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Title: Sanitary inquiry : - England. Local reports on the sanitary condition of the labouring population of England, in consequence of an inquiry directed to be made by the Poor Law Commissioners. Presented to both Houses of Parliament, by command of Her Majesty, July, 1842 [electronic resource]
Creator: Great Britain. Poor Law Commissioners
Creator: Great Britain. Parliament
Creator: London School of Hygiene and Tropical Medicine
Creator: London School of Hygiene and Tropical Medicine
Publisher: London : Printed by W. Clowes and Sons, Stamford Street, for Her Majesty's Stationery Office
Sponsor: Jisc and Wellcome Library
Contributor: London School of Hygiene & Tropical Medicine Library & Archives Service
Date: 1842
Language: eng
Description: Imprint from colophon
Mss on t.p. may be another library's shelfmark; Bookseller's ticket pasted over imprint : P.S. King, Parliamentary & general bookseller, King St., Westminster; LSHTM Library accession stamp date - 5 Aug. 1964
Lithography by Standidge & Co
26 papers. Titles taken from papers (which differ from the titles on the Contents list) 1. On the sanitary state of the counties of Devon and Cornwall by W.J. Gilbert.-- 2. On the sanitary state of Truro by Dr. Charles Barham.-- 3. On the dwellings and general economy of the labouring classes in Kent and Sussex by Edward Carleton Tufnell.-- 4. On the sanitary state of the town of Brighton, and on the causes and prevention of fever by Dr. G.S. Jenks.-- 5. On the cottage accommodation in the Uckfield Union by H.H. Newnham.-- 6. On the sanitary state of the counties of Berks, Bucks, and Oxford by W.H. Parker.-- 7. On the dwellings of the labouring clases in the counties of Gloucester, Hereford, Monmouth, Salop, Worcester, Brecknock, and Radnor by Sir Edmund Head.-- 8. On cottage accommodation in Bedfordshire, Northampton, and Stafford by Robert Weale.-- 9. On the dwellings of the labouring clases in the counties of Norfolk and Suffolk by Edward Twisleton.-- 10. On the causes of disease affecting the labouring classes in the counties of Leicester, Lincoln, Nottingham, and Rutland by Edward Senior.-- 11. On the sanitary condition of the town of Derby by William Baker.-- [12.] 11.(sic) Report on the sanitary condition of the parish of Breadsall in the Shardlow Union by J.P. Kennedy.-- [13. ]12. (sic) Report on the state of the public health in the Borough of Birmingham by a Committee of Physicians and Surgeons.--
14. On the sanitary condition of the town of Wolverhampton by J. Dehane.-- 15. On the sanitary state of the town of Stafford by Dr. Edward Knight.-- 16. Report on the habitations of the lower orders in Salop, Cheshire, and North Wales by William Day.-- 17. On the state of the labouring clases in the manufacturing districts of Lancashire, Cheshire, Derbyshire, and Staffordshire by Charles Mott.-- 18. On the sanitary inquiry in his late district in Lancashire, &c. by Alfred Power.-- 19. On the sanitary state of Liverpool by Dr. W.H. Duncan.-- 20. On the prevalence of diseases arising from contagion, malaria, and certain other physical causes amongst the labouring classes in Manchester by Richard Baron Howard.-- 21. An improved description of cottage tenements for the labouring classes [Egerton] by Edmund Ashworth.-- 22. Sanitary condition of the town of Lancaster by Dr. Edward de Vitré.-- 23. On the state and condition of the town of Leeds in the West Riding of the County of York by Robert Baker.-- 24. First report. On the state of the dwellings of the labouring classes in Cumberland, Durham, Northumberland, and Westmoreland by Sir John Walsham.-- 25. Second report. On the state of the dwellings of the labouring classes in Cumberland, Durham, Northumberland, and Westmoreland by Sir John Walsham.-- 26. Third report. On the state of the dwellings of the labouring classes in Cumberland, Durham, Northumberland, and Westmoreland by Sir John Walsham
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in 7 days....
by David Dellafiora.
Toronto, Utopic Furnace Press, 8 july 1992. 1oo copies, of which 26 were included in grOnk Mayday Mailout, edited by jwcurry & Nicky Drumbolis (Letters & Room 3o2 Books, 1994).
12 pp/1o printed, photocopy. 5-1/2 x 4-1/4, stapled wrappers.
a sort of an artistbook, dedicated to Wharton Hood.
5.oo
In the early hours of the morning, Ravi, 13, (left) is having a cup of Indian chai tea with biscuits next to his sister Poonam, 11, (right) while sitting in the kitchen area of their family's newly built home in Oriya Basti, one of the water-affected colonies in Bhopal, Madhya Pradesh, India, near the abandoned Union Carbide (now DOW Chemical) industrial complex.
- 'Official Website of Poonam'
- 'Full PhotoShelter Gallery 2009-14'
> The full-time education of Poonam (12 in 2014) and her sister Jyoti, 13, is being solely sponsored by my long-term campaign on 'GoFundMe', and by the sale of 'Prints for Education'.
> If you feel passionate about Poonam's unique story of change through photography and social media, I kindly invite you to consider contributing directly to its continuation. Thank you very much for reading on.
Sometimes a picture has the power to turn fate around:
In August 2009, I began visiting urban colonies in the city of Bhopal, central India, to document the severe illnesses faced by children as a result of contaminated water. As a consequence to the 1984 tragedy, around 100,000 people are now chronically ill from the effects of the gas leak, while tainted drinking water has affected thousands more.
Toxic waste – buried around the former factory – has penetrated the underground aquifers, harming the health of nearby dwellers. As a grim result, children are increasingly faced by severe disorders. Living with his family in a rundown shack made of bare soil and cow dung, one such victim is Sachin, now 20, and suffering from leg paralysis.
On a fateful day, during one of my regular visits to his home, heavy rain began to fall. His youngest sister, Poonam, then 6, was revelling in the rain to curb the scorching summer heat.
I started taking pictures immediately.
A frame from that propitious moment was later assigned numerous recognitions, including a 5000 USD grant from ‘The Photographers Giving Back Awards’ - in Sweden - to implement a long-term plan for the wellbeing of Poonam, 11 in 2014, and designed to assist her family overcome extreme poverty.
Born ‘unlucky’, with a tiny sixth toe on each foot, her father superstitiously believed she brought misfortune upon their lives.
Today, Poonam dreams of becoming a teacher, like the ones practicing in her small private school, a short walk away from the family’s newly-built home – made of solid bricks. Along with her sister Jyoti, 12, she regularly attends lessons. (Year 5 Elementary in 2014-2015)
I have witnessed the passion that is moving this family along, and how a single possibility for change was able to spark in them such a vibrant enthusiasm for life.
Poonam’s fairytale is far from over: time after time, I intend to witness her blossoming into a teenager, an emancipated woman, and later into a loving wife and mother.
