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Student leader John Wilson (right) and Rev. Addison Cash (left) surrender in Princess Anne, Maryland February 25, 1964 after police sought their arrest for “malicious destruction of property” after a civil rights demonstration in the town.
Sixty-two were injured when police and fire fighters cleared the streets using police dogs and fire hoses and Maryland was again in the national spotlight for its racial discrimination.
The Maryland chapter of the Congress of Racial Equality (CORE) had been sponsoring demonstrations attempting to desegregate the Eastern Shore and began picketing in Annapolis March 3rd in response to Princess Anne.
A special session of the state legislature had been called to consider both a tax increase and an increase in teach salaries. The crisis forces Gov. Milliard Tawes to put the full weight of his office behind a bill banning discrimination in businesses that accommodated the public across the state.
At one point the CORE demonstrations were so disruptive to the state legislature that the NAACP asked the group to suspend demonstration and go home. CORE refused.
A weak bill had passed the legislature the previous year that permitted counties to “opt out” and the entire Eastern Shore did so. The special session ultimately passed a bill that covered the whole state, but exempted establishments that sold alcoholic beverages.
Segregationists petitioned the new law to a referendum in November where it passed 53%-47%.
The federal 1964 Civil Rights Act predated Maryland’s law when it was signed July 2nd by President Lyndon Johnson.
For more information and related images, see flic.kr/s/aHsk4UiXYi
The photographer is unknown. The image is an auction find.
Built between 1941 and 1944 in the Brooklyn Navy Yard, the USS Missouri (BB-63) was launched on January 29, 1944 and commissioned on June 11, 1944 to serve with the United States Navy in World War II. Active in the Pacific Theater of the war, the USS Missouri fought in the battle of Iwo Jima and Okinawa, and took part in the shelling of the Japanese home islands. On April 11, 1945, the ship was attacked by a kamikaze pilot and was struck on the side below the main deck, with the ship suffering relatively minor damage, which is still visible today. On September 2, 1945, while docked in Tokyo Bay, a delegation representing the Empire of Japan surrendered to allied forces on the deck of the USS Missouri, bringing World War II to an official end, with documents being signed by Japanese and Allied leaders. The ship subsequently returned to New York after stops in Guam and Hawaii, and underwent an overhaul in the New York Naval Shipyard. The ship then headed on a training cruise to Cuba before heading back to New York and then east across the Atlantic Ocean, making a stop at Gibraltar before arriving at Istanbul on April 5, 1946. The ship then headed to Greece in order to assist in quelling pro-Communist groups in an attempt to contain Soviet influence in postwar Europe, demonstrating the commitment of the United States to European countries following the war. The ship transported President Harry Truman and his family between Rio de Janeiro, Brazil and the United States in September 1947 following the signing of the Rio treaty, broadening the Monroe doctrine and establishing solidarity between nations in the Americas. Following the war, most battleships in the US Navy were decommissioned, but the USS Missouri was kept active due to sentimental connections between it and President Truman, as well as the ship’s status as a relatively new vessel. However, the ship hit a shoal near Old Point Comfort, Virginia on January 17, 1950, leading to it becoming stranded and needing to be refloated and repaired. Upon the breakout of the Korean War, the USS Missouri was dispatched to the Korean Peninsula on August 19, 1950, in order to support UN forces on the peninsula. The ship provided artillery support to South Korean and United States forces attempting to push back the invasion of North Korean and Chinese forces, and was active until the end of hostilities in 1953. The ship returned to the Norfolk Naval Shipyard after the war, being overhauled before going on a patrol mission in June 1954, returning in August 1954. After this mission, the ship was sent to the Puget Sound Naval Shipyard in September 1954, where it was decommissioned on February 26, 1955, ending its first period of active service. The ship became a popular tourist attraction during its period of deactivation, remaining in use as a museum ship until 1984, with the surrender deck having bronze plaques and an exhibit set up to commemorate the ceremony that ended World War II, which occurred on the deck. In 1971, the ship was listed on the National Register of Historic Places in recognition of its remarkable state of preservation, and the very historically notable events that took place on and around the ship. In the summer of 1984, as part of an initiative to expand the number of active ships in the United States Navy under President Ronald Reagan, the ship was reactivated and sent to the Long Beach Naval Shipyard for refurbishment and modernization, with many original features and weapons removed and replaced with far more advanced modern weaponry and systems. On May 10, 1986, the ship was formally recommissioned in San Francisco. The ship participated in patrols and naval exercises throughout the period between 1986 and 1991. During the Gulf War in January and February of 1991, the ship was utilized to assist forces pushing the Iraqi army out of Kuwait, with the ship’s missile and artillery systems being utilized against targets on land. After the end of the Gulf War and due to the collapse of the Soviet Union in 1991, the ship was decommissioned once again on March 31, 1992, at Long Beach, California. The ship was returned to the Puget Sound Naval Shipyard, as part of the reserve fleet, where it remained until January 12, 1995, when it was removed from the Naval Vessel Register. The ship was not operated as a museum ship at this time, and was towed from the Puget Sound Naval Shipyard on May 23, 1998, before arriving at Ford Island in Pearl Harbor on June 22, 1998, opening to the public as a museum ship on January 29, 1999. The location of the ship in Pearl Harbor was chosen due to the significance of the harbor and the ship to the beginning and end of the direct involvement of the United States in World War II. The ship underwent an overhaul in 2009-10, which has ensured its continued preservation. The ship today serves as a museum to the operating history of the former military vessel, as well as the very historically significant ceremony on September 2, 1945, which ended World War II.
