-Model: Merci Rodriguez

-Make-up: Ana Becerra

 

Picture taken in the workshop by Ana Rodriguez organized by Sanlucar Foto.

Sometimes, surrender is uncertain, sometimes imminent, other necessary but it is good when accompanied by a reshuffling of the parties, the structure and meaning of things .....

Berlin 1945

From left to right: Kranua, Standard Vahki, Kraahu.

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Strobist info:

Shot with a 500w Bowen Softbox to the top left of the image.

 

I have a blog post about my opinion on self portraits:

aaronsehmarphotographyblog.wordpress.com/2013/11/20/shoot...

 

The Old Summer Palace, known in Chinese as Yuanming Yuan (圆明园; "Gardens of Perfect Brightness"), and originally called the Imperial Gardens (御园), was a complex of palaces and gardens in present-day Haidian District, Beijing, China. It is located 8 kilometers (5.0 mi) northwest of the walls of the former Imperial City section of Beijing. Constructed in the 18th and early 19th centuries, the Old Summer Palace where the Qianlong Emperor of the Qing dynasty and his successors resided and handled state affairs; the Forbidden City was used for formal ceremonies. The Old Summer Palace was known for its extensive collection of garden and building architecture and other works of art. It was also called the "Garden of Gardens" (万园之园) in its heyday.

 

In 1860, during the Second Opium War, as the Anglo-French expedition force relentlessly approached Beijing, two British envoys, a journalist for The Times and a small escort of British and Indian troopers were sent to meet Prince Yi under a flag of truce to negotiate a Qing surrender. Meanwhile, the French and British troops reached the palace and conducted extensive looting and destruction. Later on, as news emerged that the negotiation delegation had been imprisoned and tortured, resulting in 20 deaths, the British High Commissioner to China, Lord Elgin, retaliated by ordering the complete destruction of the palace, which was then carried out by British troops.

 

The Imperial Gardens at the Old Summer Palace were made up of three gardens:

 

Garden of Perfect Brightness proper (圆明园)

Garden of Eternal Spring (长春园)

Elegant Spring Garden (绮春园)

 

Together, they covered an area of 3.5 square kilometers (860 acres), almost five times the size of the Forbidden City grounds and eight times the size of the Vatican City. Hundreds of structures, such as halls, pavilions, temples, galleries, gardens, lakes and bridges, stood on the grounds.

 

In addition, hundreds of examples of Chinese artwork and antiquities were stored in the halls, along with unique copies of literary works and compilations. Several famous landscapes of southern China had been reproduced in the Imperial Gardens.

Western Mansions

Main article: Xiyang Lou

 

The most visible architectural remains of the Old Summer Palace can be found in the Western mansions (Xiyang Lou) section of 18th century European-style palaces, fountains and formal gardens. These structures, built partly of stone but mainly with a Chinese infrastructure of timber columns, colored tiles and brick walls, were planned and designed by the Jesuit Giuseppe Castiglione with Michel Benoist responsible for the fountains and waterwork. Qianlong Emperor became interested in the architectural project after seeing an engraving of a European fountain, and employed Castiglione and Benoist to carry out the work to satisfy his taste for exotic buildings and objects.

 

Western-style palaces, pavilion, aviaries, a maze, fountains, basins, and waterworks as well as perspective paintings organized as an outdoor theater stage were constructed. A striking clock fountain was placed in front of the largest palace, the Haiyan Tang. The fountain had twelve animals of the Chinese zodiac that spouted water in turn every 2 hours, but all spouting water in concert at noon. These European-style buildings however only occupied an area along the back of the Garden of Eternal Spring that was small compared to the overall area of the gardens. More than 95% of the Imperial Gardens were made up of Chinese-style buildings. There were also a few buildings in Tibetan and Mongol styles, reflecting the diversity of the Qing Empire.

 

In 1860, during the Second Opium War, British and French expeditionary forces, having marched inland from the coast at Tianjin (Tientsin), arrived in Beijing (Peking).

 

In mid-September, two envoys, Henry Loch and Harry Parkes went ahead of the main force under a flag of truce to negotiate with Prince Yi and representatives of the Qing Empire at Tongzhou (Tungchow). After a day of talks, they and their small escort of British and Indian troopers (including two British envoys and Thomas William Bowlby, a journalist for The Times) were taken prisoner by the Qing general Sengge Rinchen. They were taken to the Ministry of Justice (or Board of Punishments) in Beijing, where they were confined and tortured. Parkes and Loch were returned after two weeks, with 14 other survivors. 20 British, French and Indian captives died. Their bodies were barely recognizable.

 

On the night of 5 October, French units diverted from the main attack force towards the Old Summer Palace. At the time, the palace was occupied by only some eunuchs and palace maids; the Xianfeng Emperor and his entourage had already fled to the Chengde Mountain Resort in Hebei. Although the French commander Charles Cousin-Montauban assured his British counterpart, James Hope Grant, that "nothing had been touched", there was extensive looting by French and British soldiers. There was no significant resistance to the looting, even though many Qing soldiers were in the vicinity.

 

On October 18, Lord Elgin, the British High Commissioner to China, retaliated against the torture and executions by ordering the destruction of the Old Summer Palace. Destroying the Old Summer Palace was also thought to be a way of discouraging the Qing Empire from using kidnapping as a bargaining tool. It took 3,500 British troops to set the entire place ablaze, and the massive fire lasted for three days. Unknown to the troops, some 300 remaining eunuchs and palace maids, who concealed themselves from the intruders in locked rooms, perished with the burnt palace buildings. Only 13 buildings survived intact, most of them in the remote areas or by the lakeside. The palace was again sacked and completely destroyed in 1900 when the forces of the Eight-Nation Alliance invaded Beijing.

 

British and French looters preferred porcelain (much of which still graces British and French country houses) while neglecting bronze vessels prized locally for cooking and burial in tombs. Many such treasures dated back to the Shang, Zhou and Han dynasties and were up to 3,600 years old. A specific exception was the looting of the Haiyantang Zodiac fountain with its twelve bronze animal heads. Some of the most notable treasures ended up at the Chinese Museum in the Palace of Fontainebleau, which Empress Eugénie specifically set up in 1867 to house these newly acquired collections.

 

Once the Old Summer Palace had been reduced to ruins, a sign was raised with an inscription in Chinese stating, "This is the reward for perfidy and cruelty". The burning of the palace was the last act of the war.

 

According to Professor Wang Daocheng of the Renmin University of China, not all of the palace was destroyed in the original burning. Instead, some historical records indicate that 16 of the garden scenes survived the destruction in 1860. Wang identifies the Republican era and the Cultural Revolution as two significant periods that contributed further to the destruction of the Old Summer Palace. Photographic evidence and eye witness accounts make it clear that (although the palace complex was initially protected by the Qing emperors)it was during the Boxer Rebellion and in the immediate aftermath of the fall of the dynasty when most of the surviving structures were destroyed. Further, the Imperial household itself sold off the magnificent trees in the garden for revenue during the 1890s and after 1900 the palace was used as a veritable builder's yard for anyone who wanted construction materials. Entire buildings were built of materials taken from the Yuanming Yuan and smart Peking houses were adorned with sculptures and architectural elements plundered from the site.

 

Like the Forbidden City, no commoner had ever been allowed into the Old Summer Palace, as it was used exclusively by the imperial family of the Qing Empire. The burning of the Old Summer Palace is still a very sensitive issue in China today. The destruction of the palace has been perceived as barbaric and criminal by many Chinese, as well as by external observers. In his "Expédition de Chine", Victor Hugo described the looting as, "Two robbers breaking into a museum. One has looted, the other has burnt. one of the two conquerors filled its pockets, seeing that, the other filled its safes; and they came back to Europe laughing hand-in-hand. Before history, one of the bandits will be called France and the other England." In his letter, Hugo hoped that one day France would feel guilty and return what it had plundered from China.

 

Mauricio Percara, journalist and Argentine writer who works at China Radio International, talks about the apology through the literature by Victor Hugo and mentioned in his story entitled redemption the bust of the French writer located in the old Summer Palace: "at the site where their French peers ever posed his destructive feet today a radiant bust of the great Victor Hugo rises. From the old Summer Palace, the gardens of perfect brightness, a righteous French poses her look of stone in the snow falling obediently on the worn floor of the capital of the North

 

Following the sacking of the Old Summer Palace, the Qing imperial court relocated to the Forbidden City.

 

In 1873, the teenage Tongzhi Emperor attempted to rebuild the Old Summer Palace, on the pretext of turning it into a place of retirement for his two former regents, the empress dowagers Ci'an and Cixi. However, the imperial court lacked the financial resources to rebuild the palace, and at the urging of the court, the emperor finally agreed to stop the project in 1874. During the 1880s, an adjacent imperial gardens, the Gardens of Clear Ripples (the present-day Summer Palace) was restored for the use of Empress Dowager Cixi as a new summer resort, albeit on a smaller scale.

 

In the present day, the ruins of the European-style palaces are the most prominent building remnants on the site. This has misled some visitors to believe wrongly that the Old Summer Palace was made up only of European-style buildings.

 

A few Chinese-style buildings in the outlying Elegant Spring Garden also survived the fire. Some of these buildings were restored by the Tongzhi Emperor before the project was abandoned. In 1900, many of the buildings that had survived or had been restored were burnt for good by the forces of the Eight-Nation Alliance.

 

Most of the site was left abandoned and used by local farmers as agricultural land. Only in the 1980s was the site reclaimed by the government and turned into a historical site. The Yuanmingyuan Artists Colony became famous for germinating a new wave of painters such as Fang Lijun and musicians such as Fa Zi on the site before it was shut down by the government and many artists relocated to the Songzhuang area outside of Beijing. Debates in the 1990s arose regarding restoration and development issues and a more recent environmental controversy brought a new political life to the park as it became a symbol of China's "national wound".

 

from Wikipedia

[how does it feel like to wake up in the sun?]

Surrender to the power of christmas decorations, money spending and corny songs!

Unconditional surrender. This picture of MPC was taken in front of the Royal Palace, Stockholm by Venu

Commandeered by the cruel and ruthless captain Bono, this traditional Ninjago-style djunk had seen many a battle at sea. Sailors shuddered in fear when the orange sails came into view, and often jumped ship right away, for mercy was only seldom to be had. The two skeleton dragons at the bow of the „Misfortune’s Keep“ could set any ship ablaze in seconds if surrender wasn’t offered to Captain Bono and his pirates. When Brixton started trading with Ninjago 150 years ago, he found the Brixton fleet to be easy prey. King Kirk of Brixton was furious, obviously, and sent the third fleet of his royal armada out to capture or kill the Captain and destroy his ship. Captain Bono had never seen anything like the monstrous dreadnoughts. When Admiral Beaufort Bell graciously presented the pirate with the options of a trial before his Majesty’s court or of being put out on a solitary island, Bono chose the latter. Both options meant certain death, but he wanted to spare himself the shame of bowing to a foreign king. The „Misfortune’s Keep“ was subsequently blown to pieces, while Captain Bono watching the scene in horror.

But that was a long time ago when shipping was still mainly done at sea.

When Nadakhan roamed around Ninjago looking for a crew for his own pirating, he found the bleached skeleton of Bono. On a rock nearby he had written his last three wishes in his own blood before he died.

1. I want my ship!

2. I want my crew!

3. I want revenge!

Although Nadakhan was not sentimental, necessarily, he thought it to be a nice touch to add the ghost and soul of the infamous Captain to his crew. And so he revived the skeleton with a touch of his djinn blade, offered him to rebuild the „Misfortune’s Keep“ and promised him final revenge on the Brixton crown.

