He sat on the school board from 1912 to 1919, and was president of the Board of Trade in 1926 and 1927. He was an alderman in 1932 and 1933, and mayor in 1934 and 1935.
The historic place has value as well for its architecture. The Trenches built it in 1911. The original form, a small, squarish, hipped-roof cottage with a front porch, can still be discerned. It is now engulfed in subsequent additions, which seem to enhance, rather than detract from, the heritage character.
Around 1925 to 1928, the Trenches built a new home on Pendozi (now Pandosy) Street. In 1936 they moved to Vancouver. The house went through several owners in the next two decades, including Harold S. and Grace L. Dalley, he a checker for the Canadian National Railway, who owned it in 1948. In 1956 it was bought by Adolph T. (1908-1969) and Florence C. Roth, who resided here until the 1960s.
Adolph Roth came to Kelowna from Camrose, Alberta, in 1929. He first worked in the cannery on Ellis Street, and in the early 1930s began driving the horse-drawn delivery wagon for Paddy Cameron's Guisachan Dairy. In 1939, he moved into town and became the distributor for the Kelowna Creamery, then in 1950 for NOCA Dairies, operating under the name Roth's Dairy Products, which had as many as eighteen employees and fifteen trucks.
Source: City of Kelowna Planning Department
Character-Defining Elements:
The character-defining elements of the W.R. Trench House include its:
- location on Lawrence Avenue in Kelowna's North Central neighbourhood
- residential form, scale and massing, as expressed by its one-and-one-half-storey height and rectangular plan with extensions
- small bay window on the street elevation
- medium-pitched hipped roof with gabled additions
- small, gabled-roof dormer projection facing the side yard
- wood fascia, which extends across the gable facing the street
- two corbelled brick chimneys
- recessed open corner entrance porch
- wide wood bargeboards, which wrap around the house perimeter
- second-floor fenestration, with fixed windows, decorative painted mullions and plain narrow wood trim
- ground-floor fenestration, with fixed wood-sash windows and plain, narrow wood trim
- mature landscaping on the side yards
PP-22 - Policy Statements
Mr Oscar George
Minister of State in the Office of the Prime Minister, with responsibility for Telecommunications and Broadcasting
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
Greater Manchester Police’s Assistant Chief Constable Ian Hopkins speaking to the media outside the Force’s headquarters this afternoon (21/7/11). ACC Hopkins gave an update on developments in the case of deaths at Stepping Hill hospital.
Detectives investigating the deliberate contamination of products at Stepping Hill hospital are investigating two further deaths.
An initial post mortem on 19 July 2011, failed to establish the cause of death of an 84-year-old woman who died on 14 July 2011.
The case was referred to GMP by the coroner yesterday, Wednesday 20 July 2011, due to the woman's low blood sugar level.
A Home Office post mortem is due to be carried out today.
An 83-year-old man who suffered a hypoglycaemic episode on 11 July 2011, sadly died today, Thursday 21 July 2011. The cause of death is not known and a Home Office post mortem is expected to be done in due course.
Detectives from GMP's Major Incident Team are currently investigating the deaths of George Roy Keep, Arnold Frederick Lancaster and Tracey Arden after products were found to have been deliberately contaminated.
Police, the coroner and staff at the hospital are working closely together and future deaths are likely to be referred to GMP's Major Incident Team for review in order to scrutinise the death and ensure any suspicious circumstances are thoroughly and robustly investigated.
Assistant Chief Constable Ian Hopkins, said: "As with the deaths of George Keep, Arnold Lancaster and Tracey Arden the cause of this man and woman's death is not known and it is important we do not lose sight of this fact.
"In relation to the death of the woman, this was referred to us by the coroner and after a review of the circumstances surrounding this death - notably the low blood sugar level - we have decided to investigate further.
"In relation to the man's death, due to the fact he suffered a hypoglycaemic episode during a timeframe we are looking at it is only right we conduct further inquiries.
"We have family liaison officers with both families and my thoughts are with them as they are with the relatives of all affected by this incident.
"I want to make it abundantly clear that we are working closely with the coroner and, as is to be expected, it is likely we will be asked to investigate further deaths.
"In the main these are likely to be deaths of people who are elderly and/or ill, and we fully support the coroner's "belt and braces" approach to ensuring future deaths that require further investigation are appropriately investigated and scrutinised.
"I cannot emphasis enough how complex an investigation this is, requiring detailed forensic and medical analysis, and want to take the opportunity to thank the hospital and staff for their ongoing help and support.