This is a modest hommage to the courageous people of Fukushima prefecture. They survived a triple disaster in 2011 and are now, nine years later, still fighting with the consequences. I wish them well in their strugle for their beautiful province and thank them for their kindness during this trip.
Fukushima is the third largest prefecture in Japan (14,000 km²), and one of its least densely populated. The prefecture is divided into three main regions: Aizu in the west, Naka dori in the centre and Hama dori in the east. Aizu is mountainous with snowy winters, while the climate in Hama dori is moderated by the Pacific Ocean.
The Fukushima Daiichi nuclear disaster (福島第一原子力発電所事故 Fukushima Dai-ichi (About this soundpronunciation) genshiryoku hatsudensho jiko) was a nuclear accident at the Fukushima Daiichi Nuclear Power Plant in Ōkuma, Fukushima Prefecture. The disaster was the most severe nuclear accident since the 26 April 1986 Chernobyl disaster and the only other disaster to be given the Level 7 event classification of the International Nuclear Event Scale.
The accident was started by the Tōhoku earthquake and tsunami on 11 March 2011.] On detecting the earthquake, the active reactors automatically shut down their fission reactions. Because of the reactor trips and other grid problems, the electricity supply failed, and the reactors' emergency diesel generators automatically started. Critically, they were powering the pumps that circulated coolant through the reactors' cores to remove decay heat, which continues after fission has ceased. The earthquake generated a 14-meter-high tsunami that swept over the plant's seawall and flooded the plant's lower grounds around the Units 1–4 reactor buildings with sea water, filling the basements and knocking out the emergency generators. The resultant loss-of-coolant accidents led to three nuclear meltdowns, three hydrogen explosions, and the release of radioactive contamination in Units 1, 2 and 3 between 12 and 15 March. The spent fuel pool of previously shut-down Reactor 4 increased in temperature on 15 March due to decay heat from newly added spent fuel rods, but did not boil down sufficiently to expose the fuel.
In the days after the accident, radiation released to the atmosphere forced the government to declare an ever larger evacuation zone around the plant, culminating in an evacuation zone with a 20-kilometer radius. All told, some 154,000 residents evacuated from the communities surrounding the plant due to the rising off-site levels of ambient ionizing radiation caused by airborne radioactive contamination from the damaged reactors.
Large amounts of water contaminated with radioactive isotopes were released into the Pacific Ocean during and after the disaster. Michio Aoyama, a professor of radioisotope geoscience at the Institute of Environmental Radioactivity, has estimated that 18,000 terabecquerel (TBq) of radioactive caesium 137 were released into the Pacific during the accident, and in 2013, 30 gigabecquerel (GBq) of caesium 137 were still flowing into the ocean every day. The plant's operator has since built new walls along the coast and also created a 1.5-kilometer-long "ice wall" of frozen earth to stop the flow of contaminated water.
While there has been ongoing controversy over the health effects of the disaster, a 2014 report by the United Nations Scientific Committee on the Effects of Atomic Radiation (UNSCEAR) and World Health Organization projected no increase in miscarriages, stillbirths or physical and mental disorders in babies born after the accident. An ongoing intensive cleanup program to both decontaminate affected areas and decommission the plant will take 30 to 40 years, plant management estimate.
On 5 July 2012, the National Diet of Japan Fukushima Nuclear Accident Independent Investigation Commission (NAIIC) found that the causes of the accident had been foreseeable, and that the plant operator, Tokyo Electric Power Company (TEPCO), had failed to meet basic safety requirements such as risk assessment, preparing for containing collateral damage, and developing evacuation plans. At a meeting in Vienna three months after the disaster, the International Atomic Energy Agency faulted lax oversight by the Ministry of Economy, Trade and Industry, saying the ministry faced an inherent conflict of interest as the government agency in charge of both regulating and promoting the nuclear power industry. On 12 October 2012, TEPCO admitted for the first time that it had failed to take necessary measures for fear of inviting lawsuits or protests against its nuclear plants.
Detail of the First World War memorial window in the north choir transept by James Eadie Reid 1921 (moved here in 1936 from its original location in the north aisle of the nave).
Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.
The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Reformation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.
The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English Gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).
Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.
Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.
The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular Gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.
QuoteoftheDay 'One who is worried about the consequences cannot love.' - His Holiness Younus AlGohar
-5D Mark II
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All Rights Reserved. Owner and Usage Rights belongs to © sk.fotography Any use of this work in hard or soft copy or transfer must be done with the expressed consent of © sk.fotography in written. Failing to do so will result in violation as per Section 63 of the Indian Copyrights Act, 1957 & Forgery, Fraud, Misrepresentation and Misinformation as per the Indian Penal Code Section 420 leading to severe legal consequences.
This bronze bird, perhaps an eagle, dates from between 1250 and 1300. Until quite recently, it was located on top of the main gable of the Kaiserpfalz as it was believed to be a work dating back to the restoration of the Kaiserpfalz in the 19th century. The original now is indoors while the bird on top of the gable is a copy.
The Kaiserpfalz (Imperial Palace) was built between 1040 and 1050 in a romanesque style during the reign of Heinrich III. It is a unique monument of secular architecture. It was a major center of imperial administration until the middle of the 13th century. During this period, the emperor did not have a permanent capital nor residence. The emperor had a network of palaces throughout the empire which served as residences and power centers. The Kaiserpfalz in Goslar was one of the most important ones for these two centuries.
In the 13th century, the power center in the empire shifted further south, and emperors started to establish permanent courts. As a consequence, this palace and ancillary buildings lost their significance, and the complex was used for other purposes and decayed over the next few centuries. With the growing interest in national history and nation building, the Imperial Palace was completely restored between 1868 and 1879.
POTD Dec 27, 2016
When my girls were young, we tried very hard to limit their sugar intake and vigorously avoided serving them junk food. Three decades later, I've got one daughter who seems to thrive on sugar.
The Postcard
A Seaside Comic Series postcard that was published by Bamforth & Co. Ltd., Publishers, of Holmfirth, England and New York. The card was printed in England.
The card was posted in Bridlington using a 1d. stamp on Monday the 21st. July 1924. It was posted to:
Mrs. Cox,
c/o 23, Town Street,
Tinsley,
Sheffield.
The pencilled message on the divided back of the card was as follows:
"What do you think
to me? Do you think
I've improved?
Mrs. W."
The Leopold and Loeb Murder Trial
So what else happened on the day that the card was posted?
Well, on the 21st. July 1924, the Leopold and Loeb trial began as defense lawyer Clarence Darrow told the Illinois court that his clients were entering pleas of guilty.
Nathan Freudenthal Leopold Jr. (1904 - 1971) and Richard Albert Loeb (1905 - 1936) were two wealthy students at the University of Chicago who kidnapped and murdered 14-year-old Bobby Franks in Chicago in May 1924.