When the concept die

www.youtube.com/shorts/aibTa3n0PSA

Created in MidJourney AI

Mr. Walker

Surrounded on all sides by overwhelming numbers, the surviving Martians have no option but to surrender. The Martian invasion is over, Toyville is victorious... and I can go and lie down in a darkened room for a while.

 

"Well done, Doctor - I knew we could count on you. Eventually."

 

THE END

 

(I really must commission up a proper Nick Courtney/Brigadier head sometime).

  

Candid shot of two friends on the street in Hollywood. Saw them and the energy they had and just had to catch that moment.

 

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Unconditional Surrender, or Kiss Statue

Tuna Harbor Park

San Diego, California

 

After arriving in San Diego about noon and getting into our rental car (a chore made longer by the fact Hertz didn't have what we had requested and made repeated attempts to talk me into upgrading to a luxury car), Ruth Ann and I stopped at Top of the Market restaurant for a very nice lunch over 12 hours after our very early breakfast. The restaurant provided a nice view of San Diego Bay, as well as very good food; immediately north was the USS Midway Museum, part of which can be seen here from Tuna Harbor Park, 700 North Harbor Drive.

 

The 25-foot statue "Unconditional Surrender" (aka the Kiss Statue) by Seward Johnson, resembles the famous Alfred Eisenstadt photo, "V-J Day in Times Square" but is said to be based on someone else's photo from that day, which marked the end of World War II. According to information on line, the statue is controversial, as many feel it lacks artistic merit and grace. The initial statue was placed in the park, property of the San Diego Unified Port District, in 2007 (the USS Midway Museum opened 2004), and three members of the SDUPD board resigned over the decision to erect this permanent, bronze statue in 2013. The harsh light I had to work with doesn't help the statue's appearance.

 

Press "L" for larger image, on black.

The King’s Palace or Istana Negara was built in 1928 and was originally the residence of a Chinese millionaire. During the Japanese occupation from 1942-1945, it was used as the Japanese officers’ mess. After the surrender of the Japanese, the building was bought by the Selangor State Government. It was then renovated to become the palace of His Majesty the Sultan of Selangor until 1957.

Subsequently it was bought by the Federal Government to be turned into the Istana Negara for the Yang di Pertuan Agong, the Malaysian King. The area is fenced up and at the front of the gate are two guard posts where members of the Royal Calvary guard the entrance. The palace is not opened to the public and the main entrance with the mounted royal guard at the gate is one of the main attractions for visitors to the Istana.

 

Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle. It is the seat of the Bishop of Bath and Wells, whose cathedra it holds as mother church of the Diocese of Bath and Wells. Built as a Roman Catholic cathedral from around 1175 to replace an earlier church on the site since 705, it became an Anglican cathedral when King Henry VIII split from Rome. It is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals.

 

Its Gothic architecture is mostly inspired from Early English style of the late 12th to early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff-leaf" style. Its Early English front with 300 sculpted figures is seen as a "supreme triumph of the combined plastic arts in England". The east end retains much ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close It is a Grade I listed building.

 

The earliest remains of a building on the site are of a late-Roman mausoleum, identified during excavations in 1980. An abbey church was built in Wells in 705 by Aldhelm, first bishop of the newly established Diocese of Sherborne during the reign of King Ine of Wessex. It was dedicated to St Andrew and stood at the site of the cathedral's cloisters, where some excavated remains can be seen. The font in the cathedral's south transept is from this church and is the oldest part of the present building. In 766 Cynewulf, King of Wessex, signed a charter endowing the church with eleven hides of land. In 909 the seat of the diocese was moved from Sherborne to Wells.

 

The first bishop of Wells was Athelm (909), who crowned King Æthelstan. Athelm and his nephew Dunstan both became Archbishops of Canterbury. During this period a choir of boys was established to sing the liturgy. Wells Cathedral School, which was established to educate these choirboys, dates its foundation to this point. There is, however, some controversy over this. Following the Norman Conquest, John de Villula moved the seat of the bishop from Wells to Bath in 1090. The church at Wells, no longer a cathedral, had a college of secular clergy.

 

The cathedral is thought to have been conceived and commenced in about 1175 by Reginald Fitz Jocelin, who died in 1191. Although it is clear from its size that from the outset, the church was planned to be the cathedral of the diocese, the seat of the bishop moved between Wells and the abbeys of Glastonbury and Bath, before settling at Wells. In 1197 Reginald's successor, Savaric FitzGeldewin, with the approval of Pope Celestine III, officially moved his seat to Glastonbury Abbey. The title of Bishop of Bath and Glastonbury was used until the Glastonbury claim was abandoned in 1219.

 

Savaric's successor, Jocelin of Wells, again moved the bishop's seat to Bath Abbey, with the title Bishop of Bath. Jocelin was a brother of Hugh (II) of Lincoln and was present at the signing of the Magna Carta. Jocelin continued the building campaign begun by Reginald and was responsible for the Bishop's Palace, the choristers' school, a grammar school, a hospital for travellers and a chapel. He also had a manor house built at Wookey, near Wells. Jocelin saw the church dedicated in 1239 but, despite much lobbying of the Pope by Jocelin's representatives in Rome, did not live to see cathedral status granted. The delay may have been a result of inaction by Pandulf Verraccio, a Roman ecclesiastical politician, papal legate to England and Bishop of Norwich, who was asked by the Pope to investigate the situation but did not respond. Jocelin died at Wells on 19 November 1242 and was buried in the choir of the cathedral; the memorial brass on his tomb is one of the earliest brasses in England. Following his death the monks of Bath unsuccessfully attempted to regain authority over Wells.

 

In 1245 the ongoing dispute over the title of the bishop was resolved by a ruling of Pope Innocent IV, who established the title as the "Bishop of Bath and Wells", which it has remained until this day, with Wells as the principal seat of the bishop. Since the 11th century the church has had a chapter of secular clergy, like the cathedrals of Chichester, Hereford, Lincoln and York. The chapter was endowed with 22 prebends (lands from which finance was drawn) and a provost to manage them. On acquiring cathedral status, in common with other such cathedrals, it had four chief clergy, the dean, precentor, chancellor and sacristan, who were responsible for the spiritual and material care of the cathedral.

 

The building programme, begun by Reginald Fitz Jocelin, Bishop in the 12th century, continued under Jocelin of Wells, who was a canon from 1200, then bishop from 1206. Adam Locke was master mason from about 1192 until 1230. It was designed in the new style with pointed arches, later known as Gothic, which was introduced at about the same time at Canterbury Cathedral. Work was halted between 1209 and 1213 when King John was excommunicated and Jocelin was in exile, but the main parts of the church were complete by the time of the dedication by Jocelin in 1239.

 

By the time the cathedral, including the chapter house, was finished in 1306, it was already too small for the developing liturgy, and unable to accommodate increasingly grand processions of clergy. John Droxford initiated another phase of building under master mason Thomas of Whitney, during which the central tower was heightened and an eight-sided Lady chapel was added at the east end by 1326. Ralph of Shrewsbury followed, continuing the eastward extension of the choir and retrochoir beyond. He oversaw the building of Vicars' Close and the Vicars' Hall, to give the men who were employed to sing in the choir a secure place to live and dine, away from the town and its temptations. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and he surrounded his palace with crenellated walls, a moat and a drawbridge.

 

John Harewell raised money for the completion of the west front by William Wynford, who was appointed as master mason in 1365. One of the foremost master masons of his time, Wynford worked for the king at Windsor, Winchester Cathedral and New College, Oxford. At Wells, he designed the western towers of which north-west was not built until the following century. In the 14th century, the central piers of the crossing were found to be sinking under the weight of the crossing tower which had been damaged by an earthquake in the previous century. Strainer arches, sometimes described as scissor arches, were inserted by master mason William Joy to brace and stabilise the piers as a unit.

 

By the reign of Henry VII the cathedral was complete, appearing much as it does today (though the fittings have changed). From 1508 to 1546, the eminent Italian humanist scholar Polydore Vergil was active as the chapter's representative in London. He donated a set of hangings for the choir of the cathedral. While Wells survived the Dissolution of the Monasteries better than the cathedrals of monastic foundation, the abolition of chantries in 1547 resulted in a reduction in its income. Medieval brasses were sold, and a pulpit was placed in the nave for the first time. Between 1551 and 1568, in two periods as dean, William Turner established a herb garden, which was recreated between 2003 and 2010.

 

Elizabeth I gave the chapter and the Vicars Choral a new charter in 1591, creating a new governing body, consisting of a dean and eight residentiary canons with control over the church estates and authority over its affairs, but no longer entitled to elect the dean (that entitlement thenceforward belonged ultimately to the Crown). The stability brought by the new charter ended with the onset of the Civil War and the execution of Charles I. Local fighting damaged the cathedral's stonework, furniture and windows. The dean, Walter Raleigh, a nephew of the explorer Walter Raleigh, was placed under house arrest after the fall of Bridgwater to the Parliamentarians in 1645, first in the rectory at Chedzoy and then in the deanery at Wells. His jailor, the shoe maker and city constable, David Barrett, caught him writing a letter to his wife. When he refused to surrender it, Barrett ran him through with a sword and he died six weeks later, on 10 October 1646. He was buried in an unmarked grave in the choir before the dean's stall. During the Commonwealth of England under Oliver Cromwell no dean was appointed and the cathedral fell into disrepair. The bishop went into retirement and some of the clerics were reduced to performing menial tasks.

 

In 1661, after Charles II was restored to the throne, Robert Creighton, the king's chaplain in exile, was appointed dean and was bishop for two years before his death in 1672. His brass lectern, given in thanksgiving, can be seen in the cathedral. He donated the nave's great west window at a cost of £140. Following Creighton's appointment as bishop, the post of dean went to Ralph Bathurst, who had been chaplain to the king, president of Trinity College, Oxford and fellow of the Royal Society. During Bathurst's long tenure the cathedral was restored, but in the Monmouth Rebellion of 1685, Puritan soldiers damaged the west front, tore lead from the roof to make bullets, broke the windows, smashed the organ and furnishings, and for a time stabled their horses in the nave.

 

Restoration began again under Thomas Ken who was appointed by the Crown in 1685 and served until 1691. He was one of seven bishops imprisoned for refusing to sign King James II's "Declaration of Indulgence", which would have enabled Catholics to resume positions of political power, but popular support led to their acquittal. Ken refused to take the oath of allegiance to William III and Mary II because James II had not abdicated and with others, known as the Nonjurors, was put out of office. His successor, Richard Kidder, was killed in the Great Storm of 1703 when two chimney stacks on the palace fell on him and his wife, while they were asleep in bed.

 

By the middle of the 19th century, a major restoration programme was needed. Under Dean Goodenough, the monuments were moved to the cloisters and the remaining medieval paint and whitewash removed in an operation known as "the great scrape". Anthony Salvin took charge of the extensive restoration of the choir. Wooden galleries installed in the 16th century were removed and the stalls were given stone canopies and placed further back within the line of the arcade. The medieval stone pulpitum screen was extended in the centre to support a new organ.

 

In 1933 the Friends of Wells Cathedral were formed to support the cathedral's chapter in the maintenance of the fabric, life and work of the cathedral. The late 20th century saw an extensive restoration programme, particularly of the west front. The stained glass is currently under restoration, with a programme underway to conserve the large 14th-century Jesse Tree window at the eastern terminal of the choir.

 

In January 2014, as part of the Bath film festival, the cathedral hosted a special screening of Martin Scorsese's The Last Temptation of Christ. This provoked some controversy, but the church defended its decision to allow the screening.

 

In 2021, a contemporary sculpture by Anthony Gormley was unveiled on a temporary plinth outside the cathedral.

