View allAll Photos Tagged Structures
New Leaf Structured Settlements
3700 Koppers Street Suite #143
Baltimore MD 21227
(410) 538-2752
1-800-517-7671
The image represents the whole mount immunofluorescent staining for cytokeratin 8 in a mouse embryo at embryonic day 11.5. It shows a position of the respiratory structures ventrally in relation to the esophagus dorsally at early stages of the larynx formation. By the time the larynx initiates its development the trachea is already separated from the esophagus and branches into two lung lobes. The lateral walls of the primitive larynx fuse at midline and block the entrance into lower airway structures. This connection is eventually disintegrated and vocal folds separate from each other. Failure in the vocal fold separation leads to the congenital laryngeal disorders, such as laryngeal webs or stenosis.
This image was chosen as a winner of the 2016 NIH funded research image call.
This image is not owned by the NIH. It is shared with the public under license. If you have a question about using or reproducing this image, please contact the creator listed in the credits. All rights to the work remain with the original creator.
Credit: Vlasta Lungova, Thibeault lab, Department of Surgery, Division of Otolaryngology Head and Neck Surgery. UW Madison
NIH funding from: National Institute on Deafness and Other Communication Disorders (NIDCD)
An enjoyable drive, but overall disappointing local chase in northeast Nebraska on June 6th, 2015 (Enhanced Risk). The SPC put out a small zone of 10% hatched for tornadoes so it warranted a drive to check things out. Wasn't willing to drive clear to O'Neill and fight off the hordes of chasers so I stuck by Madison until something fired. What eventually did fire was messy with little organization initially. Was about to call it a day when one last look at radar showed a bit of a mesocyclone developing on radar. A quck jaunt north through Norfolk netted me a nicely sculpted cell between all the junk that fired that day. The storm did not even prompt a warning but was still pretty to see. Hindsight tells me I should've drove a little farther north considering there were minimal hail reports from the day. A two picture panorama stitch shot right along Highway 81.
Massive Sports Hall with a strong PVC roof and sides, 4 Days to Complete PVC Roofing and sides. This picture was taken when the covered had just been brought across the structure.
The buildings and structures of Belfast comprise many styles of architecture ranging from Edwardian through to state-of-the-art modern buildings like the Waterfront Hall. The city's beautiful Edwardian buildings are notable for their display of large numbers of sculptures. Many of Belfast's Victorian landmarks, including the main Lanyon Building at Queens University in 1849, were designed by Sir Charles Lanyon.
The City Hall, was finished in 1906 and was built to reflect Belfast’s City status, granted by Queen Victoria in 1888. The Dome is 53 metres (173 ft) high. Figures above the door are “Hibernia encouraging and promoting the Commerce and Arts of the City”. Among the city's grandest buildings are two former banks: Ulster Bank (1860), in Waring Street and Northern Bank (1769), in nearby Donegall Street. The Royal Courts of Justice in Chichester Street are home to Northern Ireland's Supreme Court. Some of Belfast's oldest buildings still remain in the Cathedral Quarter area, which is currently undergoing redevelopment as the city's main cultural and tourist area.
The world's largest dry dock is located in the city, and the giant cranes (Samson and Goliath) of the Harland and Wolff shipyard, builders of the Titanic, can be seen from afar.
The four star Europa Hotel, located in the City Centre, was bombed twenty-seven times during the troubles and is among one of the most bombed hotels in Europe. Across the street, the ornately decorated Crown Liquor Saloon in Great Victoria Street is notable as being the only bar owned by the National Trust. The panels used in the restaurant on the first floor were meant for Brittanic, the sister ship of the Titanic. It was made internationally famous as the setting for the classic film, Odd Man Out, starring James Mason.
Belfast also contains the tallest building (as distinct from structure) on the island of Ireland. Windsor House stands at 80 metres (262 ft) and has twenty-three floors. Once completed, the Obel Tower will surpass Windsor House, although a taller building than this has been given planning permission in Dublin. In January 2007 plans were submitted to build the Aurora Tower on Great Victoria Street, which will be 37 storeys high. At 109m (358 ft) high it will house 290 luxury apartments and be 28m (92 ft) higher than the Obel Tower.
The Albert Clock stands at the end of High Street, and was designed by William J. Barre and built in memory of Queen Victoria's Prince Consort, Prince Albert. The clock stands 35 m high, was built on land reclaimed from the river, and leans 1.25 m off the vertical. The Linen Hall Library in Donegall Square North is Belfast’s oldest library, founded in 1788 to acquire 'philosophical apparatus and such productions of nature and art as are calculated to enlarge knowledge'.
St George's Market, built between 1890 and 1896, is Belfast's last surviving Victorian covered market. It was restored at a cost of £4.5 million in 1997, and hosts regular Friday and Saturday markets.
Near the Market is Saint Malachy's Catholic Church. Built between 1841 and 1844, it is built in the Tudor Revival style and is unique in Ireland. It is also one of only two buildings remaining in Belfast which was constructed with hand-made bricks. Hamilton Street is a Georgian terrace in the Markets Area, originally built in the 1830s, which was restored in 1988 by Hearth.
Belfast has several venues for performing arts. The Grand Opera House was completed in 1895 was bombed several times during the Troubles but has been restored to its former glory. The Ulster Hall (1859-1862) was originally designed for grand dances but is now used primarily as a concert and sporting venue. Lloyd George, Parnell and Patrick Pearse all attended political rallies there. It holds 13 paintings of Belfast History. The Mulholland organ costing 3000 guineas was donated and named after a local wealthy industrialist. The Waterfront Hall was opened in 1997 as part of the redevelopment of the Laganside and already has become an icon of modern Belfast.
The Victoria Square in now completed.
VAN NUYS - At 2:44PM on October 12, 2022 the Los Angeles City Fire Department responded to a structure fire at 7056 Van Nuys Boulevard. The first fire company arrived to find a one story, vacant commercial building (7,600 square feet built in 1957) well involved in fire.
After initially deploying an offensive fire attack, the incident commander quickly transitioned to a defensive operation due to the extent of fire involvement. As crews established hand lines, a collapse zone of 30’ was implemented at the front of the building due to concern about the stability of the façade. Approximately 20 minutes into the incident, an ‘Emergency Traffic’ radio alert was issued informing all on the fire ground of the full collapse of the façade. All firefighters were safely outside the collapse zone and continued their operation without delay.
