Location: Musée National Gustave-Moreau

 

Work of:

Gustave Moreau

French Symbolist Artist

1826 - 1898

 

Valeria Messalina was a Roman Empress as the third wife of Emperor Claudius. A powerful and influential woman with a sluttish reputation, she conspired against her husband and was executed when the plot was discovered.

 

Either in 37 or 38, Messalina married her second cousin Claudius who was about 48 years old. During the reign of another second cousin of hers, the unstable Roman Emperor Caligula (reigned 37-41), Messalina was very wealthy, an influential figure and a regular at Caligula's court. Claudius was Caligula's paternal uncle and was becoming influential and popular. Claudius probably married her to strengthen ties within the imperial family.

 

Messalina bore Claudius two children, a daughter Claudia Octavia (born 39 or 40), who was a future empress and first wife to future emperor Nero, and a son, Britannicus (born 41). On 24 January 41, Caligula and his family were murdered and later that day the Praetorian Guard proclaimed Claudius the new emperor and Messalina became the new empress.

 

The ancient Roman sources (particularly Tacitus and Suetonius), portray Messalina as insulting, disgraceful, cruel, avaricious, and a foolish nymphomaniac. Many women of her age and status enjoyed festivities and parties, but the two historians contended that Messalina unwisely combined her zest for meeting people with a sexual appetite.

 

The oft-repeated tale of Messalina's all-night sex competition with a prostitute comes from Book X of Pliny's Naturalis Historia. Pliny does not name the prostitute; the Restoration playwright Nathaniel Richards calls her Scylla in The Tragedy of Messalina, Empress of Rome, published in 1640, and Robert Graves in his novel Claudius the God also identified the prostitute as Scylla. According to Pliny, the competition lasted for 24 hours and Messalina won with a score of 25 partners.

 

Roman sources claim that Messalina used sex to enforce her power and control politicians, that she had a brothel under an assumed name and organized orgies for upper class women and that she participated much in politics and sold her influence to Roman nobles or foreign notables.

 

Juvenal is also highly critical of her in his Satire VI:

 

Then consider the God's rivals, hear what Claudius

had to put up with. The minute she heard him snoring

his wife - that whore-empress - who­ dared to prefer the mattress

of a stews to her couch in the Palace, called for her hooded

night-cloak and hastened forth, with a single attendant.

Then, her black hair hidden under an ash-blonde wig,

she'd make straight for her brothel, with its stale, warm coverlets,

and her empty reserved cell. Here, naked, with gilded

nipples, she plied her trade, under the name of 'The Wolf-Girl',

parading the belly that once housed a prince of the blood.

She would greet each client sweetly, demand cash payment,

and absorb all their battering - without ever getting up.

Too soon the brothel-keeper dismissed his girls:

she stayed right till the end, always last to go,

then trailed away sadly, still | with burning, rigid vulva,

exhausted by men, yet a long way from satisfied,

cheeks grimed with lamp-smoke, filthy, carrying home

to her Imperial couch the stink of the whorehouse.

 

During the Secular Games in 47, at the performance of the Troy Pageant, Messalina attended the event with her son Britannicus. Also present was Agrippina the Younger with her son Lucius Domitius Ahenobarbus (Nero). Agrippina and Nero received a greater acclamation from the audience than Messalina and Britannicus did. Many people began to show pity and sympathy to Agrippina, due to unfortunate circumstances that occurred in her life. This is probably a first sign of Messalina's declining popularity.

 

Later that year, Messalina became interested in the attractive Roman Senator Gaius Silius who was happily married to the aristocratic woman Junia Silana (sister of Caligula's first wife). Messalina and Silius became lovers and Messalina forced Silius to divorce his wife.

 

Silius realized the danger that he put himself in. Messalina and Silius plotted to kill the weak emperor and Messalina would make him the new emperor. Silius was childless and wanted to adopt Britannicus. They had committed bigamy: Messalina and Silius married in a full ceremony, in front of witnesses and had signed marriage contracts while Messalina was still legally married to Claudius.

 

While Claudius was in Ostia, inspecting construction work done on the harbor, his freedman Narcissus, advised him of Messalina's and Silius' plot to kill him. Messalina travelled to Ostia with her children hoping to speak to Claudius; however the emperor left Ostia before she was able to do so. Narcissus delayed Messalina, preventing her from seeing Claudius.

 

Claudius ordered the deaths of Messalina and Silius in 48. In Messalina's final hours, she was in the Gardens of Lucullus. Messalina and her mother were preparing a petition for Claudius. At the height of Messalina's influence and prosperity, Lepida and Messalina had argued and became estranged. Apparently overcome by pity, Lepida stayed with her daughter. Lepida's last words to her were 'Your life is finished. All that remains is to make a decent end'. Messalina was reputedly weeping and moaning. She finally realized the situation in which she had put herself.

 

An officer and a former slave arrived together to witness Messalina's death. The former slave verbally insulted her while the officer stood by in silence. Messalina was offered the choice of killing herself, but was too afraid to do so, so the officer stabbed Messalina with a dagger. Her dead body was left with her mother. At the time of Messalina's death, Claudius was attending a dinner. When Messalina's death was announced to him, Claudius showed no emotion but asked for more wine.

 

In the days after her death, Claudius gave no sign of hatred, anger, distress, satisfaction or any other human passion. The only ones who mourned for Messalina were her children. The Roman Senate ordered Messalina's name removed from all public or private places and all statues of her were removed.

 

On New Year's Day in 49, Claudius married as his fourth wife Agrippina the Younger, who went on to remove from the imperial court anyone she considered loyal to the memory of Messalina. Agrippina's son Lucius Domitius Ahenobarbus was adopted by Claudius as his son and heir. He became known as Nero Claudius Caesar Drusus Germanicus and succeeded Claudius as emperor instead of Messalina's son Britannicus. Nero married Messalina's daughter. Messalina's name is now often used as a synonym for sexual promiscuity, manipulation, and treachery.

 

Quoted From: Valeria Messalina - Wikipedia

Execution Rocks Lighthouse

Pelham Bay Park

The Bronx, NY

December 20, 2021

Business Books That Matter is a new Book Club program co-organized by White & Lee and the Software Development Forum (SDForum) and sponsored by Microsoft.

 

The conversation centered on Execution: The Discipline of Getting Things Done by Larry Bossidy and Ram Charan.

 

Moderator:

Mark Cameron White

Partner, White & Lee LLP

 

Panelists:

J. Peter Herz

Former CEO of 3ware, Inc. and Board Chairman, IPextreme, Inc.

 

Bruce Lichorowic

CEO, Intalio, Inc.

 

General consensus was that the book was good for large company process execution with a Midwest mentality. But in the Silicon Valley, emphasis is on innovation and practice.

Jorge Pineda (1879 – 1946)

The Execution of José Rizal

 

Ca. 1910

oil on canvas

11 1/2" x 20" (29 cm x 51 cm)

 

Opening bid: PHP 1,000,000

 

Lot 144 of the Leon Gallery auction in November 2019. For more details, please see leon-gallery.com

 

Jorge Pineda, hailed as the King of Filipino Illustrators, was also a worthy painter who specialized in two subjects: the simple pleasures of Filipino country life and the significant historical event. He was an ardent patriot and a devoted Rizalist who styled himself after our national hero.

 

The critic Eric Torres described him as “a free-thinker and an anti-cleric.” He would frequently rail against the friars for engineering the execution of Rizal and bluster about the banning of the reading of the Noli Me Tangere and El Filibusterismo in Catholic schools.

 

One of his favorite pastimes—apart from long walks—was fencing. It was a sport that entranced the ilustrado gentlemen of the time, from Rizal to the Luna brothers, and the pioneer art collector, the late Don Alfonso Ongpin. (Don Alfonso would become Pineda’s fencing partner.) It is no surprise therefore that Pineda would capture this most quintessential and defining moment in our national history.

 

This painting, based on the single most famous photograph of Rizal’s demise, is made even more startling since it brings to life the taut colors and brooding atmosphere of that somber morning. Pineda himself was seventeen years old in 1896 and, by one account, was among the crowd on that fateful day. His prodigious memory for detail coupled with his reputation for meticulous research and his fine hand as an illustrator make this a priceless work of historical import.

 

Pineda’s The Execution of José Rizal captures the poignant details of that remarkable occasion. Rizal stands, arms bound at the elbow, a chistera (or derby) on his head. There was a gruesome choreography to his death. First, the Filipino troops were massed on three sides, the better to give the impression that Rizal was to die at the hands of his own countrymen. Immediately in front of Rizal was a drum corps. These men were instructed to play as loud as possible to deliberately drown out Rizal’s voice should he try to address the crowd. (The corps had jauntily played the Spanish national anthem on the way to the killing field.)

 

The account of one eyewitness, Hilarion Martinez, adds further details: When Rizal was near the center of the quadrangle, the mayor de la plaza, a colonel, announced, “En el nombre del Rey, el que se levante la voz a favor del reo sera ejecutado.” (In the name of the King, he who raises his voice in favor of the criminal will be executed.)

 

The drum corps then withdrew and were replaced by a troop of Filipino soldiers. Massed behind the Filipinos on every side was a phalanx of Spanish soldiers, ready to take up arms should the Filipinos fail to do their duty and execute Rizal. There were civilian spectators, too, and we see their white shirts in the distance.

 

Rizal was accompanied by two Jesuit priests, Fr. Estanislao March and Fr. Jose Villaclara, as well as his defense counsel, Lt. Luis Taviel de Andrade. The other men in white were also Spanish officers.

 

“With visible effort,” Martinez says, “Rizal raised his right hand which was tied and took off his hat.”The moment captured in this painting was just before that split second, corresponding in almost balletic detail to Christ’s last breath on the Holy Cross. “Amidst the silence, Rizal moved his head very slowly up and down, his lips moving as if in prayer.”