They committed the murder - characterized at the time as "The Crime of the Century" - as a demonstration of their ostensible intellectual superiority, which they believed enabled and entitled them to carry out a "perfect crime" without consequences.
After the two men had been arrested, Loeb's family retained Clarence Darrow as lead counsel for their defense. Darrow's 12-hour summation at their sentencing hearing is noted for its influential criticism of capital punishment as retributive rather than transformative justice.
Both young men were sentenced to life imprisonment plus 99 years. Loeb was murdered by a fellow prisoner in 1936; Leopold was released on parole in 1958.
Leopold and Loeb's Murder of Bobby Franks
Leopold and Loeb, who were 19 and 18 respectively at the time, settled on kidnapping and murdering a younger adolescent as their perfect crime.
They spent seven months planning everything, from the method of abduction to disposal of the body. To obfuscate the actual nature of their crime and motive, they decided to make a ransom demand, and devised an intricate plan for collecting it involving a long series of complex instructions to be communicated, one set at a time, by phone.
They typed the final set of instructions involving the actual money drop in the form of a ransom note, using the typewriter stolen from the fraternity house. A chisel was selected as the murder weapon and purchased.
After a lengthy search for a suitable victim, mostly on the grounds of the Harvard School for Boys in the Kenwood area, where Leopold had been educated, the pair decided upon Robert "Bobby" Franks, the 14-year-old son of wealthy Chicago watch manufacturer Jacob Franks.
Bobby Franks was Loeb's second cousin and an across-the-street neighbor who had played tennis at the Loeb residence several times.
Leopold and Loeb put their plan in motion on the afternoon of the 21st. May 1924. Using an automobile that Leopold rented under the name Morton D. Ballard, they offered Franks a ride as he walked home from school.
The boy initially refused, because his destination was less than two blocks away, but Loeb persuaded him to enter the car to discuss a tennis racket that he had been using.
The precise sequence of events that followed remains in dispute, but a preponderance of opinion placed Leopold behind the wheel of the car while Loeb sat in the back seat with the chisel.
Loeb struck Franks, who was sitting in front of him in the passenger seat, several times in the head with the chisel, then dragged him into the back seat and gagged him, where he died.
With the body on the floor of the back seat, the men drove to their predetermined dumping spot near Wolf Lake in Hammond, Indiana, 25 miles (40 km) south of Chicago.
After nightfall, they removed and discarded Franks' clothes, then concealed the body in a culvert along the Pennsylvania Railroad tracks north of the lake.
In order to obscure the body's identity, they poured hydrochloric acid on Franks' face and genitals to disguise the fact that he had been circumcised, as circumcision was unusual among non-Jews in the United States at the time.
The Ransom Note
By the time the two men returned to Chicago, word had already spread that Franks was missing. Leopold called Franks' mother, identifying himself as "George Johnson", and told her that Franks had been kidnapped; instructions for delivering the ransom would follow.
After mailing the typed ransom note and burning their blood-stained clothing, then cleaning the blood stains from the rented vehicle's upholstery, they spent the remainder of the evening playing cards.
Once the Franks family received the ransom note on the following morning, Leopold called a second time and dictated the first set of instructions for the ransom payment.
The intricate plan stalled almost immediately when a nervous family member forgot the address of the store where he was supposed to receive the next set of directions, and it was abandoned entirely when word came that Franks' body had been found.
Leopold and Loeb destroyed the typewriter and burned a car blanket that they had used to move the body. They then went about their lives as usual.
Chicago police launched an intensive investigation and rewards were offered for information. Both Leopold and Loeb enjoyed chatting with friends and family members about the murder. Leopold discussed the case with his professor and a girl friend, joking that he would confess and give her the reward money.
Loeb helped a couple of reporter friends of his find the drug store he and Leopold had tried to send Jacob Franks to, and when asked to describe Bobby he replied:
"If I were to murder anybody, it would
be just such a cocky little son of a bitch
as Bobby Franks."
Police found a pair of eyeglasses near Franks' body. Although common in prescription and frame, they were fitted with an unusual hinge purchased by only three customers in Chicago, one of whom was Leopold.
When questioned, Leopold offered the possibility that his glasses might have dropped out of his pocket during a bird-watching trip the previous weekend.
Leopold and Loeb were summoned for formal questioning on the 29th. May. They asserted that on the night of the murder, they had picked up two women in Chicago using Leopold's car, then dropped them off some time later near a golf course without learning their last names.
However their alibi was exposed as a fabrication when Leopold's chauffeur told police that he was repairing Leopold's car while the men claimed to be using it.
Also the chauffeur's wife confirmed that the car was parked in the Leopold garage on the night of the murder. The destroyed typewriter was recovered from the Jackson Park Lagoon on the 7th. June.
Confessions
Loeb was the first to confess. He asserted that Leopold had planned everything and had killed Franks in the back seat of the car while he (Loeb) drove. Leopold's confession followed swiftly thereafter. He insisted that he was the driver and Loeb the murderer.
Their confessions otherwise corroborated most of the evidence in the case. Both confessions were announced by the state's attorney on the 31st. May.
Leopold later claimed, long after Loeb was dead, that he pleaded in vain with Loeb to admit to killing Franks. He quoted Loeb as saying:
"Mompsie feels less terrible than
she might, thinking you did it, and
I'm not going to take that shred of
comfort away from her."
Most observers believed that Loeb did strike the fatal blows. Some circumstantial evidence – including testimony from eyewitness Carl Ulvigh, who claimed that he saw Loeb driving and Leopold in the back seat minutes before the kidnapping – suggested that Leopold could have been the killer.
Both Leopold and Loeb admitted that they were driven by their thrill-seeking, Übermenschen (supermen) delusions, and their aspiration to commit a "perfect crime".
Neither claimed to have looked forward to the killing, but Leopold admitted interest in learning what it would feel like to be a murderer. He was disappointed to note that he felt the same as ever.
The Trial of Leopold and Loeb
The trial of Leopold and Loeb at Chicago's Cook County Criminal Court became a media spectacle. The Leopold and Loeb families hired the renowned criminal defense attorney Clarence Darrow to lead the defense team.
It was rumored that Darrow was paid $1 million for his services, but he was actually paid $70,000 (equivalent to $1,200,000 in 2022). Darrow took the case because he was a staunch opponent of capital punishment.
While it was generally assumed that the men's defense would be based on a plea of not guilty by reason of insanity, Darrow concluded that a jury trial would almost certainly end in conviction and the death penalty.
Thus he elected to enter a plea of guilty, hoping to convince Cook County Circuit Court Judge John R. Caverly to impose sentences of life imprisonment.
The trial, technically an extended sentencing hearing, as their guilty pleas had already been accepted, ran for thirty-two days.
The state's attorney, Robert E. Crowe, presented over 100 witnesses, documenting details of the crime.