The building to the north abutted the fire building while there was a small separation with the building to the south. Despite the close proximity of the two exposures and the heavy fire present, firefighters battled and succeeded in defending the structures from fire damage – saving over thirty businesses.
It was a long, extended operation due to the amount of fire and challenges in safely access all areas of the building. The RS3, Robotic Fire Fighting Vehicle was deployed to apply high volumes of water (master streams) more deeply into the building than was safely possible by firefighters. The combination of hand lines, ladder-pipes, RS3 and the team of over 85 firefighters, working under the command of Assistant Chief Corey Rose, fully extinguished the fire in over four hours.
One firefighter was transported to the hospital in fair condition with heat exhaustion. There were no other injuries reported.
Per protocol, LAFD Arson and Counter-Terrorism Section (ACTS) responded and is actively investigating the cause of the fire.
© Photo by Leo Kaufman
LAFD Incident 101222-1068
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
A nativity scene, crèche, or crib, is a depiction of the birth of Jesus as described in the gospels of Matthew and Luke. Nativity scenes exhibit figures representing the infant Jesus, his mother Mary, and Mary's husband, Joseph. Some nativity scenes include other characters from the Biblical story such as shepherds, the Magi, and angels. The figures are usually displayed in a stable, cave, or other structure.
Saint Francis of Assisi is credited with creating the first nativity scene in 1223 (a "living" one) intending thereby to cultivate the worship of Christ. The scene's popularity inspired communities throughout Christendom to stage similar pantomimes and eventually to create elaborate and ever more elaborate static exhibitions with wax and ivory figurines garbed in rich fabrics set against intricate landscapes.
Distinctive nativity scenes and traditions have been created around the world and are displayed during the Christmas season in churches, homes, shopping malls, and other venues, and occasionally on public lands and in public buildings. The Vatican has displayed a scene in St. Peter's Square near its Christmas tree since 1982 and the Pope has for many years blessed the mangers of children assembled in St. Peter's Square for a special ceremony. The White House exhibits an eighteenth century Italian presepio during the Christmas season. Folk art traditions in Europe include the hand-painted santons of France and the colorful szopka of Poland.
A nativity scene takes its inspiration from the accounts of the birth of Jesus in the Gospels of Matthew and Luke.Luke's narrative describes an angel announcing the birth of Jesus to shepherds who then visit the humble site where Jesus is found in a manger. Matthew's narrative tells of Magi who follow a star to the place where Jesus dwells, and indicates that the Magi found Jesus around two years after his birth rather than on the exact day.Matthew's account does not mention the angels and shepherds, while Luke's narrative is silent on the Magi and the star. With no basis in scripture, however, three dimensional nativity scenes (whether static or living) usually bring the shepherds and the angels of Luke together at the manger with Matthew's Magi and the star. Further, and without scriptural basis, the ox and the ass are present at the manger as well as other animals such as sheep, goats, and camels.
St. Francis at Greccio by GiottoSt. Francis of Assisi is credited with creating the first nativity scene in 1223 at Greccio, Italy, in an attempt to place the emphasis of Christmas upon the worship of Christ rather than upon secular materialism and gift giving. Staged in a cave near Greccio, St. Francis' nativity scene was a living one with humans and animals cast in the Biblical roles. Pope Honorius III gave his blessing to the exhibit. Such pantomimes became hugely popular and spread throughout Christendom.Within a hundred years every church in Italy was expected to have a nativity scene at Christmastime. Eventually, statues replaced human and animal participants, and static scenes grew to elaborate affairs with richly robed figurines placed in intricate landscape settings. Charles III, King of the Two Sicilies, collected such elaborate scenes, and his enthusiasm encouraged others to do the same.
Il termine presepe (o più correttamente presepio) deriva dal latino praesaepe, cioè greppia, mangiatoia, composto da prae = innanzi e saepes = recinto, ovvero luogo che ha davanti un recinto. Nel significato comune il presepe indica la scena della nascita di Cristo, derivata dalle sacre rappresentazioni medievali.
Per comprendere il significato originario del presepe, occorre chiarire la figura del lari (lares familiares), profondamente radicata nella cultura etrusca e latina.I larii erano gli antenati defunti che, secondo le tradizioni romane, vegliavano sul buon andamento della famiglia. Ogni antenato veniva rappresentato con una statuetta, di terracotta o di cera, chiamata sigillum (da signum = segno, effigie, immagine).
Le statuette venivano collocate in apposite nicchie e, in particolari occasioni, onorate con l'accensione di una fiammella.
In prossimità del Natale si svolgeva la festa detta Sigillaria (20 dicembre), durante la quale i parenti si scambiavano in dono i sigilla dei familiari defunti durante l'anno.
In attesa del Natale, il compito dei bimbi delle famiglie riunite nella casa patriarcale, era di lucidare le statuette e disporle, secondo la loro fantasia, in un piccolo recinto nel quale si rappresentava un ambiente bucolico in miniatura.
Nella vigilia del Natale, dinnanzi al recinto del presepe, la famiglia si riuniva per invocare la protezione degli avi e lasciare ciotole con cibo e vino.
Il mattino seguente, al posto delle ciotole, i bambini trovavano giocattoli e dolci, "portati" dai loro trapassati nonni e bisnonni.
Dopo l'assunzione del potere nell'impero (IV secolo), in pochi secoli i cristiani tramutarono le feste tradizionali in feste cristiane, mantenendone i riti e le date, ma mutando i nomi ed i significati religiosi.
Essendo una tradizione molto antica e particolarmente sentita (perché rivolta al ricordo dei familiari defunti), il presepe sopravvisse nella cultura rurale con il significato originario almeno fino al XV secolo e, in alcune regioni italiane, ben oltre.
Solitamente questa locuzione viene usata per la ricostruzione tradizionale della natività di Gesù Cristo durante il periodo natalizio.
Si riproducono tutti i personaggi e i posti della tradizione, dalla grotta alle stelle, dai Re Magi ai pastori, dal bue e l'asinello agli agnelli, e così via.
La rappresentazione può essere sia vivente che iconografica. La tradizione, tutta italiana, del Presepe risale all'epoca di San Francesco d'Assisi che nel 1223 realizzò a Greccio la prima rappresentazione vivente della Natività. Sebbene esistessero anche precedentemente immagini e rappresentazioni della nascita del Cristo, queste non erano altro che "sacre rappresentazioni" delle varie liturgie celebrate nel periodo medievale.