 

Since the 13th century, Wells Cathedral has been the seat of the Bishop of Bath and Wells. Its governing body, the chapter, is made up of five clerical canons (the dean, the precentor, the canon chancellor, the canon treasurer, and the archdeacon of Wells) and four lay members: the administrator (chief executive), Keeper of the Fabric, Overseer of the Estate and the chairman of the cathedral shop and catering boards. The current bishop of Bath and Wells is Peter Hancock, who was installed in a service in the cathedral on 7 June 2014. John Davies has been Dean of Wells since 2016.

 

Employed staff include the organist and master of choristers, head Verger archivist, librarian and the staff of the shop, café and restaurant. The chapter is advised by specialists such as architects, archaeologists and financial analysts.

 

More than a thousand services are held every year. There are daily services of Matins, Holy Communion and Choral Evensong, as well as major celebrations of Christian festivals such as Christmas, Easter, Pentecost and saints' days. The cathedral is also used for the baptisms, weddings and funerals of those with close connections to it. In July 2009 the cathedral undertook the funeral of Harry Patch, the last British Army veteran of World War I, who died at the age of 111.

 

Three Sunday services are led by the resident choir in school terms and choral services are sung on weekdays. The cathedral hosts visiting choirs and does outreach work with local schools as part of its Chorister Outreach Project. It is also a venue for musical events such as an annual concert by the Somerset Chamber Choir.

 

Each year about 150,000 people attend services and another 300,000 visit as tourists. Entry is free, but visitors are encouraged to make a donation towards the annual running costs of around £1.5 million in 2015.

 

Construction of the cathedral began in about 1175, to the design of an unknown master-mason. Wells is the first cathedral in England to be built, from its foundation, in Gothic style. According to art historian John Harvey, it is the first truly Gothic cathedral in the world, its architects having entirely dispensed with all features that bound the contemporary east end of Canterbury Cathedral and the earlier buildings of France, such as the east end of the Abbey of Saint Denis, to the Romanesque. Unlike these churches, Wells has clustered piers rather than columns and has a gallery of identical pointed arches rather than the typically Romanesque form of paired openings. The style, with its simple lancet arches without tracery and convoluted mouldings, is known as Early English Gothic.

 

From about 1192 to 1230, Adam Lock, the earliest master-mason at Wells for whom a name is known, continued the transept and nave in the same manner as his predecessor. Lock was also the builder of the north porch, to his own design.

 

The Early English west front was commenced around 1230 by Thomas Norreys, with building and sculpture continuing for thirty years. Its south-west tower was begun 100 years later and constructed between 1365 and 1395, and the north-west tower between 1425 and 1435, both in the Perpendicular Gothic style to the design of William Wynford, who also filled many of the cathedral's early English lancet windows with delicate tracery.

 

The undercroft and chapter house were built by unknown architects between 1275 and 1310, the undercroft in the Early English and the chapter house in the Geometric style of Decorated Gothic architecture. In about 1310 work commenced on the Lady Chapel, to the design of Thomas Witney, who also built the central tower from 1315 to 1322 in the Decorated Gothic style. The tower was later braced internally with arches by William Joy. Concurrent with this work, in 1329–45 Joy made alterations and extensions to the choir, joining it to the Lady Chapel with the retrochoir, the latter in the Flowing Decorated style.

 

Later changes include the Perpendicular vault of the tower and construction of Sugar's Chapel, 1475–1490 by William Smyth. Also, Gothic Revival renovations were made to the choir and pulpitum by Benjamin Ferrey and Anthony Salvin, 1842–1857.

 

Wells has a total length of 415 feet (126 m). Like Canterbury, Lincoln and Salisbury cathedrals, it has the distinctly English arrangement of two transepts, with the body of the church divided into distinct parts: nave, choir, and retro-choir, beyond which extends the Lady Chapel. The façade is wide, with its towers extending beyond the transepts on either side. There is a large projecting porch on the north side of the nave forming an entry into the cathedral. To the north-east is the large octagonal chapter house, entered from the north choir aisle by a passage and staircase. To the south of the nave is a large cloister, unusual in that the northern range, that adjacent the cathedral, was never built.

 

In section, the cathedral has the usual arrangement of a large church: a central nave with an aisle on each side, separated by two arcades. The elevation is in three stages, arcade, triforium gallery and clerestory. The nave is 67 feet (20 m) in height, very low compared to the Gothic cathedrals of France. It has a markedly horizontal emphasis, caused by the triforium having a unique form, a series of identical narrow openings, lacking the usual definition of the bays. The triforium is separated from the arcade by a single horizontal string course that runs unbroken the length of the nave. There are no vertical lines linking the three stages, as the shafts supporting the vault rise above the triforium.

 

The exterior of Wells Cathedral presents a relatively tidy and harmonious appearance since the greater part of the building was executed in a single style, Early English Gothic. This is uncommon among English cathedrals where the exterior usually exhibits a plethora of styles. At Wells, later changes in the Perpendicular style were universally applied, such as filling the Early English lancet windows with simple tracery, the construction of a parapet that encircles the roof, and the addition of pinnacles framing each gable, similar to those around the chapter house and on the west front. At the eastern end there is a proliferation of tracery with repeated motifs in the Reticulated style, a stage between Geometric and Flowing Decorated tracery.

 

The west front is 100 feet (30 m) high and 147 feet (45 m) wide, and built of Inferior Oolite of the Middle Jurassic period, which came from the Doulting Stone Quarry, about 8 miles (13 km) to the east. According to the architectural historian Alec Clifton-Taylor, it is "one of the great sights of England".

 

West fronts in general take three distinct forms: those that follow the elevation of the nave and aisles, those that have paired towers at the end of each aisle, framing the nave, and those that screen the form of the building. The west front at Wells has the paired-tower form, unusual in that the towers do not indicate the location of the aisles, but extend well beyond them, screening the dimensions and profile of the building.

 

The west front rises in three distinct stages, each clearly defined by a horizontal course. This horizontal emphasis is counteracted by six strongly projecting buttresses defining the cross-sectional divisions of nave, aisles and towers, and are highly decorated, each having canopied niches containing the largest statues on the façade.

 

At the lowest level of the façade is a plain base, contrasting with and stabilising the ornate arcades that rise above it. The base is penetrated by three doors, which are in stark contrast to the often imposing portals of French Gothic cathedrals. The outer two are of domestic proportion and the central door is ornamented only by a central post, quatrefoil and the fine mouldings of the arch.

 

Above the basement rise two storeys, ornamented with quatrefoils and niches originally holding about four hundred statues, with three hundred surviving until the mid-20th century. Since then, some have been restored or replaced, including the ruined figure of Christ in the gable.

 

The third stages of the flanking towers were both built in the Perpendicular style of the late 14th century, to the design of William Wynford; that on the north-west was not begun until about 1425. The design maintains the general proportions, and continues the strong projection of the buttresses.

 

The finished product has been criticised for its lack of pinnacles, and it is probable that the towers were intended to carry spires which were never built. Despite its lack of spires or pinnacles, the architectural historian Banister Fletcher describes it as "the highest development in English Gothic of this type of façade."

 

The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger. Together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower.

 

In 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as "a calendar for unlearned men" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.

 

According to Cockerell, the side of the façade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel in relief, some of which have survived. Between the gables of the niches are quatrefoils that contain a series of narratives from the Bible, with the Old Testament stories to the south, above the prophets and patriarchs, and those from the New Testament to the north. A horizontal course runs around the west front dividing the architectural storeys at this point.

 

Above the course, zones four and five, as identified by Cockerell, contain figures which represent the Christian Church in Britain, with the spiritual lords such as bishops, abbots, abbesses and saintly founders of monasteries on the south, while kings, queens and princes occupy the north. Many of the figures survive and many have been identified in the light of their various attributes. There is a hierarchy of size, with the more significant figures larger and enthroned in their niches rather than standing. Immediately beneath the upper course are a series of small niches containing dynamic sculptures of the dead coming forth from their tombs on the Day of Judgement. Although naked, some of the dead are defined as royalty by their crowns and others as bishops by their mitres. Some emerge from their graves with joy and hope, and others with despair.

 

The niches in the lowest zone of the gable contain nine angels, of which Cockerell identifies Michael, Gabriel, Raphael and Uriel. In the next zone are the taller figures of the twelve apostles, some, such as John, Andrew and Bartholomew, clearly identifiable by the attributes that they carry. The uppermost niches of the gable contained the figure of Christ the Judge at the centre, with the Virgin Mary on his right and John the Baptist on his left. The figures all suffered from iconoclasm. A new statue of Jesus was carved for the central niche, but the two side niches now contain cherubim. Christ and the Virgin Mary are also represented by now headless figures in a Coronation of the Virgin in a niche above the central portal. A damaged figure of the Virgin and Christ Child occupies a quatrefoil in the spandrel of the door.

 

The central tower appears to date from the early 13th century. It was substantially reconstructed in the early 14th century during the remodelling of the east end, necessitating the internal bracing of the piers a decade or so later. In the 14th century the tower was given a timber and lead spire which burnt down in 1439. The exterior was then reworked in the Perpendicular style and given the present parapet and pinnacles. Alec Clifton-Taylor describes it as "outstanding even in Somerset, a county famed for the splendour of its church towers".

 

The north porch is described by art historian Nikolaus Pevsner as "sumptuously decorated", and intended as the main entrance. Externally it is simple and rectangular with plain side walls. The entrance is a steeply arched portal framed by rich mouldings of eight shafts with stiff-leaf capitals each encircled by an annular moulding at middle height. Those on the left are figurative, containing images representing the martyrdom of St Edmund the Martyr. The walls are lined with deep niches framed by narrow shafts with capitals and annulets like those of the portal. The path to the north porch is lined by four sculptures in Purbeck stone, each by Mary Spencer Watson, representing the symbols of the Evangelists.

 

The cloisters were built in the late 13th century and largely rebuilt from 1430 to 1508 and have wide openings divided by mullions and transoms, and tracery in the Perpendicular Gothic style. The vault has lierne ribs that form octagons at the centre of each compartment, the joints of each rib having decorative bosses. The eastern range is of two storeys, of which the upper is the library built in the 15th century.

 

Because Wells Cathedral was secular rather than monastic, cloisters were not a practical necessity. They were omitted from several other secular cathedrals but were built here and at Chichester. Explanations for their construction at these two secular cathedrals range from the processional to the aesthetic. As at Chichester, there is no northern range to the cloisters. In monastic cloisters it was the north range, benefiting most from winter sunlight, that was often used as a scriptorium.

 

In 1969, when a large chunk of stone fell from a statue near the main door, it became apparent that there was an urgent need for restoration of the west front. Detailed studies of the stonework and of conservation practices were undertaken under the cathedral architect, Alban D. R. Caroe and a restoration committee formed. The methods selected were those devised by Eve and Robert Baker. W. A. (Bert) Wheeler, clerk of works to the cathedral 1935–1978, had previously experimented with washing and surface treatment of architectural carvings on the building and his techniques were among those tried on the statues.

 

The conservation was carried out between 1974 and 1986, wherever possible using non-invasive procedures such as washing with water and a solution of lime, filling gaps and damaged surfaces with soft mortar to prevent the ingress of water and stabilising statues that were fracturing through corrosion of metal dowels. The surfaces were finished by painting with a thin coat of mortar and silane to resist further erosion and attack by pollutants. The restoration of the façade revealed much paint adhering to the statues and their niches, indicating that it had once been brightly coloured.

 

The particular character of this Early English interior is dependent on the proportions of the simple lancet arches. It is also dependent on the refinement of the architectural details, in particular the mouldings.