 

He continues, Then the commanding officer by means of his saber signaled the firing squad to aim. Then the saber dropped and there was a simultaneous crack of rifle fire that shattered the stillness of the morning. José Rizal wheeled in one last effort and toppled forward with a thud, his face towards the sky and his derby hat thrown ahead. He had fallen in the direction of the bay.

 

At the center of the painting is a stark, leafless tree that conveys the isolation of Rizal and the utter sadness of his death. As did Rizal at the moment of his death, it reaches plaintively to the sky in an eloquent plea for freedom and justice.

 

Martinez continues, Suddenly, as if from nowhere, a small dog appeared and ran in circles around Rizal’s fallen body, barking and whimpering. This incident would much later be the subject of our talk in our quarters. Some of my comrades were quick to conclude that it was a premonition of a coming misfortune.

 

That pale dog is captured standing near the Spanish soldiers in the painting. Indeed, it would bode the end of the Spanish empire in the Philippines.

 

Martinez proceeds, Then the capitan militar de la sanidad (medical officer) stepped forward, knelt before the fallen man, and felt his pulse. Looking up, he beckoned to a member of the firing squad to come forward and give the final tiro de gracia (coup de grace), another shot done at close range. I thought I saw a faint haze rise from Rizal’s coat, but it might have been a wisp of the morning mist. Seeing the body before me, I felt weak.

 

The officers began to show animation again. They fell in formation and marched to the tune of the Spanish national air, the Paso Doble Marcha de Cadiz.

 

As was customary in past executions, we filed past the body to view it for the last time. When we were commanded “eyes left,” I did not shut my eyes as I had at the sight of the several reos (convicts) whose heads were blown off by rifle fire. I wanted to see the face of the man for one last time. Rizal lay dead on the dewy grass. The day had started and I realized that I was gazing on the face of the great Malayan; that I was witnessing history in the making.

 

(Lisa Guerrero Nakpil)

鈴ヶ森死刑場 (Suzugamori Shikeijō) Suzugamori Execution Grounds is probably the most famous and most accessible execution grounds of Edo (the name of Tōkyō before 1868). It’s located on the old Tōkaidō highway, near the old post town of Shinagawa. In the Edo Period, it was located next to the sea at Edo Bay. Today the former killing floor is the only bit of land that is still preserved and it is designated as one of the 100 Historic Spots of Shinagawa.

 

The usual access point is here and is marked by a white sign with black writing and a copper roof. This is the intended entrance because it is closest to 大森海岸駅 (Ōmori Kaigan) Ōmori Beach Station. Ironically, there has been no beach here since the 1950's, as the land was extended out quite far into Edo/Tōkyō Bay.That said, the local families who have been here from the 50's and earlier still take pride in the seaside connection.

 

My article is here: markystar.wordpress.com/2013/07/23/suzugamori-execution-g...

Paul Delaroche - The Execution of Lady Jane Grey, 1833 at National Gallery London England

The last execution happened in 1856.

Late at night on the 31 of July 1853 the 26-year-old farmworker Anders Gustav Pettersson brutally murders his very cruel employer Hugo Fredrik Jaedren at the gates to the Näringsberg estate together with a compatriot. Jaedren was on his way home from a weekly visit to Stockholm when he was attacked and killed by the two men. They were arrested the following day. The trial took place at Tingshuset in Västerhaninge, and two years later Anders Gustav Pettersson became the last person to be executed here. He was beheaded. The rock stands next to the bike path that I use on a daily basis. Day 26 in my project 100 Days Of Darkness.

Phew, it has been a struggle, but these are the final 5 uploads from St Sepulchre: a glorious church, a church of delights if you will.

 

Next up, St Dunstan in the West, the photos of which have not come out well, so I will have to return, but so it goes, so it goes.

 

With the rain falling harder, it was a bit of a route march to Holborn and my next church, the stunning St Sepulchre, which was also open.

 

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St Sepulchre-without-Newgate, also known as the Church of the Holy Sepulchre (Holborn), is an Anglican church in the City of London. It is located on Holborn Viaduct, almost opposite the Old Bailey. In medieval times it stood just outside ("without") the now-demolished old city wall, near the Newgate. It has been a living of St John's College, Oxford, since 1622.

 

The original Saxon church on the site was dedicated to St Edmund the King and Martyr. During the Crusades in the 12th century the church was renamed St Edmund and the Holy Sepulchre, in reference to the Church of the Holy Sepulchre in Jerusalem. The name eventually became contracted to St Sepulchre.

 

The church is today the largest parish church in the City. It was completely rebuilt in the 15th century but was gutted by the Great Fire of London in 1666,[1] which left only the outer walls, the tower and the porch standing[2] -. Modified in the 18th century, the church underwent extensive restoration in 1878. It narrowly avoided destruction in the Second World War, although the 18th-century watch-house in its churchyard (erected to deter grave-robbers) was completely destroyed and had to be rebuilt.

 

The interior of the church is a wide, roomy space with a coffered ceiling[3] installed in 1834. The Vicars' old residence has recently been renovated into a modern living quarter.

 

During the reign of Mary I in 1555, St Sepulchre's vicar, John Rogers, was burned as a heretic.

 

St Sepulchre is named in the nursery rhyme Oranges and Lemons as the "bells of Old Bailey". Traditionally, the great bell would be rung to mark the execution of a prisoner at the nearby gallows at Newgate. The clerk of St Sepulchre's was also responsible for ringing a handbell outside the condemned man's cell in Newgate Prison to inform him of his impending execution. This handbell, known as the Execution Bell, now resides in a glass case to the south of the nave.

 

The church has been the official musicians' church for many years and is associated with many famous musicians. Its north aisle (formerly a chapel dedicated to Stephen Harding) is dedicated as the Musicians' Chapel, with four windows commemorating John Ireland, the singer Dame Nellie Melba, Walter Carroll and the conductor Sir Henry Wood respectively.[4] Wood, who "at the age of fourteen, learned to play the organ" at this church [1] and later became its organist, also has his ashes buried in this church.

 

The south aisle of the church holds the regimental chapel of the Royal Fusiliers (City of London Regiment), and its gardens are a memorial garden to that regiment.[5] The west end of the north aisle has various memorials connected with the City of London Rifles (the 6th Battalion London Regiment). The church was designated a Grade I listed building on 4 January 1950.

 

en.wikipedia.org/wiki/St_Sepulchre-without-Newgate

 

The Early History of St. Sepulchre's—Its Destruction in 1666—The Exterior and Interior—The Early Popularity of the Church—Interments here—Roger Ascham, the Author of the "Schoolmaster"—Captain John Smith, and his Romantic Adventures—Saved by an Indian Girl— St. Sepulchre's Churchyard—Accommodation for a Murderess—The Martyr Rogers—An Odd Circumstance—Good Company for the Dead—A Leap from the Tower—A Warning Bell and a Last Admonition—Nosegays for the Condemned—The Route to the Gallows-tree— The Deeds of the Charitable—The "Saracen's Head"—Description by Dickens—Giltspur Street—Giltspur Street Compter—A Disreputable Condition—Pie Corner—Hosier Lane—A Spurious Relic—The Conduit on Snow Hill—A Ladies' Charity School—Turnagain Lane—Poor Betty!—A Schoolmistress Censured—Skinner Street—Unpropitious Fortune—William Godwin—An Original Married Life.

 

Many interesting associations—Principally, however, connected with the annals of crime and the execution of the laws of England—belong to the Church of St. Sepulchre, or St. 'Pulchre. This sacred edifice—anciently known as St. Sepulchre's in the Bailey, or by Chamberlain Gate (now Newgate)—stands at the eastern end of the slight acclivity of Snow Hill, and between Smithfield and the Old Bailey. The genuine materials for its early history are scanty enough. It was probably founded about the commencement of the twelfth century, but of the exact date and circumstances of its origin there is no record whatever. Its name is derived from the Holy Sepulchre of our Saviour at Jerusalem, to the memory of which it was first dedicated.

 

The earliest authentic notice of the church, according to Maitland, is of the year 1178, at which date it was given by Roger, Bishop of Sarum, to the Prior and Canons of St. Bartholomew. These held the right of advowson until the dissolution of monasteries by Henry VIII., and from that time until 1610 it remained in the hands of the Crown. James I., however, then granted "the rectory and its appurtenances, with the advowson of the vicarage," to Francis Phillips and others. The next stage in its history is that the rectory was purchased by the parishioners, to be held in fee-farm of the Crown, and the advowson was obtained by the President and Fellows of St. John the Baptist College, at Oxford.

 

The church was rebuilt about the middle of the fifteenth century, when one of the Popham family, who had been Chancellor of Normandy and Treasurer of the King's Household, with distinguished liberality erected a handsome chapel on the south side of the choir, and the very beautiful porch still remaining at the south-west corner of the building. "His image," Stow says, "fair graven in stone, was fixed over the said porch."

 

The dreadful fire of 1666 almost destroyed St. Sepulchre's, but the parishioners set energetically to work, and it was "rebuilt and beautified both within and without." The general reparation was under the direction of Sir Christopher Wren, and nothing but the walls of the old building, and these not entirely, were suffered to remain. The work was done rapidly, and the whole was completed within four years.

 

"The tower," says Mr. Godwin, "retained its original aspect, and the body of the church, after its restoration, presented a series of windows between buttresses, with pointed heads filled with tracery, crowned by a string-course and battlements. In this form it remained till the year 1790, when it appears the whole fabric was found to be in a state of great decay, and it was resolved to repair it throughout. Accordingly the walls of the church were cased with Portland stone, and all the windows were taken out and replaced by others with plain semi-circular heads, as now seen—certainly agreeing but badly with the tower and porch of the building, but according with the then prevailing spirit of economy. The battlements, too, were taken down, and a plain stone parapet was substituted, so that at this time (with the exception of the roof, which was wagon-headed, and presented on the outside an unsightly swell, visible above the parapet) the church assumed its present appearance." The ungainly roof was removed, and an entirely new one erected, about 1836.