Il primo presepe scolpito a tutto tondo di cui si ha notizia è quello realizzato da Arnolfo di Cambio fra il 1290 e il 1292. Le statue rimanenti si trovano nel Museo Liberiano della Basilica di Santa Maria Maggiore a Roma. L'iconografia del presepio ebbe un impulso nel Quattrocento grazie ad alcuni grandi maestri della pittura: il Botticelli nell'Adorazione dei Magi (Firenze, Galleria degli Uffizi) raffigurò personaggi della famiglia Medici. Nel Quattrocento anche Luca e Andrea Della Robbia si cimentarono con le loro terrecotte in scene della Natività: per tutte valga quella del convento della Verna (AR). Un'altra terracotta robbiana, con sfondo affrescato da Benozzo Gozzoli, si trova nel duomo di Volterra (PI) e rappresenta i pastori e il corteo dei Magi. Ben presto questo tipo di simbolismo fu ampiamente recepito a tutti i livelli, soprattutto all'interno delle famiglie, per le quali la rappresentazione della nascita di Gesù, con le statuine ed elementi tratti dall'ambiente naturale, diventò un rito irrinunciabile. Nel XV secolo si diffuse l'usanza di collocare nelle chiese grandi statue permanenti, tradizione che si diffuse anche per tutto il XVI secolo. Uno dei più antichi, tuttora esistenti, è il presepe monumentale della Basilica di Santo Stefano a Bologna, che viene allestito ogni anno per Natale.
Dal XVII secolo il presepe iniziò a diffondersi anche nelle case dei nobili sotto forma di "soprammobili" o di vere e proprie cappelle in miniatura anche grazie all'invito del papa durante il Concilio di Trento poiché ammirava la sua capacità di trasmettere la fede in modo semplice e vicino al sentire popolare. Nel XVIII secolo, addirittura, a Napoli si scatenò una vera e propria competizione fra famiglie su chi possedeva il presepe più bello e sfarzoso: i nobili impegnavano per la loro realizzazione intere camere dei loro appartamenti ricoprendo le statue di capi finissimi di tessuti pregiati e scintillanti gioielli autentici. Nello stesso secolo a Bologna, altra città italiana che vanta un'antica tradizione presepistica, venne istituita la Fiera di Santa Lucia quale mercato annuale delle statuine prodotte dagli artigiani locali, che viene ripetuta ogni anno, ancora oggi, dopo oltre due secoli.
Con i secoli successivi il presepe occupò anche tutte le case, ovviamente in maniera meno appariscente, resistendo fino ai giorni nostri.
Font : Wikipedia
This brick structure is on the banks of the River Wear, Sunderland, just below the football ground "the Stadium of Light" (built on the site of the old Wearmouth Colliery). It is part of a coal staithe and was used for the quick loading of coal into ships or colliers, bulk coal carrying cargo ships.
Rīga
In the NL we don't have such marketlpaces, so it was quite facinating to see this. Here is some info about it:
Riga Central Market (Latvian: Rīgas Centrāltirgus) is Europe's largest market and bazaar in Riga, Latvia. It is one of the most notable structures from 20th century in Latvia and has been included in UNESCO World Heritage Site list together with Old Riga in 1998. It was planned from 1922 and built from 1924 to 1930. The main structures of the market are five pavilions constructed by reusing old German Zeppelin hangars and incorporating Neoclassicism and Art Deco styles. The market is 72,300 square metres (778,000 sq ft) wide with more than 3,000 trade stands.
Produce has been sold on the banks of Daugava since 1571 and in 1863 trade stand rows were built. On December 18, 1922, Riga City Council decided to move the crowded and highly unsanitary Daugavmala Market to a new enclosed location in conformity with hygienic and economic requirements. The market's plan was selected in an international competition. One of the highest prizes was received by Riga's architect Pāvils Dreijmanis and engineer S. Žitkovs collaborative proposal to reuse metal frameworks from World War I German Zeppelin hangars Walhalla and Walther used in Vaiņode Air Base. The initial large structure design was impractical due to their size and weather conditions and the new buildings only used the top parts of the hangar design. The buildings themselves were constructed from stone and reinforced concrete.
The construction started in June 1924 and finished in autumn 1930, taking seven years instead of planned five as construction halted during 1926–1928 due to financial problems. The development was overseen by the city council's marketing department head Klāvs Lorencs. The overseeing architects were Pāvils Dreijmanis and P. Pavlovs together with engineers V. Isajevs and G. Tolstojs. The construction was carried out by stock company "Construction" (Latvian: a/s "Būve") and market's construction office under the supervision of V. Isajevs. Riga paid nearly 5 million Latvian rublis to the state property commission. This was at the time the biggest project in Europe spanning 57,000 square metres (610,000 sq ft). Five pavilions were envisioned with the largest 5,000 square metres (54,000 sq ft) hangar for wholesale and meat processing and smaller ones for retail. Four of them are located side by side and the biggest, fifth, was built perpendicular to them. All buildings had modern central heating and electric lighting. The complex was built in Art Deco style. A wide basement was built under the hangars for storage. Up to 310,000 kilograms (680,000 lb) of goods could be stored in the 27 freezers in 1938. In 1961, during Soviet time, almost 700 metric tons (690 long tons; 770 short tons) of goods could be stored. The products were moved topside with cranes without disturbing traffic and sellers. The basement has three underground tunnels connecting to the adjacent river bank. Retail sales began November 10, 1930, the same day Daugavmala Market closed. Even before the opening, hangars were used for various expositions and shows during the first half of the year.
Although the Central Market was three times the size of the Daugavmala Market, the majority of space was occupied by offices, warehouses and basements. The rent per square meters exceeded that of other markets and locations. Retail sellers could not afford the rent and wholesale merchants could not place their workers. This gave rise to high prices. This was solved by making an open-air 1,370 square metres (14,700 sq ft) roofed porch, with a 170 horse team capacity. In 1938 a separate horse stable opened. In 1936 the most modern bird slaughterhouse in the state opened.
Juris Dambis, head of the State Inspection for Heritage Protection, says "When Riga Central Market was first opened on November 2, 1930, it was the largest and the most progressive marketplace on earth." During the 1930s the market pavilions were one of the main tourist attractions. A wide and cheap array of produce was available for degustation. Tourists from Germany and England highly appreciated the butter and bacon. The fish pavilion was especially attractive with large, colourful aquariums. The large number of tourists furthered the Central Markets reputation as one of the more grandiose buildings in Europe.