One of a series of five WW2 photos found in the album of a family member who served in Singapore during the second world war.
A visit to Lacock Abbey, Fox Talbot Museum and Village in Wiltshire.
Lacock Abbey in the village of Lacock, Wiltshire, England, was founded in the early 13th century by Ela, Countess of Salisbury, as a nunnery of the Augustinian order. The abbey remained a nunnery until the suppression of Roman Catholic institutions in England in the 16th century; it was then sold to Sir William Sharington who converted the convent into a residence where he and his family lived. It was fortified and remained loyal to the crown during the English Civil War, but surrendered to the Parliamentary forces once Devizes had fallen in 1645.
The house was built over the old cloisters and its main rooms are on the first floor. It is a stone house with stone slated roofs, twisted chimney stacks and mullioned windows. Throughout the life of the building, many architectural alterations, additions, and renovations have occurred so that the house is a mish-mash of different periods and styles. The Tudor stable courtyard to the north of the house has retained many of its original features including the brewhouse and bakehouse.
The house later passed into the hands of the Talbot family, and during the 19th century was the residence of William Henry Fox Talbot. In 1835 he made what may be the earliest surviving photographic camera negative, an image of one of the windows.
In 1944 artist Matilda Theresa Talbot gave the house and the surrounding village of Lacock to the National Trust. The abbey houses the Fox Talbot Museum, devoted to the pioneering work of William Talbot in the field of photography. The Trust markets the abbey and village together as "Lacock Abbey, Fox Talbot Museum & Village". The abbey is a Grade I listed building, having been so designated on 20 December 1960.
William Sharrington's Tudor Courtyard - C16th
There used to be a tearoom down there but it's closed.
But you could see the Tudor brewhouse and bakehouse.
Grade I Listed Building
Description
LACOCK LACOCK ABBEY
ST 9168
4/118 Lacock Abbey
with Stable yard
20.12.60
GV I
Country house, mid C16 remodelling and extension of cloister court
of C13 to C15 Augustinian nunnery founded 1229 and sold to Sir W.
Sharington at the Dissolution 1540. Some alterations of c1700 and
c1740 for Sir John Talbot and John Ivory Talbot and entrance front
rebuilt as Gothick great hall 1754-5 by Sanderson Miller for J.I.
Talbot. South front alterations in Tudor style 1828-30 for W.H.
Fox-Talbot and c1900-10 restoration of medieval parts by H.
Brakspear for C.H. Talbot. Ashlar and rubble stone with stone
slate roofs generally and numerous ornate C16 twisted stacks.
Mostly 2 storeys, the major part of the house on first floor only
over unaltered medieval basement. The medieval basement comprises
three sides of a lierne-vaulted C15 cloister with two C14 bays at
south-west angle. Largely C14 spaces off. To east fine series of
vaulted rooms, sacristy, chapter house and warming house, intact
apart from openings on east side that are of c1900. This part was
under the Dormitory. West side, under great hall, but originally
under Abbess' lodging has 2 rooms and main entrance passage. North
side is undercroft to refectory. In upper part of house medieval
roofs survive, concealed, to north side refectory, C15 with arch
braced collar trusses and 3 tiers of windbracing, and to south side
dormitory, C14 with 3 tiers of cusped windbracing. Exterior: west
front has 1754-5 ashlar fronted hall-to centre, full-height, with
slate half-hipped valley roof. Octagonal angle turrets with ogee
cupolas, delicate pierced parapet and 2 large ogee-headed windows
flanking central door reached by two-arm balustraded outside stair.