 

At each corner of the tower—"one of the most ancient," says the author of "Londinium Redivivum," "in the outline of the circuit of London" —there are spires, and on the spires there are weathercocks. These have been made use of by Howell to point a moral: "Unreasonable people," says he, "are as hard to reconcile as the vanes of St. Sepulchre's tower, which never look all four upon one point of the heavens." Nothing can be said with certainty as to the date of the tower, but it is not without the bounds of probability that it formed part of the original building. The belfry is reached by a small winding staircase in the south-west angle, and a similar staircase in an opposite angle leads to the summit. The spires at the corners, and some of the tower windows, have very recently undergone several alterations, which have added much to the picturesqueness and beauty of the church.

 

The chief entrance to St. Sepulchre's is by a porch of singular beauty, projecting from the south side of the tower, at the western end of the church. The groining of the ceiling of this porch, it has been pointed out, takes an almost unique form; the ribs are carved in bold relief, and the bosses at the intersections represent angels' heads, shields, roses, &c., in great variety.

 

Coming now to the interior of the church, we find it divided into three aisles, by two ranges of Tuscan columns. The aisles are of unequal widths, that in the centre being the widest, that to the south the narrowest. Semi-circular arches connect the columns on either side, springing directly from their capitals, without the interposition of an entablature, and support a large dental cornice, extending round the church. The ceiling of the middle aisle is divided into seven compartments, by horizontal bands, the middle compartment being formed into a small dome.

 

The aisles have groined ceilings, ornamented at the angles with doves, &c., and beneath every division of the groining are small windows, to admit light to the galleries. Over each of the aisles there is a gallery, very clumsily introduced, which dates from the time when the church was built by Wren, and extends the whole length, excepting at the chancel. The front of the gallery, which is of oak, is described by Mr. Godwin as carved into scrolls, branches, &c., in the centre panel, on either side, with the initials "C. R.," enriched with carvings of laurel, which have, however, he says, "but little merit."

 

At the east end of the church there are three semicircular-headed windows. Beneath the centre one is a large Corinthian altar-piece of oak, displaying columns, entablatures, &c., elaborately carved and gilded.

 

The length of the church, exclusive of the ambulatory, is said to be 126 feet, the breadth 68 feet, and the height of the tower 140 feet.

 

A singularly ugly sounding-board, extending over the preacher, used to stand at the back of the pulpit, at the east end of the church. It was in the shape of a large parabolic reflector, about twelve feet in diameter, and was composed of ribs of mahogany.

 

At the west end of the church there is a large organ, said to be the oldest and one of the finest in London. It was built in 1677, and has been greatly enlarged. Its reed-stops (hautboy, clarinet, &c.) are supposed to be unrivalled. In Newcourt's time the church was taken notice of as "remarkable for possessing an exceedingly fine organ, and the playing is thought so beautiful, that large congregations are attracted, though some of the parishioners object to the mode of performing divine service."

 

On the north side of the church, Mr. Godwin mentions, is a large apartment known as "St. Stephen's Chapel." This building evidently formed a somewhat important part of the old church, and was probably appropriated to the votaries of the saint whose name it bears.

 

Between the exterior and the interior of the church there is little harmony. "For example," says Mr. Godwin, "the columns which form the south aisle face, in some instances, the centre of the large windows which occur in the external wall of the church, and in others the centre of the piers, indifferently." This discordance may likely enough have arisen from the fact that when the church was rebuilt, or rather restored, after the Great Fire, the works were done without much attention from Sir Christopher Wren.

 

St. Sepulchre's appears to have enjoyed considerable popularity from the earliest period of its history, if one is to judge from the various sums left by well-disposed persons for the support of certain fraternities founded in the church—namely, those of St. Katherine, St. Michael, St. Anne, and Our Lady—and by others, for the maintenance of chantry priests to celebrate masses at stated intervals for the good of their souls. One of the fraternities just named—that of St. Katherine— originated, according to Stow, in the devotion of some poor persons in the parish, and was in honour of the conception of the Virgin Mary. They met in the church on the day of the Conception, and there had the mass of the day, and offered to the same, and provided a certain chaplain daily to celebrate divine service, and to set up wax lights before the image belonging to the fraternity, on all festival days.

 

The most famous of all who have been interred in St. Sepulchre's is Roger Ascham, the author of the "Schoolmaster," and the instructor of Queen Elizabeth in Greek and Latin. This learned old worthy was born in 1515, near Northallerton, in Yorkshire. He was educated at Cambridge University, and in time rose to be the university orator, being notably zealous in promoting what was then a novelty in England—the study of the Greek language. To divert himself after the fatigue of severe study, he used to devote himself to archery. This drew down upon him the censure of the all-work-and-no-play school; and in defence of himself, Ascham, in 1545, published "Toxophilus," a treatise on his favourite sport. This book is even yet well worthy of perusal, for its enthusiasm, and for its curious descriptions of the personal appearance and manners of the principal persons whom the author had seen and conversed with. Henry VIII. rewarded him with a pension of £10 per annum, a considerable sum in those days. In 1548, Ascham, on the death of William Grindall, who had been his pupil, was appointed instructor in the learned languages to Lady Elizabeth, afterwards the good Queen Bess. At the end of two years he had some dispute with, or took a disgust at, Lady Elizabeth's attendants, resigned his situation, and returned to his college. Soon after this he was employed as secretary to the English ambassador at the court of Charles V. of Germany, and remained abroad till the death of Edward VI. During his absence he had been appointed Latin secretary to King Edward. Strangely enough, though Queen Mary and her ministers were Papists, and Ascham a Protestant, he was retained in his office of Latin secretary, his pension was increased to £20, and he was allowed to retain his fellowship and his situation as university orator. In 1554 he married a lady of good family, by whom he had a considerable fortune, and of whom, in writing to a friend, he gives, as might perhaps be expected, an excellent character. On the accession of Queen Elizabeth, in 1558, she not only required his services as Latin secretary, but as her instructor in Greek, and he resided at Court during the remainder of his life. He died in consequence of his endeavours to complete a Latin poem which he intended to present to the queen on the New Year's Day of 1569. He breathed his last two days before 1568 ran out, and was interred, according to his own directions, in the most private manner, in St. Sepulchre's Church, his funeral sermon being preached by Dr. Andrew Nowell, Dean of St. Paul's. He was universally lamented; and even the queen herself not only showed great concern, but was pleased to say that she would rather have lost ten thousand pounds than her tutor Ascham, which, from that somewhat closehanded sovereign, was truly an expression of high regard.

 

Ascham, like most men, had his little weaknesses. He had too great a propensity to dice and cock-fighting. Bishop Nicholson would try to convince us that this is an unfounded calumny, but, as it is mentioned by Camden, and other contemporary writers, it seems impossible to deny it. He died, from all accounts, in indifferent circumstances. "Whether," says Dr. Johnson, referring to this, "Ascham was poor by his own fault, or the fault of others, cannot now be decided; but it is certain that many have been rich with less merit. His philological learning would have gained him honour in any country; and among us it may justly call for that reverence which all nations owe to those who first rouse them from ignorance, and kindle among them the light of literature." His most valuable work, "The Schoolmaster," was published by his widow. The nature of this celebrated performance may be gathered from the title: "The Schoolmaster; or a plain and perfite way of teaching children to understand, write, and speak the Latin tongue. … And commodious also for all such as have forgot the Latin tongue, and would by themselves, without a schoolmaster, in short time, and with small pains, recover a sufficient habilitie to understand, write, and speak Latin: by Roger Ascham, ann. 1570. At London, printed by John Daye, dwelling over Aldersgate," a printer, by the way, already mentioned by us a few chapters back (see page 208), as having printed several noted works of the sixteenth century.

 

Dr. Johnson remarks that the instruction recommended in "The Schoolmaster" is perhaps the best ever given for the study of languages.

 

Here also lies buried Captain John Smith, a conspicuous soldier of fortune, whose romantic adventures and daring exploits have rarely been surpassed. He died on the 21st of June, 1631. This valiant captain was born at Willoughby, in the county of Lincoln, and helped by his doings to enliven the reigns of Elizabeth and James I. He had a share in the wars of Hungary in 1602, and in three single combats overcame three Turks, and cut off their heads. For this, and other equally brave deeds, Sigismund, Duke of Transylvania, gave him his picture set in gold, with a pension of three hundred ducats; and allowed him to bear three Turks' heads proper as his shield of arms. He afterwards went to America, where he had the misfortune to fall into the hands of the Indians. He escaped from them, however, at last, and resumed his brilliant career by hazarding his life in naval engagements with pirates and Spanish men-of-war. The most important act of his life was the share he had in civilising the natives of New England, and reducing that province to obedience to Great Britain. In connection with his tomb in St. Sepulchre's, he is mentioned by Stow, in his "Survey," as "some time Governor of Virginia and Admiral of New England."

 

Certainly the most interesting events of his chequered career were his capture by the Indians, and the saving of his life by the Indian girl Pocahontas, a story of adventure that charms as often as it is told. Bancroft, the historian of the United States, relates how, during the early settlement of Virginia, Smith left the infant colony on an exploring expedition, and not only ascended the river Chickahominy, but struck into the interior. His companions disobeyed his instructions, and being surprised by the Indians, were put to death. Smith preserved his own life by calmness and self-possession. Displaying a pocket-compass, he amused the savages by an explanation of its power, and increased their admiration of his superior genius by imparting to them some vague conceptions of the form of the earth, and the nature of the planetary system. To the Indians, who retained him as their prisoner, his captivity was a more strange event than anything of which the traditions of their tribes preserved the memory. He was allowed to send a letter to the fort at Jamestown, and the savage wonder was increased, for he seemed by some magic to endow the paper with the gift of intelligence. It was evident that their captive was a being of a high order, and then the question arose, Was his nature beneficent, or was he to be dreaded as a dangerous enemy? Their minds were bewildered, and the decision of his fate was referred to the chief Powhatan, and before Powhatan Smith was brought. "The fears of the feeble aborigines," says Bancroft, "were about to prevail, and his immediate death, already repeatedly threatened and repeatedly delayed, would have been inevitable, but for the timely intercession of Pocahontas, a girl twelve years old, the daughter of Powhatan, whose confiding fondness Smith had easily won, and who firmly clung to his neck, as his head was bowed down to receive the stroke of the tomahawks. His fearlessness, and her entreaties, persuaded the council to spare the agreeable stranger, who could make hatchets for her father, and rattles and strings of beads for herself, the favourite child. The barbarians, whose decision had long been held in suspense by the mysterious awe which Smith had inspired, now resolved to receive him as a friend, and to make him a partner of their councils. They tempted him to join their bands, and lend assistance in an attack upon the white men at Jamestown; and when his decision of character succeeded in changing the current of their thoughts, they dismissed him with mutual promises of friendship and benevolence. Thus the captivity of Smith did itself become a benefit to the colony; for he had not only observed with care the country between the James and the Potomac, and had gained some knowledge of the language and manners of the natives, but he now established a peaceful intercourse between the English and the tribes of Powhatan."

