I had difficulty translating the names of the saints from the Russian script in the mosaic.

 

I believe the saint on the left is St. Peter. That's consistent with the translation and with the church he's holding, which symbolizes St. Peter's role as the founder of the Christian church.

 

The name of the saint on the right contains archaic letters that prevented me from translating the name using Google translate. If anyone can translate it, I'd appreciate it.

 

Alexander Nevsky Cathedral, Tallinn, Estonia.

The Bicycle Chronicles Chapter Four Part Four of The Flyte

In truth I had not anticipated the degree of excitement this 1939 CCM Flyte would ignite in some folks who attend the shop on a regular basis. That phrase The Holy Grail is an apt description for some, actually for many steeped in bicycle lore than myself. As mentioned my interests in bicycles is a relatively new thing, having been about ten years give or take since I first began tinkering. When I look back on the history of this small home based shop called Lumpy Bikes it marvels me how far my knowledge has grown and how many folks I have met in that period of time. If I have not said so prior in these writings, “it is the people one meets in this game that make it what it is, and for the most part the people are awesome.”

The very next day at the usual time, 1PM sharp (which is when I open) I pulled the Flyte out of the Honda Element where it had spent the night. It sure looked like a pile of poorly painted metal pieces, as the scratches on the frame to me were like the war wounds of a well travelled soldier. Lying there in the back of the truck I was reminded of a horse in a way that was quite arthritic and had difficulty in getting up on its legs. We have had lots of old bikes here at the shop, the first was also a 1939 double bar CCM that my friends Don Schmidt and Carol Trainor had given me in the early years of Lumpy Bikes, I was proud of that bike also as it was one of the first vintage bikes to go on display above the shop entrance, I fitted it with a period correct childs rear carrier and a front full size butchers basket, the original saddle though worn and torn was made of leather, the silver four corner badge was intact. It was a sad day when I phoned my friend Mario in Vaughan to see if he would purchase the bike as we had run into some financial difficulty that best remain secret. When Don owned the bike he used it to drive around the campus at Buffalo University, then he took the bike to Washington DC where he had one of his first high school teaching jobs, a lifes historical patina shrouded that bike in memories and you could feel it.

Later in the afternoon my friend Pat Johnston wandered over, he was about the only person who knew I had gone to get the Flyte in Quebec. With our grandson Mackenzies assistance we hoisted the bike up to the wooden mounting pegs at the shop entrance for all to see, my heart pumped in doing so as I am sure did the hearts of Pat and Mac. There was a steady parade of onlookers over the next few days to see the famous bike. Some clients didn’t quite get it, so every time someone came I would re tell the story of the bike, the history behind it and point out the curved forks and chainstays that were only found on this bike. Putting the bike on display was my intention all along, I don’t recall if I had planned to do anymore with it, I do know that I realized it had much more value than what I paid for it, which was $400. Though we must take into consideration my expense to get the bike, give or take $175, if you include my sandwiches and packed lunch. As well we need to put a value on the time required to fetch the bike in Quebec, and that is where I often argue with those who put a monetary value on their time, like an hourly wage. I don’t do that, I place no value on my time in that sense, but I do place a great value in non monetary terms in the pleasure derived from these pursuits.

Years back an old acquaintance was always, still is today, pre occupied with the word profit. Julie and I sold a small property near Hastings once and he had to know to the penny what we sold it for, how much the real estate fees were, how much the township charged for transfer fees and how much the lawyer charged to administer the sale. It would have been easy for me to tell him where to go, but I was diplomatic, and I told him all the numbers and he said, “well you only made $5,000 dollars on the property in two years after all those deductions.” To which I replied, ‘we lived in this beautiful area along this fine historic river in this historic town for two years, we entertained hundreds of people had rave like corn roasts, caught bushels of fish, behaved like madmen and women as the campfires burned weekend after weekend you cannot put a price on this joy, if we profited somewhat that is fine but it was not our intention, our intention was to enjoy life.’

He doesn’t quiz me much these days on my personal matters. Though I am reminded of another time, we had bought our first Toronto house and it needed a lot of work which was somewhat challenging for a man who previously had never owned a hammer. That summer we took a holiday up to the Wawa area, using an old Chevy station wagon sold to me by Verns cousin Ronnie, that car burned more oil than gas! Besides the wagon we pulled along a 16 foot cedar strip boat we had traded a car for in Hastings, it had an old brown coloured Johnson Seahorse 18HP motor that was easy enough to start and pushed the boat along at a good enough pace once the boat planed out. We camped up on the French River where one morning as the haze left the water I saw a fourty pound Muskie jump into the air right at the tip of the island Julie and I were camping on, what a sight. Endless casts did not produce a strike, We did see some Americans trolling for pickerel near Schells camp and they pulled up a pair of ten pounders to show us. We packed up and headed north where we discovered at Blind River that we had left the tent Octopus joint, the joint that all the tent poles stick into at the Island so we made our way to the Sault where we grabbed a motel for the night along with a spaghetti dinner and a tent store provide the piece we needed to go on to a cottage less lake just south of Wawa in a provincial park, the names will come to me. We camped there for three days, now I remember, Lake Michipicoten, and we could not get the boat out of the water with the wagon. No wonder our luggage was quite heavy, Gisele my mom had given us a matched six piece set of tan vinyl luggage for our first wedding anniversary and we hauled our stuff around in it like tourists, the luggage in the boat, thankfully two guys with a 4X4 truck hooked up to our trailer hitch and pulled the heavy boat out or we would still be there. We headed home as I recall via a town in the interior of Ontario called Chapleau, as we passed through the place we remarked to each other how desolate it was, upon leaving the town after a small gander we were about a mile out of town on a highway heading south when we noticed a car stopped in the middle of the road up ahead and something spread out on the pavement. Well, if it wasn’t a man taking a nap, and he was really out, turns out he was more drunk than sleepy and we urged him up and off the road along with his car.

We arrived back at our little home in Toronto’s hardscrabble Mount Dennis area, our second car a patched up late 60s Ford Falcon wagon was in the driveway, my friend was in the house smoking a cigar, our big german shepherd named Zorba greeted us. My buddy told me they almost lost the dog on a trip he took with the wagon up to Georgian Bay, the dog got away, but they eventually found him, they were not supposed to use the car except in an emergency. Then my buddy, my good friend told me that I only had $5,200 in my bank account. I said to him, “how do you know that?” to which he replied, “your bank book must have fallen out of your dresser drawer in the spare bedroom.” I was not impressed, I didn’t say anything at the time, nor have I ever but I never forgot that intrusion on our privacy and what I perceived to be a jealousy of my good fortune to be able to save some money at that time in life.

Getting back to the CCM Flyte. Without the help of Pat Johnston that bike would still be a pile of rubble. On the Tuesday afternoon August 21 Pat and I put the bike on the mechanics stand and Pat used sandpaper and a file to scratch the paint away to reveal the serial number which is 2C7461. The placement of the letter C designates this bike to have been manufactured in 1939 as per the charts issued by CCM. At that time the idea to restore the bike was spoken by Pat and I, I recall having to give this a lot of thought as I had a shop to run and not a lot of spare time to being a restoration this time of year, the freshness of the bike also came into play, I can say that the enthusiasm in Pat about the restoration idea was far greater than mine. We discussed colour ideas something that regardless of the project is a difficult subject for me as I do not visualize very well. I mean, I can put an idea in my head to a degree but I have known for some time that it takes time for the idea to set in so that my mind has a clear idea of what lies ahead. Over the next few days, I spent quite some time thinking about how the bike could look in different colours and different colour combinations. In the meantime, the regulars came by to look at the bike, CCM Dave was pretty impressed with it, I even tinkered with the idea of going partners on the bike with him, but we disagreed right off the bat about what colour it should or could be when restored and that kaboshed the partnership idea. It was Daves wife Charmaine who had whispered in my ear at the Lang Transportation Day bike show that “Dave would love a Flyte” and I think in a subliminal way those words influenced me in my hasty decision to go to Quebec for the Flyte in the first place. My notes show me that we did not put the bike up until August 25, I recall grandson Mackenzie assisting Pat and I to raise it onto the shop canopy where bikes are hung for display. That Saturday a big collector of vintage road bikes dropped over to check out my goods Jeff Lackey who lives in Lindsay, his bikes are too die for. He looked at the Flyte up there, he knew I had been looking for one for some time and he said, “I wouldn’t touch it, it’s beautiful the way it is, just leave it like that.” His point was not lost on me however, still early in the game I was having thoughts of my own about what to do with the Flyte and how to manage the restoration during a busy time of the bike season. The most difficult thoughts were the ones about choosing a colour or colour scheme to use on the bike. In the meantime, Pat had taken an old fork of mine to the Flashfire powder coat company in Courtice to have it powder coated in their chrome colour. We had to do this in order to determine for ourselves how the chrome on the bike which included the handlebars, curved fork, stem, crank and crank arms would look. My colour ideas were all over the place, my thoughts went from mauve with cream white fenders, to fire engine red with black fenders and chainguard, I couldn’t sleep at night thinking about the colours. Finally when the fork came back from the powder coaters looking OK, it looked more aluminum coloured than chrome to me not great but much better than it had looked before coating. Having parts chromed is a sport for the wealthy, recently Pat told me about a friend of his who had two rims and a handlebar chromed for the restoration of his vintage Raleigh Robin Hood bicycle, the cost was $500…OUCH! So you can see the economy I had in mind for restoring the bike came into play. The estimate from the coating company to sandblast and coat the bike was in the $200 range which included the chrome parts done their way, I figured that was something I could afford. In keeping with the tradition of the last owner of the Flyte, the priest in Quebec City I decided to have it painted jet black except the chrome parts and the chainguard which would be close to chrome in colour. All along I had seen this bike as a classic example of Design Art in which the object became available in this instance in the 1930s and I may be wrong but I think the design by Harvey Peace was ahead of its time. The unfinished Flytes that I had seen were quite drab looking, I didn’t like them at all. I knew I could improve on the look of the bike by the use of a dynamic colour, the one I chose was Jet Black.

I approached Pat with the idea of him taking the bike apart and reassembling it for a fee of $100. He agreed and said “I would have done it for nothing” I knew that Pat was capable of the job as well he was very enthusiastic about the restoration. The bike came down after only being up there a week where it had been admired by several shoppers, it did not draw crowds though just the folks who would have stopped by in any case to look at our wares. There is a photograph taken on September 7 of the Flyte in pieces sitting on one of my work tables at the outdoor shop. Pat took the bike to his house and broke it down. While doing so he discovered that a part of the crank side crank arm was broken, it was a critical piece that protruded into the crank ring to turn the crank mechanisim. Not to worry he hand made a replacement piece of steel on his lathe and took the pieces to a company that had done lots of work for him in the past Bruce Fabricating, the new repair was out of site and probably better than new. How the bike managed to function without this piece can only be explained by thinking the crank arm and crank were so tightly attached that the two pieces in a way welded into each other forming a bond and allowing the crank to turn the chain which in turn caused the back wheel to turn. Some proof of that statement lies in the fact that Pat had to take the crank to a reputable shop in downtown Peterborough called Spokes and Pedals where the owner a man who has worked on bikes steadily for over fourty years Dave Friese found the proper tool and long pry bar to remove the inner nut on the crank. That crank problem was one of the biggest surprises encountered in the process. I took the frame to the powder coating factory in Courtice on the edge of Oshawa and was told it would be up to two weeks before it would be ready. In the meantime I had time to go over the rims and well I must say I was quite surprised, but I should not have been given the amount of rust found on the rear rim to discover that the rim itself had rotted through in three or four places at the juncture with the spokes, probably the area of the rim that had sat in the snow while attached to that church fence for some years in Quebec City. Rims of this style are not readily available. Earlier that season I had given a bike to a street person to use an old CCM with rough paint and a decent set of rims. I located that person and persuaded them to give me the bike back and trade for a more modern mountain bike with gears in good condition. The trade was advantageous to both of us and I was very pleased to have the correct rims to complete the Flyte build with. The rims are chrome plated Westwood style with a red pinstripe in the middle, I will know better next time a pair comes in and set them aside for a special build. Earlier that summer myself and Little Ronnie Williams had spent some hours cleaning that pair of rims up of the rust that had accumulated on them over the years, condition wise they looked in eight out of ten shape. I recalled CCM Dave seeing those rims being cleaned, they came off a 30s CCM ladies bike that no one wanted to give me $75 for. I told Dave that he could have bought the entire bike for less than a hundred dollars, that old bike had sat there in the side storage area for over a year as it had been donated along with others by Mario the collector from King City who had become my benefactor. Besides the rims a proper head badge came from another of Marios bikes that we used on the Flyte rebuild. Things were falling in place, the rims, the crank repair, the colour of the bike and the chrome, cream coloured tires were ordered, we took the red mini crystal ball tail light off of a vintage 1938 Eatons Glider, a set of nice clean Gibson style pedals were found. The frame and parts were glowing when we picked them up at the powder coaters. The fellow who did the powder coating told me he had worked extra to get the bike parts to look as good as possible considering the degree of pitting he found on the handlebars. That same day Pat came over and admired the painted parts and took everything to his house for reassembly. I can’t say enough about the care and thoughtfulness displayed by Pat in this regard, he worked on this build as if it was his own. He used many parts form his arsenal of shiny nuts and bolts to attach the fenders and chain guard to the frame that now looked like a million dollars. Not only did he clean the hubs he took them apart and serviced them with new grease ensuring that they would work like new. On September 23 I got a call from Pat to come pick the bike up, it was ready. Wide smiles grace our faces the day his wife Mary took photos of the two of us with the refurbished bicycle in the back yard area of he and his wife Marys home we were pleased with the outcome, I slid the bike into my truck and took it home. The next day CCM Dave came by and he got to ride the bike, I told him to take it downtown and show it off, his smile was wide as well. The bike he said rode OK, it pulled a bit to one side and we found the front rim to need a bit of truing. On Sept 26 John Cisco the man who was second to point out the bike to me in Quebec City came by to exchange some vintage pedals, he posed with the bike, he said “Velos Roy, the shop you bought it from have been very helpful to me with my old bike ever since you bought the Flyte.” That was nice to hear.

For finishing touches on the Flyte I chose the 700c size Cream Schwalbe tires, they looked outstanding. For grips I used a pair of bullet style Bell black grips found at a discount price at a Winners store. The original Mesinger brand leather saddle was set aside for future restoration, I chose to use a new black leather Brooks B17 with a matching Brooks black leather tool bag attached to the back of the saddle. I believe the colour coordination, the use of black in the accessories was key to the overerall finished look of the bike. I was quite pleased.

A couple of times Pat and I discussed having a custom Lumpy Bikes sign made to fit between inside the frame of the bicycle. I had done this before with a Pashley Butchers Bike that I used as an advertisement for the shop some years back. I had thought to have the words lumpy bikes put on the sign, a short description of the bike, its age 1939, the manufacturer CCM, and words stating the restoration was done by Pat Johnston and myself. That never got off the ground, October is a busy month at this shop as we are prone to start thinking about moving downstairs to the indoor shop. Every day for two weeks or so I would pull the Flyte out from behind the garage where it was safely covered and put it out in the driveway for all to see myself in particular. Folks would drop over to look at bikes, to talk about bikes and I would have my words honed to share with them about the history of this bike. Mike Taylor the photographer also a bike mechanic was keen to take photos of me dressed as a Jesuit priest wearing a wide brimmed clergy had over by the black wrought iron fences of the Little Lake Cemetery. At night I would carefully put the bike back to its sleeping area and make darn sure the gate was locked at night. There is more work than I care to think about to make the shift downstairs, it is overwhelming. Our grandson Mackenzie is a god send in that he hauls the boxes of parts and cleaners box after box of tools and parts and what not down there for me and I take a day to set the new shop up, happy to know I can still work on bikes everyday in the cooler months. I would not say the Flyte was ignored as it had been brought into the house and installed above the desk replacing a $5,000 bike that had been bought as Industrial ART a Giant XTC Team bike with exquisite parts such as hydraulic disc brakes, Mavic Crossmax Rims, a bike that was strictly Eye Candy that had been built by a professional mechanic in Belleville at Dougs Bikes to be used as a commuter. I had seen the bike for sale on Kijiji and put an offer in right away and to my surprise another offer faltered and I found myself driving to Port Hope to meet the owner/builder and bring the bike home, it was in mint condition and was as Bling a bike as I had seen. The XTC went into the locked garage and the fabled CCM Flyte went above the office desk, this was October 26.

When the colder weather sets in here in Ontario it is normal for the bike trade to slow down as well. Sales that may run in the 25-35 bikes a month sold in the months of May to September slow down as well to maybe ten bikes in October and if you are lucky five bikes in November and fewer in December. With this your cashflow also stops, money just stops coming in and any smart bike seller will have salted some coins away to pay himself a wage in the down months from November to March while continuing to build bikes for the upcoming season. I never could figure out a winter gig to compensate when the bikes stop. Other shops I have run like the restaurant slowed down in the winter but there was still some trade from the locals. The Gange business ran year round. At one time I was offered to purchase a complete ice skate sharpening line of equipment at a very fair price. This would have entailed me renovating the garage to accommodate the equipment and providing a room for customers to wait while I sharpened the skates as some will want to wait. I never took the idea, I gave it lots of thought I just did not feel interested in this sideline and I knew that two shops in town did this in the winter and I witness the cash register singing at one of the shops run by my friend Ben Logan of Fontaine Source for Sports. These days, ideally I would be spending my winters in Thailand or some other exotic location, my feet in a hammock, sipping on long cool drinks through paper straws while girls in colourful sarongs wave palm leaves over my body to keep me cool. We just don’t make enough cash to enable such a change of life. Now that Julia is retired we could discuss liquidating some assets and changing our lifestyle by taking up residence in a less expensive area and this area Peterborough is half the expense of living in our home city of Toronto. Cape Breton comes to mind from time to time, but like some friends have pointed out, “you will miss your family” and they are right.

I try to understand the circumstances around the eventual sale of the Flyte on January 7, 2019. I know my books showed that the winter season was unusually quiet, that from the end of October to the 7th of January I had only moved 7 pieces one of which was a used Park Tool Stand. An email came in from my friend Dale Mcillmoyle who is a retired OPP seargeant and a fellow bike nut/mechanic who lives with his wife Cindy near Campbellford, Ontario. Dale said in his note that a friend of his Tom Huehn was interested in my Flyte as Dale had forwarded him photos of the finished bike some months back. By surprise I got a phone call on Jan 7 from Tom who said he wanted to come look at the bike, this was around 9:30 in the morning, I politely asked him to come back around 11:30 to give me some time to get dressed. Promptly at that time a knock on the door signalled Toms arrival, Benson the little dog barked as he is prone to do, we greeted, shook hands , I brought Tom into the office where he asked me an assortment of questions about the bike. I showed him the bikes history via photos on the computer, photos of every stage of the rebuild, of the trip to Quebec, the reception when the bike was brought home, by the end of the photo essay he knew as much about the Flyte as I did. Tom asked if we could bring the bike down from where it hung which we did together, he did not care for what he called Powder Coat Chrome, but he knew that was an economic measure that we undertook to keep our costs down on the build. Besides I would casually say to him, ‘the new owner can have that redone if he likes when he purchases the bike’. An offer was made that was to low and I actually think I could have pushed things higher had I felt like it but I was not in a great position to turn down $1,700.00 on a cold day in January from out of the blue. We shook hands on the deal, Tom added a $50 referral fee for Dale which Dale shared with me this spring. So I call the price we sold it for $1,750.00. If I wished I could go over the numbers as to what the bike took to get, to restore, to pay Pat the pittance of $100 for his efforts. I think I came out on top in the $650 range and I can tell you, that is one hell of a profit on a bicycle. My friend Mario who owns by the way 15 Flytes had shown some interest in the bike told me what it was worth and I have to go along with what an expert tells me on these matters. Is Tom happy with the bike? I don’t know, Dale had mentioned he might take it to one of the big American shows to sell, but what I have to say about that is “when you purchase something it is your prerogative to do with it as you wish” and I wish Tom all the best in his choices.

Do I miss the Flyte, I miss it more for my friends Pat Johnston and CCM Dave than I miss it for myself. I always have neat, old romantic looking bikes around here, what I do miss is the thrill of the buy, the pursuit of the bike, how it was revealed to me in of all places from a fellow bike lover in Britain and then a day or two later by someone whom I know from this shop. Someday, I feel in my bones that another Flyte will come my way and I will be given the opportunity to make it as beautiful as this one.

On the day Tom came to buy the Flyte two friends happened to be driving by the house and they saw me bring the CCM down the stairs to wait for Tom who had gone to the bank. The friends were Gene whose Mercedes EBike I had helped locate after it had been stolen in the fall and he was with CCM Dave, they both posed with the bike on the bench, Dave knew I had sold the bike, what other reason would it have been outside that cold day in January. It took me a bit of time to let Pat Johnston know I sold the bike, I am quite sure he was choked up when he heard the news as I would be…we both have friends with deep pockets and storage areas where they can show their trophies off. Over the years there have been at least ten stellar bikes that I would love to have today, the CCM Flyte was unique for its day and remains unique today, I wonder why no other manufacturer has duplicated the style, are patents holding others back from replicating it? Thanks for your time, hope you enjoyed this ride!

 

Read what difficulties i had with this in my Blog

 

My Blog | My website | My Challenge | London Lovers | My 500px Flow

 

A glass of wine and a meal at Mt Difficulty Vineyard Central Otago New Zealand

I had a difficulties with this shot because of the back-lighting and being in the woods, I could not get in a better shooting position so that is the final result.

J'ai eu de la difficulté avec cette photo dû à la lumière contre-jour et je ne pouvais pas me positionner autrement dans cette forêt dense.

BIGGER IS BETTER

   

© All rights reserved. Use without permission is illegal.

© Tous droits réservés. L'utilisation sans ma permission est illégale

I had some difficulty choosing the subject, partly because we're new to the South Bay area of Los Angeles. Initially, I considered some obvious choices but my thoughts began to dwell on the qualities that first attracted us to our city, such as its laid-back, casual atmosphere. I started thinking about people who might represent that quality, and then I thought of Chef Hiro.

 

Chef Hiro owns Sun & Moon Cafe, a sushi bar that serves Japanese fusion cuisine just a block from the beach. The bar is a well-known hangout among locals. The first time we went to his bar, I saw all the eclectic, somewhat chaotic decor, with Japanese umbrellas and daruma dolls beside drawings of surfboards. I thought it was a little wacky but cool in a down-to-earth way, which reflected the personality of Chef Hiro.

 

When I asked him for an appointment for a portrait, I introduced myself and offered to shake his hand. He offered me a fist bump instead. That's Chef Hiro. He has bragging rights for having been an Iron Chef in Japan but you'd never know it by talking to him because he's entirely unassuming, and the first time you meet him, he already makes you feel like you've been buddies for years.

 

That's what I want to show about our community. It is one of the most affluent cities in the whole country, and there are plenty of wealthy residents, but generally, most of them don't flaunt their wealth and most people are warm and congenial, just like Chef Hiro.

 

For Chef Hiro's portrait, I wanted to show the sushi bar in the background because it shows his personality. It's a very busy background and it would have been easier to select a clean background, but it wouldn't do justice to Chef's colorful restaurant or character. To make the background less of a distraction and more supportive to the portrait, I thought of some solutions such as a low-key portrait where a shaft of light illuminated only part of the background. However, I thought that the low-key portrait didn't suit Chef Hiro's cheerful disposition. Instead I decided to use a background light to draw the viewer's attention to Chef Hiro.

 

For the light on Chef Hiro himself, it was going to be simple and natural -- a reflection of his personality. I used the ambient light from a large window, then used a reflector as fill.

 

The gesture I captured here is 100% Chef Hiro. I didn't 'direct' him or anything, although that's exactly how I imagined he would look (partly why I chose a wide focal length - to exaggerate the gesture that I expected).

 

In post-processing, I applied a radial blur with a layer mask to keep the viewer's attention on Chef Hiro.

 

Nikon D300 + Tamron 17-50 VC @ 17mm. ISO 1600, f/2.8, 1/125.

Lighting info: SB-800 gelled, aimed at background, triggered via Radiopopper JrX. Large window as key, reflector as fill.

The difficulties of fitting a quart into a pint pot...

The railway overbridge disguises the entrance to a small 'storage area' in which to park trams 'offstage'. The common term fiddle yard seems extravagant, as no 'fiddling' as such is envisaged!

Today I rebuilt the bridge at a different angle, which increased the span and meant that another bridge had to be provided! The Ferodo one seen in previous views, has been replaced, but will doubtless reappear somewhere else in due course.

Whilst the storage area is divided from the layout by a skyboard, it is lit by natural light which has meant that a printed backscene works reasonably well here, seen behind the STL and Walls ice cream van. Must do something about the underside of the bridge deck though!

The small area to the left is problematic.Perhaps some sort of of single floor building used as a shop? Possibly just a bit of wasteground behind some advertisement hoardings - we shall see.

Birdoswald Roman Fort was known as Banna ("horn" in Celtic) in Roman times, reflecting the geography of the site on a triangular spur of land bounded by cliffs to the south and east commanding a broad meander of the River Irthing in Cumbria below.

 

It lies towards the western end of Hadrian's Wall and is one of the best preserved of the 16 forts along the wall. It is also attached to the longest surviving stretch of Hadrian's Wall.

 

Cumbria County Council were responsible for the management of Birdoswald fort from 1984 until the end of 2004, when English Heritage assumed responsibility.

 

This western part of Hadrian's Wall was originally built using turf starting from 122 AD. The stone fort was built some time after the wall, in the usual playing card shape, with gates to the east, west and south.

 

The fort was occupied by Cohors I Aelia Dacorum and by other Roman auxiliaries from approximately AD 126 to AD 400.

 

The two-mile sector of Hadrian's Wall either side of Birdoswald is also of major interest. It is currently the only known sector of Hadrian's Wall in which the original turf wall was replaced, probably in the 130s, by a stone wall approximately 50 metres further north, to line up with the fort's north wall, instead of at its east and west gates. The reasons for this change are unclear, although David Woolliscroft (Woolliscroft, 2001) has plausibly suggested that it was the result of changing signalling requirements, whilst Stewart Ainsworth of Time Team suggested it was a response to a cliff collapse into the river. At any rate, this remains the only area in which both the walls can be directly compared.

 

As of 2005, it is the only site[citation needed] on Hadrian's Wall at which significant occupation in the post-Roman period has been proven. Excavations between 1987 and 1992 showed an unbroken sequence of occupation on the site of the fort granaries, running from the late Roman period until possibly 500AD. The granaries were replaced by two successive large timber halls, reminiscent of others found in many parts of Britain dating to the fifth and sixth centuries. Tony Wilmott (co-director of the excavations) has suggested that, after the end of Roman rule in Britain, the fort served as the power-base for a local warband descended from the late Roman garrison, possibly deriving legitimacy from their ancestors for several generations.

 

Inside were built the usual stone buildings, a central headquarters building (principia), granaries (horrea), and barracks. Unusually for an auxiliary fort, it also included an exercise building (basilica exercitatoria), perhaps reflecting the difficulties of training soldiers in the exposed site in the north of England.

 

Geophysical surveys detected vici (civilian settlements) of different characters on the eastern, western and northern sides of the fort. A bathhouse was also located in the valley of the River Irthing.

 

Approximately 600 metres east of Birdoswald, at the foot of an escarpment, lie the remains of Willowford bridge which carried Hadrian's Wall across the River Irthing. The westward movement of the river course over the centuries has left the east abutment of the bridge high and dry, while the west abutment has probably been destroyed by erosion. Nevertheless, the much-modified visible remains are highly impressive. Until 1996, these remains were not directly accessible from the fort, but they can now be reached by a footbridge.

 

The fort at Birdoswald was linked by a Roman road, sometimes referred to as the Maiden Way, to the outpost fort of Bewcastle, seven miles to the north. Signals could be relayed between the two forts by means of two signalling towers.

 

The fort has been extensively excavated for over a century, with twentieth century excavations starting in 1911 by F.G. Simpson and continuing with Ian Richmond from 1927 to 1933 .[6] The gateways and walls were then re-excavated under the supervision of Brenda Swinbank and J P Gillam from 1949 to 1950.

 

Extensive geophysical surveys, both magnetometry and earth resistance survey, were conducted by TimeScape Surveys (Alan Biggins & David Taylor, 1999 & 2004) between 1997 -2001. These surveys established that the sub-surface remains in the fort were well preserved.

 

An area between the fort and the escarpment was excavated by Channel 4's archaeological television programme Time Team in January 2000. The excavation detected signs of an extramural settlement (vicus), but the area is liable to erosion and the majority of the vicus could have fallen over the cliffs.

 

In 2021 Newcastle University, Historic England, and English Heritage launched a major new archaeological excavation at the site.

 

Today the fort's site is operated by English Heritage as Birdoswald Roman Fort. The visitor centre features displays and reconstructions of the fort, exhibits about life in Roman Britain, the site's history through the ages, and archaeological discoveries in the 19th and 20th centuries. Visitors can walk outside along the excavated remains of the fort.

 

Roman Britain was the territory that became the Roman province of Britannia after the Roman conquest of Britain, consisting of a large part of the island of Great Britain. The occupation lasted from AD 43 to AD 410.

 

Julius Caesar invaded Britain in 55 and 54 BC as part of his Gallic Wars. According to Caesar, the Britons had been overrun or culturally assimilated by the Belgae during the British Iron Age and had been aiding Caesar's enemies. The Belgae were the only Celtic tribe to cross the sea into Britain, for to all other Celtic tribes this land was unknown. He received tribute, installed the friendly king Mandubracius over the Trinovantes, and returned to Gaul. Planned invasions under Augustus were called off in 34, 27, and 25 BC. In 40 AD, Caligula assembled 200,000 men at the Channel on the continent, only to have them gather seashells (musculi) according to Suetonius, perhaps as a symbolic gesture to proclaim Caligula's victory over the sea. Three years later, Claudius directed four legions to invade Britain and restore the exiled king Verica over the Atrebates. The Romans defeated the Catuvellauni, and then organized their conquests as the province of Britain. By 47 AD, the Romans held the lands southeast of the Fosse Way. Control over Wales was delayed by reverses and the effects of Boudica's uprising, but the Romans expanded steadily northward.

 

The conquest of Britain continued under command of Gnaeus Julius Agricola (77–84), who expanded the Roman Empire as far as Caledonia. In mid-84 AD, Agricola faced the armies of the Caledonians, led by Calgacus, at the Battle of Mons Graupius. Battle casualties were estimated by Tacitus to be upwards of 10,000 on the Caledonian side and about 360 on the Roman side. The bloodbath at Mons Graupius concluded the forty-year conquest of Britain, a period that possibly saw between 100,000 and 250,000 Britons killed. In the context of pre-industrial warfare and of a total population of Britain of c. 2 million, these are very high figures.

 

Under the 2nd-century emperors Hadrian and Antoninus Pius, two walls were built to defend the Roman province from the Caledonians, whose realms in the Scottish Highlands were never controlled. Around 197 AD, the Severan Reforms divided Britain into two provinces: Britannia Superior and Britannia Inferior. During the Diocletian Reforms, at the end of the 3rd century, Britannia was divided into four provinces under the direction of a vicarius, who administered the Diocese of the Britains. A fifth province, Valentia, is attested in the later 4th century. For much of the later period of the Roman occupation, Britannia was subject to barbarian invasions and often came under the control of imperial usurpers and imperial pretenders. The final Roman withdrawal from Britain occurred around 410; the native kingdoms are considered to have formed Sub-Roman Britain after that.

 

Following the conquest of the Britons, a distinctive Romano-British culture emerged as the Romans introduced improved agriculture, urban planning, industrial production, and architecture. The Roman goddess Britannia became the female personification of Britain. After the initial invasions, Roman historians generally only mention Britain in passing. Thus, most present knowledge derives from archaeological investigations and occasional epigraphic evidence lauding the Britannic achievements of an emperor. Roman citizens settled in Britain from many parts of the Empire.

