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The community of Kinglake was devasted during the 2009 bushfires with at least 42 people confirmed dead in Kinglake and Kinglake West, and more than 500 homes destroyed.
Guess I'll catch some Zzzz's while nothin's going on... G'night! *Yawn*
Taken at Aftermath II - Metropolis - shops, clubs and RP *unsafe sims*, Unabated (43, 37, 2043)
Geertgen tot Sint Jans
Around 1460/1465, after 1490, active in Haarlem
Fate of the earthly remains of John the Baptist, after 1484
In the background the separate burial of head and body after the beheading of John the Baptist under Herod; in the foreground the opening of the tomb and burning of the bones on the orders of the emperor Julian the Apostate in the year 362, in the middle distance the retrieval of the rescued remains in the 13th century. This scene is, however, relocated into the late 15th century, the members of the Haarlem St. John Convention having themselves represented in a group portrait - the earliest in the history of painting.
Geertgen tot Sint Jans
Alrededor de 1460/1465, después de 1490, activo en Haarlem
El destino de los restos terrenales de Juan el Bautista, despues de 1484
En el fondo el entierro por separado de la cabeza y el cuerpo después de la decapitación de Juan el Bautista bajo Herodes; en el primer plano la apertura de la tumba y la quema de los huesos por orden del emperador Juliano el Apóstata en el año 362; en el centro, la recuperación de los restos salvados en el siglo 13. Esta escena, sin embargo, se transfiere en los finales del siglo 15, los miembros del convento de Haarlem de los Caballeros de San Juan se haciendo representar en un retrato de grupo - el primero en la historia de la pintura.
Geertgen tot Sint Jans
Um 1460/1465, nach 1490, tätig in Haarlem
Schicksal der irdischen Überreste Johannes des Täufers, nach 1484
Im Hintergrund die getrennte Bestattung von Haupt und Leichnam nach der Enthauptung des Täufers unter Herodes; im Vordergrund die Öffnung des Grabes und Verbrennung der Gebeine auf Befehl Kaiser Julian Apostatas im Jahr 362; im Mittelgrund die Wiederauffindung der geretteten Überreste im 13. Jahrhundert. Diese Szene ist jedoch ins späte 15. Jahrhundert verlegt, wobei sich die Mitglieder des Haarlemer Johanniterkonvents in einem Gruppenporträt - dem frühesten der Malereigeschichte - darstellen ließen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
A truck loaded with chickens overturned near my house yesterday. You can tell how dry it has been here lately by the state of the grass.
In unrelated news I am having chicken schnitzel for lunch.
The remains of the CC&T Museum. The roof is completely gone, some walls have fallen in, and eight buses inside were a total loss, plus five more outside.
If you would like to help, please visit: www.commonwealthcoachandtrolley.org/
A magic moment for my granddaughter and her Mom as they check-out the double rainbow over Lake Charlevoix, MI USA.
Rafah Exodus
7th January 2009
Shortly before midnight last night missiles began raining down on Rafah in one of the heaviest Israeli air strikes since the current atrocities began. Continuous sorties pounded the southern Gaza city for over 12 hours. Many homes were destroyed or severely damaged, especially in the neighbourhoods along the border with Egypt.
Residents reported mass leaflet drops in these neighbourhoods by Israeli 'planes this afternoon. The papers ordered them to leave their homes in the areas stretching from the borderline all the way back to Sea Street, the main street running through the heart of Rafah, parallel to the border. This area is hundreds of metres deep and the site of thousands of homes. Most of these areas are refugee camps, where residents are being made refugees yet again, some for the third or fourth time following the mass home demolitions of 2003 and 2004 by Israeli military D-9 bulldozers.
A three hour respite was announced in the local media and residents saw this as the last possible opportunity to salvage some of their belongings despite F-16 fighter jets remaining in the skies over Rafah during this time. There were scenes of people picking through the rubble, children carrying bundles, donkey carts piled with bedding and trucks loaded with furniture.
Where will these families go? They are afraid to seek sanctuary in local UNRWA schools following yesterday's massacres in Jabaliya. They are being temporarily absorbed by the rest of Rafah's population – friends, neighbours, relatives. We have a friend in Yibna, directly on the border, who refuses to leave his home. We spoke to one woman in Al Barazil who has a family of 12 and simply doesn't know where to go and another woman in Block J who is literally in the street tonight. Her father is in his nineties.
Rafah Exodus
7th January 2009
Shortly before midnight last night missiles began raining down on Rafah in one of the heaviest Israeli air strikes since the current atrocities began. Continuous sorties pounded the southern Gaza city for over 12 hours. Many homes were destroyed or severely damaged, especially in the neighbourhoods along the border with Egypt.
Residents reported mass leaflet drops in these neighbourhoods by Israeli 'planes this afternoon. The papers ordered them to leave their homes in the areas stretching from the borderline all the way back to Sea Street, the main street running through the heart of Rafah, parallel to the border. This area is hundreds of metres deep and the site of thousands of homes. Most of these areas are refugee camps, where residents are being made refugees yet again, some for the third or fourth time following the mass home demolitions of 2003 and 2004 by Israeli military D-9 bulldozers.
A three hour respite was announced in the local media and residents saw this as the last possible opportunity to salvage some of their belongings despite F-16 fighter jets remaining in the skies over Rafah during this time. There were scenes of people picking through the rubble, children carrying bundles, donkey carts piled with bedding and trucks loaded with furniture.