The market was not affected by the first Soviet occupation in 1940. However, the Nazi German occupation lasted for three and a half years. Farmers were not allowed to freely sell their produce and were forced to supply the German Army and the market sold only limited amounts. Beginning September 1, 1941, food cards were required for purchase. During these years first roof repairs were carried out on May 30, 1942. The market's territory was readjusted to be suitable for war times. The two pavilions closest to the Daugava were converted into housing the German 726th supply unit's vehicle engine repair shop. A fire hazardous lumber storage was set nearby to necessitate Opel. Three repair shop office barracks were planned, but only one was active prior to the 1944
During the Soviet occupation, the market was renamed Central Kolkhoz Market (Latvian: Centrālais Kolhozu tirgus) in 1949. The Soviet press praised the market as one of the best markets in the Soviet Union. In 1950 nine out of ten farms were unified in kolkhozes during the agriculture collectivisation and by 1961 the majority of goods were supplied collectively by 60 kolkhozes. Daily about 50-70 thousand customers shopped at the market — up to 100 thousand during weekends. 1961 market statistics showed sells of 200,000 metric tons (200,000 long tons; 220,000 short tons) of poultry, 768,000 litres (169,000 imp gal; 203,000 US gal) of milk, about 7 million eggs, and more than 22,000 metric tons (22,000 long tons; 24,000 short tons) of vegetables and fruits.
In the 1980s the market's ammonia based refrigerating plants were replaced with freon machinery. The low-pressure steam heating system was swapped with a connection to the city's central heating system. In 1983 the fruit and vegetable pavilion caught fire, which spread to peat insulation and lasted for tens of hours. In 1987 rat problems were solved in the market.
On October 18, 1983, the Latvian Soviet Socialist Republic's Council of Ministers announced the market as a cultural heritage site. Shortly after Latvia regained independence 1991, market director Leonīds Lapoško showed that the market was in dire condition, especially underground. On January 3, 1995, the city council established stock company Riga Central Market (Latvian: a/s Rīgas Centrāltirgus). In the next half year it merged with Riga Market Company (Latvian: Rīgas tirgus) to form a combined location between the central market's pavilions and outside street bazaar. In August 1998 Riga City Council rented the outside market territory until 2045.
In 1998 the market territory, together with Old Riga, were included in the UNESCO World Heritage Site list. The market's pavilions are five of nine Zeppelin hangars remaining in the world.
The Docks are a dominant feature both of Great Grimsby's geography and economic history, and the Dock Tower, rising 309' above the town, looms over Grimsby and Cleethorpes as a stately reminder of this. Perhaps ironically for such a monumental structure it has been redundant for most of it's life, and as such a doubly suitable symbol for a declining industrial town. In the past it has been proposed that it be dismantled, and only the prohibitive cost has prevented it. Though had such a thing been attempted the people of Grimsby would surely have been up in arms, such is the pride held in the tower.
This pride is by no means misplaced. Despite being a functional, industrial building, it was designed and built with an eye for grace and elegance which marries the schools of British Industrial architecture with more classical Renaissance and Moorish influences. The result is tall graceful building, reminiscent of a hugely oversized minaret, but in the red brick of Victorian Railway buildings. The main body of the Tower, which housed the pumping mechanisms for the dock's hydraulic lock gates rises 224', yet at it's base is only 28' square. The main body tapers imperceptible to 26' before flaring out to form a balcony, 200 feet above the town, which held the Tower's huge water tanks. Above this is a second section of the tower, like the first in miniature rising another 57' topped with an octagonal Lantern House a further 37 ft tall. The last 100' of the building are purely decorative.
Though Grimsby is famed for it's fishing the Tower was not part of that industry that made the port a boom town as many people believe. Grimsby was founded upon commerce not fishing, and the Tower formed part of the original commercial dock complex, and both the Tower and Grimsby's thriving commercial traffic have survived the towns meteoric economic expansion and decline.
At the time of it's construction in 1849 it was the highest building in Lincolnshire and the tallest brick built building in the country, while its single cast iron spiral staircase was the longest in the world1. It is a landmark visible as soon as one surmounts the Wolds twenty miles away at Caistor, and one of the first sights for sailors coming into the Humber (though now the nearby Titan Chimney is more of a signpost for sea traffic).
Local legends suggest that the Tower is "Built on cotton wool", that exactly one million bricks went into its construction and that the staircase within has a step for every day of the year. And anyone on the South Bank who lives within sight of the tower can call himself a Grimbarian, even if he lives outside the town limits.
The Docks
Early History
When the first settlers came to Grimsby the town was just boulder clay, rising up at the edges of the salt marshes of the Humber estuary. This was an ideal spot for sea trade, saltmaking and fishing, and on these things the town established itself.
The Haven was Grimsby's original natural dock, a small inlet which ran the length of what is now the Alexandra Dock to the Riverhead and on south towards the Wellow area. During the construction of the Riverhead Shopping Centre in the early 1970's and Freshney Place in the early 90's the original 12th and 14th century waterfronts were uncovered here, though now, sadly, they lay amongst the foundations of these neo-vernacular temples of Mammon.
Trade in the Middle Ages was good, but by the 17th Century had floundered as the Haven began to silt up. To revitalise trade, and the town, the nearby River Freshney was diverted into the Haven in 1697. However ships could still not land in this harbour, so keels were required to transport goods from ships into the Haven. Because of this while Grimsby had gone into decline Hull Docks had thrived, and in order that Grimsby might take the surplus of this trade and Act was passed in 1796 to form the Grimsby Haven Company and Johnathan Pickernal of Whitby was commissioned to draw up plans for the new docks, and the Haven became a six acre locked dock in 1800, and was to prove to be of great use in the Napoleonic Wars.
The Railways and the Cofferdams
The construction of the Dock Tower came with the Amalgamate Act of 1846 and the formation of the Grimsby Dock Company, which formulated the plans for a railway into Grimsby and the construction of a new commercial dock and, for the first time, a fish dock. Designed by J M Rendall the two docks were to be built on land reclaimed from the Humber by the construction of a huge cofferdam one and a half miles long, enclosing some 138 acres of new ground and forming a small peninsula. The cofferdams were built by Messrs Lynn of Liverpool. Starting in the spring of 1846, three dams of fir piles were sunk and infilled with chalk and clay, wharves and embankments constructed so that excavation of foundations could be made.