 

On the monument erected to Smith in St. Sepulchre's Church, the following quaint lines were formerly inscribed:—

 

"Here lies one conquered that hath conquered kings,

Subdued large territories, and done things

Which to the world impossible would seem,

But that the truth is held in more esteem.

Shall I report his former service done,

In honour of his God, and Christendom?

How that he did divide, from pagans three,

Their heads and lives, types of his chivalry?—

For which great service, in that climate done,

Brave Sigismundus, King of Hungarion,

Did give him, as a coat of arms, to wear

These conquered heads, got by his sword and spear.

Or shall I tell of his adventures since

Done in Virginia, that large continent?

How that he subdued kings unto his yoke,

And made those heathens flee, as wind doth smoke;

And made their land, being so large a station,

An habitation for our Christian nation,

Where God is glorified, their wants supplied;

Which else for necessaries, must have died.

But what avails his conquests, now he lies

Interred in earth, a prey to worms and flies?

Oh! may his soul in sweet Elysium sleep,

Until the Keeper, that all souls doth keep,

Return to judgment; and that after thence

With angels he may have his recompense."

 

Sir Robert Peake, the engraver, also found a last resting-place here. He is known as the master of William Faithorne—the famous English engraver of the seventeenth century—and governor of Basing House for the king during the Civil War under Charles I. He died in 1667. Here also was interred the body of Dr. Bell, grandfather of the originator of a well-known system of education.

 

"The churchyard of St. Sepulchre's," we learn from Maitland, "at one time extended so far into the street on the south side of the church, as to render the passage-way dangerously narrow. In 1760 the churchyard was, in consequence, levelled, and thrown open to the public. But this led to much inconvenience, and it was re-enclosed in 1802."

 

Sarah Malcolm, the murderess, was buried in the churchyard of St. Sepulchre's in 1733. This coldhearted and keen-eyed monster in human form has had her story told by us already. The parishioners seem, on this occasion, to have had no such scruples as had been exhibited by their predecessors a hundred and fifty years previous at the burial of Awfield, a traitor. We shall see presently that in those more remote days they were desirous of having at least respectable company for their deceased relatives and friends in the churchyard.

 

"For a long period," says Mr. Godwin (1838), "the church was surrounded by low mean buildings, by which its general appearance was hidden; but these having been cleared away, and the neighbourhood made considerably more open, St. Sepulchre's now forms a somewhat pleasing object, notwithstanding that the tower and a part of the porch are so entirely dissimilar in style to the remainder of the building." And since Godwin's writing the surroundings of the church have been so improved that perhaps few buildings in the metropolis stand more prominently before the public eye.

 

In the glorious roll of martyrs who have suffered at the stake for their religious principles, a vicar of St. Sepulchre's, the Reverend John Rogers, occupies a conspicuous place. He was the first who was burned in the reign of the Bloody Mary. This eminent person had at one time been chaplain to the English merchants at Antwerp, and while residing in that city had aided Tindal and Coverdale in their great work of translating the Bible. He married a German lady of good position, by whom he had a large family, and was enabled, by means of her relations, to reside in peace and safety in Germany. It appeared to be his duty, however, to return to England, and there publicly profess and advocate his religious convictions, even at the risk of death. He crossed the sea; he took his place in the pulpit at St. Paul's Cross; he preached a fearless and animated sermon, reminding his astonished audience of the pure and wholesome doctrine which had been promulgated from that pulpit in the days of the good King Edward, and solemnly warning them against the pestilent idolatry and superstition of these new times. It was his last sermon. He was apprehended, tried, condemned, and burned at Smithfield. We described, when speaking of Smithfield, the manner in which he met his fate.

 

Connected with the martyrdom of Rogers an odd circumstance is quoted in the "Churches of London." It is stated that when the bishops had resolved to put to death Joan Bocher, a friend came to Rogers and earnestly entreated his influence that the poor woman's life might be spared, and other means taken to prevent the spread of her heterodox doctrines. Rogers, however, contended that she should be executed; and his friend then begged him to choose some other kind of death, which should be more agreeable to the gentleness and mercy prescribed in the gospel. "No," replied Rogers, "burning alive is not a cruel death, but easy enough." His friend hearing these words, expressive of so little regard for the sufferings of a fellow-creature, answered him with great vehemence, at the same time striking Rogers' hand, "Well, it may perhaps so happen that you yourself shall have your hands full of this mild burning." There is no record of Rogers among the papers belonging to St. Sepulchre's, but this may easily be accounted for by the fact that at the Great Fire of 1666 nearly all the registers and archives were destroyed.

 

A noteworthy incident in the history of St. Sepulchre's was connected with the execution, in 1585, of Awfield, for "sparcinge abrood certen lewed, sedicious, and traytorous bookes." "When he was executed," says Fleetwood, the Recorder, in a letter to Lord Burleigh, July 7th of that year, "his body was brought unto St. Pulcher's to be buryed, but the parishioners would not suffer a traytor's corpse to be laid in the earth where their parents, wives, children, kindred, masters, and old neighbours did rest; and so his carcass was returned to the burial-ground near Tyburn, and there I leave it."

 

Another event in the history of the church is a tale of suicide. On the 10th of April, 1600, a man named William Dorrington threw himself from the roof of the tower, leaving there a prayer for forgiveness.

 

We come now to speak of the connection of St. Sepulchre's with the neighbouring prison of Newgate. Being the nearest church to the prison, that connection naturally was intimate. Its clock served to give the time to the hangman when there was an execution in the Old Bailey, and many a poor wretch's last moments must it have regulated.

 

On the right-hand side of the altar a board with a list of charitable donations and gifts used to contain the following item:—"1605. Mr. Robert Dowe gave, for ringing the greatest bell in this church on the day the condemned prisoners are executed, and for other services, for ever, concerning such condemned prisoners, for which services the sexton is paid £16s. 8d.—£50.

 

It was formerly the practice for the clerk or bellman of St. Sepulchre's to go under Newgate, on the night preceding the execution of a criminal, ring his bell, and repeat the following wholesome advice:—

 

"All you that in the condemned hold do lie,

Prepare you, for to-morrow you shall die;

Watch all, and pray, the hour is drawing near

That you before the Almighty must appear;

Examine well yourselves, in time repent,

That you may not to eternal flames be sent.

And when St. Sepulchre's bell to-morrow tolls,

The Lord above have mercy on your souls.

Past twelve o'clock!"

 

This practice is explained by a passage in Munday's edition of Stow, in which it is told that a Mr. John Dowe, citizen and merchant taylor of London, gave £50 to the parish church of St. Sepulchre's, under the following conditions:—After the several sessions of London, on the night before the execution of such as were condemned to death, the clerk of the church was to go in the night-time, and also early in the morning, to the window of the prison in which they were lying. He was there to ring "certain tolls with a hand-bell" appointed for the purpose, and was afterwards, in a most Christian manner, to put them in mind of their present condition and approaching end, and to exhort them to be prepared, as they ought to be, to die. When they were in the cart, and brought before the walls of the church, the clerk was to stand there ready with the same bell, and, after certain tolls, rehearse a prayer, desiring all the people there present to pray for the unfortunate criminals. The beadle, also, of Merchant Taylors' Hall was allowed an "honest stipend" to see that this ceremony was regularly performed.

 

The affecting admonition—"affectingly good," Pennant calls it—addressed to the prisoners in Newgate, on the night before execution, ran as follows:—

 

"You prisoners that are within,

Who, for wickedness and sin,

 

after many mercies shown you, are now appointed to die to-morrow in the forenoon; give ear and understand that, to-morrow morning, the greatest bell of St. Sepulchre's shall toll for you, in form and manner of a passing-bell, as used to be tolled for those that are at the point of death; to the end that all godly people, hearing that bell, and knowing it is for your going to your deaths, may be stirred up heartily to pray to God to bestow his grace and mercy upon you, whilst you live. I beseech you, for Jesus Christ's sake, to keep this night in watching and prayer, to the salvation of your own souls while there is yet time and place for mercy; as knowing to-morrow you must appear before the judgment-seat of your Creator, there to give an account of all things done in this life, and to suffer eternal torments for your sins committed against Him, unless, upon your hearty and unfeigned repentance, you find mercy through the merits, death, and passion of your only Mediator and Advocate, Jesus Christ, who now sits at the right hand of God, to make intercession for as many of you as penitently return to Him."

 

And the following was the admonition to condemned criminals, as they were passing by St. Sepulchre's Church wall to execution:—" All good people, pray heartily unto God for these poor sinners, who are now going to their death, for whom this great bell doth toll.

 

"You that are condemned to die, repent with lamentable tears; ask mercy of the Lord, for the salvation of your own souls, through the [merits, death, and passion of Jesus Christ, who now sits at the right hand of God, to make intercession for as many of you as penitently return unto Him.

 

"Lord have mercy upon you;

Christ have mercy upon you.

Lord have mercy upon you;

Christ have mercy upon you."