 

History

Britain was known to the Classical world. The Greeks, the Phoenicians and the Carthaginians traded for Cornish tin in the 4th century BC. The Greeks referred to the Cassiterides, or "tin islands", and placed them near the west coast of Europe. The Carthaginian sailor Himilco is said to have visited the island in the 6th or 5th century BC and the Greek explorer Pytheas in the 4th. It was regarded as a place of mystery, with some writers refusing to believe it existed.

 

The first direct Roman contact was when Julius Caesar undertook two expeditions in 55 and 54 BC, as part of his conquest of Gaul, believing the Britons were helping the Gallic resistance. The first expedition was more a reconnaissance than a full invasion and gained a foothold on the coast of Kent but was unable to advance further because of storm damage to the ships and a lack of cavalry. Despite the military failure, it was a political success, with the Roman Senate declaring a 20-day public holiday in Rome to honour the unprecedented achievement of obtaining hostages from Britain and defeating Belgic tribes on returning to the continent.

 

The second invasion involved a substantially larger force and Caesar coerced or invited many of the native Celtic tribes to pay tribute and give hostages in return for peace. A friendly local king, Mandubracius, was installed, and his rival, Cassivellaunus, was brought to terms. Hostages were taken, but historians disagree over whether any tribute was paid after Caesar returned to Gaul.

 

Caesar conquered no territory and left no troops behind, but he established clients and brought Britain into Rome's sphere of influence. Augustus planned invasions in 34, 27 and 25 BC, but circumstances were never favourable, and the relationship between Britain and Rome settled into one of diplomacy and trade. Strabo, writing late in Augustus's reign, claimed that taxes on trade brought in more annual revenue than any conquest could. Archaeology shows that there was an increase in imported luxury goods in southeastern Britain. Strabo also mentions British kings who sent embassies to Augustus, and Augustus's own Res Gestae refers to two British kings he received as refugees. When some of Tiberius's ships were carried to Britain in a storm during his campaigns in Germany in 16 AD, they came back with tales of monsters.

 

Rome appears to have encouraged a balance of power in southern Britain, supporting two powerful kingdoms: the Catuvellauni, ruled by the descendants of Tasciovanus, and the Atrebates, ruled by the descendants of Commius. This policy was followed until 39 or 40 AD, when Caligula received an exiled member of the Catuvellaunian dynasty and planned an invasion of Britain that collapsed in farcical circumstances before it left Gaul. When Claudius successfully invaded in 43 AD, it was in aid of another fugitive British ruler, Verica of the Atrebates.

 

Roman invasion

The invasion force in 43 AD was led by Aulus Plautius,[26] but it is unclear how many legions were sent. The Legio II Augusta, commanded by future emperor Vespasian, was the only one directly attested to have taken part. The Legio IX Hispana, the XIV Gemina (later styled Martia Victrix) and the XX (later styled Valeria Victrix) are known to have served during the Boudican Revolt of 60/61, and were probably there since the initial invasion. This is not certain because the Roman army was flexible, with units being moved around whenever necessary. The IX Hispana may have been permanently stationed, with records showing it at Eboracum (York) in 71 and on a building inscription there dated 108, before being destroyed in the east of the Empire, possibly during the Bar Kokhba revolt.

 

The invasion was delayed by a troop mutiny until an imperial freedman persuaded them to overcome their fear of crossing the Ocean and campaigning beyond the limits of the known world. They sailed in three divisions, and probably landed at Richborough in Kent; at least part of the force may have landed near Fishbourne, West Sussex.

 

The Catuvellauni and their allies were defeated in two battles: the first, assuming a Richborough landing, on the river Medway, the second on the river Thames. One of their leaders, Togodumnus, was killed, but his brother Caratacus survived to continue resistance elsewhere. Plautius halted at the Thames and sent for Claudius, who arrived with reinforcements, including artillery and elephants, for the final march to the Catuvellaunian capital, Camulodunum (Colchester). Vespasian subdued the southwest, Cogidubnus was set up as a friendly king of several territories, and treaties were made with tribes outside direct Roman control.

 

Establishment of Roman rule

After capturing the south of the island, the Romans turned their attention to what is now Wales. The Silures, Ordovices and Deceangli remained implacably opposed to the invaders and for the first few decades were the focus of Roman military attention, despite occasional minor revolts among Roman allies like the Brigantes and the Iceni. The Silures were led by Caratacus, and he carried out an effective guerrilla campaign against Governor Publius Ostorius Scapula. Finally, in 51, Ostorius lured Caratacus into a set-piece battle and defeated him. The British leader sought refuge among the Brigantes, but their queen, Cartimandua, proved her loyalty by surrendering him to the Romans. He was brought as a captive to Rome, where a dignified speech he made during Claudius's triumph persuaded the emperor to spare his life. The Silures were still not pacified, and Cartimandua's ex-husband Venutius replaced Caratacus as the most prominent leader of British resistance.

 

On Nero's accession, Roman Britain extended as far north as Lindum. Gaius Suetonius Paulinus, the conqueror of Mauretania (modern day Algeria and Morocco), then became governor of Britain, and in 60 and 61 he moved against Mona (Anglesey) to settle accounts with Druidism once and for all. Paulinus led his army across the Menai Strait and massacred the Druids and burnt their sacred groves.

 

While Paulinus was campaigning in Mona, the southeast of Britain rose in revolt under the leadership of Boudica. She was the widow of the recently deceased king of the Iceni, Prasutagus. The Roman historian Tacitus reports that Prasutagus had left a will leaving half his kingdom to Nero in the hope that the remainder would be left untouched. He was wrong. When his will was enforced, Rome[clarification needed] responded by violently seizing the tribe's lands in full. Boudica protested. In consequence, Rome[clarification needed] punished her and her daughters by flogging and rape. In response, the Iceni, joined by the Trinovantes, destroyed the Roman colony at Camulodunum (Colchester) and routed the part of the IXth Legion that was sent to relieve it. Paulinus rode to London (then called Londinium), the rebels' next target, but concluded it could not be defended. Abandoned, it was destroyed, as was Verulamium (St. Albans). Between seventy and eighty thousand people are said to have been killed in the three cities. But Paulinus regrouped with two of the three legions still available to him, chose a battlefield, and, despite being outnumbered by more than twenty to one, defeated the rebels in the Battle of Watling Street. Boudica died not long afterwards, by self-administered poison or by illness. During this time, the Emperor Nero considered withdrawing Roman forces from Britain altogether.

 

There was further turmoil in 69, the "Year of the Four Emperors". As civil war raged in Rome, weak governors were unable to control the legions in Britain, and Venutius of the Brigantes seized his chance. The Romans had previously defended Cartimandua against him, but this time were unable to do so. Cartimandua was evacuated, and Venutius was left in control of the north of the country. After Vespasian secured the empire, his first two appointments as governor, Quintus Petillius Cerialis and Sextus Julius Frontinus, took on the task of subduing the Brigantes and Silures respectively.[38] Frontinus extended Roman rule to all of South Wales, and initiated exploitation of the mineral resources, such as the gold mines at Dolaucothi.

 

In the following years, the Romans conquered more of the island, increasing the size of Roman Britain. Governor Gnaeus Julius Agricola, father-in-law to the historian Tacitus, conquered the Ordovices in 78. With the XX Valeria Victrix legion, Agricola defeated the Caledonians in 84 at the Battle of Mons Graupius, in north-east Scotland. This was the high-water mark of Roman territory in Britain: shortly after his victory, Agricola was recalled from Britain back to Rome, and the Romans initially retired to a more defensible line along the Forth–Clyde isthmus, freeing soldiers badly needed along other frontiers.

 

For much of the history of Roman Britain, a large number of soldiers were garrisoned on the island. This required that the emperor station a trusted senior man as governor of the province. As a result, many future emperors served as governors or legates in this province, including Vespasian, Pertinax, and Gordian I.

 

Roman military organisation in the north

In 84 AD

In 84 AD

 

In 155 AD

In 155 AD

 

Hadrian's Wall, and Antonine Wall

There is no historical source describing the decades that followed Agricola's recall. Even the name of his replacement is unknown. Archaeology has shown that some Roman forts south of the Forth–Clyde isthmus were rebuilt and enlarged; others appear to have been abandoned. By 87 the frontier had been consolidated on the Stanegate. Roman coins and pottery have been found circulating at native settlement sites in the Scottish Lowlands in the years before 100, indicating growing Romanisation. Some of the most important sources for this era are the writing tablets from the fort at Vindolanda in Northumberland, mostly dating to 90–110. These tablets provide evidence for the operation of a Roman fort at the edge of the Roman Empire, where officers' wives maintained polite society while merchants, hauliers and military personnel kept the fort operational and supplied.

 

Around 105 there appears to have been a serious setback at the hands of the tribes of the Picts: several Roman forts were destroyed by fire, with human remains and damaged armour at Trimontium (at modern Newstead, in SE Scotland) indicating hostilities at least at that site.[citation needed] There is also circumstantial evidence that auxiliary reinforcements were sent from Germany, and an unnamed British war of the period is mentioned on the gravestone of a tribune of Cyrene. Trajan's Dacian Wars may have led to troop reductions in the area or even total withdrawal followed by slighting of the forts by the Picts rather than an unrecorded military defeat. The Romans were also in the habit of destroying their own forts during an orderly withdrawal, in order to deny resources to an enemy. In either case, the frontier probably moved south to the line of the Stanegate at the Solway–Tyne isthmus around this time.

 

A new crisis occurred at the beginning of Hadrian's reign): a rising in the north which was suppressed by Quintus Pompeius Falco. When Hadrian reached Britannia on his famous tour of the Roman provinces around 120, he directed an extensive defensive wall, known to posterity as Hadrian's Wall, to be built close to the line of the Stanegate frontier. Hadrian appointed Aulus Platorius Nepos as governor to undertake this work who brought the Legio VI Victrix legion with him from Germania Inferior. This replaced the famous Legio IX Hispana, whose disappearance has been much discussed. Archaeology indicates considerable political instability in Scotland during the first half of the 2nd century, and the shifting frontier at this time should be seen in this context.

 

In the reign of Antoninus Pius (138–161) the Hadrianic border was briefly extended north to the Forth–Clyde isthmus, where the Antonine Wall was built around 142 following the military reoccupation of the Scottish lowlands by a new governor, Quintus Lollius Urbicus.

 

The first Antonine occupation of Scotland ended as a result of a further crisis in 155–157, when the Brigantes revolted. With limited options to despatch reinforcements, the Romans moved their troops south, and this rising was suppressed by Governor Gnaeus Julius Verus. Within a year the Antonine Wall was recaptured, but by 163 or 164 it was abandoned. The second occupation was probably connected with Antoninus's undertakings to protect the Votadini or his pride in enlarging the empire, since the retreat to the Hadrianic frontier occurred not long after his death when a more objective strategic assessment of the benefits of the Antonine Wall could be made. The Romans did not entirely withdraw from Scotland at this time: the large fort at Newstead was maintained along with seven smaller outposts until at least 180.

 

During the twenty-year period following the reversion of the frontier to Hadrian's Wall in 163/4, Rome was concerned with continental issues, primarily problems in the Danubian provinces. Increasing numbers of hoards of buried coins in Britain at this time indicate that peace was not entirely achieved. Sufficient Roman silver has been found in Scotland to suggest more than ordinary trade, and it is likely that the Romans were reinforcing treaty agreements by paying tribute to their implacable enemies, the Picts.

 

In 175, a large force of Sarmatian cavalry, consisting of 5,500 men, arrived in Britannia, probably to reinforce troops fighting unrecorded uprisings. In 180, Hadrian's Wall was breached by the Picts and the commanding officer or governor was killed there in what Cassius Dio described as the most serious war of the reign of Commodus. Ulpius Marcellus was sent as replacement governor and by 184 he had won a new peace, only to be faced with a mutiny from his own troops. Unhappy with Marcellus's strictness, they tried to elect a legate named Priscus as usurper governor; he refused, but Marcellus was lucky to leave the province alive. The Roman army in Britannia continued its insubordination: they sent a delegation of 1,500 to Rome to demand the execution of Tigidius Perennis, a Praetorian prefect who they felt had earlier wronged them by posting lowly equites to legate ranks in Britannia. Commodus met the party outside Rome and agreed to have Perennis killed, but this only made them feel more secure in their mutiny.

 

The future emperor Pertinax (lived 126–193) was sent to Britannia to quell the mutiny and was initially successful in regaining control, but a riot broke out among the troops. Pertinax was attacked and left for dead, and asked to be recalled to Rome, where he briefly succeeded Commodus as emperor in 192.

 

3rd century

The death of Commodus put into motion a series of events which eventually led to civil war. Following the short reign of Pertinax, several rivals for the emperorship emerged, including Septimius Severus and Clodius Albinus. The latter was the new governor of Britannia, and had seemingly won the natives over after their earlier rebellions; he also controlled three legions, making him a potentially significant claimant. His sometime rival Severus promised him the title of Caesar in return for Albinus's support against Pescennius Niger in the east. Once Niger was neutralised, Severus turned on his ally in Britannia; it is likely that Albinus saw he would be the next target and was already preparing for war.

 

Albinus crossed to Gaul in 195, where the provinces were also sympathetic to him, and set up at Lugdunum. Severus arrived in February 196, and the ensuing battle was decisive. Albinus came close to victory, but Severus's reinforcements won the day, and the British governor committed suicide. Severus soon purged Albinus's sympathisers and perhaps confiscated large tracts of land in Britain as punishment. Albinus had demonstrated the major problem posed by Roman Britain. In order to maintain security, the province required the presence of three legions, but command of these forces provided an ideal power base for ambitious rivals. Deploying those legions elsewhere would strip the island of its garrison, leaving the province defenceless against uprisings by the native Celtic tribes and against invasion by the Picts and Scots.

 

The traditional view is that northern Britain descended into anarchy during Albinus's absence. Cassius Dio records that the new Governor, Virius Lupus, was obliged to buy peace from a fractious northern tribe known as the Maeatae. The succession of militarily distinguished governors who were subsequently appointed suggests that enemies of Rome were posing a difficult challenge, and Lucius Alfenus Senecio's report to Rome in 207 describes barbarians "rebelling, over-running the land, taking loot and creating destruction". In order to rebel, of course, one must be a subject – the Maeatae clearly did not consider themselves such. Senecio requested either reinforcements or an Imperial expedition, and Severus chose the latter, despite being 62 years old. Archaeological evidence shows that Senecio had been rebuilding the defences of Hadrian's Wall and the forts beyond it, and Severus's arrival in Britain prompted the enemy tribes to sue for peace immediately. The emperor had not come all that way to leave without a victory, and it is likely that he wished to provide his teenage sons Caracalla and Geta with first-hand experience of controlling a hostile barbarian land.

 

Northern campaigns, 208–211

An invasion of Caledonia led by Severus and probably numbering around 20,000 troops moved north in 208 or 209, crossing the Wall and passing through eastern Scotland on a route similar to that used by Agricola. Harried by punishing guerrilla raids by the northern tribes and slowed by an unforgiving terrain, Severus was unable to meet the Caledonians on a battlefield. The emperor's forces pushed north as far as the River Tay, but little appears to have been achieved by the invasion, as peace treaties were signed with the Caledonians. By 210 Severus had returned to York, and the frontier had once again become Hadrian's Wall. He assumed the title Britannicus but the title meant little with regard to the unconquered north, which clearly remained outside the authority of the Empire. Almost immediately, another northern tribe, the Maeatae, went to war. Caracalla left with a punitive expedition, but by the following year his ailing father had died and he and his brother left the province to press their claim to the throne.

 

As one of his last acts, Severus tried to solve the problem of powerful and rebellious governors in Britain by dividing the province into Britannia Superior and Britannia Inferior. This kept the potential for rebellion in check for almost a century. Historical sources provide little information on the following decades, a period known as the Long Peace. Even so, the number of buried hoards found from this period rises, suggesting continuing unrest. A string of forts were built along the coast of southern Britain to control piracy; and over the following hundred years they increased in number, becoming the Saxon Shore Forts.

 

During the middle of the 3rd century, the Roman Empire was convulsed by barbarian invasions, rebellions and new imperial pretenders. Britannia apparently avoided these troubles, but increasing inflation had its economic effect. In 259 a so-called Gallic Empire was established when Postumus rebelled against Gallienus. Britannia was part of this until 274 when Aurelian reunited the empire.

 

Around the year 280, a half-British officer named Bonosus was in command of the Roman's Rhenish fleet when the Germans managed to burn it at anchor. To avoid punishment, he proclaimed himself emperor at Colonia Agrippina (Cologne) but was crushed by Marcus Aurelius Probus. Soon afterwards, an unnamed governor of one of the British provinces also attempted an uprising. Probus put it down by sending irregular troops of Vandals and Burgundians across the Channel.

 

The Carausian Revolt led to a short-lived Britannic Empire from 286 to 296. Carausius was a Menapian naval commander of the Britannic fleet; he revolted upon learning of a death sentence ordered by the emperor Maximian on charges of having abetted Frankish and Saxon pirates and having embezzled recovered treasure. He consolidated control over all the provinces of Britain and some of northern Gaul while Maximian dealt with other uprisings. An invasion in 288 failed to unseat him and an uneasy peace ensued, with Carausius issuing coins and inviting official recognition. In 293, the junior emperor Constantius Chlorus launched a second offensive, besieging the rebel port of Gesoriacum (Boulogne-sur-Mer) by land and sea. After it fell, Constantius attacked Carausius's other Gallic holdings and Frankish allies and Carausius was usurped by his treasurer, Allectus. Julius Asclepiodotus landed an invasion fleet near Southampton and defeated Allectus in a land battle.

 

Diocletian's reforms

As part of Diocletian's reforms, the provinces of Roman Britain were organized as a diocese governed by a vicarius under a praetorian prefect who, from 318 to 331, was Junius Bassus who was based at Augusta Treverorum (Trier).

 

The vicarius was based at Londinium as the principal city of the diocese. Londinium and Eboracum continued as provincial capitals and the territory was divided up into smaller provinces for administrative efficiency.

 

Civilian and military authority of a province was no longer exercised by one official and the governor was stripped of military command which was handed over to the Dux Britanniarum by 314. The governor of a province assumed more financial duties (the procurators of the Treasury ministry were slowly phased out in the first three decades of the 4th century). The Dux was commander of the troops of the Northern Region, primarily along Hadrian's Wall and his responsibilities included protection of the frontier. He had significant autonomy due in part to the distance from his superiors.

 

The tasks of the vicarius were to control and coordinate the activities of governors; monitor but not interfere with the daily functioning of the Treasury and Crown Estates, which had their own administrative infrastructure; and act as the regional quartermaster-general of the armed forces. In short, as the sole civilian official with superior authority, he had general oversight of the administration, as well as direct control, while not absolute, over governors who were part of the prefecture; the other two fiscal departments were not.

 

The early-4th-century Verona List, the late-4th-century work of Sextus Rufus, and the early-5th-century List of Offices and work of Polemius Silvius all list four provinces by some variation of the names Britannia I, Britannia II, Maxima Caesariensis, and Flavia Caesariensis; all of these seem to have initially been directed by a governor (praeses) of equestrian rank. The 5th-century sources list a fifth province named Valentia and give its governor and Maxima's a consular rank. Ammianus mentions Valentia as well, describing its creation by Count Theodosius in 369 after the quelling of the Great Conspiracy. Ammianus considered it a re-creation of a formerly lost province, leading some to think there had been an earlier fifth province under another name (may be the enigmatic "Vespasiana"), and leading others to place Valentia beyond Hadrian's Wall, in the territory abandoned south of the Antonine Wall.

 

Reconstructions of the provinces and provincial capitals during this period partially rely on ecclesiastical records. On the assumption that the early bishoprics mimicked the imperial hierarchy, scholars use the list of bishops for the 314 Council of Arles. The list is patently corrupt: the British delegation is given as including a Bishop "Eborius" of Eboracum and two bishops "from Londinium" (one de civitate Londinensi and the other de civitate colonia Londinensium). The error is variously emended: Bishop Ussher proposed Colonia, Selden Col. or Colon. Camalodun., and Spelman Colonia Cameloduni (all various names of Colchester); Gale and Bingham offered colonia Lindi and Henry Colonia Lindum (both Lincoln); and Bishop Stillingfleet and Francis Thackeray read it as a scribal error of Civ. Col. Londin. for an original Civ. Col. Leg. II (Caerleon). On the basis of the Verona List, the priest and deacon who accompanied the bishops in some manuscripts are ascribed to the fourth province.

 

In the 12th century, Gerald of Wales described the supposedly metropolitan sees of the early British church established by the legendary SS Fagan and "Duvian". He placed Britannia Prima in Wales and western England with its capital at "Urbs Legionum" (Caerleon); Britannia Secunda in Kent and southern England with its capital at "Dorobernia" (Canterbury); Flavia in Mercia and central England with its capital at "Lundonia" (London); "Maximia" in northern England with its capital at Eboracum (York); and Valentia in "Albania which is now Scotland" with its capital at St Andrews. Modern scholars generally dispute the last: some place Valentia at or beyond Hadrian's Wall but St Andrews is beyond even the Antonine Wall and Gerald seems to have simply been supporting the antiquity of its church for political reasons.

 

A common modern reconstruction places the consular province of Maxima at Londinium, on the basis of its status as the seat of the diocesan vicarius; places Prima in the west according to Gerald's traditional account but moves its capital to Corinium of the Dobunni (Cirencester) on the basis of an artifact recovered there referring to Lucius Septimius, a provincial rector; places Flavia north of Maxima, with its capital placed at Lindum Colonia (Lincoln) to match one emendation of the bishops list from Arles;[d] and places Secunda in the north with its capital at Eboracum (York). Valentia is placed variously in northern Wales around Deva (Chester); beside Hadrian's Wall around Luguvalium (Carlisle); and between the walls along Dere Street.

 

4th century

Emperor Constantius returned to Britain in 306, despite his poor health, with an army aiming to invade northern Britain, the provincial defences having been rebuilt in the preceding years. Little is known of his campaigns with scant archaeological evidence, but fragmentary historical sources suggest he reached the far north of Britain and won a major battle in early summer before returning south. His son Constantine (later Constantine the Great) spent a year in northern Britain at his father's side, campaigning against the Picts beyond Hadrian's Wall in the summer and autumn. Constantius died in York in July 306 with his son at his side. Constantine then successfully used Britain as the starting point of his march to the imperial throne, unlike the earlier usurper, Albinus.

 

In the middle of the century, the province was loyal for a few years to the usurper Magnentius, who succeeded Constans following the latter's death. After the defeat and death of Magnentius in the Battle of Mons Seleucus in 353, Constantius II dispatched his chief imperial notary Paulus Catena to Britain to hunt down Magnentius's supporters. The investigation deteriorated into a witch-hunt, which forced the vicarius Flavius Martinus to intervene. When Paulus retaliated by accusing Martinus of treason, the vicarius attacked Paulus with a sword, with the aim of assassinating him, but in the end he committed suicide.

 

As the 4th century progressed, there were increasing attacks from the Saxons in the east and the Scoti (Irish) in the west. A series of forts had been built, starting around 280, to defend the coasts, but these preparations were not enough when, in 367, a general assault of Saxons, Picts, Scoti and Attacotti, combined with apparent dissension in the garrison on Hadrian's Wall, left Roman Britain prostrate. The invaders overwhelmed the entire western and northern regions of Britannia and the cities were sacked. This crisis, sometimes called the Barbarian Conspiracy or the Great Conspiracy, was settled by Count Theodosius from 368 with a string of military and civil reforms. Theodosius crossed from Bononia (Boulogne-sur-Mer) and marched on Londinium where he began to deal with the invaders and made his base.[ An amnesty was promised to deserters which enabled Theodosius to regarrison abandoned forts. By the end of the year Hadrian's Wall was retaken and order returned. Considerable reorganization was undertaken in Britain, including the creation of a new province named Valentia, probably to better address the state of the far north. A new Dux Britanniarum was appointed, Dulcitius, with Civilis to head a new civilian administration.

 

Another imperial usurper, Magnus Maximus, raised the standard of revolt at Segontium (Caernarfon) in north Wales in 383, and crossed the English Channel. Maximus held much of the western empire, and fought a successful campaign against the Picts and Scots around 384. His continental exploits required troops from Britain, and it appears that forts at Chester and elsewhere were abandoned in this period, triggering raids and settlement in north Wales by the Irish. His rule was ended in 388, but not all the British troops may have returned: the Empire's military resources were stretched to the limit along the Rhine and Danube. Around 396 there were more barbarian incursions into Britain. Stilicho led a punitive expedition. It seems peace was restored by 399, and it is likely that no further garrisoning was ordered; by 401 more troops were withdrawn, to assist in the war against Alaric I.

 

End of Roman rule

The traditional view of historians, informed by the work of Michael Rostovtzeff, was of a widespread economic decline at the beginning of the 5th century. Consistent archaeological evidence has told another story, and the accepted view is undergoing re-evaluation. Some features are agreed: more opulent but fewer urban houses, an end to new public building and some abandonment of existing ones, with the exception of defensive structures, and the widespread formation of "dark earth" deposits indicating increased horticulture within urban precincts. Turning over the basilica at Silchester to industrial uses in the late 3rd century, doubtless officially condoned, marks an early stage in the de-urbanisation of Roman Britain.

 

The abandonment of some sites is now believed to be later than had been thought. Many buildings changed use but were not destroyed. There was a growing number of barbarian attacks, but these targeted vulnerable rural settlements rather than towns. Some villas such as Chedworth, Great Casterton in Rutland and Hucclecote in Gloucestershire had new mosaic floors laid around this time, suggesting that economic problems may have been limited and patchy. Many suffered some decay before being abandoned in the 5th century; the story of Saint Patrick indicates that villas were still occupied until at least 430. Exceptionally, new buildings were still going up in this period in Verulamium and Cirencester. Some urban centres, for example Canterbury, Cirencester, Wroxeter, Winchester and Gloucester, remained active during the 5th and 6th centuries, surrounded by large farming estates.

 

Urban life had generally grown less intense by the fourth quarter of the 4th century, and coins minted between 378 and 388 are very rare, indicating a likely combination of economic decline, diminishing numbers of troops, problems with the payment of soldiers and officials or with unstable conditions during the usurpation of Magnus Maximus 383–87. Coinage circulation increased during the 390s, but never attained the levels of earlier decades. Copper coins are very rare after 402, though minted silver and gold coins from hoards indicate they were still present in the province even if they were not being spent. By 407 there were very few new Roman coins going into circulation, and by 430 it is likely that coinage as a medium of exchange had been abandoned. Mass-produced wheel thrown pottery ended at approximately the same time; the rich continued to use metal and glass vessels, while the poor made do with humble "grey ware" or resorted to leather or wooden containers.

 

Sub-Roman Britain

Towards the end of the 4th century Roman rule in Britain came under increasing pressure from barbarian attacks. Apparently, there were not enough troops to mount an effective defence. After elevating two disappointing usurpers, the army chose a soldier, Constantine III, to become emperor in 407. He crossed to Gaul but was defeated by Honorius; it is unclear how many troops remained or ever returned, or whether a commander-in-chief in Britain was ever reappointed. A Saxon incursion in 408 was apparently repelled by the Britons, and in 409 Zosimus records that the natives expelled the Roman civilian administration. Zosimus may be referring to the Bacaudic rebellion of the Breton inhabitants of Armorica since he describes how, in the aftermath of the revolt, all of Armorica and the rest of Gaul followed the example of the Brettaniai. A letter from Emperor Honorius in 410 has traditionally been seen as rejecting a British appeal for help, but it may have been addressed to Bruttium or Bologna. With the imperial layers of the military and civil government gone, administration and justice fell to municipal authorities, and local warlords gradually emerged all over Britain, still utilizing Romano-British ideals and conventions. Historian Stuart Laycock has investigated this process and emphasised elements of continuity from the British tribes in the pre-Roman and Roman periods, through to the native post-Roman kingdoms.

 

In British tradition, pagan Saxons were invited by Vortigern to assist in fighting the Picts, Scoti, and Déisi. (Germanic migration into Roman Britannia may have begun much earlier. There is recorded evidence, for example, of Germanic auxiliaries supporting the legions in Britain in the 1st and 2nd centuries.) The new arrivals rebelled, plunging the country into a series of wars that eventually led to the Saxon occupation of Lowland Britain by 600. Around this time, many Britons fled to Brittany (hence its name), Galicia and probably Ireland. A significant date in sub-Roman Britain is the Groans of the Britons, an unanswered appeal to Aetius, leading general of the western Empire, for assistance against Saxon invasion in 446. Another is the Battle of Deorham in 577, after which the significant cities of Bath, Cirencester and Gloucester fell and the Saxons reached the western sea.

 

Historians generally reject the historicity of King Arthur, who is supposed to have resisted the Anglo-Saxon conquest according to later medieval legends.

 

Trade

During the Roman period Britain's continental trade was principally directed across the Southern North Sea and Eastern Channel, focusing on the narrow Strait of Dover, with more limited links via the Atlantic seaways. The most important British ports were London and Richborough, whilst the continental ports most heavily engaged in trade with Britain were Boulogne and the sites of Domburg and Colijnsplaat at the mouth of the river Scheldt. During the Late Roman period it is likely that the shore forts played some role in continental trade alongside their defensive functions.

 

Exports to Britain included: coin; pottery, particularly red-gloss terra sigillata (samian ware) from southern, central and eastern Gaul, as well as various other wares from Gaul and the Rhine provinces; olive oil from southern Spain in amphorae; wine from Gaul in amphorae and barrels; salted fish products from the western Mediterranean and Brittany in barrels and amphorae; preserved olives from southern Spain in amphorae; lava quern-stones from Mayen on the middle Rhine; glass; and some agricultural products. Britain's exports are harder to detect archaeologically, but will have included metals, such as silver and gold and some lead, iron and copper. Other exports probably included agricultural products, oysters and salt, whilst large quantities of coin would have been re-exported back to the continent as well.

 

These products moved as a result of private trade and also through payments and contracts established by the Roman state to support its military forces and officials on the island, as well as through state taxation and extraction of resources. Up until the mid-3rd century, the Roman state's payments appear to have been unbalanced, with far more products sent to Britain, to support its large military force (which had reached c. 53,000 by the mid-2nd century), than were extracted from the island.

 

It has been argued that Roman Britain's continental trade peaked in the late 1st century AD and thereafter declined as a result of an increasing reliance on local products by the population of Britain, caused by economic development on the island and by the Roman state's desire to save money by shifting away from expensive long-distance imports. Evidence has been outlined that suggests that the principal decline in Roman Britain's continental trade may have occurred in the late 2nd century AD, from c. 165 AD onwards. This has been linked to the economic impact of contemporary Empire-wide crises: the Antonine Plague and the Marcomannic Wars.

 

From the mid-3rd century onwards, Britain no longer received such a wide range and extensive quantity of foreign imports as it did during the earlier part of the Roman period; vast quantities of coin from continental mints reached the island, whilst there is historical evidence for the export of large amounts of British grain to the continent during the mid-4th century. During the latter part of the Roman period British agricultural products, paid for by both the Roman state and by private consumers, clearly played an important role in supporting the military garrisons and urban centres of the northwestern continental Empire. This came about as a result of the rapid decline in the size of the British garrison from the mid-3rd century onwards (thus freeing up more goods for export), and because of 'Germanic' incursions across the Rhine, which appear to have reduced rural settlement and agricultural output in northern Gaul.

 

Economy

Mineral extraction sites such as the Dolaucothi gold mine were probably first worked by the Roman army from c. 75, and at some later stage passed to civilian operators. The mine developed as a series of opencast workings, mainly by the use of hydraulic mining methods. They are described by Pliny the Elder in his Natural History in great detail. Essentially, water supplied by aqueducts was used to prospect for ore veins by stripping away soil to reveal the bedrock. If veins were present, they were attacked using fire-setting and the ore removed for comminution. The dust was washed in a small stream of water and the heavy gold dust and gold nuggets collected in riffles. The diagram at right shows how Dolaucothi developed from c. 75 through to the 1st century. When opencast work was no longer feasible, tunnels were driven to follow the veins. The evidence from the site shows advanced technology probably under the control of army engineers.