In 1848 the Railway was completed connecting Grimsby to the industrial centres of the North. And the docks themselves were begun, built this time by Messers Hutching, Brown and Wright. In addition to Rendell's docks the Grimsby Dock Company commissioned a low power hydraulic water tower to power the huge lock gates of the various docks.
On April 18th 1849, with the dams in place and the railway in place, Prince Albert came to lay the foundation stone of the new dock walls. The Prince Consort arrived onto the dockside in a railway carriage pulled not by an engine, but by teams of navvies employed in the docks construction. A public park, Prince Albert gardens, was built at the docks entrance, overlooked by a statue of the Prince himself. With the formalities dispensed with construction of the central pier on which the Dock Tower stand was begun.
The Tower
Building the Tower
The commission to build the Great Grimsby Hydraulic Tower went to a Mr. J.W. Wild. The design fell to Wild upon his return from his grand tour of Egypt, the Mediterranian and the Middle East; some of his notable public buildings were erected in Alexandria and Tehran, and the mark of his travels can be seen in his design. The Tower is based primarily upon the 'Torre de Mangia' clock tower of the Palazzo Pubblico, in Siena, Italy, but Wild combined the feel of this building with the grand scale of the obelisks of Egypt and the minarettes of the great mosques to produce a building of terrific grace, power and beauty.
The central pier between the locks upon which the Tower now stands was constructed at the same time as the locks themselves. The pier area was excavated to a depth of 10', whereupon 35' long fir piles were sunk as foundation and the excavated area capped with 2 ft of concrete. The pier sides were lined with spiked firs and the stone walls laid against them, the blocks 5 1/2' x 4 1/2' and 2' thick were then faced with 6" thick York stone flags. A hardcore foundation then filled the internal cavity - rubble, clay and concrete and only then was the ground laid for the building's 28' x 28' footings.
As stated earlier, local legend suggests that the tower was built on cotton wool, the origin of this lays in another apocryphal story. During the laying of the foundations for the building problems were incurred when the excavations kept filling with water, no amount of bailing seemed to help, when someone suggested soaking the water up using bails of sheep's wool kept in a dockside warehouse. The bails were employed and found successful, and some say the bails are supposedly there to this day beneath the hardcore footings.
The walls that stood on those footings were 28' long and 4' thick and rose a clear 224' 9" to the top of the main tower, by which time they had tapered to an exterior dimension of 26' square and 3ft thick. At this point the building flares out into the beautiful 'balcony' which gives the building much of it's character. It was here 247' up that reservoir tanks holding 30,000 gallons of water were installed. This amount of water a such a height created 100psi of pressure. Above this was the ornamental second tower (57') and lantern House: (37' 10 1/2") which give the building its archetectural grace and symmetry.
The bricks from which the building is constructed were manufactured on the site, the clay dug from the marshes which are still a major feature of the town. And so the building sprang from the earth on which it stands, it defines Grimsby not only because of it's imposing presence, but because it is built from it's very soil. It is supposed to be the tallest brick built structure in the world.
The building of the Cofferdams, the Tower and the two docks cost a total of £1,050,000.
Using the Tower
The Dock Tower began it's working life in 1952 when the Royal Dock was completed. The Dock Tower provided hydraulic power for both the lock gates and the operation of 15 cranes along the dockside. The lock gates were made from Oak, Teak and Mahogany and were over 30' high, and require two people to operate them during the 2 and a half minutes it took for them to open. The Tower also provided the fresh water for the whole of the dock site. The source of the Tower's water was a well sunk directly down into the chalk bedrock, deep beneath the bolder clay on which Grimsby stands. This fresh water rose up the tower through a cast iron pipe 200 feet, where it was pumped into a tank by two 10" diameter force pumps on a 25 horse power engine. This gave enough constant hydraulic pressure to suit the docks needs back in the 1800's, and the Tower went on to witness the opening of Grimsby's original fish dock (1857), Fish Dock No. 1(1866), Fish Dock No. 2(1878), Union Dock (1879) and the Alexandra Dock (1880) servicing their needs for power.
After two years of operation the Docks and the Tower were officially opened in October 1854 by Queen Victoria. The Queen was accompanied by Prince Albert and the Princess Royal who rode to the top of the tower on the wooden lift inside. Following her visit the Tower became something of a tourist attraction, and visitors could take the 225' lift ride for 6d.
In 1892, with the advent of electricity, a second tower was built. This was a small 78' accumulator tower which was capable of providing 8 times as much power. This small castellated building was built in a sympathetic design on the pier to the east of the Dock Tower, where it still stands. After less than 50 years in service the Dock Tower was redundant.
In the slightly unhinged fashion of working class men, on various occasions men have dived from the Tower into the Dock, for no better reason than public spectacle. This practice has declined in popularity since the days of human flies, but remained an infrequent but memorable act of bravado until recently.
The design and construction of the tower was given a great accolade when it remained structurally unscathed in the 1931 Dogger Bank earthquake the strongest recorded in this country. The tower swayed but did not stray in the quake on the 7th of June 1931 which measured 6.1 on the Richter scale and whose epicentre was 50km off the coast on the Dogger Bank - the ports' neighbouring fishing ground - and some 21km below sea level. A Hull woman died of a heart attack in the quake and Filey Church spire was twisted, and the quake was felt in Ireland, Denmark and France, but this pencil like structure remained intact. Perhaps the cotton wool cushioned the blow.
Naturally however the Tower did, and does, need occasional maintenance - a process not without note. In the past, while maintaining the building, sleeplejacks have had to built scaffolds which would hang down precariously from the tower's viewing stage. Postcards of the nineteen thirties show the repair work of the period, with such a three tier scaffold, in progress. One incident occurred between the wars when one steeplejack collapsed on the scaffold during an inspection of work, the logistics of getting him in off the scaffold and down the tower would these days be the stuff of 999 TV documentaries but at the time were taken in the stride of the dock workers on hand, used to dealing with accidents both on boats, in the graving docks and in the filleting sheds.
As trade in the port grew apace, the role of the tower was essentially as a valuable landmark for those coming into port. And the ornamental lantern house was used as beacon to guide shipping. The Tower continues to guide shipping in it's way, it's only functional use now being the platform for various radio aerial and satellite dishes. While the port became the busiest in the world the role of the tower as a tourist attraction became of much less importance and the lift was removed before the second world war.