 

The arcade, which takes the same form in the nave, choir and transepts, is distinguished by the richness of both mouldings and carvings. Each pier of the arcade has a surface enrichment of 24 slender shafts in eight groups of three, rising beyond the capitals to form the deeply undulating mouldings of the arches. The capitals themselves are remarkable for the vitality of the stylised foliage, in a style known as "stiff-leaf". The liveliness contrasts with the formality of the moulded shafts and the smooth unbroken areas of ashlar masonry in the spandrels. Each capital is different, and some contain small figures illustrating narratives.

 

The vault of the nave rises steeply in a simple quadripartite form, in harmony with the nave arcade. The eastern end of the choir was extended and the whole upper part elaborated in the second quarter of the 14th century by William Joy. The vault has a multiplicity of ribs in a net-like form, which is very different from that of the nave, and is perhaps a recreation in stone of a local type of compartmented wooden roof of which examples remain from the 15th century, including those at St Cuthbert's Church, Wells. The vaults of the aisles of the choir also have a unique pattern.

 

Until the early 14th century, the interior of the cathedral was in a unified style, but it was to undergo two significant changes, to the tower and to the eastern end. Between 1315 and 1322 the central tower was heightened and topped by a spire, which caused the piers that supported it to show signs of stress. In 1338 the mason William Joy employed an unorthodox solution by inserting low arches topped by inverted arches of similar dimensions, forming scissors-like structures. These arches brace the piers of the crossing on three sides, while the easternmost side is braced by a choir screen. The bracing arches are known as "St Andrew's Cross arches", in a reference to the patron saint of the cathedral. They have been described by Wim Swaan – rightly or wrongly – as "brutally massive" and intrusive in an otherwise restrained interior.

 

Wells Cathedral has a square east end to the choir, as is usual, and like several other cathedrals including Salisbury and Lichfield, has a lower Lady Chapel projecting at the eastern end, begun by Thomas Witney in about 1310, possibly before the chapter house was completed. The Lady Chapel seems to have begun as a free-standing structure in the form of an elongated octagon, but the plan changed and it was linked to the eastern end by extension of the choir and construction of a second transept or retrochoir east of the choir, probably by William Joy.

 

The Lady Chapel has a vault of complex and somewhat irregular pattern, as the chapel is not symmetrical about both axes. The main ribs are intersected by additional non-supporting, lierne ribs, which in this case form a star-shaped pattern at the apex of the vault. It is one of the earliest lierne vaults in England. There are five large windows, of which four are filled with fragments of medieval glass. The tracery of the windows is in the style known as Reticulated Gothic, having a pattern of a single repeated shape, in this case a trefoil, giving a "reticulate" or net-like appearance.

 

The retrochoir extends across the east end of the choir and into the east transepts. At its centre the vault is supported by a remarkable structure of angled piers. Two of these are placed as to complete the octagonal shape of the Lady Chapel, a solution described by Francis Bond as "an intuition of Genius". The piers have attached shafts of marble, and, with the vaults that they support, create a vista of great complexity from every angle. The windows of the retrochoir are in the Reticulated style like those of the Lady Chapel, but are fully Flowing Decorated in that the tracery mouldings form ogival curves.

 

The chapter house was begun in the late 13th century and built in two stages, completed about 1310. It is a two-storeyed structure with the main chamber raised on an undercroft. It is entered from a staircase which divides and turns, one branch leading through the upper storey of Chain Gate to Vicars' Close. The Decorated interior is described by Alec Clifton-Taylor as "architecturally the most beautiful in England". It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery. The tracery lights still contain ancient glass. Beneath the windows are 51 stalls, the canopies of which are enlivened by carvings including many heads carved in a light-hearted manner.

 

Wells Cathedral contains one of the most substantial collections of medieval stained glass in England, despite damage by Parliamentary troops in 1642 and 1643. The oldest surviving glass dates from the late 13th century and is in two windows on the west side of the chapter-house staircase. Two windows in the south choir aisle are from 1310 to 1320.

 

The Lady Chapel has five windows, of which four date from 1325 to 1330 and include images of a local saint, Dunstan. The east window was restored to a semblance of its original appearance by Thomas Willement in 1845. The other windows have complete canopies, but the pictorial sections are fragmented.

 

The east window of the choir is a broad, seven-light window dating from 1340 to 1345. It depicts the Tree of Jesse (the genealogy of Christ) and demonstrates the use of silver staining, a new technique that allowed the artist to paint details on the glass in yellow, as well as black. The combination of yellow and green glass and the application of the bright yellow stain gives the window its popular name, the "Golden Window". It is flanked by two windows each side in the clerestory, with large figures of saints, also dated to 1340–45. In 2010 a major conservation programme was undertaken on the Jesse Tree window.

 

The panels in the chapel of St Katherine are attributed to Arnold of Nijmegen and date from about 1520. They were acquired from the destroyed church of Saint-Jean, Rouen, with the last panel having been purchased in 1953.

 

The large triple lancet to the nave west end was glazed at the expense of Dean Creighton at a cost of £140 in 1664. It was repaired in 1813, and the central light was largely replaced to a design by Archibald Keightley Nicholson between 1925 and 1931. The main north and south transept end windows by James Powell and Sons were erected in the early 20th century.

 

The greater part of the stone carving of Wells Cathedral comprises foliate capitals in the stiff-leaf style. They are found ornamenting the piers of the nave, choir and transepts. Stiff-leaf foliage is highly abstract. Though possibly influenced by carvings of acanthus leaves or vine leaves, it cannot be easily identified with any particular plant. Here the carving of the foliage is varied and vigorous, the springing leaves and deep undercuts casting shadows that contrast with the surface of the piers. In the transepts and towards the crossing in the nave the capitals have many small figurative carvings among the leaves. These include a man with toothache and a series of four scenes depicting the "Wages of Sin" in a narrative of fruit stealers who creep into an orchard and are then beaten by the farmer. Another well-known carving is in the north transept aisle: a foliate corbel, on which climbs a lizard, sometimes identified as a salamander, a symbol of eternal life.

 

Carvings in the Decorated Gothic style may be found in the eastern end of the buildings, where there are many carved bosses. In the chapter house, the carvings of the 51 stalls include numerous small heads of great variety, many of them smiling or laughing. A well-known figure is the corbel of the dragon-slaying monk in the chapter house stair. The large continuous capital that encircles the central pillar of the chapter house is markedly different in style to the stiff-leaf of the Early English period. In contrast to the bold projections and undercutting of the earlier work, it has a rippling form and is clearly identifiable as grapevine.

 

The 15th-century cloisters have many small bosses ornamenting the vault. Two in the west cloister, near the gift shop and café, have been called sheela na gigs, i. e. female figures displaying their genitals and variously judged to depict the sin of lust or stem from ancient fertility cults.

 

Wells Cathedral has one of the finest sets of misericords in Britain. Its clergy has a long tradition of singing or reciting from the Book of Psalms each day, along with the customary daily reading of the Holy Office. In medieval times the clergy assembled in the church eight times daily for the canonical hours. As the greater part of the services was recited while standing, many monastic or collegiate churches fitted stalls whose seats tipped up to provide a ledge for the monk or cleric to lean against. These were "misericords" because their installation was an act of mercy. Misericords typically have a carved figurative bracket beneath the ledge framed by two floral motifs known, in heraldic manner, as "supporters".

 

The misericords date from 1330 to 1340. They may have been carved under the direction of Master Carpenter John Strode, although his name is not recorded before 1341. He was assisted by Bartholomew Quarter, who is documented from 1343. They originally numbered 90, of which 65 have survived. Sixty-one are installed in the choir, three are displayed in the cathedral, and one is held by the Victoria and Albert Museum. New stalls were ordered when the eastern end of the choir was extended in the early 14th century. The canons complained that they had borne the cost of the rebuilding and ordered the prebendary clerics to pay for their own stalls. When the newly refurbished choir opened in 1339 many misericords were left unfinished, including one-fifth of the surviving 65. Many of the clerics had not paid, having been called to contribute a total sum of £200. The misericords survived better than the other sections of the stalls, which during the Protestant Reformation had their canopies chopped off and galleries inserted above them. One misericord, showing a boy pulling a thorn from his foot, dates from the 17th century. In 1848 came a complete rearrangement of the choir furniture, and 61 of the misericords were reused in the restructured stalls.

 

The subject matter of the carvings of the central brackets as misericords varies, but many themes recur in different churches. Typically the themes are less unified or directly related to the Bible and Christian theology than small sculptures seen elsewhere within churches, such as bosses. This applies at Wells, where none of the misericord carvings is directly based on a Bible story. The subjects, chosen either by the woodcarver, or perhaps by the one paying for the stall, have no overriding theme. The sole unifying elements are the roundels on each side of the pictorial subject, which all show elaborately carved foliage, in most cases formal and stylised in the later Decorated manner, but with several examples of naturalistic foliage, including roses and bindweed. Many of the subjects carry traditional interpretations. The image of the "Pelican in her Piety" (believed to feed her young on her own blood) is a recognised symbol for Christ's love for the Church. A cat playing with a mouse may represent the Devil snaring a human soul. Other subjects illustrate popular fables or sayings such as "When the fox preaches, look to your geese". Many depict animals, some of which may symbolise a human vice or virtue, or an aspect of faith.

 

Twenty-seven of the carvings depict animals: rabbits, dogs, a puppy biting a cat, a ewe feeding a lamb, monkeys, lions, bats, and the Early Christian motif of two doves drinking from a ewer. Eighteen have mythological subjects, including mermaids, dragons and wyverns. Five are clearly narrative, such as the Fox and the Geese, and the story of Alexander the Great being raised to Heaven by griffins. There are three heads: a bishop in a mitre, an angel, and a woman wearing a veil over hair arranged in coils over each ear. Eleven carvings show human figures, among which are several of remarkable design, conceived by the artist specifically for their purpose of supporting a shelf. One figure lies beneath the seat, supporting the shelf with a cheek, a hand and a foot. Another sits in a contorted manner supporting the weight on his elbow, while a further figure squats with his knees wide apart and a strained look on his face.

 

Some of the cathedral's fittings and monuments are hundreds of years old. The brass lectern in the Lady Chapel dates from 1661 and has a moulded stand and foliate crest. In the north transept chapel is a 17th-century oak screen with columns, formerly used in cow stalls, with artisan Ionic capitals and cornice, set forward over the chest tomb of John Godelee. There is a bound oak chest from the 14th century, which was used to store the chapter seal and key documents. The bishop's throne dates from 1340, and has a panelled, canted front and stone doorway, and a deep nodding cusped ogee canopy above it, with three-stepped statue niches and pinnacles. The throne was restored by Anthony Salvin around 1850. Opposite the throne is a 19th-century octagonal pulpit on a coved base with panelled sides, and steps up from the north aisle. The round font in the south transept is from the former Saxon cathedral and has an arcade of round-headed arches, on a round plinth. The font cover was made in 1635 and is decorated with the heads of putti. The Chapel of St Martin is a memorial to every Somerset man who fell in World War I.

 

The monuments and tombs include Gisa, bishop; † 1088; William of Bitton, bishop; † 1274; William of March, bishop; † 1302; John Droxford; † 1329; John Godelee; † 1333; John Middleton, died †1350; Ralph of Shrewsbury, died †; John Harewell, bishop; † 1386; William Bykonyll; † c. 1448; John Bernard; † 1459; Thomas Beckington; † died 1464; John Gunthorpe; † 1498; John Still; † 1607; Robert Creighton; † 1672; Richard Kidder, bishop; † 1703; George Hooper, bishop; † 1727 and Arthur Harvey, bishop; † 1894.