 

The Wealden ironworking zone, the lead and silver mines of the Mendip Hills and the tin mines of Cornwall seem to have been private enterprises leased from the government for a fee. Mining had long been practised in Britain (see Grimes Graves), but the Romans introduced new technical knowledge and large-scale industrial production to revolutionise the industry. It included hydraulic mining to prospect for ore by removing overburden as well as work alluvial deposits. The water needed for such large-scale operations was supplied by one or more aqueducts, those surviving at Dolaucothi being especially impressive. Many prospecting areas were in dangerous, upland country, and, although mineral exploitation was presumably one of the main reasons for the Roman invasion, it had to wait until these areas were subdued.

 

By the 3rd and 4th centuries, small towns could often be found near villas. In these towns, villa owners and small-scale farmers could obtain specialist tools. Lowland Britain in the 4th century was agriculturally prosperous enough to export grain to the continent. This prosperity lay behind the blossoming of villa building and decoration that occurred between AD 300 and 350.

 

Britain's cities also consumed Roman-style pottery and other goods, and were centres through which goods could be distributed elsewhere. At Wroxeter in Shropshire, stock smashed into a gutter during a 2nd-century fire reveals that Gaulish samian ware was being sold alongside mixing bowls from the Mancetter-Hartshill industry of the West Midlands. Roman designs were most popular, but rural craftsmen still produced items derived from the Iron Age La Tène artistic traditions. Britain was home to much gold, which attracted Roman invaders. By the 3rd century, Britain's economy was diverse and well established, with commerce extending into the non-Romanised north.

 

Government

Further information: Governors of Roman Britain, Roman client kingdoms in Britain, and Roman auxiliaries in Britain

Under the Roman Empire, administration of peaceful provinces was ultimately the remit of the Senate, but those, like Britain, that required permanent garrisons, were placed under the Emperor's control. In practice imperial provinces were run by resident governors who were members of the Senate and had held the consulship. These men were carefully selected, often having strong records of military success and administrative ability. In Britain, a governor's role was primarily military, but numerous other tasks were also his responsibility, such as maintaining diplomatic relations with local client kings, building roads, ensuring the public courier system functioned, supervising the civitates and acting as a judge in important legal cases. When not campaigning, he would travel the province hearing complaints and recruiting new troops.

 

To assist him in legal matters he had an adviser, the legatus juridicus, and those in Britain appear to have been distinguished lawyers perhaps because of the challenge of incorporating tribes into the imperial system and devising a workable method of taxing them. Financial administration was dealt with by a procurator with junior posts for each tax-raising power. Each legion in Britain had a commander who answered to the governor and, in time of war, probably directly ruled troublesome districts. Each of these commands carried a tour of duty of two to three years in different provinces. Below these posts was a network of administrative managers covering intelligence gathering, sending reports to Rome, organising military supplies and dealing with prisoners. A staff of seconded soldiers provided clerical services.

 

Colchester was probably the earliest capital of Roman Britain, but it was soon eclipsed by London with its strong mercantile connections. The different forms of municipal organisation in Britannia were known as civitas (which were subdivided, amongst other forms, into colonies such as York, Colchester, Gloucester and Lincoln and municipalities such as Verulamium), and were each governed by a senate of local landowners, whether Brythonic or Roman, who elected magistrates concerning judicial and civic affairs. The various civitates sent representatives to a yearly provincial council in order to profess loyalty to the Roman state, to send direct petitions to the Emperor in times of extraordinary need, and to worship the imperial cult.

 

Demographics

Roman Britain had an estimated population between 2.8 million and 3 million people at the end of the second century. At the end of the fourth century, it had an estimated population of 3.6 million people, of whom 125,000 consisted of the Roman army and their families and dependents.[80] The urban population of Roman Britain was about 240,000 people at the end of the fourth century. The capital city of Londinium is estimated to have had a population of about 60,000 people. Londinium was an ethnically diverse city with inhabitants from the Roman Empire, including natives of Britannia, continental Europe, the Middle East, and North Africa. There was also cultural diversity in other Roman-British towns, which were sustained by considerable migration, from Britannia and other Roman territories, including continental Europe, Roman Syria, the Eastern Mediterranean and North Africa. In a study conducted in 2012, around 45 percent of sites investigated dating from the Roman period had at least one individual of North African origin.

 

Town and country

During their occupation of Britain the Romans founded a number of important settlements, many of which survive. The towns suffered attrition in the later 4th century, when public building ceased and some were abandoned to private uses. Place names survived the deurbanised Sub-Roman and early Anglo-Saxon periods, and historiography has been at pains to signal the expected survivals, but archaeology shows that a bare handful of Roman towns were continuously occupied. According to S.T. Loseby, the very idea of a town as a centre of power and administration was reintroduced to England by the Roman Christianising mission to Canterbury, and its urban revival was delayed to the 10th century.

 

Roman towns can be broadly grouped in two categories. Civitates, "public towns" were formally laid out on a grid plan, and their role in imperial administration occasioned the construction of public buildings. The much more numerous category of vici, "small towns" grew on informal plans, often round a camp or at a ford or crossroads; some were not small, others were scarcely urban, some not even defended by a wall, the characteristic feature of a place of any importance.

 

Cities and towns which have Roman origins, or were extensively developed by them are listed with their Latin names in brackets; civitates are marked C

 

Alcester (Alauna)

Alchester

Aldborough, North Yorkshire (Isurium Brigantum) C

Bath (Aquae Sulis) C

Brough (Petuaria) C

Buxton (Aquae Arnemetiae)

Caerleon (Isca Augusta) C

Caernarfon (Segontium) C

Caerwent (Venta Silurum) C

Caister-on-Sea C

Canterbury (Durovernum Cantiacorum) C

Carlisle (Luguvalium) C

Carmarthen (Moridunum) C

Chelmsford (Caesaromagus)

Chester (Deva Victrix) C

Chester-le-Street (Concangis)

Chichester (Noviomagus Reginorum) C

Cirencester (Corinium) C

Colchester (Camulodunum) C

Corbridge (Coria) C

Dorchester (Durnovaria) C

Dover (Portus Dubris)

Exeter (Isca Dumnoniorum) C

Gloucester (Glevum) C

Great Chesterford (the name of this vicus is unknown)

Ilchester (Lindinis) C

Leicester (Ratae Corieltauvorum) C

Lincoln (Lindum Colonia) C

London (Londinium) C

Manchester (Mamucium) C

Newcastle upon Tyne (Pons Aelius)

Northwich (Condate)

St Albans (Verulamium) C

Silchester (Calleva Atrebatum) C

Towcester (Lactodurum)

Whitchurch (Mediolanum) C

Winchester (Venta Belgarum) C

Wroxeter (Viroconium Cornoviorum) C

York (Eboracum) C

 

Religion

The druids, the Celtic priestly caste who were believed to originate in Britain, were outlawed by Claudius, and in 61 they vainly defended their sacred groves from destruction by the Romans on the island of Mona (Anglesey). Under Roman rule the Britons continued to worship native Celtic deities, such as Ancasta, but often conflated with their Roman equivalents, like Mars Rigonemetos at Nettleham.

 

The degree to which earlier native beliefs survived is difficult to gauge precisely. Certain European ritual traits such as the significance of the number 3, the importance of the head and of water sources such as springs remain in the archaeological record, but the differences in the votive offerings made at the baths at Bath, Somerset, before and after the Roman conquest suggest that continuity was only partial. Worship of the Roman emperor is widely recorded, especially at military sites. The founding of a Roman temple to Claudius at Camulodunum was one of the impositions that led to the revolt of Boudica. By the 3rd century, Pagans Hill Roman Temple in Somerset was able to exist peaceably and it did so into the 5th century.

 

Pagan religious practices were supported by priests, represented in Britain by votive deposits of priestly regalia such as chain crowns from West Stow and Willingham Fen.

 

Eastern cults such as Mithraism also grew in popularity towards the end of the occupation. The London Mithraeum is one example of the popularity of mystery religions among the soldiery. Temples to Mithras also exist in military contexts at Vindobala on Hadrian's Wall (the Rudchester Mithraeum) and at Segontium in Roman Wales (the Caernarfon Mithraeum).

 

Christianity

It is not clear when or how Christianity came to Britain. A 2nd-century "word square" has been discovered in Mamucium, the Roman settlement of Manchester. It consists of an anagram of PATER NOSTER carved on a piece of amphora. There has been discussion by academics whether the "word square" is a Christian artefact, but if it is, it is one of the earliest examples of early Christianity in Britain. The earliest confirmed written evidence for Christianity in Britain is a statement by Tertullian, c. 200 AD, in which he described "all the limits of the Spains, and the diverse nations of the Gauls, and the haunts of the Britons, inaccessible to the Romans, but subjugated to Christ". Archaeological evidence for Christian communities begins to appear in the 3rd and 4th centuries. Small timber churches are suggested at Lincoln and Silchester and baptismal fonts have been found at Icklingham and the Saxon Shore Fort at Richborough. The Icklingham font is made of lead, and visible in the British Museum. A Roman Christian graveyard exists at the same site in Icklingham. A possible Roman 4th-century church and associated burial ground was also discovered at Butt Road on the south-west outskirts of Colchester during the construction of the new police station there, overlying an earlier pagan cemetery. The Water Newton Treasure is a hoard of Christian silver church plate from the early 4th century and the Roman villas at Lullingstone and Hinton St Mary contained Christian wall paintings and mosaics respectively. A large 4th-century cemetery at Poundbury with its east–west oriented burials and lack of grave goods has been interpreted as an early Christian burial ground, although such burial rites were also becoming increasingly common in pagan contexts during the period.

 

The Church in Britain seems to have developed the customary diocesan system, as evidenced from the records of the Council of Arles in Gaul in 314: represented at the council were bishops from thirty-five sees from Europe and North Africa, including three bishops from Britain, Eborius of York, Restitutus of London, and Adelphius, possibly a bishop of Lincoln. No other early sees are documented, and the material remains of early church structures are far to seek. The existence of a church in the forum courtyard of Lincoln and the martyrium of Saint Alban on the outskirts of Roman Verulamium are exceptional. Alban, the first British Christian martyr and by far the most prominent, is believed to have died in the early 4th century (some date him in the middle 3rd century), followed by Saints Julius and Aaron of Isca Augusta. Christianity was legalised in the Roman Empire by Constantine I in 313. Theodosius I made Christianity the state religion of the empire in 391, and by the 5th century it was well established. One belief labelled a heresy by the church authorities — Pelagianism — was originated by a British monk teaching in Rome: Pelagius lived c. 354 to c. 420/440.

 

A letter found on a lead tablet in Bath, Somerset, datable to c. 363, had been widely publicised as documentary evidence regarding the state of Christianity in Britain during Roman times. According to its first translator, it was written in Wroxeter by a Christian man called Vinisius to a Christian woman called Nigra, and was claimed as the first epigraphic record of Christianity in Britain. This translation of the letter was apparently based on grave paleographical errors, and the text has nothing to do with Christianity, and in fact relates to pagan rituals.

 

Environmental changes

The Romans introduced a number of species to Britain, including possibly the now-rare Roman nettle (Urtica pilulifera), said to have been used by soldiers to warm their arms and legs, and the edible snail Helix pomatia. There is also some evidence they may have introduced rabbits, but of the smaller southern mediterranean type. The European rabbit (Oryctolagus cuniculus) prevalent in modern Britain is assumed to have been introduced from the continent after the Norman invasion of 1066. Box (Buxus sempervirens) is rarely recorded before the Roman period, but becomes a common find in towns and villas

 

Legacy

During their occupation of Britain the Romans built an extensive network of roads which continued to be used in later centuries and many are still followed today. The Romans also built water supply, sanitation and wastewater systems. Many of Britain's major cities, such as London (Londinium), Manchester (Mamucium) and York (Eboracum), were founded by the Romans, but the original Roman settlements were abandoned not long after the Romans left.

 

Unlike many other areas of the Western Roman Empire, the current majority language is not a Romance language, or a language descended from the pre-Roman inhabitants. The British language at the time of the invasion was Common Brittonic, and remained so after the Romans withdrew. It later split into regional languages, notably Cumbric, Cornish, Breton and Welsh. Examination of these languages suggests some 800 Latin words were incorporated into Common Brittonic (see Brittonic languages). The current majority language, English, is based on the languages of the Germanic tribes who migrated to the island from continental Europe

The site presents unusual difficulties in gardening. First, its soil is composed almost entirely of diatomaceous earth. Second, because of the diverse nature and thickness of the fill, settling rates vary throughout the garden resulting in frequent irrigation system breakage. Third, heat is caused by decomposition of organic matter below the soil surface, and it is accompanied by the production of gases, primarily carbon dioxide and methane.

 

A remake of the "Crying Indian" public service ad by Keep America Beautiful, featuring the late Iron Eyes Cody, was filmed at South Coast Botanical Gardens. Aired from 1975 to 1978, Cody was riding a horse instead of paddling a canoe as in the original version filmed in the San Francisco Bay area in 1970. The transcript from the commercial, where Cody was on top of the hill looking at the freeway, was:

The first Americans love the land and the spirit remains true today! This is South Coast Botanical Gardens in California. Once a dump, community leaders clean and reclaimed it! However we got a long way to go! So get involved now! Write to Keep America Beautiful, 99 Park Avenue, New York! People start pollution, people can stop it! (Cody showing a tear to the camera.)

 

South Coast Botanic garden. California.

The difficulty with a 365 Project is that not every day yields a great photo. Today was a pretty uneventful day and there was little time or inspiration for a nice photo. I made a quick trip to urgent care in the morning, which is what is pictured here. Nothing serious and everyone is fine!

Barb Wright as Liberace

 

This painting gave me difficulties....part and parcel of the woes as well as pleasures of digital painting. I began by loading the full cover from Confidential magazine (a sensational gossip rag from the 1950's onward) into ArtRage. Then I began painting the portrait on top of it. I was pleased with how it was coming along with the juxtaposition of painted portrait slapped against the magazine photo background. Then the difficulties began. First, part of the underlying red text area below became submerged under the painted image. As ArtRage does not have layers capability, I needed to hand paint the missing words in the "Mad About the Boy" area. In so doing, I zoomed in to work on the details of the lettering and moved the painting to one side of my computer screen to accomplish this easier. That was a fatal mistake. When I was finished with the letters, I then moved the picture back into place. All of a sudden, the entire right half of the picture was cut off and gone for good. I was faced with either abandoning the picture at this point or going on with it to hand paint the missing right half of the portrait as well as the missing photographic areas at the right of the picture. This explains the hand painted right section of the magazine. Actually, as it turned out, I now rather like the shift from left to right on the background section. In the "Frigid Wives" section, the move toward a bright green color was purely a color consideration called up by the bright yellow adjacent.... and the cool tone suggesting "frigid" in my painter's eye.

 

Toward completion, I thought perhaps to cut off the entire "Frigid Wives" section when I realized the "painted word" can load a painting with unavoidable narrative associations not attached to the image. However, the words tickled me as being so related to notions of American sexism of the '50's. So I let them stand as they were tied into the entire picture process from the beginning.

 

The portrait has been carried out with benign intent. I hope all viewers....and especial Barb Wright....can appreciate my image on its own process-involved terms.

 

Link to Photo Sources: www.flickr.com/photos/54791441@N03/7488795090/

www.google.com/imgres?imgurl=http://www.annehelenpetersen...

 

Link to Barb Wright's Flickr Photostream: www.flickr.com/photos/54791441@N03/

The Fountain of Putti is a monumental work in Carrara marble , located at the entrance to Piazza dei Miracoli and Via Santa Maria in Pisa .

 

It was built between 1746 and 1765 by Giuseppe Vaccà , who took care of the base, and by Giovanni Antonio Cybei , author of the marble group of putti holding the coats of arms of Pisa and the Opera del Duomo, based on a design by the painter Giovanni Battista Tempesti

 

The presence of a first fountain in the Piazza del Duomo, although simple and devoid of ornaments, has been attested since 1659. However, it was thanks to the Operaio dell'Opera Francesco Quarantotti , appointed in 1729, that the current structure was built , strategically moved a few meters compared to the position of the previous fountain and placed "on the corner of the paved road that goes to the church" , that is, in front of the exit of via Santa Maria into Piazza del Duomo. For the new monument, an aesthetic solution was chosen that could better harmonize with the classic appearance of the monuments in the square .

 

The first phase of construction of the fountain was entrusted to the Carrara sculptor Giuseppe Vaccà, who had participated together with his father Giovan Battista and his cousin in the furnishing of the Cathedral , a phase which ended in 1746 with the construction of a base decorated with cherubs and acanthus leaves. The pillar of the source was built in Avenza di Massa in the Vaccà workshop in just under a year, and despite the construction difficulties caused by the soft ground (which it was necessary to consolidate by driving 33 pine poles deep) , in September by 1746 the fountain could now be said to be completed . Its creation, as reported in the Memoria del Duomo by Filippo D'Angelo, was defined as "not magnifying but beautiful and gallant" .

 

In 1763 Anton Francesco Maria Quarantotti, who had succeeded his father in the service of the Opera del Duomo, agreed with Vaccà to complete the structure of the fountain with a sculptural group to be positioned above the marble base. Vaccà in all likelihood in this case only played the role of entrepreneur : the construction was in fact entrusted to Giovanni Antonio Cybei , who worked starting from a preparatory drawing by the painter Giovanni Battista Tempesti . From 1763, the work kept Cybei busy for about two years ; the sculptural group was transported to the city by sea and up the Arno a few days before Christmas 1765

 

Shortly after the completion of the work, the first critical assessments also emerged, which were directed in particular against the sculptural group of the three putti. The oldest written testimony of these negative judgments dates back to Filippo D'Angelo , who, in his Memoirs of the Cathedral and events of the city of Pisa in 1767 , defined the author as "a terrible statuary" .

 

In 1848, the Pisan sculptor Girolamo Marconi was the first to propose replacing the sculptural group with a statue of the city's patron saint, San Ranieri , also replacing the base with another, more sober one, bearing the city coat of arms [9] . However, probably due to lack of funds, the proposal was not followed up .

 

With the foundation in Pisa of the Association for the embellishments of the Piazza del Duomo (1862), born in the period of national unification, the hypothesis of replacing the group of three putti, judged to be of little value, with the statue of Buscheto , architect of the Cathedral . However, not even this time did the intent to restore a more austere appearance to the square lead to concrete results.

 

The opportunity for a new attempt to remove the group presented itself with the appointment of Archbishop Pietro Maffi in 1905. Maffi, who was an astronomer and had been appointed president of the Vatican Observatory in 1904 , proposed replacing the putti with a monument to Galileo Galilei . To reduce costs, he also suggested removing only the sculptural group, using the fountain below. The project, however, was harshly criticized when it was made public in 1906; on this occasion, for the first time, some defenders of the Fontana dei Putti intervened as a historical and symbolic element of the square. The determination of Maffi, who in the meantime had become cardinal, led him to a second attempt in 1922, when the Genoese sculptor Antonio Bozzano was entrusted with the task of creating a sketch for the work . Once again, however, the project was not successful: the survival of the Fontana dei Putti was probably guaranteed by the failure of Maffi to be elected to the papal throne in the Council of 1922 , which instead led to the election of Achille Ratti with the name of Pope Pius XI. This event marked the end of a century of replacement projects and allowed the three cherubs to maintain their role among the prominent monuments in the square.

 

The history of the attribution of the sculptural group of the three putti has been the subject of complex developments.

 

Despite the relevant testimony of Girolamo Tiraboschi , who already in 1786, in his biography dedicated to Cybei, mentioned among the artist's works the three putti in the Piazza del Duomo of Pisa , over time the name of the author of group was lost.

 

In 1873 Tiraboschi's words were also reported by the Marquis Giovanni Campori in his Biographical Memoirs of sculptors, architects, painters, etc. natives of the Province of Massa in 1873 , but despite this testimony for a long time the role of Cybei was ignored and the sculptures were attributed to Giuseppe Vaccà. The attribution to Vaccà also remained in the Pisa Guide by Bellini Pietri and in a 1931 essay by Giorgio Castelfranco entitled The Fountain of G. Vaccà in Piazza del Duomo in Pisa.

 

Subsequently, in 1990, Paolo Roberto Ciardi seemed to resolve the issue by publishing the contract stipulated in 1763 between the Worker Quarantotti and Giuseppe Vaccà, which recognized the latter as the author of the three putti. However, towards the end of the nineties, the discovery of an autograph by Cybei, in which the sculptor explicitly declared that he had created the group for the fountain, allowed the paternity of the work to be returned to him

 

The base created by Giuseppe Vaccà appears as a parallelepiped positioned vertically, characterized on two sides by acanthus leaves, which create a bulge in the lower part of the plinth, while, on the opposite sides, two volutes resting on a base support the basin for the 'waterfall.

 

In the areas of the squares of the fountain's pedestal the artist is inspired by the architectural formulas of the sixteenth and seventeenth centuries, proposing an architecture animated by two different themes: on two sides, a geometric ornamentation; on the other two, mythological figures in high relief. The artist also uses different techniques for the two pairs of panels: high relief for the figurative images and low relief for the more ornamental decoration .

 

In the squares of the parallelepiped, the artist creates a dialogue between art and nature , representing an acanthus leaf that invades the lower part of the base, a symbol widely used in architectural decorative resolutions. The artist here clearly refers to classical models [19] , loading them with allusive values: the acanthus leaf, a constant presence on capitals, ceiling and wall decorations, returns here to symbolize freshness and refreshment, themes that are well suited to the nature and function of the monument.

 

The considerable volume of acanthus leaves also has its own structural utility . It distributes the weight thrusts at the base of the parallelepiped towards the ground in a more uniform and less incidental way, avoiding the formation of cracks and ensuring better cohesion between the different parts. To confirm this, we observe the presence of two overturned shelves under the two basins, which also serve to balance the downward forces.

 

In the other two areas of the panels, however, the work is loaded with allegorical-symbolic values ​​through one of the most traditional figures of mythological language: the Triton who fights with the sea monster. The extremely popular theme, however, seems to refer in particular to a preparatory drawing by Marco da Faenza for the grotesques of the Triton in combat, preserved at the superintendence for artistic and historical heritage of Florence .

 

The young Tritons, represented in a mirrored manner in the mirrors of the base, have the aim of enhancing the wonder of the sea. One, by blowing the conch, seems to attract the attention of the other intent on fighting, immortalized in the gesture of throwing a stone at the monster subjected to him, in a playful and carefree atmosphere. The volumes of the figures burst into space, projecting to the maximum, with a powerful modeling that goes beyond the limits of high relief.

 

The sculptural group created between 1763 and 1765 by Antonio Cybei is located above the base and depicts three colossal putti, also in white Carrara marble , holding the coats of arms of Pisa and the Opera del Duomo .

 

In his reworking of the work, Cybei did not modify the poses of the three putti compared to the original sketch proposed by Tempesti, but inverted the central putto counterclockwise, creating a composition capable of further highlighting the dynamism of the figures.

 

The spiral arrangement of the figures had the aim of lightening the base and, at the same time, creating the optical illusion of an ascending movement, as if the direction given to the movement was not directed downwards, but was going towards the sky . The different compositional arrangement between Tempesti's sketch and Cybei's work highlights a different intent. In Tempesti's sketch, which is arranged clockwise, the shield seems to move downwards, as if it descended directly from the sky into the arms of the children . On the contrary, in the layout given by Cybei the figures are positioned counterclockwise, with the statues appearing to raise the shield upwards, in a gesture "of thanksgiving and consecration of the Pisan people to God".

 

In this sense, the execution of Tempesti's modeling still has a baroque character, in which the composition rotates around a central axis, and the distribution of weights moves in a spiral that converges downwards. On the contrary, the change made by Cybei, with the anti-clockwise movement of the figures, seems to mark, according to Mario Noferi, the transition from baroque to rococo . In fact, the revision, which proposed an ascending dynamism in the form of a spiral, seems to lighten the weight of the compositions that characterizes baroque works while maintaining the basic principles of representation intact, in line with one of the main objectives of the Rococo. In summary, the reworking of Cybei made the work more modern compared to Tempesti's sketch, which still reflected the influence of the Roman school .

 

Another notable characteristic of the Putti group is certainly the plastic treatment of the volumes, capable of expressing the sensation of the softness of the flesh. The skilful use of chiaroscuro also contributes to this rendering, which gives the sculpture an almost pictorial character, to the point of pushing Mario Noferi to believe that "the sculptor, with intention, wanted to leave traces of the original design idea taken from the drawing of a painter". Evidence of these plastic abilities would also be, according to the scholar, the careful reproduction of an atmospheric phenomenon: the disheveled hair of the children, in fact, seems to be agitated by the wind, a re-enactment of a natural phenomenon that contributes to the overall movement of the work

 

From a symbolic point of view, the presence of water refers to the concept of purification, historically also referring to the dawn of Christianity, when fountains were placed in the atrium of Christian basilicas to introduce the sacred space. In the same way it would then be possible, according to Mario Noferi, to consider the monumental fountain as a spiritual entrance to the square, at the convergence of all the city streets that lead to the Cathedral.

 

Furthermore, according to the scholar, the iconic buildings of the square symbolize the essential phases of human life in relation to faith: birth represented by the baptistery, life symbolized by the cathedral and death evoked by the cemetery. Similarly, the three lively children who adorn the top of the Fountain represent a specific phase of human existence, recalling the short period of childhood characterized by energy and recklessness in games

 

The introduction of postal cards is believed to have contributed to the revaluation of the fountain in the 19th century . Initially, in fact, the classic view of the square included only the Baptistery, the Cathedral and the famous Leaning Tower. However, as time passed, the fountain was included in other images taken from different angles, acquiring a significant role among other major monuments and arousing the interest of both postcard buyers and the recipients themselves .

 

This process gradually led the fountain to establish itself in the collective imagination as an essential element of the urban panorama of the Piazza dei Miracoli. However, it is with the advent of mobile devices and new technologies that the fountain has taken on an even more relevant role. Today, thanks to the ease with which it is possible to take photographs and videos, the fountain is included in many images of the square, deliberately chosen to offer added value to the image itself and enhance the other monuments present.

 

Furthermore, a notable aspect is that from the perspective located at the intersection between Piazza dei Miracoli and Via Santa Maria, it is possible to appreciate in a single glance all three faces of the children who, with their different contortions, support the coat of arms of the city of Pisa .

 

Ultimately, the fountain on the Piazza dei Miracoli has undergone a process of revaluation over the years, becoming a fundamental element of the urban landscape. Thanks to social media, its presence is increasingly constantly documented, while the peculiar detail of the cherubs holding up the coat of arms of Pisa contributes to increasing the curiosity and attention of visitors

 

The Fountain of Putti also appears in the theme song of the fourth animated season of " Lupine III - The Italian Adventure ", a derivative of the manga by the Japanese cartoonist Monkey Punch and broadcast in 2015 .

 

The series, made up of twenty-six episodes, is entirely set in Italy and the opening theme features several important Italian tourist places (such as Rome, the canals of Venice, San Marino, Santa Maria del Fiore in Florence). Among these, a significant shot is reserved for the Leaning Tower of Pisa, with the Fountain of the Putti placed right in the foreground.

 

Pisa is a city and comune in Tuscany, central Italy, straddling the Arno just before it empties into the Ligurian Sea. It is the capital city of the Province of Pisa. Although Pisa is known worldwide for its leaning tower, the city contains more than twenty other historic churches, several medieval palaces, and bridges across the Arno. Much of the city's architecture was financed from its history as one of the Italian maritime republics.

 

The city is also home to the University of Pisa, which has a history going back to the 12th century, the Scuola Normale Superiore di Pisa, founded by Napoleon in 1810, and its offshoot, the Sant'Anna School of Advanced Studies.

 

History

For a chronological guide, see Timeline of Pisa.

Ancient times

The most believed hypothesis is that the origin of the name Pisa comes from Etruscan and means 'mouth', as Pisa is at the mouth of the Arno river.

 

Although throughout history there have been several uncertainties about the origin of the city of Pisa, excavations made in the 1980s and 1990s found numerous archaeological remains, including the fifth century BC tomb of an Etruscan prince, proving the Etruscan origin of the city, and its role as a maritime city, showing that it also maintained trade relations with other Mediterranean civilizations.

 

Ancient Roman authors referred to Pisa as an old city. Virgil, in his Aeneid, states that Pisa was already a great center by the times described; and gives the epithet of Alphēae to the city because it was said to have been founded by colonists from Pisa in Elis, near which the Alpheius river flowed. The Virgilian commentator Servius wrote that the Teuti founded the town 13 centuries before the start of the common era.

 

The maritime role of Pisa should have been already prominent if the ancient authorities ascribed to it the invention of the naval ram. Pisa took advantage of being the only port along the western coast between Genoa (then a small village) and Ostia. Pisa served as a base for Roman naval expeditions against Ligurians and Gauls. In 180 BC, it became a Roman colony under Roman law, as Portus Pisanus. In 89 BC, Portus Pisanus became a municipium. Emperor Augustus fortified the colony into an important port and changed the name to Colonia Iulia obsequens.

 

Pisa supposedly was founded on the shore, but due to the alluvial sediments from the Arno and the Serchio, whose mouth lies about 11 km (7 mi) north of the Arno's, the shore moved west. Strabo states that the city was 4.0 km (2.5 mi) away from the coast. Currently, it is located 9.7 km (6 mi) from the coast. However, it was a maritime city, with ships sailing up the Arno. In the 90s AD, a baths complex was built in the city.

 

Late Antiquity and Early Middle Ages

During the last years of the Western Roman Empire, Pisa did not decline as much as the other cities of Italy, probably due to the complexity of its river system and its consequent ease of defence. In the seventh century, Pisa helped Pope Gregory I by supplying numerous ships in his military expedition against the Byzantines of Ravenna: Pisa was the sole Byzantine centre of Tuscia to fall peacefully in Lombard hands, through assimilation with the neighbouring region where their trading interests were prevalent. Pisa began in this way its rise to the role of main port of the Upper Tyrrhenian Sea and became the main trading centre between Tuscany and Corsica, Sardinia, and the southern coasts of France and Spain.

 

After Charlemagne had defeated the Lombards under the command of Desiderius in 774, Pisa went through a crisis, but soon recovered. Politically, it became part of the duchy of Lucca. In 860, Pisa was captured by vikings led by Björn Ironside. In 930, Pisa became the county centre (status it maintained until the arrival of Otto I) within the mark of Tuscia. Lucca was the capital but Pisa was the most important city, as in the middle of tenth century Liutprand of Cremona, bishop of Cremona, called Pisa Tusciae provinciae caput ("capital of the province of Tuscia"), and a century later, the marquis of Tuscia was commonly referred to as "marquis of Pisa". In 1003, Pisa was the protagonist of the first communal war in Italy, against Lucca. From the naval point of view, since the ninth century, the emergence of the Saracen pirates urged the city to expand its fleet; in the following years, this fleet gave the town an opportunity for more expansion. In 828, Pisan ships assaulted the coast of North Africa. In 871, they took part in the defence of Salerno from the Saracens. In 970, they gave also strong support to Otto I's expedition, defeating a Byzantine fleet in front of Calabrese coasts.

 

11th century

The power of Pisa as a maritime nation began to grow and reached its apex in the 11th century, when it acquired traditional fame as one of the four main historical maritime republics of Italy (Repubbliche Marinare).

 

At that time, the city was a very important commercial centre and controlled a significant Mediterranean merchant fleet and navy. It expanded its powers in 1005 through the sack of Reggio Calabria in the south of Italy. Pisa was in continuous conflict with some 'Saracens' - a medieval term to refer to Arab Muslims - who had their bases in Corsica, for control of the Mediterranean. In 1017, Sardinian Giudicati were militarily supported by Pisa, in alliance with Genoa, to defeat the Saracen King Mugahid, who had settled a logistic base in the north of Sardinia the year before. This victory gave Pisa supremacy in the Tyrrhenian Sea. When the Pisans subsequently ousted the Genoese from Sardinia, a new conflict and rivalry was born between these major marine republics. Between 1030 and 1035, Pisa went on to defeat several rival towns in Sicily and conquer Carthage in North Africa. In 1051–1052, the admiral Jacopo Ciurini conquered Corsica, provoking more resentment from the Genoese. In 1063, Admiral Giovanni Orlandi, coming to the aid of the Norman Roger I, took Palermo from the Saracen pirates. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of their cathedral and the other monuments which constitute the famous Piazza del Duomo.