The defense presented extensive psychiatric testimony in an effort to establish mitigating circumstances, including childhood neglect in the form of absent parenting, and in Leopold's case, sexual abuse by a governess.
One piece of evidence was a letter written by Leopold claiming that he and Loeb were having a homosexual affair. Both the prosecution and the defense interpreted this information as supportive of their own position.
Darrow called a series of expert witnesses, who offered a catalog of Leopold's and Loeb's abnormalities. One witness testified to their dysfunctional endocrine glands, another to the delusions that had led to their crime.
Darrow's Speech
Darrow's impassioned, eight-hour-long "masterful plea" at the conclusion of the hearing has been called the finest speech of his career. Its principal arguments were that the methods and punishments of the American justice system were inhumane, and the youth and immaturity of the accused:
"This terrible crime was inherent in his organism, and it came from some ancestor. Is any blame attached because somebody took Nietzsche's philosophy seriously and fashioned his life upon it? It is hardly fair to hang a 19-year-old boy for the philosophy that was taught him at the university.
We read of killing one hundred thousand men in a day [during World War I]. We read about it and we rejoiced in it – if it was the other fellows who were killed. We were fed on flesh and drank blood.
Even down to the prattling babe. I need not tell you how many upright, honorable young boys have come into this court charged with murder, some saved and some sent to their death, boys who fought in this war and learned to place a cheap value on human life. You know it and I know it. These boys were brought up in it.
It will take fifty years to wipe it out of the human heart, if ever. I know this, that after the Civil War in 1865, crimes of this sort increased, marvelously. No one needs to tell me that crime has no cause. It has as definite a cause as any other disease, and I know that out of the hatred and bitterness of the Civil War crime increased as America had never seen before.
I know that Europe is going through the same experience today; I know it has followed every war; and I know it has influenced these boys so that life was not the same to them as it would have been if the world had not made red with blood.
Your Honor knows that in this very court crimes of violence have increased growing out of the war. Not necessarily by those who fought but by those that learned that blood was cheap, and human life was cheap, and if the State could take it lightly why not the boy?
Has the court any right to consider anything but these two boys? The State says that your Honor has a right to consider the welfare of the community, as you have. If the welfare of the community would be benefited by taking these lives, well and good. I think it would work evil that no one could measure.
Has your Honor a right to consider the families of these defendants? I have been sorry, and I am sorry for the bereavement of Mr. and Mrs. Franks, for those broken ties that cannot be healed. All I can hope and wish is that some good may come from it all. But as compared with the families of Leopold and Loeb, the Franks are to be envied – and everyone knows it.
Here is Leopold's father – and this boy was the pride of his life. He watched him and he cared for him, he worked for him; the boy was brilliant and accomplished. He educated him, and he thought that fame and position awaited him, as it should have awaited. It is a hard thing for a father to see his life's hopes crumble into dust.
And Loeb's the same. Here are the faithful uncle and brother, who have watched here day by day, while Dickie's father and his mother are too ill to stand this terrific strain, and shall be waiting for a message which means more to them than it can mean to you or me. Shall these be taken into account in this general bereavement?
The easy thing and the popular thing to do is to hang my clients. I know it. Men and women who do not think will applaud. The cruel and thoughtless will approve. It will be easy today; but in Chicago, and reaching out over the length and breadth of the land, more and more fathers and mothers, the humane, the kind and the hopeful, who are gaining an understanding and asking questions not only about these poor boys, but about their own – these will join in no acclaim at the death of my clients.
These would ask that the shedding of blood be stopped, and that the normal feelings of man resume their sway. Your Honor stands between the past and the future. You may hang these boys; you may hang them by the neck until they are dead. But in doing it you will turn your face toward the past. In doing it you are making it harder for every other boy who in ignorance and darkness must grope his way through the mazes which only childhood knows.
In doing it you will make it harder for unborn children. You may save them and make it easier for every child that sometime may stand where these boys stand. You will make it easier for every human being with an aspiration and a vision and a hope and a fate.
I am pleading for the future; I am pleading for a time when hatred and cruelty will not control the hearts of men. When we can learn by reason and judgment and understanding and faith that all life is worth saving, and that mercy is the highest attribute of man."
The judge was persuaded, but he explained in his ruling that his decision was based primarily on precedent and the youth of the accused. On the 10th. September 1924, he sentenced both Leopold and Loeb to life imprisonment for the murder, and an additional 99 years for the kidnapping. A little over a month later, Loeb's father died of heart failure.
Darrow's handling of the law as defense counsel has been criticized for hiding psychiatric expert testimony that conflicted with his polemical goals and for relying on an absolute denial of free will, one of the principles legitimizing all criminal punishment.
Prison and Loeb's Murder
Leopold and Loeb initially were held at Joliet Prison. Although they were kept apart as much as possible, the two managed to maintain their friendship.
Leopold was transferred to Stateville Penitentiary in 1925, and Loeb was later transferred there as well. Once reunited, the two expanded the prison school system, adding a high school and junior college curriculum.
On the 28th. January 1936, Loeb was attacked by fellow inmate James Day with a straight razor in a shower room; he died soon after in the prison hospital.
Day claimed that Loeb had attempted to sexually assault him, but he was unharmed, while Loeb sustained more than fifty wounds, including defensive wounds on his arms and hands. His throat had been slashed from behind.
News accounts suggested Loeb had propositioned Day, and though several prison officials including the Warden believed Loeb had been murdered, Day was found not guilty by a jury after a short trial in June, 1936.
Don Knotts
The 21st. July 1924 also marked the birth of the actor Don Knotts, in Morgantown, West Virginia.
Jesse Donald Knotts was an American actor and comedian. He is widely known for his role as Deputy Sheriff Barney Fife on The Andy Griffith Show, a 1960's sitcom for which he earned five Emmy Awards.
He also played Ralph Furley on the highly rated sitcom Three's Company from 1979 to 1984.
He starred in multiple comedic films, including leading roles in The Incredible Mr. Limpet (1964) and The Ghost and Mr. Chicken (1966).
In 2004, TV Guide ranked Don number 27 on its 50 Greatest TV Stars of All Time list.
Don was born the youngest of four children. In the 1940's, before earning a college degree, he served in the United States Army and in World War II.
While enlisted, he chose to become a ventriloquist and comedian as part of a G.I. variety show, Stars and Gripes.
After the army, he got his first major break on television in the soap opera Search for Tomorrow where he appeared from 1953 to 1955.
He then gained wide recognition as part of the repertory company on Steve Allen's variety show, where he played the "extremely nervous man" in Allen's mock "Man in the Street" interviews.
In 1958, Knotts made his film debut in the adapted version of No Time for Sergeants.
Don was cast as deputy Barney Fife on television's The Andy Griffith Show, which ran from 1960 to 1968. He reprised the character in other shows, such as The Joey Bishop Show and Return to Mayberry. Knotts won five Emmy Awards for Best Supporting Actor in a Television Comedy.