 

In the north transept is Wells Cathedral clock, an astronomical clock from about 1325 believed to be by Peter Lightfoot, a monk of Glastonbury. Its mechanism, dated between 1386 and 1392, was replaced in the 19th century and the original moved to the Science Museum in London, where it still operates. It is the second oldest surviving clock in England after the Salisbury Cathedral clock.

 

The clock has its original medieval face. Apart from the time on a 24-hour dial, it shows the motion of the Sun and Moon, the phases of the Moon, and the time since the last new Moon. The astronomical dial presents a geocentric or pre-Copernican view, with the Sun and Moon revolving round a central fixed Earth, like that of the clock at Ottery St Mary. The quarters are chimed by a quarter jack: a small automaton known as Jack Blandifers, who hits two bells with hammers and two with his heels. At the striking of the clock, jousting knights appear above the clock face.

 

On the outer wall of the transept, opposite Vicars' Hall, is a second clock face of the same clock, placed there just over seventy years after the interior clock and driven by the same mechanism. The second clock face has two quarter jacks (which strike on the quarter-hour) in the form of knights in armour.

 

In 2010 the official clock-winder retired and was replaced by an electric mechanism.

 

The first record of an organ at this church dates from 1310. A smaller organ, probably for the Lady Chapel, was installed in 1415. In 1620 an organ built by Thomas Dallam was installed at a cost of £398 1s 5d.

 

The 1620 organ was destroyed by parliamentary soldiers in 1643. An organ built in 1662 was enlarged in 1786 and again in 1855. In 1909–1910 an organ was built by Harrison & Harrison of Durham, with the best parts of the old organ retained. It has been serviced by the same company ever since.

 

Since November 1996 the cathedral has also had a portable chamber organ, by the Scottish makers, Lammermuir. It is used regularly to accompany performances of Tudor and baroque music.

 

The first recorded organist of Wells was Walter Bagele (or Vageler) in 1416. The post of organist or assistant organist has been held by more than 60 people since. Peter Stanley Lyons was Master of Choristers at Wells Cathedral, and Director of Music at Wells Cathedral School in 1954–1960. The choral conductor James William Webb-Jones, father of Lyons's wife Bridget (whom he married in the cathedral), was Headmaster of Wells Cathedral School in 1955–1960. Malcolm Archer was the appointed Organist and Master of the Choristers from 1996 to 2004. Matthew Owens was the appointed organist from 2005 to 2019.

 

There has been a choir of boy choristers at Wells since 909. Currently there are 18 boy choristers and a similar number of girl choristers, aged from eight to fourteen. The Vicars Choral was formed in the 12th century and the sung liturgy provided by a traditional cathedral choir of men and boys until the formation of an additional choir of girls in 1994. The boys and girls sing alternately with the Vicars Choral and are educated at Wells Cathedral School.

 

The Vicars Choral currently number twelve men, of whom three are choral scholars. Since 1348 the College of Vicars had its own accommodation in a quadrangle converted in the early 15th century to form Vicar's Close. The Vicars Choral generally perform with the choristers, except on Wednesdays, when they sing alone, allowing them to present a different repertoire, in particular plainsong.

 

In December 2010 Wells Cathedral Choir was rated by Gramophone magazine as "the highest ranking choir with children in the world". It continues to provide music for the liturgy at Sunday and weekday services. The choir has made many recordings and toured frequently, including performances in Beijing and Hong Kong in 2012. Its repertoire ranges from the choral music of the Renaissance to recently commissioned works.

 

The Wells Cathedral Chamber Choir is a mixed adult choir of 25 members, formed in 1986 to sing at the midnight service on Christmas Eve, and invited to sing at several other special services. It now sings for about 30 services a year, when the Cathedral Choir is in recess or on tour, and spends one week a year singing as the "choir in residence" at another cathedral. Although primarily liturgical, the choir's repertoire includes other forms of music, as well as performances at engagements such as weddings and funerals.

 

The cathedral is home to Wells Cathedral Oratorio Society (WCOS), founded in 1896. With around 160 voices, the society gives three concerts a year under the direction of Matthew Owens, Organist and Master of the Choristers at the cathedral. Concerts are normally in early November, December (an annual performance of Handel's Messiah) and late March. It performs with a number of specialist orchestras including: Music for Awhile, Chameleon Arts and La Folia.

 

The bells at Wells Cathedral are the heaviest ring of ten bells in the world, the tenor bell (the 10th and largest), known as Harewell, weighing 56.25 long hundredweight (2,858 kg). They are hung for full-circle ringing in the English style of change ringing. These bells are now hung in the south-west tower, although some were originally hung in the central tower.

 

The library above the eastern cloister was built between 1430 and 1508. Its collection is in three parts: early documents housed in the Muniment Room; the collection predating 1800 housed in the Chained Library; and the post-1800 collection housed in the Reading Room. The chapter's earlier collection was destroyed during the Reformation, so that the present library consists chiefly of early printed books, rather than medieval manuscripts. The earlier books in the Chained Library number 2,800 volumes and give an indication of the variety of interests of the members of the cathedral chapter from the Reformation until 1800. The focus of the collection is predominantly theology, but there are volumes on science, medicine, exploration, and languages. Books of particular interest include Pliny's Natural History printed in 1472, an Atlas of the World by Abraham Ortelius, printed in 1606, and a set of the works by Aristotle that once belonged to Erasmus. The library is open to the public at appointed times in the summer and presents a small exhibition of documents and books.

 

Three early registers of the Dean and Chapter edited by W. H. B. Bird for the Historical Manuscripts Commissioners – Liber Albus I (White Book; R I), Liber Albus II (R III) and Liber Ruber (Red Book; R II, section i) – were published in 1907. They contain with some repetition, a cartulary of possessions of the cathedral, with grants of land back to the 8th century, well before hereditary surnames developed in England, and acts of the Dean and Chapter and surveys of their estates, mostly in Somerset.

 

Adjacent to the cathedral is a large lawned area, Cathedral Green, with three ancient gateways: Brown's Gatehouse, Penniless Porch and Chain Gate. On the green is the 12th-century Old Deanery, largely rebuilt in the late 15th century by Dean Gunthorpe and remodelled by Dean Bathurst in the late 17th century. No longer the dean's residence, it is used as diocesan offices.

 

To the south of the cathedral is the moated Bishop's Palace, begun about 1210 by Jocelin of Wells but dating mostly from the 1230s. In the 15th century Thomas Beckington added a north wing, now the bishop's residence. It was restored and extended by Benjamin Ferrey between 1846 and 1854.

 

To the north of the cathedral and connected to it by the Chain Gate is Vicars' Close, a street planned in the 14th century and claimed to be the oldest purely residential street in Europe, with all but one of its original buildings intact. Buildings in the close include the Vicars Hall and gateway at the south end, and the Vicars Chapel and Library at the north end.

 

The Liberty of St Andrew was the historic liberty and parish that encompassed the cathedral and surrounding lands closely associated with it.

 

The English painter J. M. W. Turner visited Wells in 1795, making sketches of the precinct and a water colour of the west front, now in the Tate gallery. Other artists whose paintings of the cathedral are in national collections are Albert Goodwin, John Syer and Ken Howard.

 

The cathedral served to inspire Ken Follett's 1989 novel The Pillars of the Earth and with a modified central tower, featured as the fictional Kingsbridge Cathedral at the end of the 2010 television adaptation of that novel. The interior of the cathedral was used for a 2007 Doctor Who episode, "The Lazarus Experiment", while the exterior shots were filmed at Southwark Cathedral.

 

An account of the damage to the cathedral during the Monmouth Rebellion is included in Arthur Conan Doyle's 1889 historical novel Micah Clarke.

 

The cathedral provided scenes for the 2019–2020 television series The Spanish Princess.

Sublime Surrender

 

Mixed Media on Acrylic

Gregory Scott

 

In Sublime Surrender, Gregory Scott plunges us into a vortex of radiant emotion—where ecstasy and unease, chaos and clarity, coexist in vibrant harmony. Color itself becomes a language of transformation, flowing through the full emotional spectrum with raw, unfiltered urgency.

 

This work is not merely seen—it is felt. Like a cosmic release or spiritual shedding, the painting invites the viewer to let go of control and be carried into the sublime unknown. Each brushstroke pulses with movement and momentum, blurring the line between the physical and the metaphysical, the internal and the infinite.

 

What begins as visual overwhelm becomes liberation. To engage with Sublime Surrender is to yield—to the beauty of being undone, and remade.

 

---GSP

The remains of an old lead smelting mill on the moors between Arkengarthdale and Swaledale. It replaced two earlier watermills on the site and operated from the mid to late 19th century.

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Photograph taken at an altitude of Forty seven metres at 13:23pm on an beautiful summer morning on Tuesday 20th July 2021, off Chessington Avenue in Bexleyheath, Kent.

 

This is Baboo, a juvenile parented by two crows who have come to my garden now for over 18 months.

  

AN IN DEPTH LOOK AT CORVUS CORONE

  

LEGEND AND MYTHOLOGY

By Paul Williams

  

Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.

  

In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.

  

In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds.

  

There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.

  

The crow features in the Nanissáanah (Ghost dance), popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had become a guide and acted as a pathfinder during hunting. The Ghost dance movement was originally created in 1870 by Wodziwob, or Gray Hair, a prophet and medicine man of the Paiute tribe in an area that became known as Nevada.

  

Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom. The five-day dances seeking trance, prophecy and exhortations would eventually play a major part in the pathway towards the white man's broken treaties, the infamous battle at Wounded knee and the surrender of Matȟó Wanáȟtaka (Kicking Bear), after officials began to fear the ghost dancers and rituals which seemed to occur prior to battle.

  

Historically the Vikings are the group who made so many references to the crow, and Ragnarr Loðbrók and his sons used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows.

  

Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows were sent out each dawn to fly the entire world, returning at breakfast where they informed the Lord of the Nordic gods of everything that went on in their kingdoms. Odin was also referred to as Rafnagud (raven-god).

  

The raven appears in almost every skaldic poem describing warfare. Coins dating back to 940's minted by Olaf Cuaran depict the Viking war standard, the Raven and Viking war banners (Gonfalon) depicted the bird also.

  

In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors.

  

It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.

  

In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.

  

The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug

  

In Greek mythology according to Appolodorus, Apollo is supposedly responsible for the black feathers of the crow, turning them forever black from their pristine white original plumage as a punishment after they brought news that Κορωνις (Coronis) a princess of the Thessalian kingdom of Phlegyantis, Apollo's pregnant lover had left him to marry a mortal, Ischys.

  

In one legend, Apollo burned the crows feathers and then burned Coronis to death, in another Coronis herself was turned into a black crow, and another that she was slain by the arrows of Αρτεμις (Artemis - twin to Apollo). Koronis was later set amongst the stars as the constellation Corvus ("the Crow").

  

Her name means "Curved One" from the Greek word korônis or "Crow" from the word korônê.A similar Muslim legend allegedly tells of Muhammad, founder of Islam and the last prophet sent by God to Earth, who's secret location was given away by a white crow to his seekers, as he hid in caves. The crow shouted 'Ghar Ghar' (Cave, cave) and thus as punishment, Muhammad turned the crow black and cursed it for eternity to utter only one phrase, 'Ghar, ghar). Native Indian legend where the once rainbow-coloured crows became forever black after shedding their colourful plumage over the other animals of the world.

  

In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.

  

In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:

  

1 Crow Meaning: To carry a message from your near one who died recently.

 

2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.

 

3 Crows Meaning: An upcoming wedding in your family.

 

4 Crows Meaning: Symbolizes wealth and prosperity.

 

5 Crows Meaning: Diseases or pain.

 

6 Crows Meaning: A theft in your house!

 

7 Crows Meaning: Denotes travel or moving from your house.

 

8 Crows Meaning: Sorrowful events

  

Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolizes potentially bringing good news and positive change to those who see it.