 

In 1060, Pisa had to engage in their first battle with Genoa. The Pisan victory helped to consolidate its position in the Mediterranean. Pope Gregory VII recognised in 1077 the new "Laws and customs of the sea" instituted by the Pisans, and emperor Henry IV granted them the right to name their own consuls, advised by a council of elders. This was simply a confirmation of the present situation, because in those years, the marquis had already been excluded from power. In 1092, Pope Urban II awarded Pisa the supremacy over Corsica and Sardinia, and at the same time raising the town to the rank of archbishopric.

 

Pisa sacked the Tunisian city of Mahdia in 1088. Four years later, Pisan and Genoese ships helped Alfonso VI of Castilla to push El Cid out of Valencia. A Pisan fleet of 120 ships also took part in the First Crusade, and the Pisans were instrumental in the taking of Jerusalem in 1099. On their way to the Holy Land, the ships did not miss the occasion to sack some Byzantine islands; the Pisan crusaders were led by their archbishop Daibert, the future patriarch of Jerusalem. Pisa and the other Repubbliche Marinare took advantage of the crusade to establish trading posts and colonies in the Eastern coastal cities of the Levant. In particular, the Pisans founded colonies in Antiochia, Acre, Jaffa, Tripoli, Tyre, Latakia, and Accone. They also had other possessions in Jerusalem and Caesarea, plus smaller colonies (with lesser autonomy) in Cairo, Alexandria, and of course Constantinople, where the Byzantine Emperor Alexius I Comnenus granted them special mooring and trading rights. In all these cities, the Pisans were granted privileges and immunity from taxation, but had to contribute to the defence in case of attack. In the 12th century, the Pisan quarter in the eastern part of Constantinople had grown to 1,000 people. For some years of that century, Pisa was the most prominent commercial and military ally of the Byzantine Empire, overcoming Venice itself.

 

12th century

In 1113, Pisa and Pope Paschal II set up, together with the count of Barcelona and other contingents from Provence and Italy (Genoese excluded), a war to free the Balearic Islands from the Moors; the queen and the king of Majorca were brought in chains to Tuscany. Though the Almoravides soon reconquered the island, the booty taken helped the Pisans in their magnificent programme of buildings, especially the cathedral, and Pisa gained a role of pre-eminence in the Western Mediterranean.

 

In the following years, the powerful Pisan fleet, led by archbishop Pietro Moriconi, drove away the Saracens after ferocious battles. Though short-lived, this Pisan success in Spain increased the rivalry with Genoa. Pisa's trade with Languedoc, Provence (Noli, Savona, Fréjus, and Montpellier) were an obstacle to Genoese interests in cities such as Hyères, Fos, Antibes, and Marseille.

 

The war began in 1119 when the Genoese attacked several galleys on their way home to the motherland, and lasted until 1133. The two cities fought each other on land and at sea, but hostilities were limited to raids and pirate-like assaults.

 

In June 1135, Bernard of Clairvaux took a leading part in the Council of Pisa, asserting the claims of Pope Innocent II against those of Pope Anacletus II, who had been elected pope in 1130 with Norman support, but was not recognised outside Rome. Innocent II resolved the conflict with Genoa, establishing Pisan and Genoese spheres of influence. Pisa could then, unhindered by Genoa, participate in the conflict of Innocent II against king Roger II of Sicily. Amalfi, one of the maritime republics (though already declining under Norman rule), was conquered on August 6, 1136; the Pisans destroyed the ships in the port, assaulted the castles in the surrounding areas, and drove back an army sent by Roger from Aversa. This victory brought Pisa to the peak of its power and to a standing equal to Venice. Two years later, its soldiers sacked Salerno.

 

New city walls, erected in 1156 by Consul Cocco Griffi

In the following years, Pisa was one of the staunchest supporters of the Ghibelline party. This was much appreciated by Frederick I. He issued in 1162 and 1165 two important documents, with these grants: Apart from the jurisdiction over the Pisan countryside, the Pisans were granted freedom of trade in the whole empire, the coast from Civitavecchia to Portovenere, a half of Palermo, Messina, Salerno and Naples, the whole of Gaeta, Mazara, and Trapani, and a street with houses for its merchants in every city of the Kingdom of Sicily. Some of these grants were later confirmed by Henry VI, Otto IV, and Frederick II. They marked the apex of Pisa's power, but also spurred the resentment of other cities such as Lucca, Massa, Volterra, and Florence, thwarting their aim to expand towards the sea. The clash with Lucca also concerned the possession of the castle of Montignoso and mainly the control of the Via Francigena, the main trade route between Rome and France. Last, but not least, such a sudden and large increase of power by Pisa could only lead to another war with Genoa.

 

Genoa had acquired a dominant position in the markets of southern France. The war began in 1165 on the Rhône, when an attack on a convoy, directed to some Pisan trade centres on the river, by the Genoese and their ally, the count of Toulouse, failed. Pisa, though, was allied to Provence. The war continued until 1175 without significant victories. Another point of attrition was Sicily, where both the cities had privileges granted by Henry VI. In 1192, Pisa managed to conquer Messina. This episode was followed by a series of battles culminating in the Genoese conquest of Syracuse in 1204. Later, the trading posts in Sicily were lost when the new Pope Innocent III, though removing the excommunication cast over Pisa by his predecessor Celestine III, allied himself with the Guelph League of Tuscany, led by Florence. Soon, he stipulated[clarification needed] a pact with Genoa, too, further weakening the Pisan presence in southern Italy.

 

To counter the Genoese predominance in the southern Tyrrhenian Sea, Pisa strengthened its relationship with its traditional Spanish and French bases (Marseille, Narbonne, Barcelona, etc.) and tried to defy the Venetian rule of the Adriatic Sea. In 1180, the two cities agreed to a nonaggression treaty in the Tyrrhenian and the Adriatic, but the death of Emperor Manuel Comnenus in Constantinople changed the situation. Soon, attacks on Venetian convoys were made. Pisa signed trade and political pacts with Ancona, Pula, Zara, Split, and Brindisi; in 1195, a Pisan fleet reached Pola to defend its independence from Venice, but the Serenissima soon reconquered the rebel sea town.

 

One year later, the two cities signed a peace treaty, which resulted in favourable conditions for Pisa, but in 1199, the Pisans violated it by blockading the port of Brindisi in Apulia. In the following naval battle, they were defeated by the Venetians. The war that followed ended in 1206 with a treaty in which Pisa gave up all its hopes to expand in the Adriatic, though it maintained the trading posts it had established in the area. From that point on, the two cities were united against the rising power of Genoa and sometimes collaborated to increase the trading benefits in Constantinople.

 

13th century

In 1209 in Lerici, two councils for a final resolution of the rivalry with Genoa were held. A 20-year peace treaty was signed, but when in 1220, the emperor Frederick II confirmed his supremacy over the Tyrrhenian coast from Civitavecchia to Portovenere, the Genoese and Tuscan resentment against Pisa grew again. In the following years, Pisa clashed with Lucca in Garfagnana and was defeated by the Florentines at Castel del Bosco. The strong Ghibelline position of Pisa brought this town diametrically against the Pope, who was in a dispute with the Holy Roman Empire, and indeed the pope tried to deprive Pisa of its dominions in northern Sardinia.

 

In 1238, Pope Gregory IX formed an alliance between Genoa and Venice against the empire, and consequently against Pisa, too. One year later, he excommunicated Frederick II and called for an anti-Empire council to be held in Rome in 1241. On May 3, 1241, a combined fleet of Pisan and Sicilian ships, led by the emperor's son Enzo, attacked a Genoese convoy carrying prelates from northern Italy and France, next to the isle of Giglio (Battle of Giglio), in front of Tuscany; the Genoese lost 25 ships, while about a thousand sailors, two cardinals, and one bishop were taken prisoner. After this major victory, the council in Rome failed, but Pisa was excommunicated. This extreme measure was only removed in 1257. Anyway, the Tuscan city tried to take advantage of the favourable situation to conquer the Corsican city of Aleria and even lay siege to Genoa itself in 1243.

 

The Ligurian republic of Genoa, however, recovered fast from this blow and won back Lerici, conquered by the Pisans some years earlier, in 1256.

 

The great expansion in the Mediterranean and the prominence of the merchant class urged a modification in the city's institutes. The system with consuls was abandoned, and in 1230, the new city rulers named a capitano del popolo ("people's chieftain") as civil and military leader. Despite these reforms, the conquered lands and the city itself were harassed by the rivalry between the two families of Della Gherardesca and Visconti. In 1237 the archbishop and the Emperor Frederick II intervened to reconcile the two rivals, but the strains continued. In 1254, the people rebelled and imposed 12 Anziani del Popolo ("People's Elders") as their political representatives in the commune. They also supplemented the legislative councils, formed of noblemen, with new People's Councils, composed by the main guilds and by the chiefs of the People's Companies. These had the power to ratify the laws of the Major General Council and the Senate.

 

Decline

The decline is said to have begun on August 6, 1284, when the numerically superior fleet of Pisa, under the command of Albertino Morosini, was defeated by the brilliant tactics of the Genoese fleet, under the command of Benedetto Zaccaria and Oberto Doria, in the dramatic naval Battle of Meloria. This defeat ended the maritime power of Pisa and the town never fully recovered; in 1290, the Genoese destroyed forever the Porto Pisano (Pisa's port), and covered the land with salt. The region around Pisa did not permit the city to recover from the loss of thousands of sailors from the Meloria, while Liguria guaranteed enough sailors to Genoa. Goods, however, continued to be traded, albeit in reduced quantity, but the end came when the Arno started to change course, preventing the galleys from reaching the city's port up the river. The nearby area also likely became infested with malaria. The true end came in 1324, when Sardinia was entirely lost to the Aragonese.

 

Always Ghibelline, Pisa tried to build up its power in the course of the 14th century, and even managed to defeat Florence in the Battle of Montecatini (1315), under the command of Uguccione della Faggiuola. Eventually, however, after a long siege, Pisa was occupied by Florentines in 1405.[9] Florentines corrupted the capitano del popolo ("people's chieftain"), Giovanni Gambacorta, who at night opened the city gate of San Marco. Pisa was never conquered by an army. In 1409, Pisa was the seat of a council trying to set the question of the Great Schism. In the 15th century, access to the sea became more difficult, as the port was silting up and was cut off from the sea. When in 1494, Charles VIII of France invaded the Italian states to claim the Kingdom of Naples, Pisa reclaimed its independence as the Second Pisan Republic.

 

The new freedom did not last long; 15 years of battles and sieges by the Florentine troops led by Antonio da Filicaja, Averardo Salviati and Niccolò Capponi were made, but they failed to conquer the city. Vitellozzo Vitelli with his brother Paolo were the only ones who actually managed to break the strong defences of Pisa and make a breach in the Stampace bastion in the southern west part of the walls, but he did not enter the city. For that, they were suspected of treachery and Paolo was put to death. However, the resources of Pisa were getting low, and at the end, the city was sold to the Visconti family from Milan and eventually to Florence again. Livorno took over the role of the main port of Tuscany. Pisa acquired a mainly cultural role spurred by the presence of the University of Pisa, created in 1343, and later reinforced by the Scuola Normale Superiore di Pisa (1810) and Sant'Anna School of Advanced Studies (1987).

 

Pisa was the birthplace of the important early physicist Galileo Galilei. It is still the seat of an archbishopric. Besides its educational institutions, it has become a light industrial centre and a railway hub. It suffered repeated destruction during World War II.

 

Since the early 1950s, the US Army has maintained Camp Darby just outside Pisa, which is used by many US military personnel as a base for vacations in the area.

 

Geography

Climate

Pisa has a borderline humid subtropical climate (Köppen climate classification: Cfa) and Mediterranean climate (Köppen climate classification: Csa). The city is characterized by cool to mild winters and hot summers. This transitional climate allows Pisa to have summers with moderate rainfall. Rainfall peaks in autumn. Snow is rare. The highest officially recorded temperature was 39.5 °C (103.1 °F) on 22 August 2011 and the lowest was −13.8 °C (7.2 °F) on 12 January 1985.

 

Culture

Gioco del Ponte

In Pisa there was a festival and game fr:Gioco del Ponte (Game of the Bridge) which was celebrated (in some form) in Pisa from perhaps the 1200s down to 1807. From the end of the 1400s the game took the form of a mock battle fought upon Pisa's central bridge (Ponte di Mezzo). The participants wore quilted armor and the only offensive weapon allowed was the targone, a shield-shaped, stout board with precisely specified dimensions. Hitting below the belt was not allowed. Two opposing teams started at opposite ends of the bridge. The object of the two opposing teams was to penetrate, drive back, and disperse the opponents' ranks and to thereby drive them backwards off the bridge. The struggle was limited to forty-five minutes. Victory or defeat was immensely important to the team players and their partisans, but sometimes the game was fought to a draw and both sides celebrated.

 

In 1677 the battle was witnessed by Dutch travelling artist Cornelis de Bruijn. He wrote:

 

"While I stayed in Livorno, I went to Pisa to witness the bridge fight there. The fighters arrived fully armored, wearing helmets, each carrying their banner, which was planted at both ends of the bridge, which is quite wide and long. The battle is fought with certain wooden implements made for this purpose, which they wear over their arms and are attached to them, with which they pummel each other so intensely that I saw several of them carried away with bloody and crushed heads. Victory consists of capturing the bridge, in the same way as the fistfights in Venice between the it:Castellani and the Nicolotti."

 

In 1927 the tradition was revived by college students as an elaborate costume parade. In 1935 Vittorio Emanuele III with the royal family witnessed the first revival of a modern version of the game, which has been pursued in the 20th and 21st centuries with some interruptions and varying degrees of enthusiasm by Pisans and their civic institutions.

 

Festivals and cultural events

Capodanno pisano (folklore, March 25)

Gioco del Ponte (folklore)

Luminara di San Ranieri (folklore, June 16)

Maritime republics regata (folklore)

Premio Nazionale Letterario Pisa

Pisa Book Festival

Metarock (rock music festival)

Internet Festival San Ranieri regata (folklore)

Turn Off Festival (house music festival)

Nessiáh (Jewish cultural Festival, November)

Main sights

 

The Leaning Tower of Pisa.

While the bell tower of the cathedral, known as "the leaning Tower of Pisa", is the most famous image of the city, it is one of many works of art and architecture in the city's Piazza del Duomo, also known, since the 20th century, as Piazza dei Miracoli (Square of Miracles), to the north of the old town center. The Piazza del Duomo also houses the Duomo (the Cathedral), the Baptistry and the Campo Santo (the monumental cemetery). The medieval complex includes the above-mentioned four sacred buildings, the hospital and few palaces. All the complex is kept by the Opera (fabrica ecclesiae) della Primaziale Pisana, an old non profit foundation that has operated since the building of the Cathedral in 1063 to maintain the sacred buildings. The area is framed by medieval walls kept by the municipal administration.

 

Other sights include:

Santo Stefano dei Cavalieri, church sited on Piazza dei Cavalieri, and also designed by Vasari. It had originally a single nave; two more were added in the 17th century. It houses a bust by Donatello, and paintings by Vasari, Jacopo Ligozzi, Alessandro Fei, and Pontormo. It also contains spoils from the many naval battles between the Cavalieri (Knights of St. Stephan) and the Turks between the 16th and 18th centuries, including the Turkish battle pennant hoisted from Ali Pacha's flagship at the 1571 Battle of Lepanto.

St. Sixtus. This small church, consecrated in 1133, is also close to the Piazza dei Cavalieri. It was used as a seat of the most important notarial deeds of the town, also hosting the Council of Elders. It is today one of the best preserved early Romanesque buildings in town.

St. Francis. The church of San Francesco may have been designed by Giovanni di Simone, built after 1276. In 1343 new chapels were added and the church was elevated. It has a single nave and a notable belfry, as well as a 15th-century cloister. It houses works by Jacopo da Empoli, Taddeo Gaddi and Santi di Tito. In the Gherardesca Chapel are buried Ugolino della Gherardesca and his sons.

San Frediano. This church, built by 1061, has a basilica interior with three aisles, with a crucifix from the 12th century. Paintings from the 16th century were added during a restoration, including works by Ventura Salimbeni, Domenico Passignano, Aurelio Lomi, and Rutilio Manetti.

San Nicola. This medieval church built by 1097, was enlarged between 1297 and 1313 by the Augustinians, perhaps by the design of Giovanni Pisano. The octagonal belfry is from the second half of the 13th century. The paintings include the Madonna with Child by Francesco Traini (14th century) and St. Nicholas Saving Pisa from the Plague (15th century). Noteworthy are also the wood sculptures by Giovanni and Nino Pisano, and the Annunciation by Francesco di Valdambrino.

Santa Maria della Spina. A small white marble church alongside the Arno, is attributed to Lupo di Francesco (1230), is another excellent Gothic building.

San Paolo a Ripa d'Arno. The church was founded around 952 and enlarged in the mid-12th century along lines similar to those of the cathedral. It is annexed to the Romanesque Chapel of St. Agatha, with an unusual pyramidal cusp or peak.

San Pietro in Vinculis. Known as San Pierino, it is an 11th-century church with a crypt and a cosmatesque mosaic on the floor of the main nave.

 

Borgo Stretto. This medieval borgo or neighborhood contains strolling arcades and the Lungarno, the avenues along the river Arno. It includes the Gothic-Romanesque church of San Michele in Borgo (990). There are at least two other leaning towers in the city, one at the southern end of central Via Santa Maria, the other halfway through the Piagge riverside promenade.

Medici Palace. The palace was once a possession of the Appiano family, who ruled Pisa in 1392–1398. In 1400 the Medici acquired it, and Lorenzo de' Medici sojourned here.

Orto botanico di Pisa. The botanical garden of the University of Pisa is Europe's oldest university botanical garden.

Palazzo Reale. The ("Royal Palace"), once belonged to the Caetani patrician family. Here Galileo Galilei showed to Grand Duke of Tuscany the planets he had discovered with his telescope. The edifice was erected in 1559 by Baccio Bandinelli for Cosimo I de Medici, and was later enlarged including other palaces. The palace is now a museum.

Palazzo Gambacorti. This palace is a 14th-century Gothic building, and now houses the offices of the municipality. The interior shows frescoes boasting Pisa's sea victories.

Palazzo Agostini. The palace is a Gothic building also known as Palazzo dell'Ussero, with its 15th-century façade and remains of the ancient city walls dating back to before 1155. The name of the building comes from the coffee rooms of Caffè dell'Ussero, historic meeting place founded on September 1, 1775.

Mural Tuttomondo. A modern mural, the last public work by Keith Haring, on the rear wall of the convent of the Church of Sant'Antonio, painted in June 1989.

Museums

Museo dell'Opera del Duomo: exhibiting among others the original sculptures of Nicola Pisano and Giovanni Pisano, the Islamic Pisa Griffin, and the treasures of the cathedral.

Museo delle Sinopie: showing the sinopias from the camposanto, the monumental cemetery. These are red ocher underdrawings for frescoes, made with reddish, greenish or brownish earth colour with water.

Museo Nazionale di San Matteo: exhibiting sculptures and paintings from the 12th to 15th centuries, among them the masterworks of Giovanni and Andrea Pisano, the Master of San Martino, Simone Martini, Nino Pisano and Masaccio.

Museo Nazionale di Palazzo Reale: exhibiting the belongings of the families that lived in the palace: paintings, statues, armors, etc.

Museo Nazionale degli Strumenti per il Calcolo: exhibiting a collection of instruments used in science, between a pneumatic machine of Van Musschenbroek and a compass which probably belonged to Galileo Galilei.

Museo di storia naturale dell'Università di Pisa (Natural History Museum of the University of Pisa), located in the Certosa di Calci, outside the city. It houses one of the largest cetacean skeletons collection in Europe.

Palazzo Blu: temporary exhibitions and cultural activities center, located in the Lungarno, in the heart of the old town, the palace is easy recognizable because it is the only blue building.

Cantiere delle Navi di Pisa - The Pisa's Ancient Ships Archaeological Area: A museum of 10,650 square meters – 3,500 archaeological excavation, 1,700 laboratories and one restoration center – that visitors can visit with a guided tour.[19] The Museum opened in June 2019 and has been located inside to the 16th-century Medicean Arsenals in Lungarno Ranieri Simonelli, restored under the supervision of the Tuscany Soprintendenza. It hosts a remarkable collection of ceramics and amphoras dated back from the 8th century BCE to the 2nd century BC, and also 32 ships dated back from the second century BCE and the seventh century BC. Four of them are integrally preserved and the best one is the so-called Barca C, also named Alkedo (written in the ancient Greek characters). The first boat was accidentally discovered in 1998 near the Pisa San Rossore railway station and the archeological excavations were completed 20 years later.

 

Churches

St. Francis' Church

San Francesco

San Frediano

San Giorgio ai Tedeschi

San Michele in Borgo

San Nicola

San Paolo a Ripa d'Arno

San Paolo all'Orto

San Piero a Grado

San Pietro in Vinculis

San Sisto

San Tommaso delle Convertite

San Zeno

Santa Caterina

Santa Cristina

Santa Maria della Spina

Santo Sepolcro

 

Palaces, towers and villas

Palazzo della Carovana or dei Cavalieri.

Pisa by Oldypak lp photo

Pisa

Palazzo del Collegio Puteano

Palazzo della Carovana

Palazzo delle Vedove

Torre dei Gualandi

Villa di Corliano

Leaning Tower of Pisa

 

Sports

Football is the main sport in Pisa; the local team, A.C. Pisa, currently plays in the Serie B (the second highest football division in Italy), and has had a top flight history throughout the 1980s and the 1990s, featuring several world-class players such as Diego Simeone, Christian Vieri and Dunga during this time. The club play at the Arena Garibaldi – Stadio Romeo Anconetani, opened in 1919 and with a capacity of 25,000.

 

Notable people

For people born in Pisa, see People from the Province of Pisa; among notable non-natives long resident in the city:

 

Giuliano Amato (born 1938), politician, former Premier and Minister of Interior Affairs

Alessandro d'Ancona (1835–1914), critic and writer.

Silvano Arieti (1914–1981), psychiatrist

Gaetano Bardini (1926–2017), tenor

Andrea Bocelli (born 1958), tenor and multi-instrumentalist.

Giosuè Carducci (1835–1907), poet and 1906 Nobel Prize in Literature winner.

Massimo Carmassi (born 1943), architect

Carlo Azeglio Ciampi (1920–2016), politician, former President of the Republic of Italy

Maria Luisa Cicci (1760–1794), poet

Giovanni Carlo Maria Clari (1677–1754), a musical composer and maestro di cappella at Pistoia.

Alessio Corti (born 1965), mathematician

Rustichello da Pisa (born 13th century), writer

Giovanni Battista Donati (1826–1873), an Italian astronomer.

Leonardo Fibonacci (1170–1250), mathematician.

Galileo Galilei (1564–1642), physicist.

Giovanni Gentile (1875–1944), philosopher and politician

Orazio Gentileschi (1563–1639), painter.

Count Ugolino della Gherardesca (1214–1289), noble (see also Dante Alighieri).

Giovanni Gronchi (1887–1978), politician, former President of the Republic of Italy

Giacomo Leopardi [1798–1837), poet and philosopher.

Enrico Letta (born 1966), politician, former Prime Minister of Italy

Marco Malvaldi (born 1974), mystery novelist

Leonardo Ortolani (born 1967), comic writer

Antonio Pacinotti (1841–1912), physicist, inventor of the dynamo

Andrea Pisano (1290–1348), a sculptor and architect.

Afro Poli (1902–1988), an operatic baritone

Bruno Pontecorvo (1913–1993), nuclear physicist

Gillo Pontecorvo (1919–2006), filmmaker

Ippolito Rosellini (1800–1843), an Egyptologist.

Paolo Savi (1798–1871), geologist and ornithologist.

Antonio Tabucchi (1943–2012), writer and academic

Sport

Jason Acuña (born 1973), Stunt performer

Sergio Bertoni (1915–1995), footballer

Giorgio Chiellini (born 1984), footballer

Camila Giorgi (born 1991), tennis player

"Use the difficulty! For example there's an earth quake; when else will you be able to take photos of people running for their lives? Or you can create your own difficulty!"

 

-Leo Castillo

 

*Painting this styrofoam green; as a background for portraits. :)

*Not intended to be artistic. Just sharing. :)

Workers dressed in hazmat gear tend to a derailed tank car that was transporting highly flammable jet fuel from Slovenia's Adriatic Port of Koper to the Vienna International Airport on June 27, 2019.

 

Judges' comments: This series of images immediately struck the judges for its powerful portrayal of an aspect of railroading seldom witnessed in such close-up, intimate detail. Presented from the perspective of the hardworking men and women who rebuild railroads after a wreck, this three-image set evokes the tragedy, scale, and difficulty manifest in cleaning up and repairing a railroad to working order. The photographer’s craft and composition—and employment of strong, contrasting black-and-white—completes the emotive story of despair.

 

Read more about the 2021 John E. Gruber Creative Awards Program: railphoto-art.org/awards/2021-awards/

The difficulty with this model is getting the bodywork fitted with the cab. Some minors changes were done but I had to abandon the whole structure again … Having almost all pieces needed to finalize it but probably not before LEGO World!

We had a bit of a calamity with our "entertainment system" on Friday evening, and ended up having to spend a good part of our Saturday getting things back on track. Here, Daisy is working to hook up our new TV and sound system. Yes, we pretty much had to replace the whole shebang. Sigh....nothing is ever simple, is it? Or cheap! 😩

Anyway, everything is back in working order now, and Daisy has today off for the MLK holiday. And with a little luck, maybe we can have a little peace and quiet for the remainder of the long weekend. Better wish us luck, just in case! 😉

More shortly! ❤

What a mess Flickr was the night before last! I had difficulty adding titles to my uploaded images, comments didn't save and, after I had added a description to each of the 20 photos, the descriptions all disappeared. When I opened Flickr next morning, there was still no sign of them. Then, suddenly, they re-appeared. I also discovered that all the hundreds of photos from this trip that I added to the map are no longer on the map!!! Someone on the Help Forum told someone else to refresh a page and the map will appear again - and it works. Now, I can't add photos to albums - it looks like they are added, but when I check the album, some of yesterda's photos had not appeared. Suddenly, now appeared. Also, my descriptions appeared in duplicate! Today, 13 May 2019, everything I try to do on Flickr takes a long time to do.

 

My photos taken at the National Butterfly Centre, Mission, South Texas, have now come to an end, so you can sigh a huge sigh of relief : ) Today I added 22 photos taken at another place that we called in at later in the afternoon, the Valley Nature Centre. Unfortunately, we only had an hour there before closing time, but how glad we were that we found this place. The highlight there was watching 25 Yellow-crowned Night-Herons coming in to roost for the night in the trees, right where we were standing! What a great sight this was, and we were lucky enough to have a good, close view of these gorgeous birds, though in very poor light. We also saw some Purple Martins and their circular, hanging nesting "gourds".

 

On Day 6 of our birding holiday in South Texas, 24 March 2019, we left our hotel in Kingsville, South Texas, and started our drive to Mission, where we would be staying at La Quinta Inn & Suites for three nights. On the first stretch of our drive, we were lucky enough to see several bird species, including a Golden-fronted Woodpecker, Hooded Oriole, Red-tailed Hawk, Crested Caracara, Harris's Hawk, Pyrrhuloxia male (looks similar to a Cardinal) and a spectacular Scissor-tailed Flycatcher. This stretch is called Hawk Alley.

 

We had a long drive further south towards Mission, with only a couple of drive-by photos taken en route (of a strangely shaped building that turned out to be a huge, deserted seed storage building). Eventually, we reached our next planned stop, the National Butterfly Centre. This was a great place, my favourite part of it being the bird feeding station, where we saw all sorts of species and reasonably close. Despite the name of the place, we only saw a few butterflies while we were there. May have been the weather or, more likely, the fact that I was having so much fun at the bird feeding station. We also got to see Spike, a giant African Spurred Tortoise. All the nature/wildlife parks that we visited in South Texas had beautiful visitor centres and usually bird feeding stations. And there are so many of these parks - so impressive!

 

Tomorrow, I will be able to start sorting and editing images taken on Day 7 of our 13-day trip!

Coachwork by Touring Superleggera

 

By the end of the 1950s Maserati was facing a bleak future. Its parent company's financial difficulties forced a withdrawal from racing, and Maserati's survival strategy henceforth centred on establishing the company as a producer of road cars. The Modena marque's new era began in 1957 with the launch of the Touring Superleggera-bodied 3500 GT, its first road car built in significant numbers. A luxury 2+2, the 3500GT drew on Maserati's competition experience. A tubular chassis frame was used and the suspension was independent at the front by wishbones and coil springs, while at the back there was a conventional live axle/semi-elliptic arrangement. The 3500 GT's designer was none other than Giulio Alfieri, creator of the immortal Tipo 60/61 'Birdcage' sports-racer and the man responsible for developing the 250F into a World Championship winner. The twin-overhead-camshaft, six-cylinder engine was a close relative of that used in the 250F and developed around 220 bhp initially, later examples producing 235 bhp on Lucas mechanical fuel injection. Built initially with drum brakes and four-speed transmission, the 3500 GT was progressively updated, gaining five speeds, front disc brakes and, finally, all-disc braking. By the time the 3500GT was discontinued in 1964, around 2,200 of all types had been made.

 

The 2nd Series example offered here represents the pinnacle of the model's development, leaving the factory equipped with the five-speed ZF gearbox, twin-plug ignition, and Lucas mechanical fuel injection, hence the name change to '3500 GTI', the first time the now common 'GTI' appellation had ever been used. Chassis number '2716' was delivered new to Gianvico Saccardo of Schio near Vicenza, Italy, a local industrialist. Prominent collectors of historic vehicles, Gianvico and his brother, Gianluigi, were founders of the Monza Italian Bugatti Register. Saccardo's Maserati was subsequently exported to New England, USA where it has spent most of its life. Henry Cabot Lodge Jr, the former Massachusetts Senator and Republican Vice Presidential Candidate in 1960, is believed to have been its second owner. During the 1970s, Cabot Lodge served occasionally as US envoy to the Holy See in Rome, and it is believed that he imported the car from Italy to the USA.

 

Since his death in 1985, the Maserati has had four owners: Anthony D Paglia (1986-1998), John Drew (1998-2003), Christopher Derricott (2003-2014), and the current vendor. Mr Drew commissioned Spencer Restorations of Natick, Massachusetts to carry out a comprehensive restoration. Completed in 2003, the latter included a mechanical rebuild, bare-metal re-spray, and a full interior re-trim in the original colour. Borrani wire wheels, a stainless steel exhaust system, and polished stainless steel bumpers and trim were fitted at the same time. The quality of this restoration has been recognised at the Lars Anderson 'Tutto Italiano' meeting in Massachusetts, where '2716' won the 'Best Maserati in Show' award on each occasion it was entered following the restoration.

 

During Mr Derricott's ownership in the UK, the restoration process was extended to include all mechanicals including the engine, transmission, brakes, and suspension together with an overhaul of the electrical components and installation of a new wiring loom. These works were undertaken by two specialist companies: Prestige Restoration and CGP Auto Engineers, and there are related invoices on file totalling some £ 76.000 (approximately € 91.000). The total spent between July 2010 and July 2014 was in excess of £85,700 (approximately € 102.600).

 

It should be noted that this car is equipped with a non-original but correct Maserati 3500 GT engine that has been re-stamped with the original's number. It is fitted with three Weber 42 DCOE carburettors, a common upgrade considered superior to the original Lucas fuel injection system.