 

The charitable Mr. Dowe, who took such interest in the last moments of the occupants of the condemned cell, was buried in the church of St. Botolph, Aldgate.

 

Another curious custom observed at St. Sepulchre's was the presentation of a nosegay to every criminal on his way to execution at Tyburn. No doubt the practice had its origin in some kindly feeling for the poor unfortunates who were so soon to bid farewell to all the beauties of earth. One of the last who received a nosegay from the steps of St. Sepulchre's was "Sixteen-string Jack," alias John Rann, who was hanged, in 1774, for robbing the Rev. Dr. Bell of his watch and eighteen pence in money, in Gunnersbury Lane, on the road to Brentford. Sixteen-string Jack wore the flowers in his button-hole as he rode dolefully to the gallows. This was witnessed by John Thomas Smith, who thus describes the scene in his admirable anecdotebook, "Nollekens and his Times:"—" I remember well, when I was in my eighth year, Mr. Nollekens calling at my father's house, in Great Portland Street, and taking us to Oxford Street, to see the notorious Jack Rann, commonly called Sixteenstring Jack, go to Tyburn to be hanged. … The criminal was dressed in a pea-green coat, with an immense nosegay in the button-hole, which had been presented to him at St. Sepulchre's steps; and his nankeen small-clothes, we were told, were tied at each knee with sixteen strings. After he had passed, and Mr. Nollekens was leading me home by the hand, I recollect his stooping down to me and observing, in a low tone of voice, 'Tom, now, my little man, if my father-in-law, Mr. Justice Welch, had been high constable, we could have walked by the side of the cart all the way to Tyburn.'"

 

When criminals were conveyed from Newgate to Tyburn, the cart passed up Giltspur Street, and through Smithfield, to Cow Lane. Skinner Street had not then been built, and the Crooked Lane which turned down by St. Sepulchre's, as well as Ozier Lane, did not afford sufficient width to admit of the cavalcade passing by either of them, with convenience, to Holborn Hill, or "the Heavy Hill," as it used to be called. The procession seems at no time to have had much of the solemn element about it. "The heroes of the day were often," says a popular writer, "on good terms with the mob, and jokes were exchanged between the men who were going to be hanged and the men who deserved to be."

 

"On St. Paul's Day," says Mr. Timbs (1868), "service is performed in St. Sepulchre's, in accordance with the will of Mr. Paul Jervis, who, in 1717, devised certain land in trust that a sermon should be preached in the church upon every Paul's Day upon the excellence of the liturgy o the Church of England; the preacher to receive 40s. for such sermon. Various sums are also bequeathed to the curate, the clerk, the treasurer, and masters of the parochial schools. To the poor of the parish he bequeathed 20s. a-piece to ten of the poorest householders within that part of the parish of St. Sepulchre commonly called Smithfield quarter, £4 to the treasurer of St. Bartholomew's Hospital, and 6s. 8d. yearly to the clerk, who shall attend to receive the same. The residue of the yearly rents and profits is to be distributed unto and amongst such poor people of the parish of St. Sepulchre's, London, who shall attend the service and sermon. At the close of the service the vestry-clerk reads aloud an extract from the will, and then proceeds to the distribution of the money. In the evening the vicar, churchwardens, and common councilmen of the precinct dine together."

 

In 1749, a Mr. Drinkwater made a praiseworthy bequest. He left the parish of St. Sepulchre £500 to be lent in sums of £25 to industrious young tradesmen. No interest was to be charged, and the money was to be lent for four years.

 

Next to St. Sepulchre's, on Snow Hill, used to stand the famous old inn of the "Saracen's Head." It was only swept away within the last few years by the ruthless army of City improvers: a view of it in course of demolition was given on page 439. It was one of the oldest of the London inns which bore the "Saracen's Head" for a sign. One of Dick Tarlton's jests makes mention of the "Saracen's Head" without Newgate, and Stow, describing this neighbourhood, speaks particularly of "a fair large inn for receipt of travellers" that "hath to sign the 'Saracen's Head.'" The courtyard had, to the last, many of the characteristics of an old English inn; there were galleries all round leading to the bedrooms, and a spacious gateway through which the dusty mail-coaches used to rumble, the tired passengers creeping forth "thanking their stars in having escaped the highwaymen and the holes and sloughs of the road." Into that courtyard how many have come on their first arrival in London with hearts beating high with hope, some of whom have risen to be aldermen and sit in state as lord mayor, whilst others have gone the way of the idle apprentice and come to a sad end at Tyburn! It was at this inn that Nicholas Nickleby and his uncle waited upon the Yorkshire schoolmaster Squeers, of Dotheboys Hall. Mr. Dickens describes the tavern as it existed in the last days of mail-coaching, when it was a most important place for arrivals and departures in London:—

 

"Next to the jail, and by consequence near to Smithfield also, and the Compter and the bustle and noise of the City, and just on that particular part of Snow Hill where omnibus horses going eastwards seriously think of falling down on purpose, and where horses in hackney cabriolets going westwards not unfrequently fall by accident, is the coach-yard of the 'Saracen's Head' inn, its portals guarded by two Saracen's heads and shoulders, which it was once the pride and glory of the choice spirits of this metropolis to pull down at night, but which have for some time remained in undisturbed tranquillity, possibly because this species of humour is now confined to St. James's parish, where doorknockers are preferred as being more portable, and bell-wires esteemed as convenient tooth-picks. Whether this be the reason or not, there they are, frowning upon you from each side of the gateway; and the inn itself, garnished with another Saracen's head, frowns upon you from the top of the yard; while from the door of the hind-boot of all the red coaches that are standing therein, there glares a small Saracen's head with a twin expression to the large Saracen's head below, so that the general appearance of the pile is of the Saracenic order."

 

To explain the use of the Saracen's head as an inn sign various reasons have been given. "When our countrymen," says Selden, "came home from fighting with the Saracens and were beaten by them, they pictured them with huge, big, terrible faces (as you still see the 'Saracen's Head' is), when in truth they were like other men. But this they did to save their own credit." Or the sign may have been adopted by those who had visited the Holy Land either as pilgrims or to fight the Saracens. Others, again, hold that it was first set up in compliment to the mother of Thomas à Becket, who was the daughter of a Saracen. However this may be, it is certain that the use of the sign in former days was very general.

 

Running past the east end of St. Sepulchre's, from Newgate into West Smithfield, is Giltspur Street, anciently called Knightriders Street. This interesting thoroughfare derives its name from the knights with their gilt spurs having been accustomed to ride this way to the jousts and tournaments which in days of old were held in Smithfield.

 

In this street was Giltspur Street Compter, a debtors' prison and house of correction appertaining to the sheriffs of London and Middlesex. It stood over against St. Sepulchre's Church, and was removed hither from the east side of Wood Street, Cheapside, in 1791. At the time of its removal it was used as a place of imprisonment for debtors, but the yearly increasing demands upon the contracted space caused that department to be given up, and City debtors were sent to Whitecross Street. The architect was Dance, to whom we are also indebted for the grim pile of Newgate. The Compter was a dirty and appropriately convictlooking edifice. It was pulled down in 1855. Mr. Hepworth Dixon gave an interesting account of this City House of Correction, not long before its demolition, in his "London Prisons" (1850). "Entering," he says, "at the door facing St. Sepulchre's, the visitor suddenly finds himself in a low dark passage, leading into the offices of the gaol, and branching off into other passages, darker, closer, more replete with noxious smells, than even those of Newgate. This is the fitting prelude to what follows. The prison, it must be noticed, is divided into two principal divisions, the House of Correction and the Compter. The front in Giltspur Street, and the side nearest to Newgate Street, is called the Compter. In its wards are placed detenues of various kinds—remands, committals from the police-courts, and generally persons waiting for trial, and consequently still unconvicted. The other department, the House of Correction, occupies the back portion of the premises, abutting on Christ's Hospital. Curious it is to consider how thin a wall divides these widely-separate worlds! And sorrowful it is to think what a difference of destiny awaits the children—destiny inexorable, though often unearned in either case—who, on the one side of it or the other, receive an eleemosynary education! The collegian and the criminal! Who shall say how much mere accident— circumstances over which the child has little power —determines to a life of usefulness or mischief? From the yards of Giltspur Street prison almost the only objects visible, outside of the gaol itself, are the towers of Christ's Hospital; the only sounds audible, the shouts of the scholars at their play. The balls of the hospital boys often fall within the yards of the prison. Whether these sights and sounds ever cause the criminal to pause and reflect upon the courses of his life, we will not say, but the stranger visiting the place will be very apt to think for him. …

 

"In the department of the prison called the House of Correction, minor offenders within the City of London are imprisoned. No transports are sent hither, nor is any person whose sentence is above three years in length." This able writer then goes on to tell of the many crying evils connected with the institution—the want of air, the over-crowded state of the rooms, the absence of proper cellular accommodation, and the vicious intercourse carried on amongst the prisoners. The entire gaol, when he wrote, only contained thirty-six separate sleeping-rooms. Now by the highest prison calculation—and this, be it noted, proceeds on the assumption that three persons can sleep in small, miserable, unventilated cells, which are built for only one, and are too confined for that, being only about one-half the size of the model cell for one at Pentonville—it was only capable of accommodating 203 prisoners, yet by the returns issued at Michaelmas, 1850, it contained 246!

 

A large section of the prison used to be devoted to female delinquents, but lately it was almost entirely given up to male offenders.