Having survived the earthquake, the tower went on to survive the bombing of Grimsby town and docks. During the second world war it survived bombing because of it's usefulness as a sighting post for traffic, this time not maritime but aerial traffic, the Luftwaffe using it as a reference point to fly due west to Liverpool, and so evaided bombing the tower itself. In 1948 a plaque was unveiled by Admiral Holt, dedicated to the crews of the mine sweepers which operated from the port during WWII. Eventually in 19?? the immense water tanks were removed from the top of the tower.
Now the building is once again an attraction, though it's current owners, Associated British Ports, are somewhat reluctant to allow access to the building for safety reasons - the cost of adiquate supervision would be prohibitive. Open days are now organised a couple of days a year by the Grimsby Rotary Club2 and visitors can once again go up the tower - now only to the first level - but after climbing two hundred feet up the single spiral staircase, the first level is enough for most! The view is still marvellous, with Grimsby town spread out beneath and the Lincolnshire Wolds to the south, the Humber Bridge off to the west and Spurn Point and the North Sea off to the North east. For those who wish to emulate the brave divers of ears gone by, visitors are even invited to jump off the Tower - although now attached to an abseil rope.
Over the last twenty years the building has been recognised as one of cultural importance and part of our industrial heritage. Various preservation orders have been placed upon it at both a local and national level, it now being a grade one listed building. A the town as, finally, seen fit to illuminate the building at night. Marvellous.
The tower can be found on the quayside, accessed from the end of Eastside Road, Westside Road or North Quay. 500 yards from New Clee or Grimsby Docks Railway Stations. OS ref TA 278 113.3
No correspondence.
A German observation post used to direct and observe the fall of artillery shells onto enemy positions.
This Italianate structure is one of two original buildings at the former Memphis Marine Hospital, which was built in the 1880s to serve as a medical facility for river commerce (merchant marine)-related injuries and ailments.
Down at the end of the Leslie Street Spit, I found something vaguely ominous.
Mamiya 645 AFD with ZD digital back. 1/350" @ f/3.5, 35mm f/3.5 lens. ISO 200, WB cloudy.
Post in Capture One and Photoshop.
Over a 106 years old, the Egmore Railway Station in Chennai, remains one of the cities centrally located, renowned landmarks. Its bright red and white colors, and vaulted metal ceiling on the interiors are what make it striking. With typical Victorian wrought iron beams,
EFESTO responds with style also to the tree higest of Europe!!!! Easy and functional aluminum structures :easy to assemble system thanks to modular composition. This structure protects from atmospheric agents.
*EFESTO , also, remind that even this year will be at PROLIGHT+SOUND (Frankfurt ) which will be held April 4 to 7. Efesto in Hall 3.0 at the stand A30 presents great news!!!*
Yellow indicates permanent structures in both the new and old spaces. Red diagonals are doorways. Red floor is oak, green floor is porcelain tile. Red lines are windows (see front elevation photos on this photostream).
New doorway at top between the bookshelf and the yellow-colored closet leads to the dining room and to the bath and bedrooms. There is an oak floor under these areas already. The doorway will be a pocket door with full-length glass so that we can keep the dog, smells, and sounds corralled when we need it and yet not isolate the kitchen when door is closed. We will need to reconcile the new floor with the old oak floor here.
Green area is front lobby and includes a long coat closet. Lobby windows are awning style overlooking driveway. Front door has full-length glass with blinds to increase natural light during daytime. In previous photos, many of the walls of this area are painted green as a test of the color. There is a door at top of green area in drawing which was the original front door position in 1951. (We retained a door here when we expanded the house into the former front step area in 1975. We will retain the hollowcore oak door at this postion for dog, smell, and sound control as well as to block view of interior of house from front door when we need to do this.) Beyond this door are the living room, another bedroom, and a deck door that is almost directly in line with this doorway. We will need to reconcile the old oak floor at this position with the new tile floor.
Stairway to basement will have windowless pocket door. Most of the time this doorway will be open to allow dog access to basement walkout, but closed when needed. Steve has redone the entire basement stairway to allow a safe, wide top step threshold before the first descending step and to even out the stair heights. This was a lot of work and it cost us the lower half of the existing coat closet (which is cut off in photo).
Pantry closet was planned to be angled but we decided to square-off the access route; door will be windowless hinged door (I would like louvers but we'll see.)
Door to garage is a steel firedoor to be painted to match something in the lobby. This door sees a lot of action because Steve works on autos in garage and washes hands in kitchen. The coat closet will have a blaze orange section. The blind cupboard corner of the kitchen abutting this closet will have an access door from inside the coat closet instead of access from the kitchen. This will allow offseason boot storage. Closet door is two sliding doors, not bifolds as shown.
We will commission a custom bookshelf in the area formerly a doorway leading to the bathroom and bedrooms at upper left in photo. A small eating table with a piece of art behind it will lie between refrigerator and bookcase--it will be viewed down the long hall from the garage, so it has to be attractive and inviting. Another piece of art will be mounted on the uninterupted wall of the pantry closet--it will be best seen from the inside of the G. Another piece of art will be positioned to the left of the awning windows in the lobby, which can be seen from stools or after entering from dining room or when removing coat in lobby.
In previous photos, the middle of walls inside of the G-shaped kitchen are painted red as a test. There are upper cupboards on the top and bottom of the G but not on window wall or peninsula. Decor of the room(s) will be eclectic: Spare Scandinavian-style pale cupboards, modern white glass pendant lights, probably "pewter" door hardware, and a minimal backsplash. All countertops will be laminate except two butcherblock 2' x 2' sections either side of the range. Art works may include a mix of Audubon birds, a Breckenridge watercolor of a heron rookery, a couple oil landscapes, and national park early photos. Display pieces on the bookshelf will include Old Sheffield Plate silver antiques and Benningtonware teapots. A wooden hayfork may make an appearance somewhere here. Lobby and desk and table chairs may be early 19th century "fancy chairs" or similar items. A repro mahogany utility cupboard will serve in the lobby under the window until we find something more suitable.
As of late May, 2010, we have come to the point where we must make some flooring final decisions. Steve will be reconciling the ceiling first (so the slop does not fall on oak floor) and then will begin laying tile and oak. We must use strong porcelain tile instead of ceramic because of the potential heaving of old fill under the house.