An important landmark of the C18 Gothic revival. To left, former
medieval kitchen refronted in C18. Balustraded parapet, buttresses
and two 2-light pointed windows similar to those on Bath House at
Corsham Court by Capability Brown (q.v. Corsham C.P.). To right a
plain parapetted range with two 15-pane C18 sashes and heavy
stepped corner buttress. South front is similarly severe, being
essentially the inside north wall of the Abbey church with
balustrading and south-east tower added by Sharington and 3 oriels
of varied sizes added 1828-30. The north-west angle of the church
is marked by a heavily buttressed projection, west of this, in
plain walling, another 15-pane sash. Sharington's tower possibly
designed by John Chapman, octagonal, 3-storey, divided by string
courses, has top belvedere, balustrade and stair turret. Finely
detailed 2-light mullion windows. East front is the most medieval
in outline, but C13 style Gothic ground floor windows are of 1900-
10. Adjoining tower, 2-storey range parallel to main range, the
ground floor the medieval east end of chapter house and sacristy,
the parapetted upper floor with 6 stone cross windows added in mid
C16. To right, the main range has buttressed ground floor and,
above, four C18 Gothic 4-light windows, 2 each side of fine C16
outside stack. Battlemented parapet. South end cross-wing appears
largely C16 with coped gables, heraldic finials and dentil eaves
cornice. Mullion-and-transom windows of flush chamfered type with
unusual roundel motif on intersections. Medieval stonework to
ground floor. Two-gabled C16 north extension with first floor C18
sashes and attic mullion windows. North of house is stable court,
mid C16 on east and north sides, an exceptionally complete Tudor
service court, notable for the large timbered gabled dormers, some
with deep eaves on scroll brackets and higher cross-gabled clock-
tower at west end of north range. Mullion windows, dripcourse and
Tudor-arched doorways but 4 doorways in the Renaissance style of
some of the interior C16 work. C19 low coach-houses and 2 early to
mid C18 lodges form a screen across west side linking to an
apparently late C17 addition to north of former kitchen, 2-storey,
5-window with sashes replacing cross-windows above and chamfered
recessed mullion windows below. Fine timber dentil cornice. South
end wall bolection moulded doorcase. From here projects a mid C18
Gothick ogee-headed carriage-arch with screen wall each side.
Interiors: outstanding mid C18 Gothick work in great hall with
exuberant terracotta figures by V.A. Sederbach in canopied niches
and shallow tunnel vault with armorial decoration. c1740 south-
west room in style of William Kent. South Gallery remodelled 1828-
30. Panelled parlour beyond of c1700-20. South-east tower has
vaulted octagonal strong room with pendants to vaults and
magnificent stone table attributed to J. Chapman. Similar but
damaged table in belvedere. Stone gallery in east range is C16
with Renaissance style fireplace and doorcase, and Brown Gallery in
north range has fine C16 windows to courtyard. Corbels of
refectory roof visible. In service court a complete surviving
brewery at west end of north range. W.H. Fox-Talbot 1800-77,
pioneer of photography spent his life here and made his first
photographic experiments here.
(National Trust, Lacock Abbey, 1984; N. Pevsner, Wiltshire, 1975,
284-9; Country Life, 3, 10 and 17 March 1923; J. Summerson,
Architecture in Britain 1530 to 1830, 1970, 42-5, 399-400)
Listing NGR: ST9194768469
Japanese officers surrendered their swords as a public humiliation. These two swords (on mount) were surrendered by the Japanese generals commanding the Air Army in Malaya and the Air Division in Burma to New Zealander Air Chief Marshall Sir Keith Park, Commander-in-Chief Allied Air Forces South East Asia, at the formal surrender ceremony in Singapore on 12 September 1945.
[museum label]
Bit further along and we passed Surrender Smelting Mill – the last of our mine related sights for the day.
Day 8 on the Coast to Coast blogged about at ramblingman.org.uk/coasttocoast/coast_to_coast_day_8
it's been a while since i posted any new photos. between working 40+ (at times) hours at work and going to school full time, i haven't been able to do much photography for myself.
this photo was a result from a shoot that i did with a good friend a few days ago. i felt like it illustrated the word "surrender" pretty well. i may post some more of photos from this shoot up sometime soon.
i hope you are well.