 

This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....

  

There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders.

  

The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.

  

The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.

  

TAKING A CLOSER LOOK

  

So, let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.

  

Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice).

  

Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.

  

Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone

  

Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories.

 

Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old.

  

The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!

  

They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow, a more steeply raked ratio from head to beak, and longer straighter beaks as well as a different plumage pattern.

  

There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.

  

Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence.

  

Crows have relatively large brains for their body size, compared to other animals. Their encephalization quotient (EQ) a ratio of brain to body size, adjusted for size because there isn’t a linear relationship is 4.1.

  

That is remarkably close to chimps at 4.2 whilst humans are 8.1. Corvids also have a very high neuronal density, the number of neurons per gram of brain, factoring in the number of cortical neurons, neuron packing density, intraneuronal distance and axonal conduction velocity shows that Corvids score high on this measure as well, with humans scoring the highest.

  

A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events.

  

They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans,and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans.

  

Communications wise, their repertoire of wraw-wraw's is not fully understood, but the intensity, rhythm, and duration of caws seems to form the basis of a possible language. They also remember the faces of humans who have hindered or hurt them and pass that information on to their offspring.

  

Aesop's fable of 'The Crow and the Pitcher, tells of a thirsty crow which drops stones into a water pitcher to raise the water level and enable it to take a drink. Scientists have conducted tests to see whether crows really are this intelligent. They placed floating treats in a deep tube and observed the crows indeed dropping dense objects carefully selected into the water until the treat floated within reach. They had the intelligence to pick up, weigh and discount objects that would float in the water, they also did not select ones that were too large for the container.

  

Pet crows develop a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D, regularly settling on wooden garden fences, opening their mouths and wings and raising their heads to the sun. In groups they warn of danger and communicate vocally.

  

They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts and similar hard food items under car tyres at traffic lights as a means of cracking them!

  

Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades. Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!

  

They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.

  

In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain.

  

Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.

  

OBSERVATIONS ON THE PAIR IN MY GARDEN

 

Known mostly for my landscape work, Covid-19 changed everything for me photographically speaking thanks to a series of lock downs which naturally impeded my ability to travel. I began to spend more time on my own land, photographing the wildlife, and suddenly those wildlife photographs began to sell worldwide in magazines and books.

 

Crows have been in the area for a while, but rarely had strayed into my garden, leaving the Magpies to own the territory. Things changed around mid May 2021 when a beautiful female Carrion crow appeared and began to take some of the food that I put down for the other birds. Within a few days she began to appear regularly, on occasions stocking up on food, whilst other times placing pieces in the birdbath to soften them. She would stand on the birdbath and eat and drink and come back over the course of the day to eat the softened food. Naturally I named her Sheryl (Crow).

  

Shortly afterwards she brought along her mate, a tall and handsome fella, much larger than her who was also very vocal if he felt she was getting a little too close to me. I named him Russell (Crow). By now I had moved from a seated position from the patio as an observer, to laying on a mat just five feet from the birdbath with my Nikon so that I could photograph the pair as they landed, scavenged and fed.

  

Sheryl was now confident enough to let me be very close, and she even tolerated and recognized the clicking of the camera. At first, I used silent mode to reduce the noise, but this only allowed two shooting frame rates of single frame or continuous low frame which meant I was missing shots. I reverted back to normal continuous high frames, and she soon got used to the whirring of the mechanisms as the mirror slapped back and forth.

  

Russell would bark orders at her from the safety of the fence or the rear of the garden, whilst she rarely made a sound. That was until one day when in the sweltering heat she kept opening her beak and sunning on the grass, panting slightly in the heat.

  

I placed the circular water sprayer nearby and had it rotating so that the birdbath and grass was bathed in gentle water droplets and she soon came back, landed and seemed to really like the cooling effect on offer. She then climbed onto the birdbath and opened her wings slightly and made some gentle purring, cooing noises....

  

I swear she was expressing happiness, joy even....

  

On another blisteringly hot day when the sprayer was on, she came down, walked towards it and opened her wings up running into the water spray. Not once, but many times.

  

A further revelation into the unseen sides to these beautiful birds came with the male and female on the rear garden fence. They sat together, locked beaks like a kiss and then the male took his time gently preening her head feathers and the back of her neck as she made tiny happy sounds.

  

They stayed together like that for several minutes, showing a gentle, softer side to their nature and demonstrating the deep bond between them. Into July and the pair started to bring their three youngsters to my garden, the nippers learning to use the birdbath for bathing and dipping food, the parents attentive as ever. Two of the youngsters headed off once large enough and strong enough.

  

I was privileged to be in close attendance as the last juvenile was brought down by the pair, taught to take food and then on a night in July, to soar and fly with its mother in the evening sky as the light faded. She would swoop and twirl, and at regular intervals just touch the juvenile in flight with her wing tip feathers, as if to reassure it that she was close in attendance.

  

What an amazing experience to view. A few days later, the juvenile, though now gaining independence and more than capable of tackling food scraps in the garden, was still on occasions demand feeding from its mother who was now teaching him to take chicken breast, hotdogs or digestive biscuits and bury them in the garden beds for later delectation.

  

The juvenile also liked to gather up peanuts (monkey nuts) and bury them in the grass. On one occasion I witnessed a pair of rumbunctious Pica Pica (Magpies), chasing the young crow on rooftops, leaping at him no matter how hard he tried to get away. He defended himself well and survived the attacks, much to my relief.

  

Into August and the last youngster remained with the adults, though now was very independent even though he still spent time with his parents on rooftops, and shared food gathering duties with his mum. Hotdog sausages were their favourite choice, followed by fish fingers and digestive biscuits which the adult male would gather up three at a time.

  

In October 2021, the three Crows were still kings of the area, but my time observing them was pretty much over as I will only put food out now for the birds in the winter months. The two adults are still here in December and now taking the food that I put out to help all birds survive in the winter months. They also have a pair of Magpies to compete with now.

  

Late February 2022 and Cheryl and Russell and their youngster are still with me, still dominant in the area and still taking raw chicken, hotdogs, biscuits and fat balls that I put out for them. Today I saw them mating for the first time this year in the tree and the cycle continues.

  

By October 2022 the pair had successfully reared a new baby who we nicknamed Baboo, and the other youngster flew the coup. The three now recognised our car returning from weekends away, and were enjoying sausages, hotdogs, raw chicken, fish and especially cheese, but life was hard as they aged with daily morning and evening tussles in the air with invaders and intruders hoping to take their land.

  

Russell picked up an injury during one fight and hobbled about for a few weeks before fully recovering, though a slight limp remained long-term, but Sheryl was visibly ageing and struggled at times to gain height from a vertical ground take off. I placed a garden chair near the house and she would often jump onto the top and then onto the fence and then the roof in stages.

 

Baboo became the dominant garden watcher, swooping in to take advantage of the food I put out, though he now faced competition from a gaggle of five or so resident Magpies, Black headed gulls and Herring Gulls which seemed to have adopted the area, and brave enough to snatch food from under his nose and eat on the grass in his presence. The three crows still held on to our garden and the territory and were dominant still into December 2022. They loved cheese, hot dogs, raw chicken, fish fingers and digestive biscuits and also mixed nuts, crusty bread and cakes and fat from steak or gammon plus fish skin from salmon or haddock. But by December 13th 2022, feeding became almost impossible as Black headed gulls (Chroicocephalus ridibundus), Herring Gulls (Larus argentatus) and Common Gulls (Larus canus), seemed to take up residence, swooping from nowhere in dozens as soon as I tried to feed the crows and Magpies. I had to wait until any of my three crows were nestled in the Chestnut tree which seeps into my garden, before throwing food out to them, watching as they grabbed what they could, followed by the resident Magpies, before the gulls began to swoop once more!

 

By December 25th normal service was resumed and the crows could recognise my car and know if we were returning home, and call each other, then me to feed them. They enjoyed Tesco finest mince pies, tinned Salmon steaks, fatballs and raw meatballs over the festive period, and Sheryl particularly loved her mature cheddar cheese in large chunks.

  

Corvus Corone.... magnificently misunderstood by some!

  

Paul Williams June 4th 2021 (Updated on December 26th 2022)

  

Nikon D850 Focal length: 600mm Shutter speed: 1/320s Aperture: f/7.1 iso320 Hand held with Tamron VC Vibration control set to ON (Position 1) 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1 (5370k) Colour space: RGB Picture control: Neutral (Sharpening +2)

  

Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.

     

LATITUDE: N 51d 28m 28.03s

LONGITUDE: E 0d 8m 10.67s

ALTITUDE: 47.00m

  

RAW (TIFF) FILE: 130.00MB NEF FILE: 90.7MB

PROCESSED (JPeg) FILE: 48.40MB

    

PROCESSING POWER:

 

Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00

 

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.

   

Again in one of my favorite places. On of the many beautiful interactive objects. A small moon, where I can lay and listen.

 

Visit this location at Zathyra's Love and Light in Second Life

"Looking at my life

I see that only Love

Has been my soul’s companion

From deep inside

My soul cries out:

Do not wait, surrender

For the sake of Love."

 

~Rumi~

 

View my videos here

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My Blog

 

"Unconditional Surrender" is a 25-feet high, painted aluminum sculpture erected in 2007 (it's a traveling sculpture; this photo taken in Sarasota, FL). Also called The Kiss, the 6,000 pound statue was created by world-renowned artist J. Seward Johnson commemorating a famous World War II photo. The photo was taken by Alfred Eisenstaedt of a sailor kissing a nurse, Edith Shain, in Times Square, New York City on Aug. 14, 1945, following the announcement of V-J Day. Edith doesn't remember who the sailor was, she just went with the moment.

 

If any of you will be in NYC on August 14 in any given year, there will be a Kiss-In in Times Square for the anniversary of the end of World War II. Couples are encouraged to kiss in the manner of the Unconditional Surrender sculpture... guys, bring your sailor cap!

244/365 - Our Daily Challenge - "Begins with S"

 

I love acorns, so I was glad for an opportunity to shoot them today. If I'm thinking literally about the challenge, I could say that S is for simplicity, or seasonal, or seed. But in a figurative sense, I believe the acorn represents surrender. John 12:24 says "unless a kernel of wheat falls to the ground and dies, it remains only a single seed. But if it dies, it produces many seeds". The same applies to acorns. A wise woman said it this way:

 

"We are being asked to trust, to leave the planning to God. God's ultimate plan is as far beyond our imaginings as the oak tree is from the acorn's imaginings.The acorn does what it was made to do, without pestering its maker with questions about when and how and why. We who have been given intelligence and a will and a wide range of wants that can be set against the divine Pattern for Good are asked to believe Him. We are given the chance to trust Him when He says to us, ' ...If any man will let himself be lost for my sake, he will find his true self."

 

“When will we find it?” we ask.

The answer is “TRUST ME”.

“How will we find it?”

The answer again is, “TRUST ME”.

“Why must I let myself be lost?” we persist.

The answer is:

“LOOK AT THE ACORN AND TRUST ME”.

(Catherine Marshall)

 

Trust...that's challenging for a control freak like me. Maybe that's part of why I love acorns so much...because they remind me that my job is not to try to control(control is an illusion anyway)...It's to trust the One who knows what He's doing.