Accompanying paperwork consists of a Maserati Certificate of Origin; copies of the original factory documentation; and all restoration invoices relating to works carried out in both the USA and UK. Offered with a UK V5C registration document and current MoT certificate, this beautiful Maserati would make a stunning addition to any private collection.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Sold for € 178.250

Estimated : € 180.000 - 220.000

 

Parijs - Paris

Frankrijk - France

February 2017

Vader only ever called a time-out once...

To The Glory of God

Following the end of World War One, communities erected war memorials all over Britain – in virtually every city, town and village – to commemorate those who had served and fallen in the conflict.

 

And since, on every Armistice Day - 11th November - these statues and sculptures are the scene of poignant memorials.

 

Newcastle United’s own War Memorial was first discussed at a meeting in 1917 when it was noted that "a list of those killed in the war should be placed in the offices of the club".

 

Following the Armistice, a memorial was on the agenda at Board meetings and by 1920, it was confirmed that a design for a 'Roll of Honour' was to proceed, erected at the club’s Strawberry Place office soon afterwards.

 

It took the form of a large decorated plaque, entitled 'To The Glory of God'.

 

When the stadium was later redeveloped, it was put into storage for many years until it was restored when the club opened a museum in 1991.

 

It now has a place in a covered walkway beneath the Milburn Stand at St. James’ Park for thousands to see as supporters enter the ground every matchday.

 

The plaque notes the names of 52 players and officials on the club’s staff during the period 1914 to 1919 and who served in the armed forces. Included are five footballers to lose their lives.

 

Due to difficulties in precise army service of some of the club’s players at the time, the memorial shows reserve winger Owen McManus having survived. He had sadly died in November 1918, just before war ended.

 

Colleague Thomas Suart, on the club’s books as a young reserve, was overlooked. He lost his life in June 1917.

 

More than 100 ex-players or future players and officials of Newcastle United also served in World War One.

 

Roll of Honour - Newcastle United players who died in the Great War

 

Pvt SJ Allan (NU 1908-11): RAMC, 4 May 1919, Home

 

Sec-Lt DS Bell VC (NU 1911-12): Yorkshire Reg, 10 July 1916, France

 

Corp T Cairns (NU 1914-17): RFA, 13 Oct 1917, France

 

Corp D Dunglinson (NU 1912-16): Northumberland Fusiliers, 1 July 1916, France

 

Pvt J Findlay (NU 1905-06): Scots Guards, 18 Sept 1916, France

 

L-Corp JBM Fleming (NU 1911-13): Cameron Highlanders, 21 March 1916, Home

 

Pvt J Forster (NU 1897-98): Yorkshire Reg, 7 Oct 1916, France

 

Pvt J Froud (NU 1901): Royal West Kent Reg, 28 July 1917, Belgium

 

Pvt T Goodwill (NU 1913-16): Northumberland Fusiliers, 1 July 1916, France

 

L-Corp R Harker (NU 1904-05): Northumberland Fusiliers, 9 April 1917, France

 

Pvt T Hughes (NU 1912-14): Northumberland Fusiliers, 1 July 1916, France

 

L-Corp JM Maxwell (NU 1904): Seaforth Highlanders, 21 April 1917, Mesopotamia

 

Bomb R McGough (NU 1914-17): RGA, 18 April 1917, France

 

Corp O McManus (NU 1914-18): RFA, 6 Nov 1918, France

 

Pvt CE Randall (NU 1908-11): Coldstream Guards, 27 Sept 1916, France

 

Pvt GS Rivers (NU 1914-16): Durham Light Infantry, 13 Aug 1916, France

 

Capt TS Rowlandson MC (NU 1905-06): Yorkshire Reg, 15 Sept 1916, France

 

Pvt J Stevenson (NU 1898-1900): Highland Light Infantry, 3 July 1916, France

 

Pvt T Suart (NU 1914-17): Border Reg, 16 June 1917, Belgium

 

Corp C Winter (NU 1904-05): Cam Scot Rifles, 27 Oct 1918, France

 

Sgt WA Witherington DCM (NU 1901-02): British Colombia Reg, 15 Aug 1917, France

 

RW Benson (NU 1902-04): Munitions, 19 Feb 1916, Home

 

A Douglas (NU 1913-18): Munitions, 14 Dec 1918, Home

 

Newcastle United Football Club is a professional association football club based in Newcastle upon Tyne, Tyne and Wear, England. The team compete in the Premier League, the first level of the English football league system, as of the 2023–24 season. Since the formation of the club in 1892, when Newcastle East End absorbed the assets of Newcastle West End to become Newcastle United, the club has played its home matches at St James' Park. Located in the centre of Newcastle, it currently has a capacity of 52,305.

 

The club has been a member of the Premier League for all but three years of the competition's history, spending 91 seasons in the top flight as of May 2023, and has never dropped below English football's second tier since joining the Football League in 1893. Newcastle have won four League titles, six FA Cups and an FA Charity Shield, as well as the 1968–69 Inter-Cities Fairs Cup, the ninth-highest total of trophies won by an English club. The club's most successful period was between 1904 and 1910, when they won an FA Cup and three of their League titles. Their last major domestic trophy was in 1955. More recently the club have been League or FA Cup runners-up on four occasions in the 1990s. Newcastle were relegated in 2009, and again in 2016. The club won promotion at the first time of asking each time, returning to the Premier League, as Championship winners, in 2010 and 2017. In October 2021, a consortium led by the Public Investment Fund, the sovereign wealth fund of Saudi Arabia, became majority owners of Newcastle United.

 

The team's traditional kit colours are black-and-white striped shirts, black shorts and black or white socks. Their crest has elements of the city coat of arms, which features two grey hippocamps. Before each home game, the team enters the field to "Going Home", with "Blaydon Races" also being sung during games. The 2005 film Goal! featured Newcastle United, and many signings mentioned the influence the film had on them.

 

The history of Newcastle United Football Club, an English professional association football club based in Newcastle upon Tyne, North East England, covers the club's entire history from its formation to the present day. Formed by a merger between Newcastle East End and Newcastle West End to become 'United' in 1892, the club was elected to the Football League, which they entered in 1893.

 

Newcastle are England's 9th most successful club of all time. They have been English champions four times (in 1905, 1907, 1909, 1927) and FA Cup winners six times (in 1910, 1924, 1932, 1951, 1952, 1955). The club have also won the 1909 Charity Shield, the 1968–69 Inter-Cities Fairs Cup, and the 2006 Intertoto Cup. Newcastle have reached the League Cup final twice, finishing runners-up in both years ( 1976 and 2023). They have played in England's top league from 1898–1934, 1948–61, 1965–78, 1984–89, 1993–2009, 2010–2016, and 2017–present, playing in the second tier at all other times.

 

The first record of football being played on Tyneside dates from 3 March 1877 at Elswick Rugby Club. Later that year, Newcastle's first association football club, Tyne Association, was formed. The origins of Newcastle United Football Club itself can be traced back to the formation of a football club by the Stanley Cricket Club of Byker in November 1881. They won their first match 5–0 against Elswick Leather Works 2nd XI. The team was renamed Newcastle East End F.C. in October 1882, to avoid confusion with the cricket club in Stanley, County Durham.

 

Shortly after this, another Byker side, Rosewood FC, merged with East End to form an even stronger side. Meanwhile, across the city, West End Cricket Club began to take an interest in football and in August 1882, they formed Newcastle West End F.C. West End played their early football on their cricket pitch, but in May 1886, the club moved into St James' Park. The two clubs became rivals in the Northern League. In 1889, Newcastle East End became a professional team, before becoming a limited company the following March.

 

West End soon became the city's premier club. East End were anxious not to be left behind and lured Tom Watson into becoming the club secretary/manager in the close season of 1888 and from that point, never looked back; Watson made several good signings, especially from Scotland, and the Heaton club went from strength to strength, while West End's fortunes slipped dramatically.

 

The region's first league competition was formed in 1889 and the FA Cup began to cause interest. Ambitious East End turned professional in 1889, a huge step for a local club, and in March 1890, they made an even more adventurous move by becoming a limited company with capital of 1,000 pounds in ten shilling notes. During the spring of 1892, in a season during which their results were at an all-time low, and in which they had lost to their bitter rivals, East End, five times, West End found themselves in serious trouble. They approached East End with a view to a take over, the directors having decided that the club could no longer continue.

 

What actually happened was that West End wound up, while some of its players and most of its backroom staff joined East End. East End also took over the lease on St. James' Park in May 1892.

 

With only one senior club in the city for fans to support, development of the club was much more rapid. Despite being refused entry to the Football League's First Division at the start of the 1892–93 season, they were invited to play in their new Second Division. However, with no big names playing in the Second Division, they turned down the offer and remained in the Northern League, stating "gates would not meet the heavy expenses incurred for travelling". In a bid to start drawing larger crowds, Newcastle East End decided to adopt a new name in recognition of the merger. Suggested names included Newcastle F.C., Newcastle Rangers, Newcastle City and City of Newcastle, but Newcastle United was decided upon on 9 December 1892, to signify the unification of the two teams. The name change was accepted by the Football Association on 22 December, but the club was not legally constituted as Newcastle United Football Club Co. Ltd. until 6 September 1895. At the start of the 1893–94 season, Newcastle United were once again refused entry to the First Division and so joined the Second Division, along with Liverpool and Woolwich Arsenal. They played their first competitive match in the division that September against Woolwich Arsenal, with a score of 2–2.

 

Turnstile numbers were still low, and the incensed club published a statement claiming "The Newcastle public do not deserve to be catered for as far as professional football is concerned". However, eventually figures picked up by 1895–96, when 14,000 fans watched the team play Bury. That season Frank Watt became secretary of the club, and he was instrumental in promotion to the First Division for the 1898–99 season. However, they lost their first game 4–2 at home to Wolves and finished their first season in thirteenth place.

 

In 1903–04, the club built up a promising squad of players, and went on to dominate English football for almost a decade, the team known for their "artistic play, combining team-work and quick, short passing". Newcastle started to purchase talented players, especially from Scotland, and soon had a squad to rival all of England. With players like Colin Veitch, Jackie Rutherford, Jimmy Lawrence and Albert Shepherd, Newcastle had a team of international talent. Bill McCracken, Jimmy Howie, Peter McWilliam and Andy Aitken were also household names in their day. Long after his retirement, defender Peter McWilliam said "The Newcastle team of the 1900s would give any modern side a two goal start and beat them, and further more, beat them at a trot".

 

Newcastle United went on to win the League on three occasions during the 1900s: in 1904–05, 1906–07 and 1908–09. Newcastle reached five FA Cup finals in the years leading up to World War I. In 1904–05, they nearly did the double, losing to Aston Villa in the 1905 FA Cup Final. They were beaten again the following year by Everton in the 1906 FA Cup Final. They reached the final again in 1908 where they lost to Wolves. In 1908 the team suffered a record 9–1 home defeat to local rivals Sunderland in the league but still won that season's league title. They finally won the FA Cup in 1910 when they beat Barnsley in the final. They lost again the following year in the final against Bradford City.

 

The team returned to the FA Cup final in 1924, in the second final held at the then new Wembley Stadium. They defeated Aston Villa, winning the club's second FA Cup.Three years later they won the First Division championship a fourth time in 1926–27. Record signing & Scottish international centre-forward Hughie Gallacher, one of the most prolific goal scorers in the club's history, captained the championship-winning team. Other key players in this period were Neil Harris, Stan Seymour and Frank Hudspeth. Seymour was to become an influential figure for the next 40 years as player, manager and director.

 

In 1930, Newcastle United came close to relegation, and at the end of the season Gallacher left the club for Chelsea, and at the same time Andy Cunningham became the club's first team manager. In 1931–32, the club won the FA Cup a third time in the infamous 'Over the Line' final. United won the game 2–1 after scoring a goal following a cross from Jimmy Richardson which appeared to be hit from out of play - over the line. There were no action replays then and the referee allowed the goal, a controversial talking point in FA Cup history.

 

Newcastle boasted master players like Sam Weaver and Jack Allen, as well as the first player-manager in the top division in Scottish international Andy Cunningham. But at the end of the 1933–34 season, the team were relegated to the Second Division after 32 seasons in the First. Cunningham left as manager and Tom Mather took over. Amazingly in the same season as they fell into the Second Division, United defeated Liverpool 9–2 and Everton 7–3 within the space of a week.

 

The club found it difficult to adjust to the Second Division and were nearly further relegated in the 1937–38 season, when they were spared on goal averages.

 

When World War II broke in 1939, Newcastle had a chance to regroup, and in the War period, they brought in Jackie Milburn, Tommy Walker and Bobby Cowell.

 

Newcastle United won no Wartime League trophies, but Jackie Milburn made his debut in 1943 in a "Stripes vs Blues" match. Milburn's side was losing at half-time 3–0, but following a switch from midfielder to centre forward, he scored 6 goals to help them win the match 9–3. Jackie went on to score 38 goals in the next 3 years of the league's life.

 

By the time peace was restored in 1945, Seymour was at the forefront of Newcastle's affairs, manager in all but name. He ensured that the Magpies possessed an entertaining eleven full of stars, a mix of home-grown talent like Jackie Milburn, Bobby Cowell and Ernie Taylor, as well as big signings in the shape of George Robledo, Bobby Mitchell, Joe Harvey, Len Shackleton and Frank Brennan.

 

Newcastle spent the first couple of years post-war in the Second Division. Crowds were extremely high after the return to football, and in 1946 Newcastle recorded the joint-highest victory in English League Football history, defeating Newport County 13–0. Len Shackleton, playing his debut in that match, scored 6 goals in the match, another record for Newcastle United.

 

Newcastle returned to the First Division in double of the time. Promotion was achieved in 1948 in front of vast crowds. An average of almost 57,000 at every home game saw United's fixtures that year, a national record for years to come. That was just the start of another period of success.

 

During the Fifties decade United lifted the FA Cup trophy on three occasions within a five-year period. In 1951 they defeated Blackpool 2–0, a year later Arsenal were beaten 1–0 and in 1955 United crushed Manchester City 3–1. The Magpies were known in every corner of the country, and so were their players; 'Wor Jackie' Milburn and Bobby 'Dazzler' Mitchell the pick of a side that was renowned the nation over. Other players of this time were Frank Brennan (like Mitchell a Scot), Ivor Broadis, Len White and Welshman Ivor Allchurch.

 

Despite having quality players throughout the era, stars like Allchurch, White and George Eastham during the latter years of the decade, United slipped from the First Division in 1961 under the controversial management of ex-Manchester United star, Charlie Mitten. It was a huge blow to the club.

 

An old war-horse returned to revitalise the Magpies in the shape of Joe Harvey, who had skippered the club to much of their post-war success. He teamed up with Stan Seymour to rebuild United and the Black'n'Whites returned to the elite as Second Division Champions in 1965. United then became very much an unpredictable side, always capable of defeating the best, but never quite realising their huge potential until very recently.

 

Joe Harvey's side qualified for Europe for the first time in 1968 and stunned everyone the following year by lifting the Inter Cities Fairs Cup; the forerunner of the UEFA Cup. United possessed a solid eleven and Newcastle's tradition of fielding a famous Number 9 at centre-forward since earliest years continued as big Welshman Wyn Davies was prominent along with the likes of Pop Robson, Bobby Moncur and Frank Clark.

 

In the years that followed European success, manager Harvey brought in a string of talented entertainers who thrilled the Gallowgate crowd. Pleasers like Jimmy Smith, Tony Green and Terry Hibbitt. And especially a new centre-forward by the name of Malcolm Macdonald.

 

Nicknamed 'Supermac', Macdonald was one of United's greatest hero figures. Brash, arrogant and devastating in front of goal, he led United's attack to Wembley in 1974, against Liverpool in the FA Cup. But the Magpies failed to bring the trophy back to Tyneside, and a complete lack of success in any of the competitions the next season resulted in Joe Harvey being sacked in mid-1975.

 

Blackburn manager Gordon Lee was appointed to replace Harvey, and despite a mediocre league campaign in 1975–76, led the club to its first League Cup final, which ended in defeat by Manchester City. Despite Macdonald controversially being sold to Arsenal for a cut price deal, the following season saw United's best League campaign for years, and by Christmas the club looked to have an outside chance of winning the title. However, Lee walked out on the club to take over at Everton at the start of 1977, and inexperienced coach Richard Dinnis was put in charge of the team after the players demanded that he be given the job. United's form initially remained quite consistent under Dinnis, and they secured 5th place and a UEFA Cup spot at the end of the season. However, the team totally fell apart the following season, and Dinnis was sacked after a run of ten straight League defeats and a thumping UEFA Cup exit at the hands of French team SC Bastia. Bill McGarry took over as manager, but was powerless to prevent United from being relegated in statistically their worst season ever. The only mercy they had was Leicester City's terrible goal difference preventing United from finishing bottom of the table.

 

McGarry remained in charge of the club, but only managed two midtable finishes before being sacked in the wake of an uninspiring start to the 1980–81 season, and it was his successor Arthur Cox who steered United back again to the First Division with ex England captain Kevin Keegan leading the attack, having joined the Magpies in a sensational deal in 1982.

 

The football inspired by Keegan captivated Tyneside and United stormed into the top division in a style only bettered by Kevin's own brand of football when he returned to the club as manager a decade later. Cox had also signed young winger Chris Waddle out of non-league football, as well as young striker Peter Beardsley, Liverpool midfielder Terry McDermott and former Manchester United midfielder David McCreery. The club was rocked however when Cox resigned after the board refused to offer him an improved contract in the aftermath of promotion, and, surprisingly, accepted an offer to take charge of Derby County - who had been relegated from the Second Division.

 

One of English footballs greatest talents, Paul Gascoigne or 'Gazza', emerged as an exciting 18-year-old midfielder in 1985-86, under Newcastle's next manager Jack Charlton, who left after only one season despite Newcastle achieving a secure mid-table finish on their return to the First Division. His successor was former player Willie McFaul. Newcastle consolidated their place in Division One but then a period of selling their best players (Beardsley to Liverpool, and Waddle and eventually Gascoigne both to Tottenham), rocked the club and led to supporter unrest, as did a share-war for control of the boardroom. The effect of this on the pitch soon proved evident, as McFaul was sacked after a dismal start to the 1988–89 season, and new boss Jim Smith was unable to turn Newcastle around, resulting in them finishing at the foot of the First Division in 1989 and dropping back into the Second Division.

 

Smith then signed Portsmouth striker Mick Quinn and Newcastle began the 1989–90 season on a high note, beating promotion favourites Leeds United 5–2 on the opening day with Quinn scoring four goals, and Newcastle appeared to be on the path to a revival. However, they missed out on automatic promotion by one place, before enduring a humiliating play-off exit at the hands of local rivals Sunderland. The intensifying boardroom battle soon took its toll on the club, and Smith resigned early in the following season with the side stuck in mid-table. Ossie Ardiles became the club's new manager, and despite being initially being the club's most popular manager since Joe Harvey, Newcastle dropped to the bottom of the Second Division in October 1991. Results failed to improve, despite the acquisition of a new striker in David Kelly and the efforts of promising young players including Steve Howey, Steve Watson and Gavin Peacock, and in February 1992 Ardiles was sacked. Despite being the best-supported side in the division and frequently still managing to pull in crowds of more than 20,000, Newcastle were also millions of pounds in debt and faced with the real prospect of third-tier football for the first time ever. A saviour was needed, and in came new chairman John Hall, who offered the manager's job to Kevin Keegan. Despite having vowed never to enter management following his retirement as a player, Keegan accepted the offer to manage Newcastle. His first task was to deliver Second Division survival.

 

Kevin Keegan returned as manager in the 1991–92 season, and survived relegation from the Second Division. The club's finances were transformed, with Hall aiming to put Newcastle among Europe's biggest clubs, and signings like Rob Lee and Andy Cole helped Newcastle to promotion the following season, 1992–93, as champions of the new First Division. The finish also secured qualification for the 1993–94 UEFA Cup upon return to the top flight in the 1993–94 Premier League season.

 

St James' Park was redeveloped during this time into an all-seated stadium with a capacity of 36,000. This increased to 52,000 in the late 1990s, after the rejection of Hall's proposal to build a larger stadium at Castle Leazes.

 

Keegan stunned fans and critics alike in 1995 when prolific striker Andy Cole was sold to Manchester United in exchange for £6 million and midfielder Keith Gillespie, leaving many to blame the sale to have affected Newcastle's title chances for the 1994–95 season, in which they finished sixth. The club, however, continued to build up a reputation for playing attacking football under Keegan. In the 1995–96 season, high-profile foreign stars David Ginola and Faustino Asprilla, in addition to British players Peter Beardsley and striker Les Ferdinand, guided the team to a second-place finish. During the 1996–97 season, Keegan made one signing, securing the services of England striker Alan Shearer for a then-world record transfer fee of £15 million to produce a shrewd partnership with Les Ferdinand, and claim a 5–0 victory over title rivals Manchester United. whilst remaining in contention to win the league.

 

With the team having failed to win any trophies under his reign, Keegan resigned as manager on 8 January 1997, saying, "I feel that I have taken the club as far as I can."

 

Kenny Dalglish replaced Keegan as manager, and maintained the club's good form through to the end of the season, finishing second. In the 1997–98 season, Les Ferdinand and David Ginola both left the club, whilst Alan Shearer broke his ankle in a pre-season friendly, keeping him out for the first half of the season. Dalglish signed Ian Rush, John Barnes, Duncan Ferguson and Stuart Pearce to bolster the squad, and achieved a 3–2 victory over Barcelona in the UEFA Champions League through a Faustino Asprilla hat-trick, but Dalglish's cautious brand of football, as opposed to the attacking style played under Keegan, did not prove successful—the club failed to progress beyond the Champions League group stage, finished 13th in the Premier League, and lost the FA Cup final to Arsenal. Dalglish began the 1998–99 season signing Nolberto Solano and Dietmar Hamann, but was soon dismissed following the club's declining form.

 

Ruud Gullit replaced him, however the club again finished the league in 13th place and again lost in the FA Cup final, this time to Manchester United F.C. Gullit resigned early in the 1999–2000 season, having fallen out with several senior players, including Alan Shearer and captain Rob Lee. Keith Gillespie later blamed Gullit's arrogance for his failure as manager of the club.

 

Ex-England manager Bobby Robson was brought in to replace Gullit in September 1999. He ensured Newcastle's survival in the Premiership, but the club remained in the bottom half of the table, finishing 11th in 1999–2000 and 2000–01. Robson, however, built up an exciting young squad, and an unlikely top four challenge emerged in 2001–02 season—Newcastle finished in fourth place.

 

Playing in the Champions League in 2002–03, Newcastle progressed to the second group stage in unlikely circumstances, beating Italian squad Juventus 1–0 along the way. United finished the 2002–03 season third in the Premier League, but lost their Champions League qualifier and played in the 2003–04 UEFA Cup instead, reaching the semi-final. In 2003–04, Newcastle finished fifth in the Premiership, lower than in previous seasons, and outside of Champions League contention.

 

Robson was then sacked following a poor start to the 2004–05 season and alleged discontent in the dressing room. In his autobiography, Robson was critical of Shepherd, claiming that while manager he was denied information regarding the players' contracts and transfer negotiations. He had previously publicly criticised the club's highly financed offer for Wayne Rooney, which the club later claimed they could not afford, stating young players were making excessive demands without first proving themselves on the pitch. He also criticised Shepherd and the club's deputy chairman Douglas Hall for their focus on the first team and St James' Park, causing them to neglect less glamorous issues, such as the training ground, youth development and talent scouts.

 

Graeme Souness replaced Robson and finished the season 14th in the league. Souness' arrival, however, was met with mixed reactions, with many expecting Robson being a hard task to improve upon, despite insisting he was aware of Sir Bobby's admiration and was ready for the role. In the January transfer window, Souness caused controversy in securing an £8 million bid for France international Jean-Alain Boumsong, who had joined Rangers for free just months before, prior to which Sir Bobby had travelled to France to review Boumsong but declined to sign him. The Stevens inquiry in 2007 documented that in this purchase Souness was accused of lack of consistency and was reviewed over the large media speculation the transfer received, but was eventually exonerated from any illegal participations. Going into 2005–06 season, despite signing several new players, including the return of Nolberto Solano from Aston Villa as well as Albert Luque from Deportivo de La Coruña for £10 million, Souness struggled with the opening games. He later blamed the state of the club's training ground for injuries suffered to players. The signing of Michael Owen (for a club record £17 million from Real Madrid) and his strike partnership with Alan Shearer produced goals at the end of 2005, but an injury caused Owen to miss the rest of the season and following a poor start to the new year, Souness was sacked in February 2006. Robbie Elliiot and Shay Given announced regret over his exit in the club's Season Review DVD but acknowledged his seeming favouritism of players and the amounting pressure on him damaged morale, whilst Alan Shearer blamed the injury crisis to first-team players.

 

Caretaker manager Glenn Roeder was issued the role of temporary first-team manager, seeing his first game against Portsmouth secure Alan Shearer's 201st goal for Newcastle United, becoming the club's all-time highest-scoring player. Roeder guided Newcastle from 15th to seventh place securing 32 league points from a possible 45 by the end of 2005–06, as well as securing a place in the UEFA Intertoto Cup and was given a two-year contract by chairman Freddy Shepherd. His appointment caused controversy, as at the time he did not hold the necessary UEFA Pro Licence to manage in the UEFA leagues and cup tournaments His role, however, was approved by UEFA who acknowledged that Roeder's diagnosis with a brain tumour in 2003 prevented him from developing his career, whilst Chairman Freddy Shepherd also fulfilled UEFA's request that he gain backing from all 19 other Premier League clubs to appoint him as manager. Alan Shearer retired at the end of the 2005–06 season scoring a record 206 goals.

 

Roeder encountered a difficult 2006–07 season, losing many players to injury, in particular Michael Owen, who had severely damaged his ligaments during the 2006 FIFA World Cup seeing him only play the final two games of the season. Newcastle won the 2006 Intertoto Cup, but a 5–1 exit to Birmingham City in the FA Cup, a round of 16 exit in the UEFA Cup and poor league results seeing a 13th-place finish led Roeder to resign in May 2007.

 

As the 2007 season drew to a close, St James Holdings Limited, the bid vehicle of billionaire businessman Mike Ashley, was reported to be in the process of buying the club. Ashley successfully acquired Sir John Hall's majority stake in the club in May 2007, leaving many to believe chairman Freddie Shepherd was set to depart after stepping down as chairman, should Ashley acquire more than 50 percent, which would see Shepherd no longer in control of the club and Ashley able to replace the board. Shepherd dismissed all speculation and proceeded to appoint ex-Bolton Wanderers boss Sam Allardyce as Newcastle manager, but eventually met with Mike Ashley and the board on 29 May. On 7 June 2007, Shepherd ended his 11 years with the club after Mike Ashley accepted his bid to buy his shares and in his role as chairman of the board, also having Shepherd advise the remaining shareholders to sell to Ashley. Ashley then announced he would be delisting the club from the London Stock Exchange upon completion of the takeover. The club officially ceased trading on the Stock Exchange as of 8 am on 18 July 2007 at 5p a share. Ashley brought in lawyer Chris Mort as the new club "deputy chairman".

 

Despite signing and building a seemingly strong squad, Sam Allardyce soon became widely unpopular with fans and players alike, and was surprisingly sacked by Ashley halfway through his first season after underwhelming results and pressure from the fans. Ashley, however, defended his decision to sack Allardyce, stating he made a mistake in not appointing his own choice of manager before the season started.

 

Kevin Keegan then made a sensational surprise return as manager. His return had an instant impact on club ticket sales as he sat with the fans, Mike Ashley and Chris Mort for the FA Cup replay 4–1 win against Stoke City. Following his return, Keegan had a disappointing first ten games back, with the club not winning a single game until his decision to include strikers Obafemi Martins, Michael Owen and Mark Viduka into a 4–3–3 formation, which saw the club back on goal-scoring and winning form and eventually finishing 12th in 2007–08. In May Keegan met with Mike Ashley and Director of Football Dennis Wise after he had suggested Champions League qualification was out of Newcastle United's reach and expressed dissatisfaction with the board's financial backing. Ashley was battling reports that he had lost hundreds of millions of pounds in a disastrous attempt to rescue bank HBOS. The morning following, after the club's 3–0 defeat to Arsenal, rumours were circulating that Keegan had either been sacked or resigned as Newcastle boss, citing board interference and his lack of control over transfers. Keegan confirmed the reports the same week, and reportedly held unsuccessful resolution talks with Mike Ashley the following week, leading to fan fury and protests around St James' Park, and marring the club's home defeat to Hull City, with fans accusing Ashley and club executives Dennis Wise, Tony Jimenez and Derek Llambias of forcing Keegan out.

 

Following mass media coverage of Keegan's departure, the club struggled to find a replacement, with the majority of managers showing no interest in the role. Ashley released a statement to the club's fans that in fear of his and his families reputation and safety, he was placing the club for sale. It was then announced that former Nottingham Forest manager Joe Kinnear was appointed temporary manager His appointment, however, saw a backlash from fans, prompting a verbal tirade from Kinnear at the media, who questioned his decision to take the job at such a time. By the end of the year, Ashley took the club off the market claiming he was unable to find a suitable buyer.

 

In the remainder of 2008–09, Kinnear won four out of 18 matches before stepping down due to reported heart problems. Chris Hughton then took temporary charge before Alan Shearer returned to Newcastle United as manager in April with Iain Dowie as his assistant. After winning only one out of eight games, the club was relegated to the Championship for the first time since 1992. Mike Ashley then re-issued his desire to sell the club once again and issued a £100 million sale price tag.

 

Prior to the start of the 2009–10 season, Keegan's dispute with the club was resolved after a Premier League Arbitration Panel ruled that he had been misled to believe he had the final word on the club's transfer policy when in fact Director of Football Dennis Wise had been handed such control. The signings of Xisco and Nacho González were ruled to have been made without the manager's approval; with González, Dennis Wise signed him only after viewing him off of YouTube. Wise and Derek Llambias were ruled to have deliberately misled the media to believe Keegan had the final say, which amounted to constructive dismissal. Keegan was awarded £2 million in compensation and re-offered his job as Newcastle United manager under fresh new terms, though in response to the offer, he stated the fans had "had enough" for the time being and declined. He stated in 2013 he would consider a return should Mike Ashley leave the club.

 

Chris Hughton was appointed full-time manager early in the 2009–10 season. The club dominated the Championship, winning 30 games, drawing 12 and losing only four, scoring a total of 90 goals and finishing top of the league with 102 points, thus re-gaining Premier League status at the first attempt.

 

Beginning 2010–11, Hughton remained on course to secure survival from relegation with the club's first win at the Emirates over Arsenal, and a memorable 5–1 defeat over Sunderland. However, fury once again was caused by the board, as the club controversially sacked Chris Hughton after a 3–1 defeat to West Bromwich Albion on 6 December 2010. Critics players and fans alike were shocked by Hughton's dismissal, leading to protests prior to the club's game against Liverpool in a bid to thank him for his work and support. Alan Pardew was then announced as being appointed manager on a five-and-a-half-year contract, with the club announcing they wanted a manager with more experience. Pardew stated he had nothing but respect for Chris Hughton and acknowledged the fact that other managers questioned his appointment. He secured his first win on his debut as manager with a 3–1 win over Liverpool On 31 January 2011, Newcastle sold striker Andy Carroll to Liverpool for a club record of £35 million. The sale of a young player at a high value proved controversial for Liverpool, with Alan Shearer ridiculing the price Liverpool paid as well as expressing sorrow at Newcastle for losing Carroll. Carroll himself stated that he did not want to leave the club but was forced out by the club's directors after Liverpool's final offer of £35 million; the board responded that Carroll had previously handed in a transfer request. Pardew said he was disappointed to lose Carroll, but pledged to invest in the club's summer transfer window. The remainder of the season saw Leon Best score a hat-trick on his debut in a 5–0 defeat of West Ham United, a memorable 4–4 comeback against Arsenal, and a 4–1 defeat of Wolverhampton Wanderers, eventually finishing 12th in the league.