Because of personal preference and energy conservation, we have no recessed lights. The green area and hall toward patio have 3 successive ceiling-hugging lights. There is a matching utilitarian light to be positioned centrally off the pantry closet corner to give general light to the kitchen hall and there are two matching ceiling-hugging fixtures n the center of the G. There will be undercounter lights on the two ends of the kitchen. Three pendants will hang in front windows and two over the peninsula. A funky semi-antique small chandelier will hang over the table. Yes, that's a lot of lights. Not sure how much we will use any of them yet, but we know how much the ceiling-huggers will be workhorses because this space has so many different walkpaths. Wiring all this new stuff and removing vestigial wiring has been a challenge for Steve.
We have to have things done as much as possible for daughter Rebecca's visit from Alaska the 2nd week in June.
We bit the bullet at the end of May and commissioned someone else to put the finish on the cupboards. This will speed the work so that Steve can go to the Arctic in July.
____
Within the G, the wall on the left has two breadboards. The one next to refrigerator will make this a sandwich and toast station. It and the one under the window will also allow the countertop to expand in size to hold dishes coming and going to dinner parties in dining room. Lower left corner of G is the microwave and beverage station. Lower right corner is the baking area, with a breadboard, mixer on countertop and baking gear in drawers below. Peninsula of the G will have another breadboard and a drawer to accept peelings and such as we chop. Compost bucket goes under small sink. Double-trash is next to sink. We anticipate this to be the major veg chopping station. Although the range is simple electric range with hood above, there is access on both sides of it so two cooks should be happy. A portable induction plate can be used adjacent to range to expand cooking options during heavy use periods. We will countersink (pun!) two containers into the butcherblock to hold utensils to right of range and a large slit to hold knives left of range.
This kitchen and lobby should allow two people to enjoy it without feeling that the space is oversized, but when out of town family members come to stay for a period of time or when friends attend a party, they should be able to find a place here that is comfortable and welcoming. (Previously they were not allowed to stand about in the old kitchen.) When the muse attacks Linda and she announces a dinner party, she will no longer be restricted in the number of dishes or serving courses or wine glasses. In the summer when life is oriented toward the deck and the lake, it will be easier to move food and dishes from deck to kitchen via the hall by the green floor in the photo.
We have sacrificed a very large, beloved teak china cupboard in order to make the new entrance to the dining room. Items from it will be stored in kitchen. China, silverware, napkins, etc. will live in the lower drawers on the left side of this photo. Hope it all fits! Tablecloths were supposed to go into these drawers, but now they are designated to hang in the half-closet that was former coat closet. Flower arranging gear also will go into this closet, which still has a full-sized door on it, but someday, we may redo it as a true built-in cupboard (with attic access still in its ceiling!).
All it takes is money, time, expertise, and resolve!
Additional comment: Sept 2010...It should be noted that we extended the tile floor across the entrance to the basement. There is a nice looking piece of oak perpendicular to the walkpath, then the oak flooring that runs parallel to the front of the house.
This is the rear roof line/bell tower of the local Catholic church. This modest structure has been a family assembly anchor for many generations. The adjacent land includes their local cemetery that tells much of the early history of this mostly Hispanic community. This bell still regularly summons the faithful to meet and ponder places well beyond this spectacular mountain setting. We are warmly welcomed when regularly attend as we pass through en route to our mountain retreat another dozen miles uphill into the Santa Fe National Forest. Like its much more famous larger cousin in Taos, NM, this enduring structure is also more interesting from a rear perspective!
IMG_3002; Jemez SpringsChurch
The Verona Arena (Arena di Verona) is a Roman amphitheatre in Piazza Bra in Verona, Italy, which is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind. Amphitheatre
The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. The amphitheatre could host more than 30,000 spectators in ancient times.
The round façade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala", the stone was quarried for re-use in other buildings. Nevertheless it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human. Musical theatre
The first interventions to recover the arena's function as a theatre began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.
And in 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian opera tenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musical luminaries such as Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915â18 and 1940â45, when Europe was convulsed in war.
Nowadays, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the L'Accademia Filarmonica.
Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.
Every year over 500,000 people see productions of the popular operas in this arena.[3] Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.
The opera productions in the Verona Arena had not used any microphones or loudspeakers until an electronic sound reinforcement system was installed in 2011.
In recent times, the arena has also hosted several concerts of international rock and pop bands, among which Laura Pausini, Pink Floyd, Alicia Keys, One Direction, Simple Minds, Duran Duran, Deep Purple, The Who, Dire Straits, Mike Oldfield, Rod Stewart, Sting, Pearl Jam, Radiohead, Peter Gabriel, Björk, Muse, Paul McCartney, Jamiroquai, and Whitney Houston.
In 1981, 1984 and 2010 it hosted the podium and presentation of the Giro d'Italia with thousands packing the arena to watch the prizes being handed out.
The 2011 Bollywood film Rockstar directed by Imtiaz Ali starring Ranbir Kapoor with music composed by Academy Award winner A.R.Rahman opens and closes with musical concerts shot here.
On 26 March 2013, Paul McCartney confirmed a show at the venue as part of his 2013 Tour. The show is scheduled to take place on Tuesday, 25 June 2013.
British-Irish boy band One Direction performed on 19 May 2013 as part of their Take Me Home Tour
Piazza Bra , or simply the Bra (a name derived from a corruption of the term "Braida", which in turn derives from the Lombard breit , or "off"), is the largest square in Verona , located in its center historian .
The square of Piazza Bra began to turn into only the first half of the sixteenth century , when the architect Michele San Micheli concluded the palace of Honorij : this building was to delimit the western side of the square of the future, as well as to establish a correct outlook on the ' Arena . The first attempt to transform the clearing dirt road instead of walking, however, was the mayor Alvise Mocenigo, who wanted to create a meeting place for the rising bourgeoisie Verona: he was able to inaugurate the first part of the Liston , a paved sidewalk that lines connecting the Bra Corso Porta Nuova in Via Mazzini , in 1770. La Gran Guardia , begun by the Venetians in the seventeenth century and completed by the Austrians in the ' Nineteenth Century , went to delimit the southern side of the square, while in 1836 the architect Giuseppe Barbieri designed the eastern edge, where a hospital were demolished, some houses and a church, which was built in place of the Gran Guardia Nuova , better known as Palazzo Barbieri. This, initially used as a barracks by the Austrians, became, as a result of ' annexation of Veneto to the Kingdom of Italy , the seat of the municipality of the City of Verona.