Lumix GF1 Pancake 20mm f/1.7
Looking every inch the loyal assistant, Molly finally surrendered after licking, sniffing and generally sticking her nose into every element of this very rudimentary photo set-up. After repeated use of the famous "ah-ah-ah-ah-ah" dog command, she sighed loudly and flopped in a heap, utterly defeated. She's such a drama queen.
Plaster
In 1346–7, the French port of Calais was besieged by King Edward III of England. He agreed to spare the townspeople if six of their leaders surrendered to him with ropes around their necks, ready to be executed. Eustache de Saint-Pierre and five fellow citizens volunteered for the task. They were ultimately spared.
In 1885, Rodin was asked to create a monument to Eustache de Saint-Pierre. Rather than follow the custom of celebrating a single heroic figure, he decided to depict the collective sacrifice of the group.
The burghers were first modelled unclothed. Fabric tunics were dipped in plaster and draped over the nude sculptures. This allowed the withered outline of the bodies to be seen clearly beneath the garments. Rodin exaggerated the size of their bare, bruised feet, emphasising the men’s vulnerability and hopelessness as they walked towards their death.
Initially Rodin planned to install the sculpture high up, to be viewed against the sky. He then changed his mind and took the burghers off their pedestal. By placing them on the same level as the viewer, showing their common humanity rather than elevating them out of reach, he revolutionised monumental sculpture.
[Tate Modern]
Taken in the exhibition
The Making of Rodin
(May – November 2021)
Working at the turn of the 20th century, Auguste Rodin broke the rules of classical sculpture to create an image of the human body that mirrored the ruptures, complexities and uncertainties of the modern age.
This major exhibition is the first to focus on the importance of plaster in his work. Although Rodin is best known for his bronze and marble sculptures, he himself worked as a modeller, who captured movement, light and volume in pliable materials such as clay and plaster.
This presentation evokes the atmosphere of the artist’s studio. Plasters casts in all sizes show how he continually experimented with fragmentation, repetition and joining existing parts in unconventional ways. Some of his best-known works were influenced by this process, including The Burghers of Calais, which is represented here by the newly restored original plaster.
With the process of making at its heart, the exhibition also considers the complex dynamics of the workshop, as well as between the artist and his models and collaborators, including fellow sculptor Camille Claudel, the Japanese actress Ohta Hisa, and the German aristocrat Helene Von Nostitz.
[Tate Modern]
Unconditional Surrender is a series of sculptures by Seward Johnson (San Diego, Sarasota and Hamilton) and this couple were on a mission to pose next to them.
There was a possible copyright infringement to Alfred Eisenstaedt's photograph V–J day in Times Square en.wikipedia.org/wiki/File:Legendary_kiss_V%E2%80%93J_day..., published in Life in 1945 which is still protected by copyright, but Johnson successfully argued that he had used another photograph of the kissing couple taken by Victor Jorgensen which is in the public domain en.wikipedia.org/wiki/File:Kissing_the_War_Goodbye.jpg.
ESPAÑOL:
Gladiadores en las jornadas de recreación romana "Complutum Renacida 2022".
ENGLISH:
Gladiators in Complutum Reborn Roman fair.
Más información/More info: asphblog.blogspot.com/2022/05/complutum-reborn.html
That was the feeling I had when I tracked this bird to traverse across the sun. In spirituality, a consequence of surrender to the God is one's merger with Him. For me, this image signifies the beginning of that stage.
Slowly the sinewy bands were wrapped, and even more slowly they were tightened, pulling them both together in an ever-tighter and endless embrace... Loop after loop was cast while they kissed, each one making escape even less likely. But escape was the furthest thing from their minds.
Their bindings were but as blankets wrapped 'round their surrender to each other...
The tree, center frame, along the winding road marks the spot where Generals Grant and Pemberton met to discuss the terms of the surrender of the city of Vicksburg. In the background the white column of the Louisiana Monument. Vicksburg NMP, MS.
This Fort is divided into 3 zones. The Red Zone shows how this part of the world was involved in World War II. The Yellow Zone exhibits the life of a soldier at the fort. The Blue Zone, which is a tunnel complex under Mount Siloso, leads to the Gun Tower. At the Red Zone, there are exhibits that illustrate the Fall of Singapore to the Japanese during World War II. It also has wax dioramas representing the surrender of the British, and then the surrender of the Japanese. Here is the entrance to the 'Surrender Chambers', ths the room housing these exhibits is now called. (Oct. 2009)