Death and Legacy of Don Knotts
Knotts died at the age of 81 on the 24th. February 2006 at the Cedars-Sinai Medical Center in Los Angeles from pulmonary and respiratory complications of pneumonia related to lung cancer.
He had undergone treatment at Cedars-Sinai Medical Center in the months before his death, but returned home after reportedly feeling better.
Don was laid to rest at Westwood Village Memorial Park Cemetery, in Los Angeles. Don is in good company - also buried in the memorial park are Marilyn Monroe, Burt Lancaster, Truman Capote, Buddy Rich, Hugh Hefner, Natalie Wood, Dean Martin, Ray Bradbury, Roy Orbison, Robert Newton, Ryan O'Neal, Farrah Fawcett, George C. Scott, Don Knotts, Jack Lemmon, Tim Conway, Walter Matthau, Billy Wilder, Frank Zappa, and Kirk Douglas.
Knotts' obituaries cited him as a major influence on other entertainers. In early 2011, his grave's plain granite headstone was replaced with a bronze plaque depicting several of his movie and television roles.
A statue honoring him, created by Jamie Lester, was unveiled on the 23rd. July 2016 in front of The Metropolitan Theatre in his hometown of Morgantown, West Virginia.
With the road drainage failing routinely in heavy rain, this was a fairly common picture in the ground floor.
Instructor Kristen Chadwick. Advanced Insect and Disease Field Session: Identification, Life Cycles, Control Measures and Silvicultural Regimes. Gifford Pinchot National Forest, Washington.
"Insect and disease conditions can complicate harvest plans and affect silvicultural regimes. These pests can also cause economic and aesthetic damages with long-lasting consequences. Resource managers need a solid understanding of pest biology and management options to make informed silvicultural, harvest planning and management decisions. This field session offers the most advanced and in-depth insect and disease training available in the Pacific Northwest. The attendees will spend one-on-one field time with top-level entomologists and pathologists from the Pacific Northwest region and gain real-life experience in developing management regimes and silvicultural measures. Each day will consist of site visits to infected stands for a first-hand look and discussion of particular insect and disease problems. Attendees will learn identification, biology, response to stand conditions and management options. Small group sessions will be used to develop management strategies and mock stand prescriptions. The region’s leading entomologists and pathologists will be on hand to provide assistance and advice as the prescriptions are developed."
To learn more about the course see: westernforestry.org/wp-content/uploads/2015/03/2015-publi...
Photo by: Rob Flowers
Date: July 8, 2015
Photo credit: USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection, Central Oregon Insect and Disease Service Center.
Source: Rob Flowers collection. Bend, Oregon.
Image provided by USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
City of Truth or Consequences ( T or C ) the county seat of Sierra County NM . T or C street dept working on building a new Sidewalk .
John Deere backhoe 310se and 1981 Marmon Dump truck .
Dorothy (Sala) Donaldson and children, Sharyn and Sandra Sala, placing flowers at the grave of Joseph M Sala on January 28, 1950. Joseph "Joe" Sala, the co-pilot on a B-17 with the 8th Air Force, 388th Bomb Group, was killed in action in Germany on March 17, 1945, about a month before the end of the war in Europe. Scanned from a Kodachrome slide. DBD/RLD-Sr photograph.
Along with Bolsover Castle, Hardwick Hall (run by the National Trust), S44 5QJ, is just up the road from my mums on a hill top near Glapwell (not a pretty name) between Chesterfield and Mansfield overlooking the Derbyshire countryside split by the M1. So on Sunday in celebration of my mum’s 65, as she was born on VE day, we took a bit of a busman’s holiday and re-visited one of the most significant Elizabethan country houses in England, mostly to look at the garden, something both my mum and sister are interested in. It has a fine garden, including herbaceous borders with the most fabulous array of tulips in, a wonderful vegetable and herb kitchen garden and a couple of orchards, with fruit trees with wonderful names. The extensive grounds also contain Hardwick Old Hall, a slightly earlier house which was used as guest and service accommodation after the new hall was built. The Old Hall is now a ruin and in English Heritage guardianship and is also open to the public.
The house, by the architect Robert Smythson was built for Bess of Hardwick, Countess of Shrewsbury in the late 16th century. As it was a secondary residence of the Dukes of Devonshire, whose main country house was nearby Chatsworth, it was little altered over the centuries and as a consequence has a wonderful homely atmosphere.
Other buildings by the architect include Longleat House and Wollaton Hall.
If you are thinking of going, don’t eat in the café but do prebook the Hardwick Inn that is just outside the gates as you leave, a bit of a haunt of mine when I lived up there, um um hardwickinn.co.uk/default.aspx
Greek search and rescue responders prepare to extract a simulated casualty near Ohrid, North Macedonia during consequence-management exercise North Macedonia 2021.
The exercise was organised and executed by NATO’s Euro-Atlantic Disaster Response Coordination Centre (EADRCC), a civil-military organisation dedicated to connecting disaster-stricken Allies and partner countries with the resources needed to respond and recover.
19 April 2016-2016 OECD Integrity Forum, Fighting the Hidden Tariff: Global Trade Without Corruption.
Plenary Session, Corruption and Trade: Risks, Costs, Consequences
left/right
Question from the Audience
OECD, Paris, France
Photo: OECD/Michael Dean
A Colt Model 1881 Gatling gun in the New York State Military Museum in Saratoga Springs.
Interesting bit of history behind this weapon that I never knew: It was invented by a physician.
Dr. Richard Gatling, the story goes, hoped to reduce the size of armies and therefore the number of people being killed. He thought he could do this by improving the efficiency of the killing, so he invented and patented one of the first workable machine guns, firing 200 shots a minute.
I really can’t follow the logic, myself.
Gatling’s gun saw very limited use in the U.S. Civil War, but new and improved versions were soon in use around the world. It was quickly replaced by faster, more efficient machine guns, though electric-powered Gatling guns that can fire up to 6,000 rounds per minute remain in service today.
Unplanned urbanisation directly increases people’s vulnerability to disasters. The economic, social and environmental consequences can be enormous. The ‘multiplier’ effect, where the remaining impact of one disaster is further exacerbated by another, as illustrated in Haiti where a massive earthquake in January was followed by a hurricane in November, further compounds development losses. Here Hurricane Tomas floods the streets of Gonaives, north of Port-au-Prince, Haiti.
Photo by Marco Dormino / UN Photo
Home made motivational poster using newly acquired lighting skills from Strobist.com. and Photoshop.
Strobist info: Sunpak 383@1/8 power from camera right w/ DIY macro studio and Gadget Infinity 16 channel remote trigger, ISO 100, f11 @ 1/250 sec.
Learn how to light at Strobist
“A man does what he must -- in spite of personal consequences, in spite of obstacles and dangers, and pressures -- and that is the basis of all human morality.”