History
Origins
In Roman times , the place where you would then open the Bra was outside the city and yet away from the main roads. It is only since the first century AD, when it was built the ' amphitheater in the Roman Empire, better known as the Arena of Verona , who came to define the northern edge of what centuries later would become one of the main squares of Verona. In 305 the Emperor Galerius , during a short stay in the city, he opened a door along the walls which was built in 265 by the Emperor Gallienus , which surrounded the Arena went thus creating a first connection between the city and the place where later would be born Bra.
The square, however, began to abbozzarsi only in the Middle Ages: the walls of the city was enlarged at that point between 1130 and 1153, going to close so that piece of land that later would become, coming to have the size of a square. Those areas between the walls and the Roman city walls were called braide, from the Lombard breit ; the braida that could match the current Bra in the twelfth century was far more extensive than at the edge of the square today.
A door that the Braida along the city walls is already mentioned in a document dated 1257, but later his place was taken by the gates of the Bra , probably due to the Visconti and to the Venetians : the first arch is dated to the late fourteenth century and the second to the second half of the fifteenth century. The clock that is located between the two arches of the gates of the Bra was a gift of Count Antonio Nogarola made ââin 1871: it was installed with the dials is visible from one side on the other walls. The clock was inaugurated on June 2, 1872 and refurbished in 1879 because of its vagueness.
Development
Piazza Bra after the arrangement of the central gardens
Piazza Bra in the mid-twentieth century.
The Bra began to be defined as a square only in the first decade of the seventeenth century, when they started on the south side of the factories Gran Guardia and the seat of the ' Accademia Filarmonica of Verona . In conjunction with the factory della Gran Guardia became the leveling the square as possible, and also create some gradients to regulate the flow of stormwater, operation up to that time never practiced because the space was used by stonemasons, that here, as well as work, abandoning the resulting material, and because the clearing was used for the discharge of material from construction in progress in the area.
For others, one hundred and fifty years the space was in clay, in fact, only in 1770 the foundations were laid of Liston will of the mayor Alvise Mocenigo. On March 13, 1782 Francis Menegatti presented a project to the final lastricamento of Liston that the City Council approved and, after this surgery, the bra became the favorite place for afternoon walks in place of Piazza dei Signori . Goethe , in his essay Journey to Italy , describes enjoyed the arrival carriage with ladies and gentlemen, and said that the sunset loitered along the rim of the amphitheater enjoying the most beautiful views of the city. I insole and down on the pavement off the Bra 'walked a multitude of people .
The square was smoothed more times: in 1808 he was entrusted with the task of remaking the Liston architect Luigi Trezza and in 1820 excavations were carried out along the Arena, in order to bring to light the basis of the same, as it was buried about two feet because of the sediments that were deposited after the numerous floods that had undergone the city. He also opted for a lowering of the average level of Bra about 70 centimeters along a line slightly inclined from the Gran Guardia At Arena, lowering the share of Liston.
Plan of Bra in a drawing by Giuseppe Barbieri
As for the lighting, until the eighteenth century the bra at night was totally immersed in the dark; only in the nineteenth century were installed lights in oil and gas lighting in 1845, so that the Liston also became a place for evening strolls. Then important for the conformation of the square today, is the accommodation in the central part of the garden Bra occurred in 1873: the central gardens were created with three circles forming a triangle with a central fountain.
Between 1884 and 1951 the square was affected by the rails of the tramway town .
Events
It is interesting to read the description of Liston of an astonished reporter of the magazine Esperia in an article of 1837:
" ... the audience is walking the plank of 'Veronesi, extended space, which is located in a few cities: here business people are dining and comforting conversation, idleness is recreated, and the beautiful flock there to get tributes of glances and sighs of their worshipers ... and many cafes offer brilliant and sufficient acceptance to the numerous meetings that there agree. Street musicians and improvisers, unpleasant indeed, but the liveliness of the inhabitants always well received, breaking the monotony of chatter; and the music of the military garrison increase much fun. Very pleasing to the eye is in the summer thousands of people of both sexes, and before sitting under the porch; and a more active crowd by constantly prowling the paths formed by the rows of seats, and now dispense with a bow, and now dwell near some nice, vibrate envious compliments and words of hope and voting ... while the beautiful turn cautious gaze looking at the confused teeming with ill-concealed impatience, greeting or stop most expensive among the happy meeting ... "
In the past, however, the Bra was used for uses other than those described well by this reporter: in particular, after the twelfth century it was included in the city walls it was used for the wood, hay, straw and cattle, so that in ancient documents is called the Bra cattle market. More often is cited as the parade ground, as was the case here the review of the troops from the beginning of the Venetian rule, which is why this was one of the points of conflict between the French and Venetian soldiers during the Veronese Easters in 1797 . Starting from 1633, after the approval of the Venetian Senate for the creation of an exhibition of goods in the city, there were held two annual fairs fifteen days each, which continued to be held until one of them was destroyed by fire October 28, 1712, and then restored in another place, it was established only in 1822, a new exhibition, which would last in Piazza Bra for twenty years.
Fair in very old custom is instead to Saint Lucia : it takes place every year from 11 to 13 December, but do not know its origins. Legend has it that, probably in the communal, an epidemic broke out in the city that struck my eyes, it was so that the Veronese decided to make a pilgrimage to the church of Saint Lucia (no longer exists): the children, who did not want to participate , were persuaded to return with the promise that they would find the shoes filled with gifts. The miracle occurred, and since then the fair is held to coincide with the feast of Saint Lucia.
The comet of Verona during a night snowfall
During the Christmas season takes place within the Arena arches dell ' Arena, the International Festival of the Nativity , an event born in 1984 from the mind of Alfredo Troisi , along with the comet symbol of the event, from the reservoir from the Arena, go to dive in Bra. Over the years the star has taken on meanings and values ââare independent of the review of the nativity, as to be appreciated by itself. This architecture-sculpture was designed by architect and designer Rinaldo Olivieri : his intuition came to looking at a map of the city, characterized by two large voids, one of the auditorium and that of the square in front of the Arena. It was from this impression that he was born an ideal line, a huge arch that connects the Arena with the urban space, an arc of light and steel from the Temple of the music goes to fall and explode among citizens.