 

"The House of Correction, and the Compter portion of the establishment," says Mr. Dixon, "are kept quite distinct, but it would be difficult to award the palm of empire in their respective facilities for demoralisation. We think the Compter rather the worse of the two. You are shown into a room, about the size of an apartment in an ordinary dwelling-house, which will be found crowded with from thirty to forty persons, young and old, and in their ordinary costume; the low thief in his filth and rags, and the member of the swell-mob with his bright buttons, flash finery, and false jewels. Here you notice the boy who has just been guilty of his first offence, and committed for trial, learning with a greedy mind a thousand criminal arts, and listening with the precocious instinct of guilty passions to stories and conversations the most depraved and disgusting. You regard him with a mixture of pity and loathing, for he knows that the eyes of his peers are upon him, and he stares at you with a familiar impudence, and exhibits a devil-may-care countenance, such as is only to be met with in the juvenile offender. Here, too, may be seen the young clerk, taken up on suspicion—perhaps innocent—who avoids you with a shy look of pain and uneasiness: what a hell must this prison be to him! How frightful it is to think of a person really untainted with crime, compelled to herd for ten or twenty days with these abandoned wretches!

 

"On the other, the House of Correction side of the gaol, similar rooms will be found, full of prisoners communicating with each other, laughing and shouting without hindrance. All this is so little in accordance with existing notions of prison discipline, that one is continually fancying these disgraceful scenes cannot be in the capital of England, and in the year of grace 1850. Very few of the prisoners attend school or receive any instruction; neither is any kind of employment afforded them, except oakum-picking, and the still more disgusting labour of the treadmill. When at work, an officer is in attendance to prevent disorderly conduct; but his presence is of no avail as a protection to the less depraved. Conversation still goes on; and every facility is afforded for making acquaintances, and for mutual contamination."

 

After having long been branded by intelligent inspectors as a disgrace to the metropolis, Giltspur Street Compter was condemned, closed in 1854, and subsequently taken down.

 

Nearly opposite what used to be the site of the Compter, and adjoining Cock Lane, is the spot called Pie Corner, near which terminated the Great Fire of 1666. The fire commenced at Pudding Lane, it will be remembered, so it was singularly appropriate that it should terminate at Pie Corner. Under the date of 4th September, 1666, Pepys, in his "Diary," records that "W. Hewer this day went to see how his mother did, and comes home late, telling us how he hath been forced to remove her to Islington, her house in Pye Corner being burned; so that the fire is got so far that way." The figure of a fat naked boy stands over a public house at the corner of the lane; it used to have the following warning inscription attached:— "This boy is in memory put up of the late fire of London, occasioned by the sin of gluttony, 1666." According to Stow, Pie Corner derived its name from the sign of a well-frequented hostelry, which anciently stood on the spot. Strype makes honourable mention of Pie Corner, as "noted chiefly for cooks' shops and pigs dressed there during Bartholomew Fair." Our old writers have many references—and not all, by the way, in the best taste—to its cookstalls and dressed pork. Shadwell, for instance, in the Woman Captain (1680) speaks of "meat dressed at Pie Corner by greasy scullions;" and Ben Jonson writes in the Alchemist (1612)—

 

"I shall put you in mind, sir, at Pie Corner,

Taking your meal of steam in from cooks' stalls."

 

And in "The Great Boobee" ("Roxburgh Ballads"):

 

"Next day I through Pie Corner passed;

The roast meat on the stall

Invited me to take a taste;

My money was but small."

 

But Pie Corner seems to have been noted for more than eatables. A ballad from Tom D'Urfey's "Pills to Purge Melancholy," describing Bartholomew Fair, eleven years before the Fire of London, says:—

 

"At Pie-Corner end, mark well my good friend,

'Tis a very fine dirty place;

Where there's more arrows and bows. …

Than was handled at Chivy Chase."

 

We have already given a view of Pie Corner in our chapter on Smithfield, page 361.

 

Hosier Lane, running from Cow Lane to Smithfield, and almost parallel to Cock Lane, is described by "R. B.," in Strype, as a place not over-well built or inhabited. The houses were all old timber erections. Some of these—those standing at the south corner of the lane—were in the beginning of this century depicted by Mr. J. T. Smith, in his "Ancient Topography of London." He describes them as probably of the reign of James I. The rooms were small, with low, unornamented ceilings; the timber, oak, profusely used; the gables were plain, and the walls lath and plaster. They were taken down in 1809.

 

In the corner house, in Mr. Smith's time, there was a barber whose name was Catchpole; at least, so it was written over the door. He was rather an odd fellow, and possessed, according to his own account, a famous relic of antiquity. He would gravely show his customers a short-bladed instrument, as the identical dagger with which Walworth killed Wat Tyler.

 

Hosier Lane, like Pie Corner, used to be a great resort during the time of Bartholomew Fair, "all the houses," it is said in Strype, "generally being made public for tippling."

 

We return now from our excursion to the north of St. Sepulchre's, and continue our rambles to the west, and before speaking of what is, let us refer to what has been.

 

Turnagain Lane is not far from this. "Near unto this Seacoal Lane," remarks Stow, "in the turning towards Holborn Conduit, is Turnagain Lane, or rather, as in a record of the 5th of Edward III., Windagain Lane, for that it goeth down west to Fleet Dyke, from whence men must turn again the same way they came, but there it stopped." There used to be a proverb, "He must take him a house in Turnagain Lane."

 

A conduit formerly stood on Snow Hill, a little below the church. It is described as a building with four equal sides, ornamented with four columns and pediment, surmounted by a pyramid, on which stood a lamb—a rebus on the name of Lamb, from whose conduit in Red Lion Street the water came. There had been a conduit there, however, before Lamb's day, which was towards the close of the sixteenth century.

 

At No. 37, King Street, Snow Hill, there used to be a ladies' charity school, which was established in 1702, and remained in the parish 145 years. Dr. Johnson and Mrs. Thrale were subscribers to this school, and Johnson drew from it his story of Betty Broom, in "The Idler." The world of domestic service, in Betty's days, seems to have been pretty much as now. Betty was a poor girl, bred in the country at a charity-school, maintained by the contributions of wealthy neighbours. The patronesses visited the school from time to time, to see how the pupils got on, and everything went well, till "at last, the chief of the subscribers having passed a winter in London, came down full of an opinion new and strange to the whole country. She held it little less than criminal to teach poor girls to read and write. They who are born to poverty, she said, are born to ignorance, and will work the harder the less they know. She told her friends that London was in confusion by the insolence of servants; that scarcely a girl could be got for all-work, since education had made such numbers of fine ladies, that nobody would now accept a lower title than that of a waiting-maid, or something that might qualify her to wear laced shoes and long ruffles, and to sit at work in the parlour window. But she was resolved, for her part, to spoil no more girls. Those who were to live by their hands should neither read nor write out of her pocket. The world was bad enough already, and she would have no part in making it worse.

 

"She was for a long time warmly opposed; but she persevered in her notions, and withdrew her subscription. Few listen, without a desire of conviction, to those who advise them to spare their money. Her example and her arguments gained ground daily; and in less than a year the whole parish was convinced that the nation would be ruined if the children of the poor were taught to read and write." So the school was dissolved, and Betty with the rest was turned adrift into the wide and cold world; and her adventures there any one may read in "The Idler" for himself.

 

There is an entry in the school minutes of 1763, to the effect that the ladies of the committee censured the schoolmistress for listening to the story of the Cock Lane ghost, and "desired her to keep her belief in the article to herself."

 

Skinner Street—now one of the names of the past—which ran by the south side of St. Sepulchre's, and formed the connecting link between Newgate Street and Holborn, received its name from Alderman Skinner, through whose exertions, about 1802, it was principally built. The following account of Skinner Street is from the picturesque pen of Mr. William Harvey ("Aleph"), whose long familiarity with the places he describes renders doubly valuable his many contributions to the history of London scenes and people:—"As a building speculation," he says, writing in 1863, "it was a failure. When the buildings were ready for occupation, tall and substantial as they really were, the high rents frightened intending shopkeepers. Tenants were not to be had; and in order to get over the money difficulty, a lottery, sanctioned by Parliament, was commenced. Lotteries were then common tricks of finance, and nobody wondered at the new venture; but even the most desperate fortune-hunters were slow to invest their capital, and the tickets hung sadly on hand. The day for the drawing was postponed several times, and when it came, there was little or no excitement on the subject, and whoever rejoiced in becoming a house-owner on such easy terms, the original projectors and builders were understood to have suffered considerably. The winners found the property in a very unfinished condition. Few of the dwellings were habitable, and as funds were often wanting, a majority of the houses remained empty, and the shops unopened. After two or three years things began to improve; the vast many-storeyed house which then covered the site of Commercial Place was converted into a warehousing depôt; a capital house opposite the 'Saracen's Head' was taken by a hosier of the name of Theobald, who, opening his shop with the determination of selling the best hosiery, and nothing else, was able to convince the citizens that his hose was first-rate, and, desiring only a living profit, succeeded, after thirty years of unwearied industry, in accumulating a large fortune. Theobald was possessed of literary tastes, and at the sale of Sir Walter Scott's manuscripts was a liberal purchaser. He also collected a library of exceedingly choice books, and when aristocratic customers purchased stockings of him, was soon able to interest them in matters of far higher interest…

 