This is all that is left of the once extensive Rainford Junction station, the remaining platforms are behind the camera.
Rainford Junction lies on the ex-Lancashire & Yorkshire line from Liverpool Exchange to Wigan Wallgate. Throughout its life it was a busy trunk route, but in 1977 the route was truncated at Kirkby as part of the Merseyrail Loop and Link modernisation, when the electrification was extended from Walton Junction to Kirkby. Another consequence was that the line was singled from Rainford to Kirkby, and from Kirkby to near Fazakerley.
On the right are the remains of the L&Y route to Ormskirk. This opened in March 1858 and was operated by steam railmotors. The platform extended around the corner so that operation of the Ormskirk service would not block the main line. During the 1930s the LMS replaced the steam railmotor with a push pull-fitted locomotive and a couple of carriages. From 1945 the passenger numbers declined and the service stopped altogether from November 1956, with the line closing completely in 1964.
Hidden in the undergrowth to the left of the scene is the St. Helens platform, which operated in the same way as the Ormskirk service i.e. one long platform separated by a signal so that the St. Helens services would not block the main line. The St. Helens line was opened in February 1858 but became part of the LNWR. The St. Helens and Ormskirk lines were operated independantly of each other, with through passengers changing at Rainford. The passenger service ceased in June 1951 and closed completely in 1964.
The normal passenger service now is between Manchester Victoria and Kirkby, with the driver picking up a single line token for the journey to Kirkby. The signal is already cleared for a service from Manchester.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2020. Prof. Arch. Sergei Tchoban (a cura di), L'impronta del futuro. Il destino della città di Piranesi. Istituto Centrale per la Grafica, Roma (15 ott. 2020 – 31 genn. 2021), [Testa Italiano / Text English] & DOM publishers / Facebook (27/10/2020). S.v., Istituto centrale per la grafica. Roma & Il Messaggero (14/10/2020). wp.me/pbMWvy-M6
www.flickr.com/photos/imperial_fora_of_rome/50539563822
1). ROMA - L’IMPRONTA DEL FUTURO. IL DESTINO DELLA CITTÀ DI PIRANESI. Mostra-studio di Sergei Tchoban, Istituto centrale per la grafica. Roma, Palazzo della Calcografia. 15 ottobre 2020 – 31 gennaio 2021. [Testa Italian / Text English].
Astratto - Sergej Tchoban è un architetto russo-tedesco che lavora in varie città dell’Europa e della Russia. Membro dell’Associazione degli Architetti Tedeschi e membro onorario dell’Accademia Russa delle Arti, ha curato nel 2010 e nel 2012 il Padiglione Russo alla Biennale di Venezia di Architettura ricevendo la Menzione Speciale per la prima volta riconosciuta alla Russia. Nel 2018 gli è stato conferito l’European Architecture Prize. Nel 2009 ha fondato la Tchoban Foundation – Museum for Architectural Drawing, che conserva una collezione di disegni e acquerelli architettonici dal XVIII secolo fino alla metà del secolo XIX. Essendo nato a San Pietroburgo e avendone assorbito completamente l’armonia delle proporzioni e delle forme, Tchoban ha sempre cercato di individuare quali siano le leggi che regolano lo sviluppo delle città come San Pietroburgo e a quei grandi modelli su cui questa fu improntata. È possibile conservarne oggi la singolarità, perseguire tale obiettivo nel percorso di sviluppo dell’architettura contemporanea?
Sono queste le questioni fondamentali che la mostra si propone di indagare partendo da Piranesi, capace di cogliere lo sviluppo della città europea come un fenomeno variegato, ricco di contraddizioni interne e ciononostante armonico. L’esposizione si apre con alcuni disegni realizzati dall’autore nel corso di vari anni che indagano il fenomeno della città europea tradizionale e dei suoi principali elementi architettonico-urbanistici.
Le rappresentazioni della città dell’infanzia – San Pietroburgo – e della maggior parte delle città europee “canoniche” (Roma, Venezia, Praga e altre) si alternano a monumenti dell’architettura del XX secolo, simili a singole sculture isolate. E anche forme dinamiche si alternano a fantasie architettoniche, con l’aiuto delle quali Sergei Tchoban si affaccia sul futuro. In principio l’autore integra volumi marcatamente futuristici nel panorama delle strade della città europea. Successivamente trasferisce tali elementi nella realtà romana del XVIII secolo, ricostruita sui motivi della serie Vedute di Roma di Giovanni Battista Piranesi. Quattro di queste fantasie sono stampe originali delle incisioni di Piranesi, al cui interno gli elementi dell’architettura del futuro vengono integrati con l’ausilio della tecnica dell’incisione ad acquaforte (eseguita dall’architetto Ioann Zelenin su idea e schizzi di Sergei Tchoban).
Un’opera d’arte “profanata” o un’impronta del futuro? Ecco, forse è proprio questa la domanda principale a cui questa mostra cerca di dare risposta. Simulando con l’ausilio di grafica e incisione la distruzione di un monumento (l’originale dell’incisione di Piranesi) e dell’ambiente urbano, Sergei Tchoban solleva la seguente questione: distruggiamo l’armonia o ne creiamo un modello completamente nuovo? È questo il vero lascito di Piranesi: l’invito a un dialogo sincero sulla condizione delle stratificazioni delle parti costitutive della città europea, come eredità collettiva fondamentale e al tempo stesso spazio per uno sviluppo futuro.
Con il supporto di: VELKO Group
ENGLISH = Prof. Arch. Sergei Tchoban, Imprint of the Future. Destiny of Piranesi's City. Istituto centrale per la grafica. Roma, Palazzo della Calcografia. 15 October 2020 – 31 January 2021 (27/10/2020).
Abstract - The Istituto centrale per la grafica in Rome and the Museum for Architectural Drawing in Berlin present an exhibition by the architect and draughtsman Sergei Tchoban. A native of St Petersburg who has organically absorbed the harmony of this city’s proportionality and similitude, Sergei Tchoban has always striven to understand the laws which govern the development of cities like St Petersburg and the great prototypes in whose image it was created. Is it possible to preserve these cities’ outstanding quality? And is it possible to pursue this quality today, at the current stage of development of architecture? These are the central questions posed in the present exhibition, which marks the 300th anniversary of the birth of Giovanni Battista Piranesi (1720 – 1778). One of the greatest artists of his time, Piranesi succeeded in capturing the development of the European city as a phenomenon which, despite many layers and internal contradictions, is nevertheless harmonious. Until the principle of contrast, as a predictable consequence of technological progress, became a key vector in the aesthetics of architecture during the 20th century, the image of the European city was relatively homogeneous and, as a result, coherent – which is possibly the reason why we a priori perceive historical cities created earlier than the 20th century as harmonious ensembles and, in their best manifestations, as masterpieces. With the start of the 20th century and architecture’s acquisition of fundamentally new capabilities in creating building forms and surfaces, the process of introducing new strata into the urban setting became especially dramatic. But does this process really imply destruction of a masterpiece? This is the main question as far as the present exhibition (and almost every European city today) is concerned. It is a question which Sergei Tchoban sets out to analyze and answer – extremely expressively and polemically – with the help of architectural drawings.
www.flickr.com/photos/imperial_fora_of_rome/50538694338
PDF = Press Release. IMPRINT OF THE FUTURE. DESTINY OF PIRANESI`S CITY Exhibition and research by Sergei Tchoban. Istituto Centrale per la Grafica, Via della Stamperia 6 00187 Rom (10/2020).