 

Entering 2011–12, Pardew was reportedly denied the £35 million from the sale of Andy Carroll for transfers and told to sell players to raise funds, having claimed he had been assured the finances upon Carroll's departure. Kevin Keegan had previously stated Alan Pardew should not have expected the money following his issues with the board in 2008. The club signed many French-speaking players in the transfer window, including Yohan Cabaye, Mathieu Debuchy, Sylvain Marveaux and Demba Ba. and with impressive results throughout the season, Newcastle finished fifth.

 

In the 2012–13 UEFA Europa League, Newcastle reached the quarter-finals, and in the January transfer window, the French revolution continued into the new year, with Moussa Sissoko and Yoan Gouffran joining the squad. The team, however, had a poor 2012–13 Premier League and finished 16th in the Premier League.

 

Beginning the 2013–14 season, in a surprise move Joe Kinnear returned to the club as Director of Football, instantly causing fan fury following his outburst that he was "more intelligent" than the fans and critics, as well as mispronouncing various players names during a radio interview. However, he resigned after just eight months on the job following further critique for managing to sign only two players on loan—Loïc Rémy and Luuk de Jong—throughout the season's summer and January transfer windows, as well selling Yohan Cabaye to Paris Saint-Germain for £20 million, considered to be one of the most influential players at the time. Following the lack of transfer activity, Mike Ashley once again faced a fan revolt, with protests being launched at him to sell the club, and entered a dispute with several media titles whom the club banned from Newcastle United media facilities, press conferences and player interviews, declaring stories reported were intensely exaggerated and aimed only to damage Ashley's image further. Throughout the season, the club remained on course to ensure a top half finish, notably defeating Manchester United at Old Trafford for the first time since 1972. Nonetheless, the team struggled for goals following the sale of Cabaye. Further dismay upon the season was caused when Pardew was banned for seven matches and fined £100,000 for an assault on Hull City midfielder David Meyler. The club then encountered a poor run of form, losing eight out of ten games and finishing the season tenth in the league, though the club confirmed Alan Pardew would stay on.

 

The opening eight games of the 2014–15 season proved disappointing, with the club failing to secure a win. After the dip in form, however, the club had an emphatic resurgence, seeing a five-game unbeaten run whilst also surprising League Cup holders Manchester City with a 2–0 win and progressing to the quarter-finals of the tournament. Pardew, however, resigned from the club on 30 December 2014 following immense pressure from fans calling for his departure, with many posters at games designed with the Sports Direct logo advertising a website demanding his resignation. Pardew admitted in the months leading up to his departure that protests from the fans were affecting his family and was subsequently feeling unhappy at the club. He was replaced by his assistant manager John Carver, though the team subsequently earned just 13 points out of a possible 50, surviving relegation on the final day of the season with a victory over West Ham, Carver was dismissed before the club's pre-season for 2016 began. The club paid tribute to player Jonás Gutiérrez following his successful recovery from testicular cancer to resume his playing career.

 

Beginning the 2015–16 season, former England F.C. Manager Steve McClaren was appointed manager, signing Georginio Wijnaldum, Aleksandar Mitrovic, Chancel Mbemba, Florian Thauvin, Henri Saivet, Jonjo Shelvey, Andros Townsend and Ivan Toney. McClaren however struggled to produce results winning 6 and drawing 6 out of 28 games, whilst exiting both the FA Cup and League Cup in the Third Round. McClaren was subsequently sacked on 11 March 2016 with critics and former players voicing their favour of the decision. Rafael Benítez was announced as McClaren's successor the same day, signing a three-year deal. Benítez recorded his first victory in 3–0 defeat of Swansea City in the Premier League on 17 April 2016 after 5 games in charge, and maintained an emphatic 5-game unbeaten streak to the end of the season. Newcastle were however relegated from the Premier League along with Aston Villa and Norwich finishing 18th place, 2 points below safety. Betting websites confirmed after the final game that the club's 5–1 defeat of Tottenham Hotspur matched the initial odds of Leicester City's 5000/1 win of the 2015–16 Premier League season.

 

Starting the 2016-17 season, Rafa Benítez signed 12 new players full-time and also acquired 5 players on loan, whilst 8 players left the club and another 12 on loan. New signings Dwight Gayle and Matt Ritchie proved popular scoring a combined total of 39 goals, finishing among the top goalscorers that season. Despite failing to improve on their dominant success in the 2009/10 championship season, the club remained in contention for the trophy throughout; threatened only by Brighton & Hove Albion Newcastle enjoyed a 3-game winning streak to the final day of the season and lifted the Football League Championship trophy on 8 May 2017 following a 3–0 win over Barnsley. Rafa Benítez denied speculation that he would leave the club following promotion to the Premier League and confirmed his commitment to the club for the foreseeable future. Shortly prior to the season's finish, the club was subject to raids by HMRC following suspicions of tax evasion. Managing Director Lee Charnley was arrested during the raid, but was later released without charge.

 

Ending the 2017-18 season, the club finished 10th in the Premier League defeating the current champions Chelsea on the final day of the season, the highest finish achieved within 4 years. Beginning the 2018–19 season, Mike Ashley again came under scrutiny following lack of major signings in the summer transfer window, with many fans accusing him of lacking interest in the club following his purchase of troubled retail chain House of Fraser for £90m. Despite the January signing of Miguel Almirón from Atlanta United FC for £21 million surpassing the club's transfer record fee of £16.8 million for Michael Owen in 2005, the club struggled throughout the season with 12 wins, 9 draws and 17 losses seeing a 13th place league table finish, whilst exiting the League Cup at the 2nd round in a 3–1 defeat of Nottingham Forest F.C and a 4th round exit of the FA Cup in a 2–0 defeat to Watford F.C. The season also saw heavy speculation regarding Rafa Benítez remaining at the club following reports he was still in negotiations following the end of the season.

 

Following fresh reports of Ashley's intention to sell the club, Sheikh Khaled Bin Zayed Al Nahyan, Founder and Chairman of The Bin Zayed Group of Companies, a member of the Al Nahyan royal family of Abu Dhabi, confirmed he had agreed terms to purchase the club for £350 million. On 5 June 2019 a company named Monochrome Acquisitions Limited was registered in Nahyan's name, whilst managing director Lee Charnley applied to have four companies linked to Ashley's company St James Holdings Ltd struck off, leaving many to believe the club was on course to be sold. Talks of a takeover however stalled throughout the summer transfer window, whilst Ashley confirmed he had not received an official bid from any prospective buyer.

 

Benítez rejected a new contract offer and departed the club on 30 June 2019, accepting a move to Chinese Super League side Dalian Yifang in a £12 million deal. Ashley criticised Benítez stating unfair demands were made making it impossible for him to remain as manager. Notable player departures saw Salomón Rondón join Benitez at Dalian Yifang after returning to West Bromwich Albion F.C. from loan, whilst Ayoze Perez joined Leicester City for £30 million and Mohamed Diamé was released by Newcastle upon the expiry of his contract at the end of the 2018–19 season.

 

BBC Sport reported in July 2019 that Steve Bruce had resigned from his managerial position at Sheffield Wednesday after he earlier admitted that he had held talks with Newcastle United over their managerial vacancy. His appointment was confirmed on 17 July. Sheffield Wednesday however stated there were still outstanding legal issues with Bruce having resigned just 48 hours before, leading a report being filed to the Premier League alleging misconduct in his appointment. Newcastle United denied any wrongdoing and stated they were confident no case could be escalated. Reaction from the fans was mixed, with some feeling Bruce would not achieve the standard set by Benítez, whilst his recent lack of Premier League football and management of rival club Sunderland proved controversial. Bruce later acknowledged Benítez's popularity and stated he hoped the fans would not rush to judgement and give him time to prove himself and manager of Newcastle. Due to visa problems in China, Bruce watched his first match as manager from the stands which saw Newcastle achieve a third-place finish in the pre-season 2019 Premier League Asia Trophy following a 1–0 victory over West Ham United F.C. Bruce quickly made his first transfer, signing Joelinton from TSG 1899 Hoffenheim for £40 million, breaking the club's transfer fee record previously held by Miguel Almirón at £21 million just 6 months before, before signing French international winger Allan Saint-Maximin from OGC Nice on a permanent deal for £16.5 million, Sweden international defender Emil Krafth for £5 million, central midfielder Kyle Scott on a free signing following his departure from Chelsea, and Netherlands international defender Jetro Willems on loan from Frankfurt F.C until the end of the 2019–20 season. Bruce made his final transfer of the pre-season on deadline day by re-signing striker Andy Carroll, who had left the club over 7 years earlier. On 4 February 2020, Steve Bruce's side ended a 14-year drought by reaching the 5th round of the FA Cup they beat League One side Oxford United 2–3 in a replay thanks to a late winner from Allan Saint-Maximin in extra time.

 

From March 2020, the season was affected by the COVID-19 pandemic. On 13 March, following an emergency meeting between the Premier League, The Football Association (FA), the English Football League and the FA Women's Super League, it was unanimously decided to suspend professional football in England. On 19 March, the suspension was extended indefinitely, with a restart date of 17 June announced in late May with all remaining games to be played without crowd attendance.

 

Newcastle finished the season in 13th place. Defender Danny Rose was an outspoken critic of the decision to continue the season, citing the virus was still in major circulation and accused the FA of having no concern for footballers' health. Karl Darlow has since urged players at the club to get vaccinated following his hospitalisation from complications of Covid, whilst manager Steve Bruce admitted some players had voluntarily declined the vaccination.

 

The 2020-21 season saw all matches played without crowd attendance until May 2021, in light of the COVID-19 pandemic. Newcastle failed to improve on the previous season, finishing 12th in the premier league and were knocked out of the FA Cup in the third round added time to Arsenal and exited the EFL Cup in the quarter-finals losing 1–0 to Brentford.

 

In April 2020, it was widely reported that a consortium consisting of Public Investment Fund, PCP Capital Partners and the Reuben Brothers, was finalising an offer to acquire Newcastle United. The proposed sale prompted concerns and criticism, such as arguments considering it sportwashing of the country's human rights record, as well as ongoing large-scale piracy of sports broadcasts in the region. However the consortium announced its withdrawal from the Newcastle deal on July 30, 2020, after multiple media reports highlighted realm as the staunch violator of human rights, and the WTO ruled that it was behind the piracy campaign using pirate-pay-service beoutQ. "With a deep appreciation for the Newcastle community and the significance of its football club, we have come to the decision to withdraw our interest in acquiring Newcastle United Football Club," the group said in its statement upon withdrawal. The group also stated that the "prolonged process" was a major factor in them pulling out. The collapse of the takeover was met with widespread criticism from Newcastle fans, with Newcastle MP Chi Onwurah accusing the Premier League of treating fans of the club with "contempt" and subsequently wrote to Masters for an explanation. Despite the consortium's withdrawal, disputes over the takeover continued. On 9 September 2020, Newcastle United released a statement claiming that the Premier League had officially rejected the takeover by the consortium and accused Masters and the Premier League board of " acting appropriately in relation to [the takeover]", while stating that the club would be considering any relevant legal action. The Premier League strongly denied this in a statement released the next day, expressing "surprise" and "disappointment" at Newcastle's statement.

 

On October 7, 2021, the Public Investment Fund, PCP Capital Partners and RB Sports & Media confirmed that they had officially completed the acquisition of Newcastle United. Governor of the investment fund Yasir bin Othman Al-Rumayyan was appointed non-executive chairman, whilst Amanda Staveley and Jamie Reuben were both appointed as directors and each held a 10% shareholding in the club.

 

The takeover led to widespread speculation that manager Steve Bruce was expected to leave the club. Although not denying the speculation that the club was keen to appoint a new manager, Staveley stated Bruce was to remain for the new owners first game against Tottenham Hotspur; his 1000th match as a football manager. However following Newcastle losing the game 3-2 and alleged discontent among the players, Bruce left the club by mutual consent. Bruce stated his sadness at leaving the club and felt Newcastle fans launched unnecessary verbal abuse at him during his time there. Interim manager Graeme Jones as well as Arsenal manager Mikel Arteta supported Bruce's claims stating the abuse he received was off putting for other managers to take the role.

 

Eddie Howe was appointed as manager on 8 November 2021. The announcement was made following reports that the club had discussed the role with him the previous week and confirmed following his attendance at the away draw to Brighton & Hove Albion. On 19 November 2021, Newcastle announced that Howe had tested positive for COVID-19 and would miss his first game in charge, which instead forced him to watch his first game as manager from a hotel room as Newcastle drew 3–3 with Brentford on 20 November.

 

Lee Charnley, who acted as Managing Director under Ashley's ownership, left the club on 19 November 2021 following a six-week handover period. His departure was the final of Mike Ashley's hierarchy, with Staveley stating the club was undergoing a "formal process" to appoint a new figure to replace the role.

 

Eddie Howe had to wait until 4 December 2021 for his first win as Newcastle manager in a 1–0 win against Burnley, which was also the first win since the takeover happened. Howe then made five signings in the first January transfer window under the new ownership which included a marquee singing in Brazilian midfielder Bruno Guimarães from Olympique Lyonnais. The transfer window and the players that were already there that Howe improved helped Newcastle to go on a 9-game unbeaten run in the Premier League to get them 10 points clear from the relegation zone and increasing the chance of guaranteeing survival. After Newcastle's 1–0 win against Crystal Palace, this was the first time the club had managed to win 6 home games in a row since 2004 when Sir Bobby Robson was in charge. Newcastle finished in 11th place after a run of 12 wins in their final 18 games, and became the first team in Premier League history to avoid relegation after not winning any of the first 14 games they played.

 

On 30 May 2022, the club announced they had reached an agreement of a compensation fee with Brighton & Hove Albion to appoint Dan Ashworth as the new Sporting Director, the appointment was confirmed on 6 June 2022. On 15 July 2022, the club brought in Darren Eales, from MLS side Atlanta United, as the club's new Chief Executive Officer - acting as a "key member of the club's leadership structure".

 

Newcastle United was set up as a private company limited by shares on 6 September 1895. However, by the 1930s, ownership of the company was dominated by a small number of individuals: Alderman William McKeag, George and Robert Rutherford, and William Westwood, 1st Baron Westwood. George Stanley Seymour was allocated some shares when he joined the board in 1938.

 

By the second half of the 20th century, these shareholdings had passed to the next generation: Gordon McKeag, Robert James Rutherford, Stan Seymour Jr. and William Westwood, 2nd Baron Westwood. The Magpie Group led by Sir John Hall built up a large shareholding in the club and then took control in 1992. In 2007, St James Holdings Limited, the bid vehicle of billionaire businessman Mike Ashley, secured control of the club and in 2021, the Public Investment Fund of Saudi Arabia, PCP Capital Partners and RB Sports & Media confirmed that they had acquired ownership of the club.

Given the difficulty of the entrance, I do not recommend this tour for (very) elderly people or those with reduced mobility.

 

Once you're in, don't be scared off by the waves. Yes, it is true that they burst hard against the entrance of the cave, but they will not advance nor will they swamp it (do not worry).

 

Finally, if you notice that a storm of wind and rain is coming on Easter Island, skip this tour. It is better to avoid unnecessary risks.

 

*I saw this rock painting there:

flic.kr/p/svgZPi

 

*Recreation of the paintings of Ana Kai Tangata | Watercolor of Melinka Pictures Hucke for the book Manu Iri:

flic.kr/p/2jykt99

- Peter Marshall

 

This was my favorite outtake from my other 365 shoot today. So I'm using it. Done and done. And now excuse me while I go pass out for the night.

 

Some background:

The MBR-04 series were the first combat-ready Destroids and the most successful land-combat weapon Destroids that were built with OverTechnology of Macross. The abbreviation MBR (Main Battle Robot) indicates the model was developed as a walking humanoid weapon emphasizing the heavy armor firepower of an artillery combat vehicle, designed to replace mainline battle tanks. The Type 04 series was developed jointly by Viggers and Chrauler. Unlike the variable fighters, which had to be designed to accommodate transformation mechanisms, the MBR series featured a structure with a large capacity that allowed plenty of room for machinery and armor.

 

The initial development line, the "Tomahawk" multipurpose battle robot and comparable in its intended role with former main battle tanks, had inferior anti-aircraft abilities, even though it boasted firepower like no other biped vehicle from the Destroid series. Originally, the Tomahawk was just called "MBR Mk. I", but once its systems and structural elements became the basis for other models, its designation changed into the "Type 04" Destroid. The main frame from the waist down, a module which consolidated the thermonuclear reactor and ambulatory OverTechnology system of the Destroids, was common to all of the Type 04 series of biped battle robots. Production line integration using this module was a key goal of Destroid development, and the quick development of further variants.

 

The ADR-04-Mk. X Defender Destroid was one of these family members, a walking weapon developed using OverTechnology for deployment by the United Nations Military. During development of the MBR-04-Mk I, a version of the Destroid ambulatory system with the anti-aircraft Contraves system (for use during the early stages of battle) was simultaneously being developed in a joint effort by Viggers-Chrauler under direction from the United Nations. This initial support Destroid, tentatively designated ADR-04-Mk. II, which still shared many components and even hull sections with the Tomahawk, did not progress beyond prototype stage - primarily because of a focus on the Tomahawk as UN's primary ground weapon. It nevertheless provided vital input for the ADR-04-Mk. X Defender, which became an important defensive asset to protect ground troops and vital locations, as well as for operations in space on board of the SDF-1.

 

Designed for the purpose of super-long-range firing in atmosphere and space, the Defender was rolled out in March 2009 and immediately put into action against the Zentraedi military. Unfortunately, the cost of the unit was high and posed significant difficulties for manufacturing, especially installing the high-definition targeting system, which lead to a bottleneck during mass production.

 

The ADR-04-Mk. X Defender's only weapons were two stub arms, each featuring a pair of large-caliber, specialized interception capability guns instead of manipulators, similar to the eventual mass-produced MBR-04-Mk. VI Tomahawk. The anti-aircraft engagement model (anti-tank class) wide-bore guns each fired 500 rounds per minute and all four barrels firing in combination were able to unleash continuous 2,000 rounds per minute, even though only short bursts of four rounds or just single shots were typically fired to save ammunition. The 78 mm rounds were aimed via an Erlikon Contraves fire control system and fired at an impressive muzzle velocity of 3,300 meters per second. A wide range of ammunition types could be fired, including HE, AP, APDS high speed, massive kinetic impact rounds, EMP grenades and rounds with chaff/flare/thermal mist charges. The internal belt magazines made it was possible to load up to three different types per twin gun and deliberately switch between them. The overall supply was, however, rather limited.

 

The rotating mechanism structure of the upper body allowed the unit to respond quickly to enemies approaching even from the rear, for a full 360° coverage of the whole hemisphere above the Destroid. Due to the independent arms, the Defender could even engage two targets separately and split its firepower among them. Additionally, the targeting system was capable of long-range firing in space and could perform extremely precise shooting at long distances in a vacuum/zero-G environment. Hence, the Defender Destroid was more a next generation anti-aircraft tank and in service frequently moonlighted as a movable defensive turret. However, despite featuring a common Destroid ambulatory system, the Defender's mobility was rather limited in direct comparison with a variable fighter Battroid, and it lacked any significant close-combat capability, so that it remained a dedicated support vehicle for other combat units.

 

180 ADR-04-Mk. X Defenders were ordered, built and operated by UN ground and space forces, about half of them were deployed on board of SDF-1. During the First Space War, around sixty more Defenders were converted from revamped MBR-04 series chassis, mostly from battle-damaged Tomahawks, but some later Phalanx' units were modified, too.

During its career the Defender was gradually upgraded with better sensors and radar systems, and its armament was augmented, too. A common upgrade were enlarged ammunition bays on the shoulders that could hold 50 more rounds per gun, even though this stressed the ambulatory system since the Defender's center of gravity was raised. Therefore, this modification was almost exclusively executed among stationary "gun turret" units. Another late upgrade was the addition of launch rails for AMM-1 anti-aircraft missiles on the gun pods and/or the torso. Again, this was almost exclusively implemented on stationary Defenders.

 

A short-range sub-variant, under the project handle "Cheyenne", was developed in 2010, too, but it was only produced in small number for evaluation purposes. It was based on the Defender's structure, but it carried a different armament, consisting of a pair of 37 mm six-barrel gatling guns plus AMM-1 missiles, and a more clutter-resistant radar system against fast and low-flying targets. The Cheyenne was intended as a complementary aerial defense unit, but the results from field tests were not convincing, so that the project was mothballed. However, in 2012 the concept was developed further into the ADR-04-Mk.XI "Manticore", which was fully tailored to the short-range defense role.

  

General characteristics:

Equipment Type: aerial defense robot, series 04

Government: U.N. Spacy

Manufacturer: Viggers/Chrauler

Introduction: March 2009

Accommodation: 1 pilot

 

Dimensions:

Height 11.37 meters (overall)

10.73 meters (w/o surveillance radar antenna)

Length 4.48 meters (hull only)

7.85 meters (guns forward)

Width 8.6 meters

Mass: 27.1 metric tons

 

Power Plant:

Kranss-Maffai MT828 thermonuclear reactor, output rated at 2800 shp;

plus an auxiliary GE EM10T fuel power generator, output rated at 510 kW

 

Propulsion:

2x thrust nozzles mounted in the lower back region, allowing the capability to perform jumps,

plus several vernier nozzles around the hull for Zero-G manoeuvers

 

Performance:

Max. walking speed: 72 kph when fully loaded

 

Design features:

- Detachable weapons bay (attaches to the main body via two main locks);

- Type 966 PFG Contraves radar and fire control set (a.k.a. Contraves II)

with respective heat exchanger on the upper back

- Rotating surveillance antenna for full 360° air space coverage

- Optical sensor unit equipped with four camera eyes, moving along a vertical slit,

protected by a polarized light shield;

- Capable of performing Zero-G manoeuvers via 16 x thrust nozzles (mounted around the hull);

- Reactor radiator with exhaust ports in the rear;

- Cockpit can be separated from the body in an emergency (only the cockpit block is recovered);

- Option pack featuring missiles or enlarged ammunition bays;

 

Armament:

2x Erlikon 78mm liquid-cooled high-speed 2-barrel automatic cannon with 200 rounds each,

mounted as arms

  

The kit and its assembly:

A kind of nostalgia trip, because my first ever mecha kit I bought and built in the Eighties was this 1:100 Destroid Defender! It still exists, even though only as a re-built model, and I thought that it was about time to build another, “better” one, to complete my collection of canonical Macross Destroids.

 

With this objective, the vintage kit was built basically OOB, just with some detail enhancements. The biggest structural change is a new hip joint arrangement, made from steel wire. It allows a more or less flexible 3D posture of the legs, for a more dynamic “walking” pose, and the resulting gaps were filled with paper tissue drenched in white glue and acrylic paint.

A more cosmetic change concerns the Defender’s optical sensor array on its “head”. OOB it just consists of a wide “slit” with a square window – very basic, but that’s how the defender is depicted in the TV series. However, I have a Macross artbook with original design sketches from Studio Nue, which reveal more details of this arrangement, and these include a kind of louvre that covers the mobile sensor array’s guide rails, and the sensor array itself consists of several smaller optical units – the relatively new 1:72 Defender from WAVE features these details, too, but the old 1:72 Defender from Arii (and later Bandai) also only has a red box, even though under a clear cover, which is IMHO dubious, though. The louvres were created from hemispherical styrene profile bits, the sensor array was scratched with a front wheel from an 1:100 VF-1 and more styrene bits.

 

The guns/arms were taken OOB, but I reduced the opening at the shoulder (and with it the angle the arms can be swiveled) with styrene profile material, which also hides the foo fit of the shoulder halves that hold the guns and a reinforcement styrene plate inside of them.

While I could have enlarged the ammunition boxes on the Defender’s shoulders (they are extended backwards), I left them in the original and OOB configuration. Another hull mod I eventually did not carry out were clear replacements for the molded searchlights. Having some visible depth and true clear covers would have been nice, but then I doubted the benefits vs. the mess their integration into the body would mean, so that I went for a simple paint solution (see below).

 

A final cosmetic modification tried to improve the look of the shanks – but it did not help much. On the Defender, there are two continuous ridges that run across the lower legs. This is a molding simplification and wrong because the Defender (and all other 04-Series chassis’) only features the ends of the ridges.

I tried to sand the inner sections away, but upon gluing the parts finally together I realized that the fit of these parts is abysmal, and PSRing on the resulting concave surface between the leftover humps was a nightmare. Did not work well, and it looks poor.

 

With this in mind, a general word about the Arii 1:100 Destroids with the Series 04 chassis: there are three kits (Defender, Tomahawk and Phalanx), and you’d expect that these used the same lower body just with different torsos. But that’s not the case – they are all different, and the Defender is certainly the worst version, with its odd “toe” construction, the continuous ridges and the horrible fit of the lower leg halves as well as the shoulders that hold the stub arms. The Tomahawk is better, but also challenging, and IMHO, when you are only looking for the lower body section, the Phalanx is the best kit or the trio.

  

Painting and markings:

This Defender was supposed to remain canonical and close to the OOB finish, so this became a simple affair.

All Macross Destroids tend to carry a uniform livery, and esp. the Tomahawk/Defender/Phalanx family is kept in murky/dull tones of green, brown and ochre: unpretentious "mud movers".

The Defender appears to carry an overall olive drab livery, and I settled on RAL 7008 (Khakigrau), which is - according to the RAL color list - supposed to be a shade of grey, but it comes out as a dull, yellowish green-brown.

This tone was applied overall from a rattle can, and the few contrast sections like the ammunition boxes or the dust guards of the knee joints were painted with NATO olive green (RAL 6014, Gelboliv, Revell 46). The hull was later treated with Modelmaster Olive Drab (FS 34087), which adds a more greenish hue to the basic paint.

 

The kit received a thorough black ink washing, then some dry-brushing with Humbrol 72 (Khaki Drill) was applied. The decals came next, taken from the OOB sheet, plus four decals for those vernier thrusters that had not been molded into the kit’s surface. The only change is a different piece of “nose art” on the left leg, replacing the original, rather small decal. It actually belongs to a Czech AF MiG-21MF (one of the two famous Fishbeds from Pardubice in 1989, aircraft “1114”) and filled the bumpy area over the lower leg’s seam (see above) well – a kind of visual distraction from the PSR mess underneath...

 

Finally, the kit was sealed with matt acrylic varnish, its major sub-assemblies put together. The optical sensors received lenses with clear paint over a silver base. The large searchlights were painted, too, with a silver base plus white and clear blue reflections on top, covered with a generous coat of Humbrol’s Clearfix to mimic a clear, glossy cover.

After final assembly, some mineral pigments were dusted onto the model’s lower areas with a soft, big brush.

  

I knew that the Defender was trouble, but esp. the legs turned out to be horrible to build. However, the small cosmetic changes really improve the model’s look, and I am quite happy with the result.

Bamburgh Castle, on the northeast coast of England, by the village of Bamburgh in Northumberland, is a Grade I listed building.

 

The site was originally the location of a Celtic Brittonic fort known as Din Guarie and may have been the capital of the kingdom of Bernicia from its foundation c. 420 to 547. In that last year, it was captured by King Ida of Bernicia. After passing between the Britons and the Anglo-Saxons three times, the fort came under Anglo-Saxon control in 590. The fort was destroyed by Vikings in 993, and the Normans later built a new castle on the site, which forms the core of the present one. After a revolt in 1095 supported by the castle's owner, it became the property of the English monarch.

 

In the 17th century, financial difficulties led to the castle deteriorating, but it was restored by various owners during the 18th and 19th centuries. It was finally bought by the Victorian era industrialist William Armstrong, who completed its restoration. The castle still belongs to the Armstrong family and is open to the public.

 

History

Medieval history

Built on top of a black crag of volcanic dolerite, and part of the Whin Sill, the location was previously home to a fort of the indigenous Celtic Britons known as Din Guarie. It may have been the capital of the kingdom of Bernicia, the realm of the Gododdin people, from the realm's foundation c. 420 until 547, the year of the first written reference to the castle. In that year the citadel was captured by the Anglo-Saxon ruler Ida of Bernicia (Beornice) and became Ida's seat.

 

The castle was briefly retaken by the Britons from his son Hussa during the war of 590 before being retaken later the same year. Circa 600, Hussa's successor Æthelfrith passed it on to his wife Bebba, from whom the early name Bebbanburh was derived. Vikings destroyed the original fortification in 993.

 

The Normans built a new castle on the site, which forms the core of the present one. William II unsuccessfully besieged it in 1095 during a revolt supported by its owner, Robert de Mowbray, Earl of Northumbria. After Robert was captured, his wife continued the defence until coerced to surrender by the king's threat to blind her husband.

 

Bamburgh then became the property of the reigning English monarch. Henry II probably built the keep as it was complete by 1164. Following the Siege of Acre in 1191, and as a reward for his service, King Richard I appointed Sir John Forster the first Governor of Bamburgh Castle. Following the defeat of the Scots at the Battle of Neville's Cross in 1346, King David II was held prisoner at Bamburgh Castle.

 

During the civil wars at the end of King John's reign, the castle was under the control of Philip of Oldcoates. In 1464 during the Wars of the Roses, it was subject to a nine-month siege by Richard Neville, 16th Earl of Warwick, the "Kingmaker", on behalf of the Yorkists which was marked by the extensive use of artillery.

 

Modern history

The Forster family of Northumberland continued to provide the Crown with successive governors of the castle until the Crown granted ownership (or a lease according to some sources) of the church and the castle to another Sir John Forster in the mid-1500s, after the Dissolution of the Monasteries. The family retained ownership until Sir William Forster (d. 1700) was posthumously declared bankrupt, and his estates, including the castle, were sold to Lord Crew, Bishop of Durham (husband of his sister Dorothy) under an Act of Parliament to settle the debts in 1704.

 

Crewe placed the castle in the hands of a board of trustees chaired by Thomas Sharp, the Archdeacon of Northumberland. Following the death of Thomas Sharp, leadership of the board of trustees passed to John Sharp (Thomas Sharp's son) who refurbished the castle keep and court rooms and established a hospital on the site. In 1894, the castle was bought by the Victorian industrialist William Armstrong, who completed the restoration.

 

During the Second World War, pillboxes were established in the sand dunes to protect the castle and surrounding area from German invasion and, in 1944, a Royal Navy corvette was named HMS Bamborough Castle after the castle. The castle still remains in the ownership of the Armstrong family.

 

After the War, the castle became a Grade I Listed property. The description included this comment about the status of the building in 1952 and its history:

 

Castle, divided into apartments. C12; ruinous when acquired by Lord Crewe in 1704 and made habitable after his death by Dr. Sharpe ... Acquired by Lord Armstrong, who had extensive restoration and rebuilding of high quality by C.J. Ferguson, 1894-1904. Squared sandstone and ashlar.

 

Location

About 9 miles (14 km) to the south on a point of coastal land is the ancient fortress of Dunstanburgh Castle and about 5 miles (8 km) to the north is Lindisfarne Castle on Holy Island. Inland about 16 miles (26 km) to the south is Alnwick Castle, the home of the Duke of Northumberland.

 

Environmental factors

Air quality levels at Bamburgh Castle are excellent due to the absence of industrial sources in the region. Sound levels near the north–south road passing by Bamburgh Castle are in the range of 59 to 63 dBA in the daytime (Northumberland Sound Mapping Study, Northumberland, England, June 2003). Nearby are breeding colonies of Arctic and common terns on the inner Farne Islands, and of Atlantic puffin, European shag and razorbill on Staple Island.

 

Archaeology at Bamburgh

Archaeological excavations were started in the 1960s by Brian Hope-Taylor, who discovered the gold plaque known as the Bamburgh Beast as well as the Bamburgh Sword. Since 1996, the Bamburgh Research Project has been investigating the archaeology and history of the Castle and Bamburgh area. The project has concentrated on the fortress site and the early medieval burial ground at the Bowl Hole, located in sand dunes to the south of the castle, evidence of which had first been revealed in a storm of 1817.

 

During excavations at the Bowl Hole between 1998 and 2007, the remains of 120 individuals from the 7th and 8th century were discovered in that graveyard. The research project was led by Professor Charlotte Roberts of Durham University, and found remains of individuals who had originated from Ireland, Scotland, Scandinavia, the Mediterranean and North Africa.