"The most remarkable shop—but it was on the left-hand side, at a corner house—was that established for the sale of children's books. It boasted an immense extent of window-front, extending from the entrance into Snow Hill, and towards Fleet Market. Many a time have I lingered with loving eyes over those fascinating story-books, so rich in gaily-coloured prints; such careful editions of the marvellous old histories, 'Puss in Boots,' 'Cock Robin,' 'Cinderella,' and the like. Fortunately the front was kept low, so as exactly to suit the capacity of a childish admirer. . . . . But Skinner Street did not prosper much, and never could compete with even the dullest portions of Holborn. I have spoken of some reputable shops; but you know the proverb, 'One swallow will not make a summer,' and it was a declining neighbourhood almost before it could be called new. In 1810 the commercial depôt, which had been erected at a cost of £25,000, and was the chief prize in the lottery, was destroyed by fire, never to be rebuilt—a heavy blow and discouragement to Skinner Street, from which it never rallied. Perhaps the periodical hanging-days exercised an unfavourable influence, collecting, as they frequently did, all the thieves and vagabonds of London. I never sympathised with Pepys or Charles Fox in their passion for public executions, and made it a point to avoid those ghastly sights; but early of a Monday morning, when I had just reached the end of Giltspur Street, a miserable wretch had just been turned off from the platform of the debtors' door, and I was made the unwilling witness of his last struggles. That scene haunted me for months, and I often used to ask myself, 'Who that could help it would live in Skinner Street?' The next unpropitious event in these parts was the unexpected closing of the child's library. What could it mean? Such a well-to-do establishment shut up? Yes, the whole army of shutters looked blankly on the inquirer, and forbade even a single glance at 'Sinbad' or 'Robinson Crusoe.' It would soon be re-opened, we naturally thought; but the shutters never came down again. The whole house was deserted; not even a messenger in bankruptcy, or an ancient Charley, was found to regard the playful double knocks of the neighbouring juveniles. Gradually the glass of all the windows got broken in, a heavy cloud of black dust, solidifying into inches thick, gathered on sills and doors and brickwork, till the whole frontage grew as gloomy as Giant Despair's Castle. Not long after, the adjoining houses shared the same fate, and they remained from year to year without the slightest sign of life—absolute scarecrows, darkening with their uncomfortable shadows the busy streets. Within half a mile, in Stamford Street, Blackfriars, there are (1863) seven houses in a similar predicament— window-glass demolished, doors cracked from top to bottom, spiders' webs hanging from every projecting sill or parapet. What can it mean? The loss in the article of rents alone must be over £1,000 annually. If the real owners are at feud with imaginary owners, surely the property might be rendered valuable, and the proceeds invested. Even the lawyers can derive no profit from such hopeless abandonment. I am told the whole mischief arose out of a Chancery suit. Can it be the famous 'Jarndyce v. Jarndyce' case? And have all the heirs starved each other out? If so, what hinders our lady the Queen from taking possession? Any change would be an improvement, for these dead houses make the streets they cumber as dispiriting and comfortless as graveyards. Busy fancy will sometimes people them, and fill the dreary rooms with strange guests. Do the victims of guilt congregate in these dark dens? Do wretches 'unfriended by the world or the world's law,' seek refuge in these deserted nooks, mourning in the silence of despair over their former lives, and anticipating the future in unappeasable agony? Such things have been—the silence and desolation of these doomed dwellings make them the more suitable for such tenants."

 

A street is nothing without a mystery, so a mystery let these old tumble-down houses remain, whilst we go on to tell that, in front of No. 58, the sailor Cashman was hung in 1817, as we have already mentioned, for plundering a gunsmith's shop there. William Godwin, the author of "Caleb Williams," kept a bookseller's shop for several years in Skinner Street, at No. 41, and published school-books in the name of Edward Baldwin. On the wall there was a stone carving of Æsop reciting one of his fables to children.

 

The most noteworthy event of the life of Godwin was his marriage with the celebrated Mary Wollstonecraft, authoress of a "Vindication of the Rights of Women," whose congenial mind, in politics and morals, he ardently admired. Godwin's account of the way in which they got on together is worth reading:—"Ours," he writes, "was not an idle happiness, a paradise of selfish and transitory pleasures. It is, perhaps, scarcely necessary to mention, that influenced by ideas I had long entertained, I engaged an apartment about twenty doors from our house, in the Polygon, Somers Town, which I designed for the purpose of my study and literary occupations. Trifles, however, will be interesting to some readers, when they relate to the last period of the life of such a person as Mary. I will add, therefore, that we were both of us of opinion, that it was possible for two persons to be too uniformly in each other's society. Influenced by that opinion, it was my practice to repair to the apartment I have mentioned as soon as I rose, and frequently not to make my appearance in the Polygon till the hour of dinner. We agreed in condemning the notion, prevalent in many situations in life, that a man and his wife cannot visit in mixed society but in company with each other, and we rather sought occasions of deviating from than of complying with this rule. By this means, though, for the most part, we spent the latter half of each day in one another's society, yet we were in no danger of satiety. We seemed to combine, in a considerable degree, the novelty and lively sensation of a visit with the more delicious and heartfelt pleasure of a domestic life."

 

This philosophic union, to Godwin's inexpressible affliction, did not last more than eighteen months, at the end of which time Mrs. Godwin died, leaving an only daughter, who in the course of time became the second wife of the poet Shelley, and was the author of the wild and extraordinary tale of "Frankenstein."

 

www.british-history.ac.uk/report.aspx?compid=45116

The last execution performed at the Tower of London was Josef Jakobs, a German spy who parachuted into Cambridgeshire in 1941 but was spotted and captured at his landing point. He'd broken his ankle on impact, so was seated for his death by firing squad in August 1941. The damage to the chair was caused by the seven Lee Enfield .303 bullets that struck him in the chest.

 

Tower of London armory display in April 2012.

Available for purchase from www.ballaratheritage.com.au

VHR - springthorpe

Statement of Significance

 

What is significant?

 

The Springthorpe Memorial within the Boroondara Cemetery (VHR0049)commemorates Annie Springthorpe, and was erected in 1897 by her husband Dr John Springthorpe. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures. It contains twelve columns of deep green granite from Scotland supporting a Harcourt granite superstructure, and a glass dome roof of lead lighting.

 

How is it significant?

 

The Springthorpe Memorial is of historic and architectural significance to the State of Victoria

 

Why is it significant?

 

The Springthorpe Memorial is historically important in demonstrating nineteenth century social and cultural attitudes to death, and for reflecting the ideals of the Victorian Garden Cemetery movement which aimed at providing comfort for mourners. The memorial is important in demonstrating uniqueness, no other example being known of such aesthetic composition, architectural design and execution, or scale. It is important in exhibiting good design and aesthetic characteristics and for the richness and unusual integration of features. The Springthorpe Memorial is also important in illustrating the principal characteristics of the work of a number of artists including Desbrowe Annear, Mackennal, the glass manufacturers Auguste Fischer and the bronze work of Marriots.

VHR Statement of Significance

 

What is significant?

 

Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery

 

Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.

 

Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.

 

The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.

 

The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.

 

The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.

 

By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.

 

The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.

 

The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.

 

Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')

 

Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.

 

The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.

 

How is it significant?

 

Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.

 

Why is it significant?

 

The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.

 

The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.

 

The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.

 

The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.

 

The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.

 

The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.

.

Royal Hong Kong Police Memorial.

 

In memory of the Hong Kong Police and Royal Hong Kong Police

Who died in the Two World Wars or in the Execution of their Duty

In World War I, many Hong Kong officers volunteered to serve in the British Armed Forces in Europe and ten are known to have died and one died of his wounds in 1919. World War II in 1941 following the Japanese invasion of Hong Kong over one hundred officers lost their lives resisting the Japanese or subsequently, whilst incarcerated in detention camps.

 

Virtual Memorial

 

WW1 fallen

Police Constable 25 Herbert George WAKEFORD. Hong Kong Police. Served as Corporal R/15516 2nd Kings Royal Rifle Corps. He enlisted into the army on the 9 September 1915 aged 27 years, residing at 8 Irchester Street, East Cliff, Ramsgate. Occupation, police officer with the Hong Kong Police. Killed in action 16/05/1916 aged 28 years. Born at Newhaven, Sussex to William and Rose Wakeford. In 1901 he was residing with his mother, siblings and stepfather Albert Smith at 4 Cobourge Place, Ramsgate. At the time of his death his mother was residing at 17, Camden Square, Ramsgate, Kent. At rest in St Patrick’s Cemetery, Loos, France

 

Police Constable 52. Arthur ALLCHURCH. Hong Kong Police Force. Served at Rifleman R/17759, 2nd Kings Royal Rifle Corps. Died 01/07/1916 aged 24. Son of Mrs. E. Still, of 25A, Standard Road, Hounslow, Middlesex. Came with the contingent from Hong Kong. Commemorated on the Arras Memorial, France.

 

Police Constable 27 Ernest George PAINTING. Hong Kong Police Force. Served as Lance Corporal R17760 2nd Kings Royal Rifle Corps. Died 01/07/1916 aged 22 years. Son of Ernest and Sarah Painting, of Crowmarsh Gifford, Wallingford, Berks. Volunteered from the Hong Kong Police Force.

 

Police Constable 125 Harold Lee WILSON Hong Kong Police. Served as Lance Corporal R/15463, 1st King’s Royal Rifle Corps died of wounds 27/07/1916 aged 24 years. He enlisted into the army 9 September 1915 aged 26 years. Occupation police officer with the Hong Kong Police. Son of Edward and Mary Ann Wilson, of 53, Alexandra Street, Kettering. Commemorated on the Thiepval Memorial, Somme, France.

 

Police Constable 114 Peter Boyd GARDNER Hong Kong Police Force. Served as Air Mechanic 1st Class 28923 Royal Flying Corps died 06/12/1916 aged 28 years. Son of Peter Boyd Gardner and Elizabeth Love Gardner,nee Love of Currie, Midlothian. In April 1916 he disembarked in London from Hong Kong aged 29, occupation police officer, Hong Kong Police. Born at Leven Hall, Musselburgh. At rest in Currie Parish Churchyard, Midlothian.

 

Police Constable 124 Ernest Frederick DRURY. (Military Medal) Hong Kong Police Force. Served as Sergeant R/15465 1st King’s Royal Rifle Corps. Killed in action 17/02/1917 aged 26. Son of Edward and Lucy Drury, of 14, Blackheath Hill, Greenwich, London. Commemorated on the Thiepval Memorial, Somme, France.

 

Police Constable 155 Robert EDWARDS. Hong Kong Police Force. Served as Corporal 17812 48th Squadron, Royal Flying Corps died 30/04/1917. At rest in warlincourt Halte British Cemetery, Saulty, France.

 

Police Constable 120 Edward SILLIS Hong Kong Police Force. Served as Private 6810, 2nd Coldstream Guards died 01/08/1917 aged 28 years. Son of William and Alice Silliss, nee Gaffney of Old Buckenham, Attleborough, Norfolk. In 1911 he was residing with his parents and siblings at Old Buckenham, Attleborough. His father was granted a war gratuity 4 December 1917 revised 18 November 1919. Commemorated in the Menin Gate Memorial, Ypres, Belgium.