Foto / fonte / source:
--- Istituto centrale per la grafica. Roma, Palazzo della Calcografia. 15 ottobre 2020 – 31 gennaio 2021 (27/10/2020).
www.grafica.beniculturali.it/tutti-gli-archivi/eventi/imp...
Nota: informazioni sul Prof. Arch. Sergei Tchoban ricerca e nuovo libro per gentile concessione di Dott. Carsten Schneider, TCHOBAN VOSS / ARCHITEKTEN. Berlin (sett. & ott. 2020). tchobanvoss.de/
www.flickr.com/photos/imperial_fora_of_rome/50538694413
2). ROME / BERLIN - Prof. Arch. Sergei Tchoban, Imprint of the Future. Destiny of Piranesi's City / L'impronta del futuro. Il destino della città di Piranesi. Texts by Anna Martovitskaya. DOM publishers: Berlin (Oct. 2020): 1-168 pages, 135 pictures & Italian / English.
Imprint of the Future. Destiny of Piranesi's City / L'impronta del futuro. Il destino della città di Piranesi. Exhibition catalogue and research by Sergei Tchoban. Texts by Anna Martovitskaya, 285 × 285 mm, 168 pages, 135 pictures, Hardcover. ISBN 978-3-86922-607-1 (English/Italian edition) € 48.00.
www.flickr.com/photos/imperial_fora_of_rome/50538694373
This book is a catalog of the exhibition by the architect and draughtsman Sergei Tchoban, which is scheduled for October 2020-January 2021 at The Istituto Centrale per la Grafica in Rome. However, the book goes far beyond the format of describing the artworks presented at the exhibition. It is a research aimed at studying trends in the urban development of a contemporary European city.
A native of St Petersburg who has organically absorbed the harmony of this city’s proportionality and similitude, Sergei Tchoban has always striven to understand the laws which govern the development of cities like St Petersburg and the great prototypes in whose image it was created. Is it possible to preserve these cities’ outstanding quality? And is it possible to pursue this quality today, at the current stage of development of architecture? These are the central questions posed in the exhibition and the book, which marks the 300th anniversary of the birth of Giovanni Battista Piranesi (1720–1778). One of the greatest artists of his time, Piranesi succeeded in capturing the development of the European city as a phenomenon which, despite many layers and internal contradictions, is nevertheless harmonious.
In analyzing the development of the language of architecture that is characteristic of our time, Sergei Tchoban integrates individual emphatically futuristic volumes into the panoramas of streets in the European city. Subsequently, he transcribes these elements into 18th-century Roman situations recreated on the basis of motifs taken from Giovanni Battista Piranesi’s Vedute di Roma. Four of these fantasies are original prints of etchings by Piranesi into which elements of an architecture of the future have been inserted using the medium of etching (executed by the architect Ioann Zelenin on the basis of ideas and sketches by Sergei Tchoban). This insertion of futuristic buildings into situations taken from, and then etchings by, Piranesi is a vivid demonstration of how contemporary architecture behaves and is perceived in the body of the European city, a city based on the harmony of similitude. Ruined masterpiece or imprint of the future? This is probably the principal question for this research. Using graphic art and etching to stage the destruction of a monument (the original of a Piranesi etching), Sergei Tchoban initiates a discussion about whether this kind of integration is merely an act of vandalism – or a way of transforming a reproduction print (many European cities created by the mighty force of the harmony of similitude are indeed very similar to one another) into an original that exists as a unique copy. Are we destroying harmony or creating a fundamentally new type of harmony? Sergei Tchoban is sure that this painful transformation of the European city has been happening for at least 100 years and that society must finally work out how to relate to this process. Essentially, it is this that is Piranesi’s true legacy: a call to an honest conversation regarding the condition of the layers and parts that constitute the European city as a highly important piece of our heritage and at the same time a space for future development.
www.flickr.com/photos/imperial_fora_of_rome/50538694378
Foto / fonte / source:
--- DOM publishers: Berlin (Oct. 2020).
dom-publishers.com/products/imprint-of-the-future-destiny...
Note: information on Prof. Arch. Sergei Tchoban's research and new book courtesy of Dr. Carsten Schneider, TCHOBAN VOSS / ARCHITEKTEN Berlin (Sept. & Oct. 2020). tchobanvoss.de/
Also see:
--- ROME / BERLIN - Prof. Arch. Sergei Tchoban, Imprint of the Future. Destiny of Piranesi's City / L'impronta del futuro. Il destino della città di Piranesi. Texts by Anna Martovitskaya. DOM publishers: Berlin (Oct. 2020): 1-168 pages, 135 pictures & Italian / English; in:
DOM publishers / Facebook (27/10/2020). www.facebook.com/dom.publishers/posts/3608729955856507
S.v.,
www.flickr.com/photos/imperial_fora_of_rome/50482443797
--- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2020. “Il mondo fantastico di Giambattista Piranesi tra capolavori ritrovati e la Roma del ‘700 in 3D. Roma – Istituto centrale per la Grafica” (15/10/2020 – 31/01/2021). Laura Larcan / Il Messaggero (14/10/2020) & Istituto centrale per la grafica / FACEBOOK & You-Tube (10/2020). wp.me/pbMWvy-Ja
LORENZO DI NICCOLO' DI MARTINO
Polittico della Incoronazione della Vergine e Santi, 1402
Chiesa di S. Domenico, Cortona (AR), Italia
Si tratta dell'unica opera firmata e documentata di L., dipinto per l'altare maggiore di S. Marco a Firenze e donato da Cosimo e Lorenzo de' Medici alla chiesa di S. Domenico a Cortona nel 1440 per far posto a una nuova pala d'altare del Beato Angelico.
L. si rifece evidentemente alla precedente Incoronazione di S. Felicita; ma il modello spinelliano è vivificato da un talento coloristico che ha fatto accostare L. al Maestro della Madonna Strauss (Maetzke, p. 7). Sebbene sia vero, come notato da Fahy (p. 378), che l'inserimento di un quinto santo in entrambi i pannelli laterali diminuisca il carattere fortemente architettonico del precedente di S. Felicita, anche l'Incoronazione del 1402 rimane un'opera concepita nella tradizione di quella tettonica tipica di Andrea di Cione detto l'Orcagna che solo Lorenzo Monaco avrebbe definitivamente scardinato (Gealt, p. 25). Nel polittico di Cortona tutto appare perfettamente ordinato ed equilibrato: l'artista ha cercato di calibrare la sua composizione in modo tale che nessun elemento dominasse sugli altri.