 

Finally, in 2016, they were moved into the crypt of St Aidan's Church, Bamburgh; the crypt can be viewed by visitors through a small gate.

 

Armstrong and Aviation Artefacts Museum

The castle's laundry rooms feature the Armstrong and Aviation Artefacts Museum, with exhibits about Victorian industrialist William Armstrong and Armstrong Whitworth, the manufacturing company he founded. Displays include engines, artillery and weaponry, and aviation artefacts from two world wars.

 

Civil parish

Bamburgh Castle was a civil parish, in 1951 the parish had a population of 18. Bamburgh Castle was formerly a township in Bambrough parish, from 1866 Bamburgh Castle was a civil parish in its own right until it was abolished on 1 April 1955 and merged with Bamburgh.

 

In popular culture

The castle features in the ballad The Laidly Worm of Spindleston Heugh written in circa 1270. Late medieval British author Thomas Malory identified Bamburgh Castle with Joyous Gard, the mythical castle home of Sir Launcelot in Arthurian legend.

 

In literature, Bamburgh, under its Saxon name Bebbanburg, is the home of Uhtred Uhtredson, the main character in Bernard Cornwell's The Saxon Stories. It features either as a significant location or as the inspiration for the protagonist in all books in the series, starting with The Last Kingdom, and the sequels The Pale Horseman, The Lords of the North, Sword Song, The Burning Land, Death of Kings, The Pagan Lord, The Empty Throne, Warriors of the Storm, The Flame Bearer, War of the Wolf, Sword of Kings and War Lord.

 

The castle and also the village provide the setting for the crime novel Bamburgh written by LJ Ross.

 

Selected film and television appearances

In addition to appearances as itself, Bamburgh Castle has been used as a filming location for a number of television and film projects:

 

1927: Huntingtower

1949: A Connecticut Yankee in King Arthur's Court

1964: Becket

1971: The Devils

1971: Macbeth

1971: Mary, Queen of Scots

1982: Ivanhoe

1984–86: Robin of Sherwood

1998: Elizabeth

2011: Channel 4's Time Team dig at Bamburgh Castle

2015: Macbeth (film)

2018: The Last Kingdom (TV series)

2023: Indiana Jones and the Dial of Destiny

 

Bamburgh is a village and civil parish on the coast of Northumberland, England. It had a population of 454 in 2001, decreasing to 414 at the 2011 census.

 

Bamburgh was the centre of an independent north Northumbrian territory between 867 and 954. Bamburgh Castle was built by the Normans on the site of an Anglo-Saxon fort. The Victorian era heroine Grace Darling is buried there.

 

The extensive beach by the village was awarded the Blue Flag rural beach award in 2005. The Bamburgh Dunes, a Site of Special Scientific Interest, stand behind the beach. Bamburgh is popular with holidaymakers and is within the Northumberland Coast Area of Outstanding Natural Beauty.

 

History

The site now occupied by Bamburgh Castle was previously home to a fort of the Celtic Britons known as Din Guarie[5] and may have been the capital of the kingdom of Bernicia, the realm of the Gododdin people, from the realm's foundation in c. 420 until 547, the year of the first written reference to the castle. In that year, the citadel was captured by the Anglo-Saxon ruler Ida of Bernicia (Beornice) and became Ida's seat. The Anglo-Saxons called the place Bebbanburh, meaning "Queen Bebba's stronghold"; this was later corrupted into the modern "Bamburgh". Aidan of Lindisfarne came to this area from the monastery of Iona in 635 on behalf of King Oswald of Northumbria.

 

Following the defeat of Northumbrian forces by the Viking Great Heathen Army, at York in 867, the Kingdom of Northumbria disintegrated. Southern Northumbria became the Viking-ruled Kingdom of York, while north remained under Anglo-Saxon control under the high reeves of Bamburgh. The territory finally became part of the Kingdom of England in 954.

 

The late medieval village began to develop near the castle. During the Dissolution of the Monasteries the property of the friars, including the castle, was seized on behalf of Henry VIII.

 

Late medieval British author Thomas Malory identified Bamburgh Castle with Joyous Gard, the mythical castle home of Sir Lancelot in Arthurian legend.

 

St Aidan's Church

According to Bede, St Aidan built a wooden church outside the castle wall in AD 635, and he died here in AD 652. A wooden beam preserved inside the church is traditionally said to be the one on which he rested as he died. The present church dates from the late 12th century, though some pre-conquest stonework survives in the north aisle. The chancel, said to be the second-longest in the country (60 ft; 18 m), was added in 1230; it contains an 1895 reredos in Caen stone by W.S. Hicks, depicting northern saints of the 7th and 8th centuries. There is an effigy of local heroine Grace Darling in the north aisle. This formed part of the original monument to Grace Darling but was removed due to weathering of the stonework. Her memorial is sited in the churchyard in such a position that passing ships can see it.

 

The property has been Grade I listed since December 1969. The listing summary includes this description:

 

"Parish church. C12, C13 and C14. Restored 1830 and later C19. Squared stone and ashlar; chancel and north transept have stone slate roofs; other roofs not visible. West tower, nave, aisles, transepts and chancel".

 

After the Dissolution of the Monasteries in the mid-1500s, the monks were forced to leave and St Aidan's became the parish church for the village. Over the subsequent centuries there were major repairs and restorations. The church's crypt holds the remains of 110 individuals who died in the 7th and 8th centuries; they had initially been buried in the castle's Bowl Hole graveyard. The remains were found during a project between 1998 and 2007. In 2016, they were moved into the crypt. Since November 2019, the crypt can be viewed by visitors through a small gate.

 

Governance

An electoral ward of the same name exists. This ward includes Belford and also stretches south to Ellingham with a total population taken at the 2011 census of 4,846.

 

In popular culture

Bamburgh Castle, under its Saxon name Bebbanburg, is the ancestral home of Uhtred, the main character in Bernard Cornwell's historical 13-novel series The Saxon Stories,[19] published 2004–2020, which was made into the BBC and Netflix five-season series The Last Kingdom 2015–2022.

 

Bamburgh is also featured in the open-world video game series Forza Horizon 4 released in October 2018.

 

Additionally, Bamburgh is featured in the Realtime Strategy video game Ancestors Legacy released in 2018.

 

Notable people

Æthelfrith of Northumbria

William George Armstrong

Joe Baker-Cresswell

Ida of Bernicia

Prideaux John Selby

Grace Darling

Uhtred the Bold

--- all of us died with difficulty - Fabrizio De Andrè ---

 

------------------------------------------------------------

 

tutti morimmo a stento - Fabrizio De Andrè

 

------------------------------------------------------------

 

the slideshow

  

Qi Bo's photos on Flickriver

  

Qi Bo's photos on FlickeFlu

------------------------------------------------------------

  

loneliness, abandonment, mental depression, disease, diversity, regrets, to live an hard life ... are elements that often end up overlapping each other, in an inescapable condition of life lived with suffering or denial of everything; the portraits inserted in this context have nothing to do with the attempt of the theme about this my series of shots, the portraits have been incorporated to give "color and movement" to the series of photographic sequences - this my series isn't a portfolio.

  

IR HDR. IR converted Canon 40D. Canon 17-55 F2.8 IS lens. Shot at ISO 100, F16, AEB +/-3 total of 7 exposures processed with Photomatix. Levels adjusted in PSE. Blue and Red color channels swapped with GIMP.

 

High Dynamic Range (HDR)

 

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

 

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

 

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

 

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

 

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

 

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

 

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

 

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

 

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

 

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

 

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

 

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

 

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

 

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

 

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

 

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

 

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

 

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

 

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

 

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

 

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

 

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

 

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

 

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

 

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

 

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

 

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

 

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

 

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

 

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

 

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

 

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

 

en.wikipedia.org/wiki/High-dynamic-range_imaging

 

Infrared Photography

 

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

 

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

 

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

 

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

 

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

 

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

 

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

 

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

 

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

 

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

 

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

 

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

  

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

 

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

 

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

 

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

 

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

 

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

 

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

 

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

 

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

 

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

 

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

 

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

 

Phase One digital camera backs can be ordered in an infrared modified form.

 

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

 

en.wikipedia.org/wiki/Infrared_photography

 

View from Mt Difficulty winery and restaurant where we had lunch. March 6, 2014 South Island, New Zealand.

 

Mt Difficulty Wines is located in Bannockburn and the Cellar Door at Mt Difficulty Wines is known as much for its dramatic views of rugged rock and thyme landscapes as it is for its stylish wine and food.

 

All wines that carry the Mt Difficulty Bannockburn Estate label are subject to two strict criteria: they have to be sourced from vineyards situated in a very specific area – Bannockburn, south of the Kawarau River – and they are to be under the umbrella of the Mt Difficulty management team. The reasons for these self-imposed constraints are that we believe this to be an area with very special qualities for growing grapes, and that the management of the vineyard is reflected in the quality of the ultimate product.

For More Info: www.mtdifficulty.co.nz/vineyards/bannockburn-map.html

  

The difficulty of negotiating rural roads. A Bedford TK horsebox is parked on the verge as a Crossville Postbus collects people to take to market. Mr Jones seems less than happy with the Horsebox parking.

1:76. OO Gauge. Vehicles are by Oxford Diecast and have received some extra detailing.

Difficulty 2/10.

A slow moving bug.

Great difficulty achieving this one position-wise ... can get a bit of a cranked neck and/or back laying in between bamboo while composing. Another one taken during a most recent venture with local photo friend Chris (SaintChrisPhotos).

 

Image Details: (NIKON D300 w/85mm f/3.5 Micro NIKKOR lens)

- Exposure level set for 1/40 sec at f/3.8, 85mm Focal Length, and 200 ISO Speed.

- Captured hand-held in landscape orientation.

- Post-processed using Lightroom 3.

 

Dallas Arboretum & Botanical Garden - Dallas, TX USA on 22-Feb-2011.

 

++++++++++

Constructive criticism and suggestions welcomed! Thank you for dropping by.

 

©Michael Rathmann 2011. ALL RIGHTS RESERVED.

Registered with the U.S. Copyright Office. No rights granted unless in writing by Michael Rathmann. Please do not use without my explicit permission, but feel free to contact me if interested.

Reveille is a bugle call, trumpet call or pipes call most often associated with the military; it is chiefly used to wake military personnel at sunrise. The name comes from réveille (or réveil), the French word for "wake up".

 

British Army Cavalry and Royal Horse Artillery regiments sound a call different from the infantry version shown below, known as "The Rouse" but often misnamed "Reveille", while the Scottish Regiments of the British Army sound a pipes call of the same name.

  

The Old Warden estate was bought in the late 17th century by London merchant Sir Samuel Ongley. It passed down in the Ongley family until 1872, when the 3rd Baron Ongley, in financial difficulties, sold it to Joseph Shuttleworth of the Lincoln engineering firm of Clayton & Shuttleworth. It thereafter became better known as the Shuttleworth estate.

The mansion house which stands today was built for Joseph Shuttleworth by Henry Clutton, the prominent Victorian architect, to rival the Shuttleworth mansion at Gawthorpe Hall in Lancashire. Built of ashlar in the Jacobean style, it is a 3 storey rectangular block which replaced an existing house and is a grade II* listed building.

 

Clutton's design with its high chimneys and 100 foot high clock tower have defined and distinguished the mansion for over a century. In addition, Clutton designed many of the interior features such as the carved doors, balustrades and chimneypieces.

 

Gillows of Lancaster made many of the interior furnishings and there are several magnificent examples of 19th-century paintings by prominent artists such as Sir Frank Dicksee, William Leader, George Vicat Cole and Frank Holl.

 

The Shuttleworth crest and arms illustrate the origins of the Shuttleworth family’s wealth in weaving and wool.

 

During the Second World War, the house was a Red Cross convalescent home and auxiliary hospital for airmen. It then opened as an agricultural college in 1946. Today, Bedford College Services manage the Mansion and the Shuttleworth College on behalf of the Shuttleworth Trust.

 

In an adjacent part of the estate the Swiss Garden houses a number of other grade II* listed structures including bridges, the Indian kiosk and a grotto.

 

*99% sure this is a one of a kind angle, only because of the difficulty getting to it.

 

June 29th 2009, Day 13 of The Great Western America Road Trip

Trip summery can be found here

 

Today we covered a lot of ground. It started at the visitor center at 7am. We learned about the Fiery Furnas and got signed up for a guided tour the next day. And then headed out to Landscape Arch, measuring 290 feet it is the largest arch in the world! We then continued along the trail to Navajo Arch and Partition Arch. It was late morning and already getting extremely hot. There is no place to escape the shade in Arches so we went back to town as an oil change was needed anyway. After killing some time in the shade at camp we headed back to the park to do the Windows. This picture is actually looking through Turret Arch; the second arch is South Window. I am confident that there are not many pictures taken from this angle as I was hanging onto a 70 deg slick red rock wall 30 feet up from the ground. I typically don’t overdue HDR but I kept pushing this one and it seemed to grow on me, let me know what you think. After that short mile loop we made dinner in the parking lot before making the “movement” to Delicate Arch for the sunset. If you have ever been to Delicate Arch at sunset you know what I mean by movement, it really does look like exodus as people make the journey up along this open rock. Once we arrived it was like a party, the arch is located on the far side of an amphitheater and there are people everywhere! That is why I was forced to risk my life and go around back for the picture linked below; it was the only shot that didn’t have a person in the frame until after the sun went down. Everyone pretty much leaves right when the sun goes down so we hung around some more and enjoyed to quietness.

 

Arches is probably tied (with Yosemite) for my #1 National Park. It is so unique and the arches are so impressive I felt like a little kid wanting to know what was around each corner. There is so much that can be explored and the contrast between red rock and blue sky is stunning!

 

Other images from this day:

Delicate Arch

  

Click here to download this image

 

Models: Me! and Caroline

Nikon f3, Nikkor 105mm f2.5. Ilford HP5 rated at ISO 1600

 

----------tumblr----------

This is a more colorful image I dedicate to my friends who have supported me through the latest difficulties i have faced. Thank you immensely for everything. Hope this colorful umbrella represents my state of mind from now on. I feel a lot better today, thanks to you my friends, who only had beautiful words and thoughts to send me. Take this one, friends!

 

;)

 

P.S: I am finally close to having a n old dream come true. I think I'm going to the USA in December, either this year or next year. Therefore, I would like to leave it open to people who'd be willing to help me in my first months there with things like accommodation, suggestions of cheap places to eat, to visit, and everything I might need to know. I am humbly asking for help because it is very scary to change our lives so dramatically, even though that's all i ever wanted. So, if you, my friend or family from my Flickr list, have a room I could rent for peanuts (lol) and a shoulder where I could cry on when I'm home sick, and if you're willing to help me, I am very good company and I intend to repay you as work my ass off to make ends meet there. ;)

Any offers, just send me a Flickr mail.

 

Thank you all, my friends, for your concern and support. I will never forget it.

 

ox

  

Hélcio

Despite difficulties from reflections, I'm posting this because I like this fragment so much. Scylla is the main figure, with other denizens of the deep including a lovely pentopus (?!!).

 

See en.wikipedia.org/wiki/Scylla. Modern representations of this monster include the logo of a very well-known chain of coffee houses. I admit to being seduced quite regularly by the coffee.

 

Antikenmuseum Basel und Sammlung Ludwig

The Main Square Festival 2016 is an annual international music festival organized by Live Nation which takes place in the first week-end of July in Arras, France. Created in 2004 by France Leduc Productions, the festival rose to one of the major music events of the country, attracting worldwide famous bands and stars like Coldplay, Depeche Mode, Placebo, Muse, Indochine or Metallica.

Held at the beautiful Citadelle d'Arras, Main Square Festival 2016 brings a superstar-bloated lineup to the historical setting.

More than 120,000 descend on the town every year, drawn by the festival's diverse lineup, that in 2015 put Pharrell Williams alongside Muse, and the idyllic, quiet corner of France it resides in.

With a population of just 45,000, charming streets and town squares, Main Square's Arras takeover is totally unique in that it brings such big names to the most inconspicuous of locations, and there's no mud in site.

The camping site, easy to reach by foot from the festival ground, has been specially laid and equiped near the fortificated citadel (You will need about 15minutes from the Citadel). It is situated on the same level as the avenue Jean Zay and the Savary high school. Shuttles will ensure the transport between the station and the camping site. And a little train between the Citadel and the camp-site.

A haven of peace where you’ll be able to rest after intense days of concerts. Moreover, it’s the best way to take advantage of the festival and of its mood:

You’re the first to be on the site

You’ll be the last to leave the artists

You won’t have any difficulty to go back home ; no car and no trafic jam.

All of that in an atmosphere full of exchanges and warm understanding.

 

Location-

Citadelle d'Arras

6200 Arras

France

Arras is in the North East of France, not far from the Belgium border, and was established during the Iron Age by the Gauls.

Main Square Festival takes place at the spectacular Citadelle d'Arras, which is a UNESCO World Heritage site, and is therefore internationally recognised as a place of special cultural significance.

 

Line Up-

Jake Bugg, Ellie Goulding, Louise Attaque, Iggy Pop, Disclosure, Cayman Kings, The London Souls, Yelawolf, Jeanne Added, Flume, Boys Noize, Lonely the Brave, Mass Hysteria, Walk Off The Earth, The Offspring, Macklemore & Ryan Lewis, Birdy Nam Nam, Cardri, Bear's Den, Nathaniel Rateliff & The Night Sweats, Marina Kaye, X Ambassadors, Nekfeu, Salut C'est Cool, The Struts, Last Train, Band Of Horses, Ghinzu, Editors, Les Insus, Evrest, Tiggs Da Author, A-Vox, L.E.J, Years & Years, ODESZA dancegeo.com/event/main-square-festival-2016/

The difficulty now is to get him to sleep! Little prince just wants to walk around all the time. hahaha

 

He's doing really well lately. A few cramps now and then, but apart from that it's alright. Thanks God!

 

Once again, THANK YOU for your prayers, positive thoughts and kind words. Can't even begin to tell you how strong I fell when I read them. So thank you from the bottom of my heart.

 

Have a great week, everyone!

 

Xx,

Lorena.

Every so often they must release their flatulence Tags: body funny joke reptilians wrapping

  

freebdpic.com/when-the-reptilians-have-difficulties-with-...

Having difficulty getting started with an exercise routine? It may be easier than you think! Recent studies have shown that walking for as little as fifteen minutes a day can help minimize cravings for sweet snacks and high calorie foods.

 

Before you begin any walking routine, it is very...

 

topshoeswomen.com/best-shoes-for-overweight-women/

I had some difficulty spotting this beautiful grasshopper, about three inches tall, as it was on the other side of the plant. Then, I moved around to get a better point of view, but the little rascal instantly made an opposite movement in order to stay hidden! We repeated these dance steps four or five times... I never got the profile view that I was looking for, but I find this one more amusing finally :-)

Lens: EF 100 f/2.8L IS macro (click to see all my photos with this lens)

Brought to the market to sell at his blind owner the price became of 2,000 K BTk (abut $25) He Take part in the variety of cock fight game but he somewhat needy and the movement had some difficulty of his foster most favorite Cock decides to sell But Cock unwilling to go with another Lord, Otherwise it his blind owner going to it back to Home....!

 

Amazon Locker,

Ross Dress for Less,

New Castle, DE

Nice folks, beautiful campus... Security was kind enough to let me onsite to attempt this shot...

Saint Expeditus Wayside Shrine in Gora. One wayside shrine in Gora village at the fork in the road to Przemysl is composed of the statue with a soldier saint. Undoubtedly, the renaissance of St. Expeditus the Martyr veneration can be connected with a lot of domestic difficulties (worsening living conditions).

The card is seated in the expansion slot.

Eaglehawk Neck.

The dramatic coastline here shows the difficulties mariners faced reaching Hobart in the 19th century. There are caves and blow holes along the coast. The narrow isthmus which separates the Tasman Peninsula from the mainland shows why Port Arthur was such an easily defended prison site. The tessellated (tiled) pavement is unique in Australia. The flat sandstone here has fractured into rectangular tiles, which have then been eroded by water and waves. The fractures dry out at low tide allowing salt crystals to form which speeds up the erosion of the pan or tile surfaces, leaving the original fractures higher.

 

Port Arthur 1830-1877.

What became the largest convict prison in VDL was started at Port Arthur in 1830 and named after the strict disciplinarian governor of the day, Sir George Arthur. 75,000 convicts served time in VDL before 1853 compromising roughly half of all convicts transported to Australia. Most came direct from England, but a few thousand came from other colonies or Ireland. At its peak in 1847, there were over 30,000 convicts in VDL. The majority were assigned to work for private colonists, some worked on government projects such as roads and bridges and public buildings. The worst criminals and those least likely to reform themselves were sent to convict prisons such as Port Arthur. Most of those assigned to farm work were from the petty criminal class of the industrial cities of Britain but they were not necessarily less skilled than free workers of those days. Port Arthur never had more than 1,200 prisoners there at any one time during its 47 year history. But it had a well deserved reputation for brutality and harshness. It was not an idle penal base; its inmates, if not in solitary confinement, worked felling timber, in foundries, the prison gardens, erecting buildings, and in the nearby coal mines- usually in chain gangs. Port Arthur was an industrial complex. Six forges operated here, bricks, barrels, coach wheels, and shoes were among the major products produced. The dock at Port Arthur was always busy with shipping arrivals and departures. It was not until the last years of the prison that the complex based on Pentonville in London was constructed (1848-52) where the cells were six feet by nine feet, dark and damp. The most infamous commandant, known for his brutality was Captain Charles O’Hara Booth who headed the prison from 1833 to 1844.

 

The main structures at Port Arthur include many that have not been demolished over the years: the Commandant’s House 1833; the round guard Tower 1835; the church 1836 (partially destroyed by fire in 1884); the Shipwright’s House 1834; the Clerk of Work’s House 1841; the Hospital 1842; the Commandant’s Office 1848; the Magistrates House 1847; the Medical Officer’s House 1847; the large four storey mill and granary was converted into the Penitentiary for those who were left at Port Arthur after 1853; the Model Prison 1852. In its heyday Port Arthur was much bigger than what you see today. After the end of transportation those prisoners convicted for life stayed on until the prison closed in 1877. Some were then transferred to Hobart or other prisons.

 

The Island of the Dead that we will cruise past is believed to contain about 1,100 graves. Only about 90 still have headstones. The civil workers were separated even in death from the convicts who were buried on the Island of the Dead. Marcus Clarke briefly visited Port Arthur in 1870 as it was winding down to get material for his fictional account of the life of a convict called For the Term of His Natural Life, which was first serialised in newspapers between 1870-72.

 

Vladimir Semyonovich Vysotsky 25 January 1938 – 25 July 1980, was a Soviet singer-songwriter, poet, and actor who had an immense and enduring effect on Soviet culture. He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he was remarkably popular during his lifetime, and to this day exerts significant influence on many of Russia's musicians and actors.

 

Vysotsky was born in Moscow at the 3rd Meshchanskaya St. (61/2) maternity hospital. His father, Semyon Volfovich (Vladimirovich) (1915–1997), was a colonel in the Soviet army, originally from Kiev. Vladimir's mother, Nina Maksimovna, (née Seryogina, 1912–2003) was Russian, and worked as a German language translator.[3] Vysotsky's family lived in a Moscow communal flat in harsh conditions, and had serious financial difficulties. When Vladimir was 10 months old, Nina had to return to her office in the Transcript bureau of the Soviet Ministry of Geodesy and Cartography (engaged in making German maps available for the Soviet military) so as to help her husband earn their family's living.

 

Vladimir's theatrical inclinations became obvious at an early age, and were supported by his paternal grandmother Dora Bronshteyn, a theater fan. The boy used to recite poems, standing on a chair and "flinging hair backwards, like a real poet," often using in his public speeches expressions he could hardly have heard at home. Once, at the age of two, when he had tired of the family's guests' poetry requests, he, according to his mother, sat himself under the New-year tree with a frustrated air about him and sighed: "You silly tossers! Give a child some respite!" His sense of humor was extraordinary, but often baffling for people around him. A three-year-old could jeer his father in a bathroom with unexpected poetic improvisation ("Now look what's here before us / Our goat's to shave himself!") or appall unwanted guests with some street folk song, promptly steering them away. Vysotsky remembered those first three years of his life in the autobiographical Ballad of Childhood (Баллада о детстве, 1975), one of his best-known songs.

 

As World War II broke out, Semyon Vysotsky, a military reserve officer, joined the Soviet army and went to fight the Nazis. Nina and Vladimir were evacuated to the village of Vorontsovka, in Orenburg Oblast where the boy had to spend six days a week in a kindergarten and his mother worked for twelve hours a day in a chemical factory. In 1943, both returned to their Moscow apartment at 1st Meschanskaya St., 126. In September 1945, Vladimir joined the 1st class of the 273rd Moscow Rostokino region School.

 

In December 1946, Vysotsky's parents divorced. From 1947 to 1949, Vladimir lived with Semyon Vladimirovich (then an army Major) and his Armenian wife, Yevgenya Stepanovna Liholatova, whom the boy called "aunt Zhenya", at a military base in Eberswalde in the Soviet-occupied zone of Germany (later East Germany). "We decided that our son would stay with me. Vladimir came to stay with me in January 1947, and my second wife, Yevgenia, became Vladimir's second mother for many years to come. They had much in common and liked each other, which made me really happy," Semyon Vysotsky later remembered. Here living conditions, compared to those of Nina's communal Moscow flat, were infinitely better; the family occupied the whole floor of a two-storeyed house, and the boy had a room to himself for the first time in his life. In 1949 along with his stepmother Vladimir returned to Moscow. There he joined the 5th class of the Moscow 128th School and settled at Bolshoy Karetny [ru], 15 (where they had to themselves two rooms of a four-roomed flat), with "auntie Zhenya" (who was just 28 at the time), a woman of great kindness and warmth whom he later remembered as his second mother. In 1953 Vysotsky, now much interested in theater and cinema, joined the Drama courses led by Vladimir Bogomolov.[7] "No one in my family has had anything to do with arts, no actors or directors were there among them. But my mother admired theater and from the earliest age... each and every Saturday I've been taken up with her to watch one play or the other. And all of this, it probably stayed with me," he later reminisced. The same year he received his first ever guitar, a birthday present from Nina Maksimovna; a close friend, bard and a future well-known Soviet pop lyricist Igor Kokhanovsky taught him basic chords. In 1955 Vladimir re-settled into his mother's new home at 1st Meshchanskaya, 76. In June of the same year he graduated from school with five A's.

 

In 1955, Vladimir enrolled into the Moscow State University of Civil Engineering, but dropped out after just one semester to pursue an acting career. In June 1956 he joined Boris Vershilov's class at the Moscow Art Theatre Studio-Institute. It was there that he met the 3rd course student Iza Zhukova who four years later became his wife; soon the two lovers settled at the 1st Meschanskaya flat, in a common room, shielded off by a folding screen. It was also in the Studio that Vysotsky met Bulat Okudzhava for the first time, an already popular underground bard. He was even more impressed by his Russian literature teacher Andrey Sinyavsky who along with his wife often invited students to his home to stage improvised disputes and concerts. In 1958 Vysotsky's got his first Moscow Art Theatre role: that of Porfiry Petrovich in Dostoyevsky's Crime and Punishment. In 1959 he was cast in his first cinema role, that of student Petya in Vasily Ordynsky's The Yearlings (Сверстницы). On 20 June 1960, Vysotsky graduated from the MAT theater institute and joined the Moscow Pushkin Drama Theatre (led by Boris Ravenskikh at the time) where he spent (with intervals) almost three troubled years. These were marred by numerous administrative sanctions, due to "lack of discipline" and occasional drunken sprees which were a reaction, mainly, to the lack of serious roles and his inability to realise his artistic potential. A short stint in 1962 at the Moscow Theater of Miniatures (administered at the time by Vladimir Polyakov) ended with him being fired, officially "for a total lack of sense of humour."

 

Vysotsky's second and third films, Dima Gorin's Career and 713 Requests Permission to Land, were interesting only for the fact that in both he had to be beaten up (in the first case by Aleksandr Demyanenko). "That was the way cinema greeted me," he later jokingly remarked. In 1961, Vysotsky wrote his first ever proper song, called "Tattoo" (Татуировка), which started a long and colourful cycle of artfully stylized criminal underworld romantic stories, full of undercurrents and witty social comments. In June 1963, while shooting Penalty Kick (directed by Veniamin Dorman and starring Mikhail Pugovkin), Vysotsky used the Gorky Film Studio to record an hour-long reel-to-reel cassette of his own songs; copies of it quickly spread and the author's name became known in Moscow and elsewhere (although many of these songs were often being referred to as either "traditional" or "anonymous"). Just several months later Riga-based chess grandmaster Mikhail Tal was heard praising the author of "Bolshoy Karetny" (Большой Каретный) and Anna Akhmatova (in a conversation with Joseph Brodsky) was quoting Vysotsky's number "I was the soul of a bad company..." taking it apparently for some brilliant piece of anonymous street folklore. In October 1964 Vysotsky recorded in chronological order 48 of his own songs, his first self-made Complete works of... compilation, which boosted his popularity as a new Moscow folk underground star.

 

In 1964, director Yuri Lyubimov invited Vysotsky to join the newly created Taganka Theatre. "'I've written some songs of my own. Won't you listen?' – he asked. I agreed to listen to just one of them, expecting our meeting to last for no more than five minutes. Instead I ended up listening to him for an entire 1.5 hours," Lyubimov remembered years later of this first audition. On 19 September 1964, Vysotsky debuted in Bertolt Brecht's The Good Person of Szechwan as the Second God (not to count two minor roles). A month later he came on stage as a dragoon captain (Bela's father) in Lermontov's A Hero of Our Time. It was in Taganka that Vysotsky started to sing on stage; the War theme becoming prominent in his musical repertoire. In 1965 Vysotsky appeared in the experimental Poet and Theater (Поэт и Театр, February) show, based on Andrey Voznesensky's work and then Ten Days that Shook the World (after John Reed's book, April) and was commissioned by Lyubimov to write songs exclusively for Taganka's new World War II play. The Fallen and the Living (Павшие и Живые), premiered in October 1965, featured Vysotsky's "Stars" (Звёзды), "The Soldiers of Heeresgruppe Mitte" (Солдаты группы "Центр") and "Penal Battalions" (Штрафные батальоны), the striking examples of a completely new kind of a war song, never heard in his country before. As veteran screenwriter Nikolay Erdman put it (in conversation with Lyubimov), "Professionally, I can well understand how Mayakovsky or Seryozha Yesenin were doing it. How Volodya Vysotsky does it is totally beyond me." With his songs – in effect, miniature theatrical dramatizations (usually with a protagonist and full of dialogues), Vysotsky instantly achieved such level of credibility that real life former prisoners, war veterans, boxers, footballers refused to believe that the author himself had never served his time in prisons and labor camps, or fought in the War, or been a boxing/football professional. After the second of the two concerts at the Leningrad Molecular Physics institute (that was his actual debut as a solo musical performer) Vysotsky left a note for his fans in a journal which ended with words: "Now that you've heard all these songs, please, don't you make a mistake of mixing me with my characters, I am not like them at all. With love, Vysotsky, 20 April 1965, XX c." Excuses of this kind he had to make throughout his performing career. At least one of Vysotsky's song themes – that of alcoholic abuse – was worryingly autobiographical, though. By the time his breakthrough came in 1967, he'd suffered several physical breakdowns and once was sent (by Taganka's boss) to a rehabilitation clinic, a visit he on several occasions repeated since.

 

Brecht's Life of Galileo (premiered on 17 May 1966), transformed by Lyubimov into a powerful allegory of Soviet intelligentsia's set of moral and intellectual dilemmas, brought Vysotsky his first leading theater role (along with some fitness lessons: he had to perform numerous acrobatic tricks on stage). Press reaction was mixed, some reviewers disliked the actor's overt emotionalism, but it was for the first time ever that Vysotsky's name appeared in Soviet papers. Film directors now were treating him with respect. Viktor Turov's war film I Come from the Childhood where Vysotsky got his first ever "serious" (neither comical, nor villainous) role in cinema, featured two of his songs: a spontaneous piece called "When It's Cold" (Холода) and a dark, Unknown soldier theme-inspired classic "Common Graves" (На братских могилах), sung behind the screen by the legendary Mark Bernes.