"Our inquiry has gathered apace and while we have made an arrest any suggestion that this investigation is close to being complete is misleading.
"All I can say in relation to the arrest is that we have a 27-year-old woman in police custody who has been arrested on suspicion of murder and I am not prepared to say anything else that could potentially prejudice a future trial.
"We are fully committed to finding out exactly what has happened and officers continue to work around the clock in order to provide answers to the families of those who have lost their lives.
"We are determined to identify and bring to justice the person responsible and we are continuing to appeal to anyone who might have information relevant to this investigation to get in touch."
A 27-year-old woman arrested on suspicion of murder remains in police custody for questioning.
Anyone with information is asked to call the incident room on 0161 856 2480. Anyone who has health-related concerns should call the NHS dedicated hotline on 0161 419 4888.
For more information about Greater Manchester Police please visit our website.
To view the full statement please visit
The heads of the international delegations made statements about the responsible use of Artificial Intelligence. This was done in a round table setting.
Watch the entire high level plenary session: youtu.be/J8APAkq4LlY
Watch the REAIM 2023 aftermovie: youtu.be/dSZ48joIXJ0
Read the speech by Dutch Minister of Foreign Affairs Wopke Hoekstra at the round table: www.government.nl/ministries/ministry-of-foreign-affairs/...
Photo: Ministry of Foreign Affairs / Martijn Beekman
PP22 - Policy Statements
H.E. Mr Damian Collins
Parliamentary Under Secretary of State (Minister for Technology and the Digital Economy) at the Department for Digital, Culture, Media and Sport
UK Government
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Mr Behzad AHMADI
Deputy Minister and Head of Center of International relations of Information and Communication
Ministry of Information and Communications Technology
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP-22 - Policy Statements
Senator Karen Grogan
Chair, Senate Communications and Environment Committee
Bucharest, Romania
30th September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Mr Timothy Masiu
Minister of Communication and Information Technology
National Information & Communications Technology Authority (NICTA)
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
PP22 - Policy Statements
H.E. Mr Latsamy KEOMANY
Ambassador, Permanent Representative
Permanent Mission of the Lao PDR to the UN Office and Other International Organisations in Geneva
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
I overheard a group of beautiful young girls talking about how "fat" they were...if only they would open their eyes.
PP22 - Policy Statements
H.E. Mr Timothy Masiu
Minister of Communication and Information Technology
National Information & Communications Technology Authority (NICTA)
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
The closing statements in the case The Prosecutor v. Dominic Ongwen were scheduled for 10-12 March 2020 before Trial Chamber IX of the International Criminal Court ("ICC" or "Court") in The Hague, The Netherlands. The Prosecution, the Legal Representatives of Victims and the Defence will present their final arguments. Trial Chamber IX is composed of Judge Bertram Schmitt, Presiding judge, Judge Péter Kovács and Judge Raul Cano Pangalangan.
PP22 - Policy Statements
Mr Carlos Manuel Baigorri
President
National Telecommunications Agency (Anatel)
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP-22 - Policy Statements
Mr Ian Mak
Assistant Chief Executive, International
Infocomm Media Development Authority
Bucharest, Romania
28th September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Dr Ms Emilija Stojmenova Duh
Minister
Government Office for Digital Transformation
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
Ms Micaela Sanchez Malcolm
Licenciada
Secretaría de Innovación Pública
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
PP22 - Policy Statements
H.E. Ms Khumbudzo Ntshavheni
Minister of Communications and Digital Technologies
Ministry of Communications and Digital Technologies
Bucharest, Romania
27 September 2022
©ITU/Rowan Farrell
Archaeologist and painter Edward Dodwell (1767-1832), who came from a noble and rich Irish family, was born in Dublin and studied literature and archeology at Trinity College in Cambridge. Thanks to the economic comfort provided by his great fortune, he avoids the need to acquire a profession and gives himself to the researches about the Mediterranean civilizations.
In 1801, he traveled with Ionian Islands (Corfu, Zante etc.) and the region of Troy together with Atkins and well-known traveler W. Gell. In 1805-06, he travels to Rumeli with his traveling companion, Simone Pomardi. He then settled in Naples and Rome and marries a woman thirty years younger from him. He was an honorary member of many European cultural foundations. He falls ill while doing expeditions in the mountains of Italy. His large collection (coins, 115 copper items, 143 amphoras), which he created from archaeological artifacts, was sold to the Munich Sculpture Museum after being housed in his home in Rome for a while.