Tratto da:
www.treccani.it/enciclopedia/lorenzo-di-niccolo_(Dizionario-Biografico)/
------
LORENZO DI NICCOLO' DI MARTINO
Polyptych of The Coronation of the Virgin with Saints, 1402
Church of San Domenico, Cortona (AR), Italy
One of the best known and best preserved Florentine polyptychs is Lorenzo di Niccolò's 'Coronation of the Virgin' in San Domenico in Cortona. As the inscription on its base asserts, it was donated by Cosimo and Lorenzo de' Medici in 1440, but it has long been known that it was originally commissioned by the Silvestrines of San Marco in Florence in 1402 to serve as their high-altarpiece. After the expulsion of the Silvestrines and their replacement by the Dominican Observants in 1436, the Medici, being the new patrons of San Marco, arranged for its removal to the newly built Observant convent in Cortona. This article discusses the connection between the polyptych's function and its iconography, arguing that the transferal from the high altar of a church belonging to a reformed Benedictine order to that of a Dominican Observant convent had significant consequences which have hitherto been overlooked, mainly because the altarpiece has never been considered as the major example of Silvestrine patronage it actually is. The identities of the monastic saints both in the lateral panels and the pilasters have until now caused confusion, not least because those in the laterals – Saints Dominic, Thomas Aquinas and Peter Martyr –, present some anomalies with regard to physical type and attributes; moreover, although two of the predella panels represent stories from the life of Saint Benedict, this saint is absent from the laterals. These anomalies, as well as the surprising number of Dominican saints in an altarpiece not originally painted for a church of this order, can only be explained by assuming that, in order to adapt the altarpiece to its new setting and audience, the identities of the monastic saints were altered by changing the colour of their habits and some of their attributes. Originally, not only Saint Benedict, but also Saints Bernard of Clairvaux and Silvester Guzzolini were represented. The monastic beati in the pilasters have remained unchanged; they are here for the first time identified as Silvestrines. Both the iconographical adaptations and the transfer of the altarpiece took place shortly after the Dominican take-over of San Marco, between 1436 and 1440. However, these changes must not simply be interpreted as a damnatio memoriae of the Silvestrines: emphatically presented as a religious bequest by the Medici brothers, the altarpiece was given a new lease of life. The Medici act of patronage and the careful and inconspicuous nature of the overpaintings both suggest the involvement of the painter who was active at this time not only for the Medici in San Marco but also for at least two patrons in San Domenico in Cortona: Fra' Angelico.
Source:
Truth or Consequences NM Police Department 2001-2011 Ford CVPI .Truth or Consequences is the county seat of Sierra county NM . in mid 2013 to 2016 graphics .
Updated 5/7/2016
In a protest organised by Stand Up to Racism, and supported by Stop the War and others, tens of thousands took to the London streets to condemn UK Prime Minister David Cameron's response to the refugee crisis originating in the Middle East and Africa, often as a consequence of UK militarism in those regions.
To huge applause, Jeremy Corbyn made his first public speech at the rally in Parliament Square, just hours after being elected Leader of the Labour Party
Photo: RonF
LONGGA, CHINA - FEBRUARY 6: Teenage girls of the Long Horn Miao ethnic minority group wear headdresses as they prepare as they gather forTiaohua or Flower Festival as part of the Lunar New Year on February 6, 2017 in Longga village, Guizhou province, southern China.The Long Horn Miao are recognized for their declining practice of wrapping a blend of linen, wool, and the hair of their ancestors around animal horns or a wooden clip to make headdresses. Many young women say they now wear the headdresses only for special occasions and festivals, as the ornaments, which are attached by the horns to their real hair, have proved impractical for modern daily life in a fast changing world. China officially recognizes 56 different ethnic minorities, and statistics show over 7 million Chinese identifying themselves as Miao. But the small Long Horn Miao community counts only around 5000 people living in 12 villages, whose age-old traditions, language, and culture are fading. It is increasingly difficult in a modernizing China, as young people are drawn from remote rural villages to opportunities in bigger cities amongst wide-scale urbanization. Farming and labour remain the mainstays of life for the Long Horn Miao, leaving the area relatively poor in comparison with many parts of China. The government has invested significant amounts into local infrastructure and the tourism industry to try to bolster the local economy. (Photo by Kevin Frayer/Getty Images)
Mingle Media TV and our Red Carpet Report team with host, Stephanie Piche were at the 5th Annual TorC Film Fiesta.
This year’s TorC Film Fiesta was held from October 22-24, 2021 in Truth or Consequences New Mexico and screened winning feature and short films from the Santa Fe Film Festival and some local films in addition to “Walking with Herb’ a truly New Mexican film from the author of the book to the filmmaker.
The festival also had Anthony Michael Hall, who is a star in the new “Halloween Kills” movie along with a rich history of film and TV work. Three of the films that AMH made with John Hughes, “Weird Science,” “16 Candles,” and “The Breakfast Club” were screened on the opening night of the festival with AMH available for photos, signed merch and a Q&A held after the final film was shown to a grateful audience of fans.
Screenings of films "Walking with Herb," "The Kennedy incident," "Earl biss Doc," Steven Maes "Caffeine & gasoline," Jerry Angelo "Artik," Hafid abdelmoula "Broken GAite," Ruben Pla "The Horror Crowd," Jordyn Aquino "Can't have it both ways," Jordan Livingston "DeLorean: Living the dream," Jeanette Dilone "Rizo," & Two 'Best Of' Shorts screenings
In addition to the screenings, the El Cortex Theatre, was enjoying a grand re-opening after being shuttered for years and the town was thrilled to see the progress of the updates being done for this event.
Follow the TorC Fiesta Partners on Social
www.facebook.com/ElCortezTheater
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Filmmakers were also honored with a filmmaker brunch, a panel by esteemed entertainment lawyer, Harris Tulchan, at Ingo’s Cafe, after parties at the Point Blanc Winery and Glam Camp which also had a fire dancer perform in addition to everyone letting loose and singing Karaoke songs throughout the night.
There was a filmmakers brunch at the Center Gallery and a filmmakers lounge with specialty cocktails during the festival.
In addition to honoring filmmakers, it was a joy to hear that they were excited to see their films on the big screen.
For video interviews and other Red Carpet Report coverage, please visit www.rcrnewsmedia.com and follow us on Twitter and Facebook at:
www.youtube.com/MingleMediaTVNetwork
That’s what it’s about, making stories come alive and enjoying them in the dark with strangers…