 

Stanislav Govorukhin and Boris Durov's The Vertical (1967), a mountain climbing drama, starring Vysotsky (as Volodya the radioman), brought him all-round recognition and fame. Four of the numbers used in the film (including "Song of a Friend [fi]" (Песня о друге), released in 1968 by the Soviet recording industry monopolist Melodiya disc to become an unofficial hit) were written literally on the spot, nearby Elbrus, inspired by professional climbers' tales and one curious hotel bar conversation with a German guest who 25 years ago happened to climb these very mountains in a capacity of an Edelweiss division fighter. Another 1967 film, Kira Muratova's Brief Encounters featured Vysotsky as the geologist Maxim (paste-bearded again) with a now trademark off-the-cuff musical piece, a melancholy improvisation called "Things to Do" (Дела). All the while Vysotsky continued working hard at Taganka, with another important role under his belt (that of Mayakovsky or, rather one of the latter character's five different versions) in the experimental piece called Listen! (Послушайте!), and now regularly gave semi-official concerts where audiences greeted him as a cult hero.

 

In the end of 1967 Vysotsky got another pivotal theater role, that of Khlopusha [ru] in Pugachov (a play based on a poem by Sergei Yesenin), often described as one of Taganka's finest. "He put into his performance all the things that he excelled at and, on the other hand, it was Pugachyov that made him discover his own potential," – Soviet critic Natalya Krymova wrote years later. Several weeks after the premiere, infuriated by the actor's increasing unreliability triggered by worsening drinking problems, Lyubimov fired him – only to let him back again several months later (and thus begin the humiliating sacked-then-pardoned routine which continued for years). In June 1968 a Vysotsky-slagging campaign was launched in the Soviet press. First Sovetskaya Rossiya commented on the "epidemic spread of immoral, smutty songs," allegedly promoting "criminal world values, alcoholism, vice and immorality" and condemned their author for "sowing seeds of evil." Then Komsomolskaya Pravda linked Vysotsky with black market dealers selling his tapes somewhere in Siberia. Composer Dmitry Kabalevsky speaking from the Union of Soviet Composers' Committee tribune criticised the Soviet radio for giving an ideologically dubious, "low-life product" like "Song of a Friend" (Песня о друге) an unwarranted airplay. Playwright Alexander Stein who in his Last Parade play used several of Vysotsky's songs, was chastised by a Ministry of Culture official for "providing a tribune for this anti-Soviet scum." The phraseology prompted commentators in the West to make parallels between Vysotsky and Mikhail Zoschenko, another Soviet author who'd been officially labeled "scum" some 20 years ago.

 

Two of Vysotsky's 1968 films, Gennady Poloka's Intervention (premiered in May 1987) where he was cast as Brodsky, a dodgy even if highly artistic character, and Yevgeny Karelov's Two Comrades Were Serving (a gun-toting White Army officer Brusentsov who in the course of the film shoots his friend, his horse, Oleg Yankovsky's good guy character and, finally himself) – were severely censored, first of them shelved for twenty years. At least four of Vysotsky's 1968 songs, "Save Our Souls" (Спасите наши души), "The Wolfhunt" (Охота на волков), "Gypsy Variations" (Моя цыганская) and "The Steam-bath in White" (Банька по-белому), were hailed later as masterpieces. It was at this point that 'proper' love songs started to appear in Vysotsky's repertoire, documenting the beginning of his passionate love affair with French actress Marina Vlady.

 

In 1969 Vysotsky starred in two films: The Master of Taiga where he played a villainous Siberian timber-floating brigadier, and more entertaining Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the Bolshevik underground activities but for a wider Soviet audience this was an important opportunity to enjoy the charismatic actor's presence on big screen. In 1970, after visiting the dislodged Soviet leader Nikita Khrushchev at his dacha and having a lengthy conversation with him, Vysotsky embarked on a massive and by Soviet standards dangerously commercial concert tour in Soviet Central Asia and then brought Marina Vlady to director Viktor Turov's place so as to investigate her Belarusian roots. The pair finally wed on 1 December 1970 (causing furore among the Moscow cultural and political elite) and spent a honeymoon in Georgia. This was the highly productive period for Vysotsky, resulting in numerous new songs, including the anthemic "I Hate" (Я не люблю), sentimental "Lyricale" (Лирическая) and dramatic war epics "He Didn't Return from the Battle" (Он не вернулся из боя) and "The Earth Song" (Песня о Земле) among many others.

 

In 1971 a drinking spree-related nervous breakdown brought Vysotsky to the Moscow Kashchenko clinic [ru]. By this time he has been suffering from alcoholism. Many of his songs from this period deal, either directly or metaphorically, with alcoholism and insanity. Partially recovered (due to the encouraging presence of Marina Vladi), Vysotsky embarked on a successful Ukrainian concert tour and wrote a cluster of new songs. On 29 November 1971 Taganka's Hamlet premiered, a groundbreaking Lyubimov's production with Vysotsky in the leading role, that of a lone intellectual rebel, rising to fight the cruel state machine.

 

Also in 1971 Vysotsky was invited to play the lead in The Sannikov Land, the screen adaptation of Vladimir Obruchev's science fiction,[47] which he wrote several songs for, but was suddenly dropped for the reason of his face "being too scandalously recognisable" as a state official put it. One of the songs written for the film, a doom-laden epic allegory "Capricious Horses" (Кони привередливые), became one of the singer's signature tunes. Two of Vysotsky's 1972 film roles were somewhat meditative: an anonymous American journalist in The Fourth One and the "righteous guy" von Koren in The Bad Good Man (based on Anton Chekov's Duel). The latter brought Vysotsky the Best Male Role prize at the V Taormina Film Fest. This philosophical slant rubbed off onto some of his new works of the time: "A Singer at the Microphone" (Певец у микрофона), "The Tightrope Walker" (Канатоходец), two new war songs ("We Spin the Earth", "Black Pea-Coats") and "The Grief" (Беда), a folkish girl's lament, later recorded by Marina Vladi and subsequently covered by several female performers. Popular proved to be his 1972 humorous songs: "Mishka Shifman" (Мишка Шифман), satirizing the leaving-for-Israel routine, "Victim of the Television" which ridiculed the concept of "political consciousness," and "The Honour of the Chess Crown" (Честь шахматной короны) about an ever-fearless "simple Soviet man" challenging the much feared American champion Bobby Fischer to a match.

 

In 1972 he stepped up in Soviet Estonian TV where he presented his songs and gave an interview. The name of the show was "Young Man from Taganka" (Noormees Tagankalt).

 

In April 1973 Vysotsky visited Poland and France. Predictable problems concerning the official permission were sorted after the French Communist Party leader Georges Marchais made a personal phone call to Leonid Brezhnev who, according to Marina Vlady's memoirs, rather sympathized with the stellar couple. Having found on return a potentially dangerous lawsuit brought against him (concerning some unsanctioned concerts in Siberia the year before), Vysotsky wrote a defiant letter to the Minister of Culture Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, 11.5 roubles per concert now guaranteed. Still the 900 rubles fine had to be paid according to the court verdict, which was a substantial sum, considering his monthly salary at the theater was 110 rubles. That year Vysotsky wrote some thirty songs for "Alice in Wonderland," an audioplay where he himself has been given several minor roles. His best known songs of 1973 included "The Others' Track" (Чужая колея), "The Flight Interrupted" (Прерванный полёт) and "The Monument", all pondering on his achievements and legacy.

 

In 1974 Melodiya released the 7" EP, featuring four of Vysotsky's war songs ("He Never Returned From the Battle", "The New Times Song", "Common Graves", and "The Earth Song") which represented a tiny portion of his creative work, owned by millions on tape. In September of that year Vysotsky received his first state award, the Honorary Diploma of the Uzbek SSR following a tour with fellow actors from the Taganka Theatre in Uzbekistan. A year later he was granted the USSR Union of Cinematographers' membership. This meant he was not an "anti-Soviet scum" now, rather an unlikely link between the official Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them The Only Road (a Soviet-Yugoslav joint venture, premiered on 10 January 1975 in Belgrade) and a science fiction movie The Flight of Mr. McKinley (1975). Out of nine ballads that he wrote for the latter only two have made it into the soundtrack. This was the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vysotsky's recognizable voice coming literally from every open window. Among the songs written at the time, were humorous "The Instruction before the Trip Abroad", lyrical "Of the Dead Pilot" and philosophical "The Strange House". In 1975 Vysotsky made his third trip to France where he rather riskily visited his former tutor (and now a celebrated dissident emigre) Andrey Sinyavsky. Artist Mikhail Shemyakin, his new Paris friend (or a "bottle-sharer", in Vladi's terms), recorded Vysotsky in his home studio. After a brief stay in England Vysotsky crossed the ocean and made his first Mexican concerts in April. Back in Moscow, there were changes at Taganka: Lyubimov went to Milan's La Scala on a contract and Anatoly Efros has been brought in, a director of radically different approach. His project, Chekhov's The Cherry Orchard, caused a sensation. Critics praised Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin) powerful interplay, some describing it as one of the most dazzling in the history of the Soviet theater. Lyubimov, who disliked the piece, accused Efros of giving his actors "the stardom malaise." The 1976 Taganka's visit to Bulgaria resulted in Vysotskys's interview there being filmed and 15 songs recorded by Balkanton record label. On return Lyubimov made a move which many thought outrageous: declaring himself "unable to work with this Mr. Vysotsky anymore" he gave the role of Hamlet to Valery Zolotukhin, the latter's best friend. That was the time, reportedly, when stressed out Vysotsky started taking amphetamines.

 

Another Belorussian voyage completed, Marina and Vladimir went for France and from there (without any official permission given, or asked for) flew to the North America. In New York Vysotsky met, among other people, Mikhail Baryshnikov and Joseph Brodsky. In a televised one-hour interview with Dan Rather he stressed he was "not a dissident, just an artist, who's never had any intentions to leave his country where people loved him and his songs." At home this unauthorized venture into the Western world bore no repercussions: by this time Soviet authorities were divided as regards the "Vysotsky controversy" up to the highest level; while Mikhail Suslov detested the bard, Brezhnev loved him to such an extent that once, while in hospital, asked him to perform live in his daughter Galina's home, listening to this concert on the telephone. In 1976 appeared "The Domes", "The Rope" and the "Medieval" cycle, including "The Ballad of Love".

 

In September Vysotsky with Taganka made a trip to Yugoslavia where Hamlet won the annual BITEF festival's first prize, and then to Hungary for a two-week concert tour. Back in Moscow Lyubimov's production of The Master & Margarita featured Vysotsky as Ivan Bezdomny; a modest role, somewhat recompensed by an important Svidrigailov slot in Yury Karyakin's take on Dostoevsky's Crime and Punishment. Vysotsky's new songs of this period include "The History of Illness" cycle concerning his health problems, humorous "Why Did the Savages Eat Captain Cook", the metaphorical "Ballad of the Truth and the Lie", as well as "Two Fates", the chilling story of a self-absorbed alcoholic hunted by two malevolent witches, his two-faced destiny. In 1977 Vysotsky's health deteriorated (heart, kidneys, liver failures, jaw infection and nervous breakdown) to such an extent that in April he found himself in Moscow clinic's reanimation center in the state of physical and mental collapse.

 

In 1977 Vysotsky made an unlikely appearance in New York City on the American television show 60 Minutes, which falsely stated that Vysotsky had spent time in the Soviet prison system, the Gulag. That year saw the release of three Vysotsky's LPs in France (including the one that had been recorded by RCA in Canada the previous year); arranged and accompanied by guitarist Kostya Kazansky, the singer for the first time ever enjoyed the relatively sophisticated musical background. In August he performed in Hollywood before members of New York City film cast and (according to Vladi) was greeted warmly by the likes of Liza Minnelli and Robert De Niro. Some more concerts in Los Angeles were followed by the appearance at the French Communist paper L’Humanité annual event. In December Taganka left for France, its Hamlet (Vysotsky back in the lead) gaining fine reviews.

 

1978 started with the March–April series of concerts in Moscow and Ukraine. In May Vysotsky embarked upon a new major film project: The Meeting Place Cannot Be Changed (Место встречи изменить нельзя) about two detectives fighting crime in late 1940s Russia, directed by Stanislav Govorukhin. The film (premiered on 11 November 1978 on the Soviet Central TV) presented Vysotsky as Zheglov, a ruthless and charismatic cop teaching his milder partner Sharapov (actor Vladimir Konkin) his art of crime-solving. Vysotsky also became engaged in Taganka's Genre-seeking show (performing some of his own songs) and played Aleksander Blok in Anatoly Efros' The Lady Stranger (Незнакомка) radio play (premiered on air on 10 July 1979 and later released as a double LP).

 

In November 1978 Vysotsky took part in the underground censorship-defying literary project Metropolis, inspired and organized by Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer all but made Vysotsky seriously reconsider his priorities. What followed though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the Soviet television in his lifetime.

 

In May 1979, being in a practice studio of the MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in Reds film, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television.

 

On 22 January 1980, Vysotsky entered the Moscow Ostankino TV Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to Sklifosofsky [ru] institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him."

 

Although several theories of the ultimate cause of the singer's death persist to this day, given what is now known about cardiovascular disease, it seems likely that by the time of his death Vysotsky had an advanced coronary condition brought about by years of tobacco, alcohol and drug abuse, as well as his grueling work schedule and the stress of the constant harassment by the government. Towards the end, most of Vysotsky's closest friends had become aware of the ominous signs and were convinced that his demise was only a matter of time. Clear evidence of this can be seen in a video ostensibly shot by the Japanese NHK channel only months before Vysotsky's death, where he appears visibly unwell, breathing heavily and slurring his speech. Accounts by Vysotsky's close friends and colleagues concerning his last hours were compiled in the book by V. Perevozchikov.

 

Vysotsky suffered from alcoholism for most of his life. Sometime around 1977, he started using amphetamines and other prescription narcotics in an attempt to counteract the debilitating hangovers and eventually to rid himself of alcohol addiction. While these attempts were partially successful, he ended up trading alcoholism for a severe drug dependency that was fast spiralling out of control. He was reduced to begging some of his close friends in the medical profession for supplies of drugs, often using his acting skills to collapse in a medical office and imitate a seizure or some other condition requiring a painkiller injection. On 25 July 1979 (a year to the day before his death) he suffered a cardiac arrest and was clinically dead for several minutes during a concert tour of Soviet Uzbekistan, after injecting himself with a wrong kind of painkiller he had previously obtained from a dentist's office.

 

Fully aware of the dangers of his condition, Vysotsky made several attempts to cure himself of his addiction. He underwent an experimental (and ultimately discredited) blood purification procedure offered by a leading drug rehabilitation specialist in Moscow. He also went to an isolated retreat in France with his wife Marina in the spring of 1980 as a way of forcefully depriving himself of any access to drugs. After these attempts failed, Vysotsky returned to Moscow to find his life in an increasingly stressful state of disarray. He had been a defendant in two criminal trials, one for a car wreck he had caused some months earlier, and one for an alleged conspiracy to sell unauthorized concert tickets (he eventually received a suspended sentence and a probation in the first case, and the charges in the second were dismissed, although several of his co-defendants were found guilty). He also unsuccessfully fought the film studio authorities for the rights to direct a movie called The Green Phaeton. Relations with his wife Marina were deteriorating, and he was torn between his loyalty to her and his love for his mistress Oksana Afanasyeva. He had also developed severe inflammation in one of his legs, making his concert performances extremely challenging.

 

In a final desperate attempt to overcome his drug addiction, partially prompted by his inability to obtain drugs through his usual channels (the authorities had imposed a strict monitoring of the medical institutions to prevent illicit drug distribution during the 1980 Olympics), he relapsed into alcohol and went on a prolonged drinking binge (apparently consuming copious amounts of champagne due to a prevalent misconception at the time that it was better than vodka at countering the effects of drug withdrawal).

 

On 3 July 1980, Vysotsky gave a performance at a suburban Moscow concert hall. One of the stage managers recalls that he looked visibly unhealthy ("gray-faced", as she puts it) and complained of not feeling too good, while another says she was surprised by his request for champagne before the start of the show, as he had always been known for completely abstaining from drink before his concerts. On 16 July Vysotsky gave his last public concert in Kaliningrad. On 18 July, Vysotsky played Hamlet for the last time at the Taganka Theatre. From around 21 July, several of his close friends were on a round-the-clock watch at his apartment, carefully monitoring his alcohol intake and hoping against all odds that his drug dependency would soon be overcome and they would then be able to bring him back from the brink. The effects of drug withdrawal were clearly getting the better of him, as he got increasingly restless, moaned and screamed in pain, and at times fell into memory lapses, failing to recognize at first some of his visitors, including his son Arkadiy. At one point, Vysotsky's personal physician A. Fedotov (the same doctor who had brought him back from clinical death a year earlier in Uzbekistan) attempted to sedate him, inadvertently causing asphyxiation from which he was barely saved. On 24 July, Vysotsky told his mother that he thought he was going to die that day, and then made similar remarks to a few of the friends present at the apartment, who begged him to stop such talk and keep his spirits up. But soon thereafter, Oksana Afanasyeva saw him clench his chest several times, which led her to suspect that he was genuinely suffering from a cardiovascular condition. She informed Fedotov of this but was told not to worry, as he was going to monitor Vysotsky's condition all night. In the evening, after drinking relatively small amounts of alcohol, the moaning and groaning Vysotsky was sedated by Fedotov, who then sat down on the couch next to him but fell asleep. Fedotov awoke in the early hours of 25 July to an unusual silence and found Vysotsky dead in his bed with his eyes wide open, apparently of a myocardial infarction, as he later certified. This was contradicted by Fedotov's colleagues, Sklifosovsky Emergency Medical Institute physicians L. Sul'povar and S. Scherbakov (who had demanded the actor's immediate hospitalization on 23 July but were allegedly rebuffed by Fedotov), who insisted that Fedotov's incompetent sedation combined with alcohol was what killed Vysotsky. An autopsy was prevented by Vysotsky's parents (who were eager to have their son's drug addiction remain secret), so the true cause of death remains unknown.

 

No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.

 

According to author Valery Perevozchikov part of the blame for his death lay with the group of associates who surrounded him in the last years of his life. This inner circle were all people under the influence of his strong character, combined with a material interest in the large sums of money his concerts earned. This list included Valerii Yankelovich, manager of the Taganka Theatre and prime organiser of his non-sanctioned concerts; Anatoly Fedotov, his personal doctor; Vadim Tumanov, gold prospector (and personal friend) from Siberia; Oksana Afanasyeva (later Yarmolnik), his mistress the last three years of his life; Ivan Bortnik, a fellow actor; and Leonid Sul'povar, a department head at the Sklifosovski hospital who was responsible for much of the supply of drugs.

 

Vysotsky's associates had all put in efforts to supply his drug habit, which kept him going in the last years of his life. Under their influence, he was able to continue to perform all over the country, up to a week before his death. Due to illegal (i.e. non-state-sanctioned) sales of tickets and other underground methods, these concerts pulled in sums of money unimaginable in Soviet times, when almost everyone received nearly the same small salary. The payouts and gathering of money were a constant source of danger, and Yankelovich and others were needed to organise them.

 

Some money went to Vysotsky, the rest was distributed amongst this circle. At first this was a reasonable return on their efforts; however, as his addiction progressed and his body developed resistance, the frequency and amount of drugs needed to keep Vysotsky going became unmanageable. This culminated at the time of the Moscow Olympics which coincided with the last days of his life, when supplies of drugs were monitored more strictly than usual, and some of the doctors involved in supplying Vysotsky were already behind bars (normally the doctors had to account for every ampule, thus drugs were transferred to an empty container, while the patients received a substitute or placebo instead). In the last few days Vysotsky became uncontrollable, his shouting could be heard all over the apartment building on Malaya Gruzinskaya St. where he lived amongst VIP's. Several days before his death, in a state of stupor he went on a high speed drive around Moscow in an attempt to obtain drugs and alcohol – when many high-ranking people saw him. This increased the likelihood of him being forcibly admitted to the hospital, and the consequent danger to the circle supplying his habit. As his state of health declined, and it became obvious that he might die, his associates gathered to decide what to do with him. They came up with no firm decision. They did not want him admitted officially, as his drug addiction would become public and they would fall under suspicion, although some of them admitted that any ordinary person in his condition would have been admitted immediately.

 

On Vysotsky's death his associates and relatives put in much effort to prevent a post-mortem being carried out. This despite the fairly unusual circumstances: he died aged 42 under heavy sedation with an improvised cocktail of sedatives and stimulants, including the toxic chloral hydrate, provided by his personal doctor who had been supplying him with narcotics the previous three years. This doctor, being the only one present at his side when death occurred, had a few days earlier been seen to display elementary negligence in treating the sedated Vysotsky. On the night of his death, Arkadii Vysotsky (his son), who tried to visit his father in his apartment, was rudely refused entry by Yankelovich, even though there was a lack of people able to care for him. Subsequently, the Soviet police commenced a manslaughter investigation which was dropped due to the absence of evidence taken at the time of death.

 

Vysotsky's first wife was Iza Zhukova. They met in 1956, being both MAT theater institute students, lived for some time at Vysotsky's mother's flat in Moscow, after her graduation (Iza was 2 years older) spent months in different cities (her – in Kiev, then Rostov) and finally married on 25 April 1960.

 

He met his second wife Lyudmila Abramova in 1961, while shooting the film 713 Requests Permission to Land. They married in 1965 and had two sons, Arkady (born 1962) and Nikita (born 1964).

 

While still married to Lyudmila Abramova, Vysotsky began a romantic relationship with Tatyana Ivanenko, a Taganka actress, then, in 1967 fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had three children, while Vladimir had two. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France to spend more time in Moscow, and Vladimir's friends pulled strings for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the Soviet Union, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs.

 

In the autumn of 1981 Vysotsky's first collection of poetry was officially published in the USSR, called The Nerve (Нерв). Its first edition (25,000 copies) was sold out instantly. In 1982 the second one followed (100,000), then the 3rd (1988, 200,000), followed in the 1990s by several more. The material for it was compiled by Robert Rozhdestvensky, an officially laurelled Soviet poet. Also in 1981 Yuri Lyubimov staged at Taganka a new music and poetry production called Vladimir Vysotsky which was promptly banned and officially premiered on 25 January 1989.

 

In 1982 the motion picture The Ballad of the Valiant Knight Ivanhoe was produced in the Soviet Union and in 1983 the movie was released to the public. Four songs by Vysotsky were featured in the film.

 

In 1986 the official Vysotsky poetic heritage committee was formed (with Robert Rozhdestvensky at the helm, theater critic Natalya Krymova being both the instigator and the organizer). Despite some opposition from the conservatives (Yegor Ligachev was the latter's political leader, Stanislav Kunyaev of Nash Sovremennik represented its literary flank) Vysotsky was rewarded posthumously with the USSR State Prize. The official formula – "for creating the character of Zheglov and artistic achievements as a singer-songwriter" was much derided from both the left and the right. In 1988 the Selected Works of... (edited by N. Krymova) compilation was published, preceded by I Will Surely Return... (Я, конечно, вернусь...) book of fellow actors' memoirs and Vysotsky's verses, some published for the first time. In 1990 two volumes of extensive The Works of... were published, financed by the late poet's father Semyon Vysotsky. Even more ambitious publication series, self-proclaimed "the first ever academical edition" (the latter assertion being dismissed by sceptics) compiled and edited by Sergey Zhiltsov, were published in Tula (1994–1998, 5 volumes), Germany (1994, 7 volumes) and Moscow (1997, 4 volumes).

 

In 1989 the official Vysotsky Museum opened in Moscow, with the magazine of its own called Vagant (edited by Sergey Zaitsev) devoted entirely to Vysotsky's legacy. In 1996 it became an independent publication and was closed in 2002.

 

In the years to come, Vysotsky's grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too solemn to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life.

 

In 1995 in Moscow the Vysotsky monument was officially opened at Strastnoy Boulevard, by the Petrovsky Gates. Among those present were the bard's parents, two of his sons, first wife Iza, renown poets Yevtushenko and Voznesensky. "Vysotsky had always been telling the truth. Only once he was wrong when he sang in one of his songs: 'They will never erect me a monument in a square like that by Petrovskye Vorota'", Mayor of Moscow Yuri Luzhkov said in his speech.[95] A further monument to Vysotsky was erected in 2014 at Rostov-on-Don.

 

In October 2004, a monument to Vysotsky was erected in the Montenegrin capital of Podgorica, near the Millennium Bridge. His son, Nikita Vysotsky, attended the unveiling. The statue was designed by Russian sculptor Alexander Taratinov, who also designed a monument to Alexander Pushkin in Podgorica. The bronze statue shows Vysotsky standing on a pedestal, with his one hand raised and the other holding a guitar. Next to the figure lies a bronze skull – a reference to Vysotsky's monumental lead performances in Shakespeare's Hamlet. On the pedestal the last lines from a poem of Vysotsky's, dedicated to Montenegro, are carved.

 

The Vysotsky business center & semi-skyscraper was officially opened in Yekaterinburg, in 2011. It is the tallest building in Russia outside of Moscow, has 54 floors, total height: 188.3 m (618 ft). On the third floor of the business center is the Vysotsky Museum. Behind the building is a bronze sculpture of Vladimir Vysotsky and his third wife, a French actress Marina Vlady.

 

In 2011 a controversial movie Vysotsky. Thank You For Being Alive was released, script written by his son, Nikita Vysotsky. The actor Sergey Bezrukov portrayed Vysotsky, using a combination of a mask and CGI effects. The film tells about Vysotsky's illegal underground performances, problems with KGB and drugs, and subsequent clinical death in 1979.

 

Shortly after Vysotsky's death, many Russian bards started writing songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980). In Poland, Jacek Kaczmarski based some of his songs on those of Vysotsky, such as his first song (1977) was based on "The Wolfhunt", and dedicated to his memory the song "Epitafium dla Włodzimierza Wysockiego" ("Epitaph for Vladimir Vysotsky").

 

Every year on Vysotsky's birthday festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Wolf Biermann in Germany, Bob Dylan in America, or Georges Brassens and Jacques Brel in France.

 

The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, was named after Vysotsky.

 

During the Annual Q&A Event Direct Line with Vladimir Putin, Alexey Venediktov asked Putin to name a street in Moscow after the singer Vladimir Vysotsky, who, though considered one of the greatest Russian artists, has no street named after him in Moscow almost 30 years after his death. Venediktov stated a Russian law that allowed the President to do so and promote a law suggestion to name a street by decree. Putin answered that he would talk to Mayor of Moscow and would solve this problem. In July 2015 former Upper and Lower Tagansky Dead-ends (Верхний и Нижний Таганские тупики) in Moscow were reorganized into Vladimir Vysotsky Street.

 

The Sata Kieli Cultural Association, [Finland], organizes the annual International Vladimir Vysotsky Festival (Vysotski Fest), where Vysotsky's singers from different countries perform in Helsinki and other Finnish cities. They sing Vysotsky in different languages and in different arrangements.

 

Two brothers and singers from Finland, Mika and Turkka Mali, over the course of their more than 30-year musical career, have translated into Finnish, recorded and on numerous occasions publicly performed songs of Vladimir Vysotsky.

 

Throughout his lengthy musical career, Jaromír Nohavica, a famed Czech singer, translated and performed numerous songs of Vladimir Vysotsky, most notably Песня о друге (Píseň o příteli – Song about a friend).

 

The Museum of Vladimir Vysotsky in Koszalin dedicated to Vladimir Vysotsky was founded by Marlena Zimna (1969–2016) in May 1994, in her apartment, in the city of Koszalin, in Poland. Since then the museum has collected over 19,500 exhibits from different countries and currently holds Vladimir Vysotsky' personal items, autographs, drawings, letters, photographs and a large library containing unique film footage, vinyl records, CDs and DVDs. A special place in the collection holds a Vladimir Vysotsky's guitar, on which he played at a concert in Casablanca in April 1976. Vladimir Vysotsky presented this guitar to Moroccan journalist Hassan El-Sayed together with an autograph (an extract from Vladimir Vysotsky's song "What Happened in Africa"), written in Russian right on the guitar.

 

In January 2023, a monument to the outstanding actor, singer and poet Vladimir Vysotsky was unveiled in Yuzhno-Sakhalinsk, in the square near the Rodina House of Culture. Author Vladimir Chebotarev.

 

After her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book called The Aborted Flight about her years together with Vysotsky. The book paid tribute to Vladimir's talent and rich persona, yet was uncompromising in its depiction of his addictions and the problems that they caused in their marriage. Written in French (and published in France in 1987), it was translated into Russian in tandem by Vlady and a professional translator and came out in 1989 in the USSR. Totally credible from the specialists' point of view, the book caused controversy, among other things, by shocking revelations about the difficult father-and-son relationship (or rather, the lack of any), implying that Vysotsky-senior (while his son was alive) was deeply ashamed of him and his songs which he deemed "anti-Soviet" and reported his own son to the KGB. Also in 1989 another important book of memoirs was published in the USSR, providing a bulk of priceless material for the host of future biographers, Alla Demidova's Vladimir Vysotsky, the One I Know and Love. Among other publications of note were Valery Zolotukhin's Vysotsky's Secret (2000), a series of Valery Perevozchikov's books (His Dying Hour, The Unknown Vysotsky and others) containing detailed accounts and interviews dealing with the bard's life's major controversies (the mystery surrounding his death, the truth behind Vysotsky Sr.'s alleged KGB reports, the true nature of Vladimir Vysotsky's relations with his mother Nina's second husband Georgy Bartosh etc.), Iza Zhukova's Short Happiness for a Lifetime and the late bard's sister-in-law Irena Vysotskaya's My Brother Vysotsky. The Beginnings (both 2005).

 

A group of enthusiasts has created a non-profit project – the mobile application "Vysotsky"

 

The multifaceted talent of Vysotsky is often described by the term "bard" (бард) that Vysotsky has never been enthusiastic about. He thought of himself mainly as an actor and poet rather than a singer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." With the advent of portable tape-recorders in the Soviet Union, Vysotsky's music became available to the masses in the form of home-made reel-to-reel audio tape recordings (later on cassette tapes).

 

Vysotsky accompanied himself on a Russian seven-string guitar, with a raspy voice singing ballads of love, peace, war, everyday Soviet life and of the human condition. He was largely perceived as the voice of honesty, at times sarcastically jabbing at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with Georges Brassens; in Russia, however, he was more frequently compared with Joe Dassin, partly because they were the same age and died in the same year, although their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.

 

The songs – over 600 of them – were written about almost any imaginable theme. The earliest were blatnaya pesnya ("outlaw songs"). These songs were based either on the life of the common people in Moscow or on life in the crime people, sometimes in Gulag. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life-threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.

 

Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet played his role so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War veterans thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.

 

Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could – in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit.

 

Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone-and-a-half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standard tuned six string Spanish (classical) guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.

 

His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC)

 

Songs written in this key include "Stars" (Zvyozdy), "My friend left for Magadan" (Moy drug uyekhal v Magadan), and most of his "outlaw songs".

 

At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death.

 

Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.

 

Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.

 

Vysotsky had a unique singing style. He had an unusual habit of elongating consonants instead of vowels in his songs. So when a syllable is sung for a prolonged period of time, he would elongate the consonant instead of the vowel in that syllable.

for Diana

 

sometimes difficulty with a client can really turn me off to a sculpt. I'm not sure exactly how i feel about this girl. in general i love Dollstown sculpts but I'm a little indifferent towards this one.

 

client first contacted me in March and did not send the head until mid July. She failed to reply to multiple emails and never really got back with a response to updates.

 

Either way the request was for a blushing Victorian girl with rosacea, or at least from the reference image i got. She didn't want the blush to be too over the top or too pale. i think this is a good in between. i normally go for light blush left to my own devices but i like this kind of look as well.

 

I used Dollmore BDG-3 lashes on her in Brown.

Eyes: Clients own Eyeco soft glass 15mm?