 

Textures by Kim Klassen: Ugglove and Scripted Autumn

Nikon D5000, 105mm

asta lavista hellokitty! :'( Fear not we're coming to save yaaaaaaa

nikon d90,sigma 10-20mm, f11,bare flashlight,sodium vapor lights, 45 seconds exposure.

youtu.be/HxhybjV74Vk

Medieval Byzantine Chant from St. Catherine Monastery at Mount Sinai

Title: "Χαίροις ἡ τὸ σῶμα πολυπλόκοις βασάνοις" (Sticheron Idiomelon "Hail you, that surrendered your body")

Composer: Manuel Chrysaphes the Lambadarios

Service: The Vespers of Saint Catherine

Performers: Cappella Romana & Alexander Lingas

Album: "Mt. Sinai: Frontier of Byzantium (Voices of Byzantium: Medieval Byzantine Chant from Mt. Sinai)"

  

Basilica di Santa Maria Assunta

Church of Santa Maria Assunta

Torcello Cathedral

en.wikipedia.org/wiki/Torcello_Cathedral

 

Santa Fosca

www.italyscapes.com/places/veneto/venice/churches/church-...

  

Saving Torcello, an ancient church in the Venetian Lagoon

youtu.be/2I5HZbe6FtE

Save Venice

youtu.be/TYx652Evg4Y

  

Torcello

en.wikipedia.org/wiki/Torcello

   

At one point Lisa Arturo and I stayed back and allowed Lisa Chiarelli to talk to Lois about surrendering to us.

Verona (/vəˈroʊnə/ və-ROH-nə, Italian: [veˈroːna]; Venetian: Verona or Veròna) is a city on the Adige River in Veneto, Italy, with 259,610 inhabitants. It is one of the seven provincial capitals of the region. It is the largest city municipality in the region and the second largest in northeast Italy. The metropolitan area of Verona covers an area of 1,426 km2 (550.58 sq mi) and has a population of 714,310 inhabitants. It is one of the main tourist destinations in northern Italy because of its artistic heritage and several annual fairs and shows as well as the opera season in the Arena, an ancient Roman amphitheater.

 

Between the 13th and 14th century the city was ruled by the Della Scala Family. Under the rule of the family, in particular of Cangrande I della Scala, the city experienced great prosperity, becoming rich and powerful and being surrounded by new walls. The Della Scala era is survived in numerous monuments around Verona.

 

Two of William Shakespeare's plays are set in Verona: Romeo and Juliet (which also features Romeo's visit to Mantua) and The Two Gentlemen of Verona. It is unknown if Shakespeare ever visited Verona or Italy, but his plays have lured many visitors to Verona and surrounding cities. Verona was also the birthplace of Isotta Nogarola, who is said to be the first major female humanist and one of the most important humanists of the Renaissance. In november of 2000 the city has been declared a World Heritage Site by UNESCO because of its urban structure and architecture.

 

History

 

The precise details of Verona's early history remain a mystery along with the origin of the name. One theory is it was a city of the Euganei, who were obliged to give it up to the Cenomani (550 BCE). With the conquest of the Valley of the Po, the Veronese territory became Roman (about 300 BCE). Verona became a Roman colonia in 89 BCE. It was classified as a municipium in 49 BCE, when its citizens were ascribed to the Roman tribe Poblilia or Publicia.

 

The city became important because it was at the intersection of several roads. Stilicho defeated Alaric and his Visigoths here in 403. But, after Verona was conquered by the Ostrogoths in 489, the Gothic domination of Italy began. Theoderic the Great was said to have built a palace there. It remained under the power of the Goths throughout the Gothic War (535–552), except for a single day in 541, when the Byzantine officer Artabazes made an entrance. The defections of the Byzantine generals over the booty made it possible for the Goths to regain possession of the city. In 552 Valerian vainly endeavored to enter the city, but it was only when the Goths were fully overthrown that they surrendered it.

 

In 569, it was taken by Alboin, King of the Lombards, in whose kingdom it was, in a sense, the second most important city. There, Alboin was killed by his wife in 572. The dukes of Treviso often resided there. Adalgisus, son of Desiderius, in 774 made his last desperate resistance in Verona to Charlemagne, who had destroyed the Lombard kingdom. Verona became the ordinary residence of the kings of Italy, the government of the city becoming hereditary in the family of Count Milo, progenitor of the counts of San Bonifacio. From 880 to 951 the two Berengarii resided there. Otto I ceded to Verona the marquisate dependent on the Duchy of Bavaria, however, the increasing wealth of the burgher families eclipsed the power of the counts, and in 1135 Verona was organised as a free commune. In 1164 Verona joined with Vicenza, Padua and Treviso to create the Veronese League, which was integrated with the Lombard League in 1167 to battle against Frederick I Barbarossa. Victory was achieved at the Battle of Legnano in 1176, and the Treaty of Venice signed in 1177 followed by the Peace of Constance in 1183.

 

When Ezzelino III da Romano was elected podestà in 1226, he converted the office into a permanent lordship. In 1257 he caused the slaughter of 11,000 Paduans on the plain of Verona (Campi di Verona). Upon his death, the Great Council elected Mastino I della Scala as podestà, and he converted the "signoria" into a family possession, though leaving the burghers a share in the government. Failing to be re-elected podestà in 1262, he affected a coup d'état, and was acclaimed Capitano del Popolo, with the command of the communal troops. Long internal discord took place before he succeeded in establishing this new office, to which was attached the function of confirming the podestà. In 1277, Mastino della Scala was killed by the faction of the nobles.

 

The reign of his son Alberto as capitano (1277–1302) was a time of incessant war against the counts of San Bonifacio, who were aided by the House of Este. Of his sons, Bartolomeo, Alboino and Cangrande I, only the last shared the government (1308); he was great as warrior, prince, and patron of the arts; he protected Dante, Petrarch, and Giotto. By war or treaty, he brought under his control the cities of Padua (1328), Treviso (1308) and Vicenza. At this time before the Black death the city was home to more than 40,000 people.

 

Cangrande was succeeded by Mastino II (1329–1351) and Alberto, sons of Alboino. Mastino continued his uncle's policy, conquering Brescia in 1332 and carrying his power beyond the Po. He purchased Parma (1335) and Lucca (1339). After the King of France, he was the richest prince of his time. But a powerful league was formed against him in 1337 – Florence, Venice, the Visconti, the Este, and the Gonzaga. After a three years war, the Scaliger dominions were reduced to Verona and Vicenza (Mastino's daughter Regina-Beatrice della Scala married to Barnabò Visconti). Mastino's son Cangrande II (1351–1359) was a cruel, dissolute, and suspicious tyrant; not trusting his own subjects, he surrounded himself with Brandenburg mercenaries. He was killed by his brother Cansignorio (1359–1375), who beautified the city with palaces, provided it with aqueducts and bridges, and founded the state treasury. He also killed his other brother, Paolo Alboino. Fratricide seems to have become a family custom, for Antonio (1375–87), Cansignorio's natural brother, slew his brother Bartolomeo, thereby arousing the indignation of the people, who deserted him when Gian Galeazzo Visconti of Milan made war on him. Having exhausted all his resources, he fled from Verona at midnight (19 October 1387), thus putting an end to the Scaliger domination, which, however, survived in its monuments.

 

The year 1387 is also the year of the Battle of Castagnaro, between Giovanni Ordelaffi, for Verona, and John Hawkwood, for Padua, who was the winner.

 

Antonio's son Canfrancesco attempted in vain to recover Verona (1390). Guglielmo (1404), natural son of Cangrande II, was more fortunate; with the support of the people, he drove out the Milanese, but he died ten days after, and Verona then submitted to Venice (1405). The last representatives of the Scaligeri lived at the imperial court and repeatedly attempted to recover Verona by the aid of popular risings.

 

From 1508 to 1517, the city was in the power of the Emperor Maximilian I. There were numerous outbreaks of the plague, and in 1629–33 Italy was struck by its worst outbreak in modern times. Around 33,000 people died in Verona (over 60 per cent of the population at the time) in 1630–1631.

 

In 1776 was developed a method of bellringing called Veronese bellringing art. Verona was occupied by Napoleon in 1797, but on Easter Monday the populace rose and drove out the French. It was then that Napoleon made an end of the Venetian Republic. Verona became Austrian territory when Napoleon signed the Treaty of Campo Formio in October 1797. The Austrians took control of the city on 18 January 1798. It was taken from Austria by the Treaty of Pressburg in 1805 and became part of Napoleon's Kingdom of Italy, but was returned to Austria following Napoleon's defeat in 1814, when it became part of the Austrian-held Kingdom of Lombardy-Venetia.

 

The Congress of Verona, which met on 20 October 1822, was part of the series of international conferences or congresses, opening with the Congress of Vienna in 1814–15, that marked the continuing enforcement of the "Concert of Europe".

 

In 1866, following the Third Italian War of Independence, Verona, along with the rest of Venetia, became part of United Italy.

 

The advent of fascism added another dark chapter to the annals of Verona. Throughout Italy, the Jewish population was hit by the Manifesto of Race, a series of anti-Semitic laws passed in 1938, and after the invasion by Nazi Germany in 1943, deportations to Nazi concentration camps. An Austrian Fort (now a church, the Santuario della Madonna di Lourdes), was used to incarcerate and torture Allied troops, Jews and anti-fascists, especially after 1943, when Verona became part of the Italian Social Republic.

 

As in Austrian times, Verona became of great strategic importance to the regime. Galeazzo Ciano, Benito Mussolini's son-in-law, was accused of plotting against the republic; in a show trial staged in January 1944 by the Nazi and fascist hierarchy at Castelvecchio (the Verona trial), Ciano was executed on the banks of the Adige with many other officers on what is today Via Colombo. This marked another turning point in the escalation of violence that would only end with the final liberation by allied troops and partisans in 1945. After World War II, as Italy joined the NATO alliance, Verona once again acquired its strategic importance, due to its geographical closeness to the Iron Curtain.

 

The city became the seat of SETAF (South European Allied Terrestrial Forces) and had during the whole duration of the Cold War period a strong military presence, especially American, which has since decreased.

 

Piazza delle Erbe

 

Piazza delle Erbe (Market's square) is a square in Verona, northern Italy. It was once the town's forum during the time of the Roman Empire.

Piazza delle Erbe

 

The northern side of the square is occupied by the ancient town hall, the Torre dei Lamberti, the Casa dei Giudici ("Judges' Hall") and the frescoed Mazzanti Houses. The western side, the shortest one, features the Baroque Palazzo Maffei, decorated by statues of Greek gods. It is faced by a white marble column, on which is St. Mark's Lion, symbol of the Republic of Venice.

 

The north-western side occupies the site of the ancient Roman Capitol Hill, which looked towards the forum. Numerous of its buildings facing the square have maintained façade frescoes. On the southern side is the crenellated Casa dei Mercanti ("House of the Merchants", also known as Domus Mercatorum), now the seat of the Banca Popolare di Verona. Other buildings, the tall houses of the Ghetto, are reminiscent of medieval tower-houses.

 

The square's most ancient monument is the fountain (built in 1368 by Cansignorio della Scala), surmounted by a statue called Madonna Verona, which is however a Roman sculpture dating to 380 AD. Also historical is the capitello, dating to the 13th century, during which it was used for several ceremonies, including the oath of investment of the city's medieval podestà and pretors. Towards Via Cappello is another column, with a 14th-century

 

(Wikipedia)

 

Verona ist eine Großstadt in der Region Venetien im Nordosten Italiens. Sie hat 259.608 Einwohner (Stand 31. Dezember 2019) und ist Hauptstadt der Provinz Verona. Verona liegt an der Etsch etwa 59 m über dem Meeresspiegel am Austritt des Etschtals und der Brenner-Transitroute in die Po-Ebene. Seit 2000 gehört die Altstadt von Verona zum UNESCO-Welterbe.