Being a prolific writer and also a visual artist, Dodwell reveals his multi-faceted talent consisting of an archaeologist, a sense of curiosity, critical gaze and artist sensitivity in his works that are unique to the period. For the first time in his work, we have the opportunity to recognize the true discovery of a "space": The march combines information based on the monument, history, contemporary people and bibliographies as a means of discovery and recognition.
The journey, which is described in these two volumes of publications and has rich data in archeology and topography material, creates an infinite wealth of information about the public and private lives of the Greeks before the rebellion (1821).
In late April 1801, Dodwell took a smart and read Greek from Santorini, whom he had met in Italy, as an interpreter and set off from Venice. He crosses the Adriatic sea and arrives in Corfu under Russian-Ottoman occupation with his travel companions within a month. Their journey continues towards Paksos islands, Parga, Leukada (Santa Mavra). In his book, Dodwell writes about the nose of Lefkata, where ancient Greek poet Saffo, according to ancient ruins, products, villages and legend, fell into the sea because of his desperate love for Faon. From here, he goes to Preveza and visits the archaeological site in Nikopolis, continues to the island of Ithaka, writes about the geography and economic situation there and about the search for ancient ruins. Finally Kefalonia '
In 1805 Dodwell, along with the artist Simone Pomardi, arrives in Zante from the port of Messina in Sicily, where he writes about the villages, population, products; he then goes to Mesolongi. He writes about the persecution of Tepedelenli Ali Pasha to the local people, local products, the Akheloos river and the Echinades archipelago. After the journey, he reached Patra and became the guest of the consul Nikolaos Stranis. Stranis's mansion had been the meeting place of many European guests for years. Dodwell's visit to Patra confirms his theoretical knowledge about them. Speaking of Contemporary Patra, the city's architectural layout is easily understandable (noting that "the houses of Greeks are lime and the houses of Turks are painted in red"), writes about its economic condition (including products exported from the region). In Patra, he visits the castle, the famous big-bodied cypress tree, the church of Saint Andrea and the holy spring (holy water source). He adds the pattern that his travel companion Pomardi has drawn and displays the sacred source. Noting that many black slaves were found in Patra, Dodwell also made efforts to acquire some archaeological artifacts. He especially revives the city's historical memory while writing about Patra. In his travel statement, he documents his own knowledge scientifically with the ancient sources he used while displaying the contemporary reality of Greece and previous travel testimonies. He adds the pattern that his travel companion Pomardi has drawn and displays the sacred source. Noting that many black slaves were found in Patra, Dodwell also made efforts to acquire some archaeological artifacts. He especially revives the city's historical memory while writing about Patra. In his travel statement, he documents his own knowledge scientifically with the ancient sources he used while displaying the contemporary reality of Greece and previous travel testimonies. He adds the pattern that his travel companion Pomardi has drawn and displays the sacred source. Noting that many black slaves were found in Patra, Dodwell also made efforts to acquire some archaeological artifacts. He especially revives the city's historical memory while writing about Patra. In his travel statement, he documents his own knowledge scientifically with the ancient sources he used while displaying the contemporary reality of Greece and previous travel testimonies.
Due to an epidemic in Dodwell Peloponnese, he chose to go to Athens in another way, passing through Nafpaktos (Inebahtı), Galaksidi (watching the carnival shows here) and passing through Amfisa (here he is a guest at the house of a Kefalonian doctor and visits the voivodeship), climbs to Parnasos mountain, Hriso stops in his village and stays in Kastri, touring the fountain of Kastalya and few ancient ruins that can be seen in Delfi at that time. The road passes through Arahova and Distomo and takes it to the ancient site of Trophonius priests in Livadia, from there it continues to other Boeotia villages (Orchomenos, Aliartos, Thespiae). Crossing the Eleutherae road and the Eleusis plain, on March 26, Lord Elgin's work teams arrive in Athens when the Acropolis was removing the relief marbles. Dodwell will stay here until September Attica Almost all of them (Pendeli mountain, Fili, Acharnai, Kifisia, Vrauron, Porto Rafti, Thorikos, Lavrion, Sunion, Piraeus) and Aegina and Salamis islands. In addition to archaeological issues, he also writes about the dances, music and games of the Greeks, baths and even insects and birds.