Where will these families go? They are afraid to seek sanctuary in local UNRWA schools following yesterday's massacres in Jabaliya. They are being temporarily absorbed by the rest of Rafah's population – friends, neighbours, relatives. We have a friend in Yibna, directly on the border, who refuses to leave his home. We spoke to one woman in Al Barazil who has a family of 12 and simply doesn't know where to go and another woman in Block J who is literally in the street tonight. Her father is in his nineties.
Rafah Exodus
7th January 2009
Shortly before midnight last night missiles began raining down on Rafah in one of the heaviest Israeli air strikes since the current atrocities began. Continuous sorties pounded the southern Gaza city for over 12 hours. Many homes were destroyed or severely damaged, especially in the neighbourhoods along the border with Egypt.
Residents reported mass leaflet drops in these neighbourhoods by Israeli 'planes this afternoon. The papers ordered them to leave their homes in the areas stretching from the borderline all the way back to Sea Street, the main street running through the heart of Rafah, parallel to the border. This area is hundreds of metres deep and the site of thousands of homes. Most of these areas are refugee camps, where residents are being made refugees yet again, some for the third or fourth time following the mass home demolitions of 2003 and 2004 by Israeli military D-9 bulldozers.
A three hour respite was announced in the local media and residents saw this as the last possible opportunity to salvage some of their belongings despite F-16 fighter jets remaining in the skies over Rafah during this time. There were scenes of people picking through the rubble, children carrying bundles, donkey carts piled with bedding and trucks loaded with furniture.
Where will these families go? They are afraid to seek sanctuary in local UNRWA schools following yesterday's massacres in Jabaliya. They are being temporarily absorbed by the rest of Rafah's population – friends, neighbours, relatives. We have a friend in Yibna, directly on the border, who refuses to leave his home. We spoke to one woman in Al Barazil who has a family of 12 and simply doesn't know where to go and another woman in Block J who is literally in the street tonight. Her father is in his nineties.
And one last Lord of the Rings shot from our Pelennor Fields tour!
The largest and most important battle in the War of the Ring, the Battle of Pelennor Fields was also one of the largest filming endeavours in the movie trilogy. Due to the vast number of participants and the scale of the battle, some articles were destined to be left behind. Years after the filming and release of the trilogy, the property owner (it's a sheep farm, after all) discovered several prop spears. I kept my eyes peeled for assorted weapons and the like, but the closest I could get to photographing the aftermath of the battle was to use one of the props from the tour company.
One of my favourite watering holes - The Ship Inn, Highley, Shropshire after a devastating fire broke out at 05.00 Thursday 21st July.
The fire crews attended very quickly from various stations including Wyre Forest, Cleobury Mortimer and Bridgnorth.
Post-riot Los Angeles, CA. May 1992
Archival Ink Print from never printed vintage negative.
Exhibited in Rayko's Plastic Camera Show 2015.
last images of the aftermath of the monsoon, brought about by converging two low pressure weather disturbance north north west of the philippines. these images of a mcdonalds resto located near marikina river whose car park was nearly submerged by rising river water. glad to inform you that the weather since yesterday has vastly improved and today we finally get a glimpse of the sun, however, in areas that were heavily affected by the flood, are now declared calamity zones and doing massive cleanups.
Logs and chain lying on the site of the replacement work on Rosendale Road railway bridge "No.2" (West Dulwich, London).
The replacement bridge replaced a previous one (1950s-1960s) in January 1914. This in turn had replaced the even older original one (1866).
The logs here were sawn from one of the horse chestnut trees that line Rosendale Road, as it was close to the bridge and obstructing the work. The tree wasn't removed completely and in any case these trees are regularly pollarded anyway. But it did reduce this particular tree to a rather stumpy remnant.
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ROSENDALE ROAD RAILWAY BRIDGES
There were three railway bridges over Rosendale Road, two of which still exist. They don't appear to have names, so I have numbered them arbitrarily.
"No.1", the most northern one is out of view here (see accompanying photos).
"No.2" is out of sight to the L of this picture (but see accompanying photos). It was built in 1866 for the London Brighton and South Coast Railway. The original structure was very ornate structure in cast iron (see the photo in Edwin Course's article, below). The original bridge was designed by Charles Barry Junior. The large sums paid by the then railway company (London, Brighton and South Coast Railway) for construction of its line across the Dulwich Estate, with other bridges matching this one, enabled the Estate to build the present main building of Dulwich College (1857-1866).
"No.3" was demolished some time after 1966. It was very ornate in cast iron, and was immediately adjacent to "No.2". It ran L-R almost above where I took this shot. An iron plaque on the bridge bore the date 1891. It carried coal trains of the former London and North Western Railway into Knight's Hill Sidings and its former coal depot.
--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...
--- Course, Edwin, 1960. The foreign goods depots of South London. Railway Magazine [vol?] (for November 1960), pp. 761-766. www.semgonline.com/RlyMag/ForeignDepotsofSthLondon.pdf
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RAILWAY BRIDGE REPLACEMENT WORK IN DULWICH & HERNE HILL, JANUARY-FEBRUARY 2014 (33/39)
This bridge, and two further sister bridges carrying the same line over neighbouring streets, had been in poor condition for some time, and after a period of preparation work, they were completely replaced in January 2014. Two neighbouring streets, one of them a busy main road, were closed to traffic concurrently for about two weeks, and another was closed for work on the third bridge shortly afterwards. They were also closed to pedestrians at weekends. To minimise disruption to train services, the main replacement work was carried out night and day in continuous shifts over two weekends.
The main replacement work took place in the night in the early hours of January 19th 2014. Huge hydraulic cranes had to come from Scotland (James Jack, Ainscough) to do this engineering work because there were no cranes available nearer to London capable of handling the old and new bridges.
--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...
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