 

Geschichte

 

Frühgeschichte

 

Die erste vorübergehende Besiedlung Veronas kann zwischen dem 11. und dem 8. Jahrhundert v. Chr. angesiedelt werden, wie Grabbeigaben und vereinzelte Keramikfunde belegen. Besiedelt wurde zunächst das linke Etschufer rund um den Colle San Pietro, an dem eine Furt auf die andere Flussseite führte. Erst mit dem 4. Jahrhundert v. Chr. war der Hügel und seine nähere Umgebung erneut Ort einer festen Siedlung. Funde, die den Rätern, Euganeern und Cenomanen zugeordnet werden können, unterstreichen, dass die Siedlung an der Grenze verschiedener Kulturbereiche lag. Bereits römische Quellen hatten sich in dieser Richtung geäußert und Verona mit den genannten Völkern und Stämmen in Verbindung gebracht. Im 2. Jahrhundert v. Chr. tauchten die ersten römischen Siedler auf. Der Bau der Via Postumia 148 v. Chr. förderte die weitere römische Ansiedlung. Mit der Verleihung des latinischen Bürgerrechts an die Bewohner der Gallia cisalpina 89 v. Chr. wurde Verona zum Oppidum ausgebaut.

 

Mit der Verleihung der römischen Bürgerrechte unter Gaius Iulius Caesar wurde Verona 49 v. Chr. zum Municipium, was als offizieller Gründungsakt der Stadt angesehen wird. Mit der Ernennung erfuhr Verona auch einen radikalen städtebaulichen Schnitt. Lag das Zentrum des Ortes bis dahin am linken Etuschfer, wurde Verona nun am rechten Ufer innerhalb der Etschschleife neu angelegt und an der zur Po-Ebene offenen Seite mit Stadtmauern geschützt. Zwischen Etsch und den römischen Stadtmauern entstand bereits unter Kaiser Augustus die römische Stadt Verona, die bald über ihre Mauern hinaus wuchs. So wurde das gut erhaltene Amphitheater – die Arena von Verona – ein knappes Jahrhundert später bereits vor den Stadtmauern angelegt.

 

Im Vierkaiserjahr 69 n. Chr. entging Verona im Gegensatz zu Cremona der Verwüstung im Kampf zwischen den Legionen des Vespasian und den Legionen des Vitellius. Danach setzte bis zur Reichskrise des 3. Jahrhunderts eine friedlichere Phase ein. Der Usurpator Decius schlug hier 249 den Kaiser Philippus Arabs, Konstantin 312 den Pompejanus (Schlacht von Verona)

 

Während der Völkerwanderung wurde Verona 402 von den Westgoten unter Alarich bedroht. Zwar konnte Stilicho in der Schlacht bei Verona noch einen Sieg über Alarich erringen. Aber bereits 452 plünderten die Hunnen unter Attila die Stadt. Nach dem Sieg des Ostgotenkönigs Theoderich über Odoaker bei Verona 489 wurde die Stadt neben Pavia und Ravenna zur Residenz des Ostgotenkönigs, der später im deutschen Hoch- und Spätmittelalter zur Sagenfigur Dietrich von Bern stilisiert wurde. Aus dem Sagenkreis um Dietrich von Bern stammt auch der alte Name der Stadt: „Dietrichsbern“. Weiterhin war in alter Zeit die Bezeichnung „Welsch-Bern“ gebräuchlich (zimbrisch: Bearn). Im 5. und 6. Jahrhundert war Verona nicht nur Residenz der Ostgoten, sondern auch für den Langobardenkönig Alboin, bis es an das fränkische Reich kam.

 

Mittelalter und frühe Neuzeit

 

In der Folge der verheerenden Ungarneinfälle ab 899 in Oberitalien wurde die stark befestigte Stadt nach 900 Sitz einer Münzstätte, die zum Ausgangspunkt des Veroneser Währungsraums wurde. Ab 952 gehörte Verona zur Markgrafschaft Verona und damit zum Herzogtum Bayern und bzw. (ab 976) zu Kärnten. Erst zu Beginn des 12. Jahrhunderts wurde Verona selbständig und besaß eigene Stadtrechte. 1117 wurde die Stadt von einem Erdbeben getroffen, bei dem unter anderem Teile der Arena einstürzten. Die verheerenden Ausmaße, der von späteren Chronisten dargestellten Schäden, wurden in neueren Studien allerdings in Zweifel gestellt. Bei einem Stadtbrand 1172, ausgelöst durch Streitigkeiten zwischen Ghibellinen und Guelfen, brannten große Teile der Stadt ab. 1184 fand das Konzil von Verona statt.

 

m Kampf gegen Kaiser Friedrich I. stand Verona mit an der Spitze des Lombardischen Städtebundes. Darauf wurde es durch die Parteikämpfe der Adelsparteien, der Montecchi (Ghibellinen) und der San Bonifazios (Guelfen), erschüttert. Zu Anfang des 13. Jahrhunderts bemächtigten sich die Ezzelini, die Beschützer der Montecchi, der Stadt. Nach dem Tod Ezzelinos III. da Romano (1259) wählten die Veroneser 1260 Mastino I. della Scala zum Podestà. Die Scaliger herrschten fortan 127 Jahre lang über Verona und erreichten unter der Signoria von Cangrande I. ihre höchste Blüte und unter seinem Nachfolger Mastino II. die größte territoriale Ausdehnung.

 

1387 fiel Verona nach der Vertreibung von Antonio della Scala durch Gian Galeazzo Visconti an die Mailänder Viscontis. Nach dem Tod Gian Galeazzos 1402 nutzten die Carrarersi aus Padua das entstandene Machtvakuum und nahmen die Stadt 1404 in ihren Besitz. Aber bereits 1405 beendete die Republik Venedig die Träume eines paduanischen Herrschaftsgebietes auf der Terraferma und Francesco II. da Carrara musste Verona an die Serenissima übergeben. Mit dem von einer Vertretung der Stadt am 24. Juni 1405 geleisteten Treueid gegenüber der Republik Venedig begann die venezianische Herrschaft. Letztere wurde 1509 nach der Niederlage Venedigs in der Schlacht von Agnadello unterbrochen und die Stadt von den kaiserlichen Truppen Maximilian I. besetzt. Nach dem Ende des Krieges der Liga von Cambrai fiel Verona 1517 wieder an Venedig.

 

1630 wurde die Stadt erneut von der Pest heimgesucht, nachdem die Bevölkerung von Verona bereits im 14. und 15. Jahrhundert von Pestepidemien dezimiert worden war. Der im März 1630 ausgebrochenen Epidemie fielen bis November des gleichen Jahres etwa 30.000 der 50.000 Einwohner zum Opfer. An dem vom Geschichtsschreiber Francesco Pona abgefassten Bericht über die Epidemie inspirierte sich später Alessandro Manzoni für sein Werk I Promessi Sposi.

 

Moderne

 

Nach dem von Napoleon Bonaparte bedingten Ende der Republik Venedig fiel Verona im Frieden von Campo Formio 1797 an Österreich; der vorherige, antifranzösische Aufstand der Veroneser zu Ostern wurde blutig niedergeschlagen. Unter österreichischer Herrschaft war die Stadt Teil des oberitalienischen Festungsvierecks (it.: Quadrilatero), das 1815 zur Verteidigung der habsburgerischen Besitztümer in Italien in den Orten Peschiera, Mantua, Legnago und Verona errichtet wurde. Der Ausbau zur Festungsstadt wurde zwischen 1833 und 1866 nach Plänen des Ingenieurgenerals Franz von Scholl vorgenommen. 1866 kam Verona als Ergebnis des Deutschen Kriegs nach dem Dritten Italienischen Unabhängigkeitskrieg zum Königreich Italien.

 

1882 wurde die Stadt an der Etsch von einer schweren Flutkatastrophe heimgesucht, bei der mehrere Gebäude vollkommen zerstört, fast 200 beschädigt und 3000 Menschen obdachlos wurden. Der nachfolgende Wiederaufbau prägt nach wie vor das Stadtbild entlang des Etschufers. 1913 wurde zum 100. Geburtstags von Giuseppe Verdi in der römischen Arena die Oper Aida aufgeführt. Aus dem überwältigenden Erfolg entstanden nach dem Ersten Weltkrieg die Opernfestspiele in der Arena von Verona.

 

Nachdem Verona bereits im Ersten Weltkrieg zum Ziel der österreichisch-ungarischen Luftstreitkräfte geworden war, wurde die Stadt im Zweiten Weltkrieg mehrmals von den Alliierten bombardiert. Im Herbst 1943 fand im Castelvecchio der erste Parteitag der neugegründeten Republikanischen Faschistischen Partei statt, die nach dem Sturz Mussolinis im Juli 1943 und dem Verbot der Faschistischen Partei im September des gleichen Jahres gegründet worden war. An gleicher Stelle fand im Januar 1944 der sogenannte Prozess von Verona statt. In dem Schauprozess wurden sieben ehemalige Mitglieder des Großen Faschistischen Rats, die in der Sitzung vom 24./25. Juli 1943 im Rom im Palazzo Venezia für die Absetzung von Benito Mussolinis als Oberbefehlshaber der italienischen Streitkräfte gestimmt hatten, wegen Hochverrats zum Tode verurteilt, darunter Galeazzo Ciano, der Schwiegersohn Mussolinis. Am 26. April 1945 wurde Verona im Rahmen der alliierten Frühjahrsoffensive befreit. Zuvor hatten die abziehenden deutschen Truppen noch sämtliche zehn Etschbrücken der Stadt, darunter die Römerbrücke Ponte Pietra sowie die Scaligerbrücke, gesprengt.

 

Heute ist die Stadt durch die Nähe zum Gardasee und zu Venedig ein beliebtes Ausflugsziel für Touristen und wirtschaftliches Zentrum der Region Venetien. 2000 wurde die Altstadt von Verona in die Liste des UNESCO-Welterbes aufgenommen.

 

Piazza delle Erbe

 

Historische Fassaden aus verschiedenen Jahrhunderten umgeben die Piazza delle Erbe, Marktplatz und Versammlungsort der mittelalterlichen Stadtrepublik. An der dem Durchgang zur Piazza dei Signori gegenüberliegenden Schmalseite des Platzes stehen der wuchtige, an römische Barockbauten erinnernde Palazzo Maffei von 1668 und der mittelalterliche Uhrturm Torre del Gardello aus dem 14. Jahrhundert. Davor ragt eine Marmorsäule mit dem geflügelten Markuslöwen empor. Die mittelalterlichen Bürgerhäuser der Casa dei Mazzanti mit ihren Fresken begrenzen den Platz nach Osten. Im Zentrum thront über einem antiken Brunnenbecken die schon bald nach der Errichtung im 14. Jahrhundert zum Symbol der Stadt gekürte „Madonna Verona“.

 

Von der Piazza delle Erbe sind es nur wenige Schritte zum Haus der Julia (Casa di Giulietta) mit dem berühmtesten Balkon der Literaturgeschichte. Für die Figuren in dem Schauspiel Romeo und Julia von Shakespeare gab es keine historischen Vorbilder und auch keinen Balkon der Julia. Der Balkon wurde in den 1930er Jahren nachträglich angebaut und war zuvor Teil eines Sarkophags. Was heute als Haus der Julia zur Besichtigung angeboten wird, ist immerhin der Rest eines großen palastartigen Baues, der im 14. Jahrhundert im Besitz der Familie dal Capello war, die mit den Capulets identifiziert wurde (Montagues und Capulets). Vor dem Umbau war das Haus allerdings als Gasthof und teils als Stall genutzt worden.

 

(Wikipedia)

Brighton

 

Lomo LC-A, expired slide film and cross processed in C-41.