After Athens, he passes through Thiva (Thebai), Kopais lake, Thermopylae and Lamia, Stylis and Almyros to Volos and Pelion; in his article he mentions all the ancient city ruins he met along the way. After that, Larissa and Ambelakia come to the superior level of life here, highly influenced by cultured people and the cotton yarn dyeing industry. Thessaly plain returns to Athens after passing through Lilaia, Amfikleia, Fokida, Boeotia and stopping at Chalkida and Marathon. He stays here all summer. In December of 1805, we find him touring the Argos-Corinth region: Dafni monastery, Eleusis and its religious mysteries, Megara, Corinthian isthmus, Corinthian fortress, Kechries, Nemea and its vineyards, Acropolis and ancient theater in Argos, the treasure of Mykene and Atreus, Tiryns and Nauplion, The ruins of the Epidaurus and Asclepius temple, Troizina, Methana, Poros are places he traveled and wrote. Then, on the road of Aegion, Sikyon passes through Xylokastron and stops in the local inns and after Patra, he reaches Olympia on January 24, 1806, depicting all villages of Achaia and Ileia (Elis). In the continuation of the trip, Messini visits Sparta in late February after visiting the ruins in Megalopolis and Vassai. After crossing Arkadiya and Achaia (by stopping at Tegea, Tripoli, Mantineia, Orchomenos, Stymphalia, Feneos, Kalavryta, Mega Spilaion), it reaches Patra in the spring and finally reaches Rome on September 18, 1806. After passing, he stops at the inns of the region and after Patra, he reaches Olympia on January 24, 1806, depicting all the villages of Achaia and Ileia (Elis). In the continuation of the trip, Messini visits Sparta in late February after visiting the ruins in Megalopolis and Vassai. After crossing Arkadiya and Achaia (by stopping at Tegea, Tripoli, Mantineia, Orchomenos, Stymphalia, Feneos, Kalavryta, Mega Spilaion), it reaches Patra in the spring and finally reaches Rome on September 18, 1806. After passing, he stops at the inns of the region and after Patra, he reaches Olympia on January 24, 1806 by describing all the villages of Achaia and Ileia (Elis). In the continuation of the trip, Messini visits Sparta in late February after visiting the ruins in Megalopolis and Vassai. After crossing Arkadiya and Achaia (stop by Tegea, Tripoliçe, Mantineia, Orchomenos, Stymphalia, Feneos, Kalavryta, Mega Spilaion), it reaches Patra in the spring and finally reaches Rome on September 18, 1806.
After documenting and archiving the archaeological remains that he visited, using the camera obscura technique, Dodwell aimed to combine art with the scientific view. In his published three volumes of his work, which is a basic resource for all travelers who traveled to Greece after him and which is still a very useful work in archaeological research, there are nearly 400 pictures of landscape and historical monuments drawn by Dodwell. Recently, dozens more patterns have appeared that have not been known to date.
The book in question contains colored stone print (aquatinta / painted water) paintings based on Dodwell's own drawings. Each picture is followed by Dodwell's explanatory notes in English and French. In the introduction, it is mentioned that 60 of them were chosen to be published from nearly 1000 sketches, and these were drawn and colored and printed with a special drawing style, but the number of copies printed for financial reasons was low. These drawings are supplements to the Dodwell "Seyahatname" and require the text to be read along with the picture to identify the people and events in the picture. The desire to convey what the artist depicted by staying true to the truth, as well as the effort to record pleasant details from everyday life, is evident in the displayed images.
Written By: İoli Vingopoulou
Is this little guy making a fashion statement or is he preparing for cold weather? :)
I hadn't seen this one before. It looks like a jumping spider with a shell on it's back. Any arachnologists out there?
To give you a sense of his size, he's about half the width of the blade of grass he's sitting on.
Orig # _KS10117-126a
(c) Kelly Shipp Photography
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International Monetary Fund Managing Director Christine Lagarde delivers a statement on the conclusion of the IMF's Executive Board regular five-yearly review of the Special Drawing Rights (SDR) November 30, 2015 at the IMF Headquarters in Washington, DC. Lagarde stated “The Executive Board's decision to include the RMB in the SDR basket is an important milestone in the integration of the Chinese economy into the global financial system. It is also a recognition of the progress that the Chinese authorities have made in the past years in reforming China’s monetary and financial systems. The continuation and deepening of these efforts will bring about a more robust international monetary and financial system, which in turn will support the growth and stability of China and the global economy.” IMF Staff Photo/Stephen Jaffe
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