 

Police Constable 81 John DELAHUNTY. Hong Kong Police Force. Served as Private 10793, 2nd Irish Guards killed in action 09/10/1917 aged 27 years. Son of Michael and Mary Delahunty, of Inistioge, Co. Kilkenny. Commemorated on the Tyne Cot Memorial, West Vlaanderen, Belgium.

 

Police Constable 69 Frederick James. SINGLETON. Hong Kong Police Force. Served as Sergeant 17803 of No 6 Aircraft Acceptance Park Royal Air Force died 02/11/1918. On the 1st January 1916 he disembarked at London from Hong Kong, occupation, police officer, Hong Kong Police Force. Residing at 78Barnaby Buildings, Old Kent Road, London. At rest in Glasgow Western Necropolis, Glasgow, Scotland.

 

Police Constable Albert Edmond CLARKE. Hong Kong Police Force. Served as Corporal 1405, Special Reserve, 1st King Edward’s Horse. Born 1889 at St Pancras, London, resided at Goole, Yorkshire.

On the 1st January 1916 he disembarked at Plymouth from Hong Kong with many others from the Hong Kong Police with the purpose of serving their country in the Great War. He was aged 27 years and he gave his residence in England as 27 Park Terrace, Goole Yorkshire. He died of his wounds at is home 15/05/1919. At rest in Goole Cemetery, Yorkshire.

 

WW2 Fallen

 

Police Constable 409 ABDUL AZIZ KHAN. Hong Kong Police Force Died 22/07/1943 aged 27 years Hong Kong Police Force. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable 798 AHMAD KHAN. Hong Kong Police Force. Died 07/11/1942 aged 19 years. Son of Muhammad Bakhsh, of Murid, Jhelum, Pakistan. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable 128 ALI MUHAMMAD. Hong Kong Police Force Died16/04/1942 aged 38 years. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable 772 ALI MUHAMMAD Hong Kong Police Force Died 23/10/1943 aged 38 years. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Lance Sergeant 612 ALLAH JAWAYA. Hong Kong Police Force. Died 19/12/1941. Commemorated on the Sai Wan Memorial, Hong Kong

 

Police Constable 478 ARJUN SINGH. Hong Kong Police Force. Died Between 01/12/1941 and 31/12/1941. Commemorated on the Sai Wan Memorial, Hong Kong

 

Police Constable 108 BABU KHAN Hong Kong Police Force Died 03/02/1942 aged 22 years. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Inspector ALBERT VICTOR BAKER Hong Kong Police Force Died 15/12/1941 aged 44 years. Son of Albert and Katherine Baker, of Barking, Essex husband of Edith Alice Baker, of Monrovia, California, U.S.A. At rest in Stanley Military Cemetery, Hong Kong.

 

Police Constable 235 BAKHSHISH SINGH Hong Kong Police Force Died 19/12/1941. Commemorated on the Sai Wan Memorial, Hong Kong

 

Police Constable 423 BALWANT SINGH Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Constable R/247 BANSI RAM. Died Between 01/01/1945 and 31/12/1945aged 45 years. Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 521 BOG SINGH Died 19/12/1941. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Lance Sergeant LSA/68 William CAMPBELL, WILLIAM Hong Kong Police Force Died 02/10/1942 aged 31 years. years enroute from Hong Kong to Japan in He was a prisoner in ship Lisbon Maru when it was sunk by torpedo. Lisbon Maru was a cargo ship and it sank with thousands of Allied PoWs trapped in the hold by the Japanese. Son of James and Elizabeth Campbell. Husband of Ansonina Loughlin, of Hampstead, London,

England. Commemorated on the Sai Wan Memorial, Hong Kong.

www.telegraph.co.uk/history/world-war-two/9575914/The-las.... Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/442 CHAN CHAM. Died Between 01/09/1942 and 30/09/1942. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable R/755 CHANAN SINGH. Died Between 03/09/1939 and 31/12/1947 aged 25 years. Indian Coy, Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 168 CHEUNG PAK WING Died Between 01/08/1942 and 31/08/1942 aged 28 years.

Chinese Coy, Hong Kong Police Force. Husband of Yeung Fong, of Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/544 CHOW LEUNG Died Between 01/10/1942 and 31/10/1942 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Lance Sergeant LSA/191 PATRICK DONOHUE. Died 12/12/1941. Hong Kong Police Force. Son of Mrs. E. Donohue, of Woodside, Long Island, New York, U.S.A. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 394 DULA SINGH Died 19/12/1941. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable R/1443 FAN WING KWAN Died Between 03/09/1939 and 31/12/1947 Chinese Coy.

Hong Kong Police Force Husband of Lei Sau Fong, of Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 136 FAZL DAD Died 21/04/1944 aged 22 years. Hong Kong Police Force. Son of Bahadur Khan, of Karsal, Jhelum, Pakistan. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable 395 FAZL ILLAHI Died 19/12/1941, Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 324 FAZL MUHAMMAD Died 16/10/1944 aged 40 years. Hong Kong Police Force

Buried at the time in Kowloon (Ho Man Tin) No. 3 Muslim Cemetery now at Sai Wan War Cemetery, Hong Kong.

 

Police Constable 127 FAZL MUHAMMAD Died 22/01/1945 aged 35 years. Hong Kong Police Force. At rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable183 FAZL SHAH. Died 25/12/1941. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Lance Sergeant LSA/34 MICHAEL FLAHERTY. Died 22/06/1944 aged 45 years. Hong Kong Police Force. Husband of Lily Wong, of Hong Kong. At Rest in Stanley Military Cemetery, Hong Kong.

 

Police Constable1070 FONG IU NIN. Died 18/12/1941. Chinese Coy, Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 456 GHAZAN KHAN. Died 03/05/1945 aged 23 years. Hong Kong Police Force. At rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 165 GHULAM ALI. Died 30/01/1943 aged 21 years. Hong Kong Police Force. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable 797 GHULAM MUHAMMAD Died 16/10/1944 aged 44 years. Hong Kong Police Force. Buried at the time in Kowloon (Ho. Man Tin) No. 3 Muslim Cemetery now at Sai Wan War Cemetery, Hong Kong.

 

Sub-Inspector CHARLES HENRY GOODWIN. Died 25/06/1944 aged 44 years. Hong Kong Police Force.

Son of Frederick and Caraline Goodwin; husband of Kwong Yuet Goodwin, of Kowloon, Hong Kong.

At Rest in Stanley Military Cemetery, Hong Kong.

 

Police Constable 47 GUL HUSAIN. Died 15/09/1942 aged 24 years. Hong Kong Police Force. Son of Nur Husain, of Bhakri, Jhelum, Pakistan. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Constable 331 GURDAYAL SINGH. Died 10/10/1942 aged 30 years Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Lance Sergeant 502 HAKIM ALI. Died 01/11/1944 aged 44 years. Hong Kong Police Force. Buried at the time in Kowloon (Ho Man Tin) No. 3 Muslim Cemetery now at Sai Wan War Cemetery, Hong Kong.

 

Inspector HENRY GEORGE HALLAM. Of Police Headquarters Station, Hong Kong, Hong Kong Police. Formerly Hong Kong Police. Secret Service work in Singapore. Escaped 13.2.42 on Relau but intercepted by the Japanese 16.2.42 at Muntok. Force Died 18/07/1944 at a Civilian Camp, Sumatra. His effects went to Dora Eleanor Maud Howe married woman and Alfred Howe, Captain, British Army. He was orginally buried in Grave E2 at Muntok Cemetery, Indonesia. His body was removed after the 1960s. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Lance Sergeant 476 HARNAM SINGH. Died 25/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 650 HAZURA SINGH. Died 30/01/1945 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/148 HON PAN. Died Between 01/09/1942 and 30/09/1942 Hong Kong Police Force. Husband of Yeun Cheuk Man, of Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Inspector, ALBERT LESLIE HOPKINS, Hong Kong Police Force. 15th December 1941. Age 42. Son of Mr. and Mrs. A. Hopkins husband of Doreen M. Hopkins, of Bournemouth, Hampshire. At rest in Stanley Military Cemetery, Hong Kong.

Wills and Admin, Ancestry. His residence in England was Bridgeford House, Gold Hill, Chalfont, St Peters Buckinghamshire. Died 19th December 1941 on war service. His effects went to Mary Elizabeth May Hopkins, widow.

 

Sergeant PSA/38 GEORGE ALFRED HUDSON. Died 12/12/1941. Hong Kong Police Force. Son of George and Rosie Hudson, husband of Sarah Maria Hudson, of Deiniolen, Caernarvonshire, Wales.

Wills and Admin, Ancestry. His residence in Hong Kong was Prince Edward Road, Kowloon, Hong Kong and died on date stated. His effects went to Sarah Maria Hudson, widow. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/952 HUI PUK YUEN. Died Between 01/09/1942 and 30/09/1942. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Sergeant ILLIN, V. Died Between 01/12/1944 and 31/12/1944 Hong Kong Police Force and British Army Aid Group. At rest in Sai Wan Cemetery, Hong Kong.

 

Sergeant A/178 HERBERT WINKFIELD JACKSON. Hong Kong Police Force. Died 23/09/1945 aged 30 as the direct result of a shark attacks.

Wills and Admin, Ancestry. His residence in England was Hunt Lane, Taplow, Buckinghamshire died 24 September 1945 at Hong Kong. His effects went to John Jacob Jackson, farm manager.

At rest in Stanley Military Cemetery, Hong Kong

 

The following extract credit to Battle for Hong Kong and Military History by Philip G Cracknell

Jackson, Herbert Winkfield (27/10/1912 – 23/9/1945)

He was a Police Sgt who tragically died just after the war ended whilst still in Stanley Camp. He was swimming at Tweed Bay Beach when a shark attacked him. He died from shock and loss of blood after he was dragged ashore. "Some forty years ago when I was interviewing former Stanley internees, Mrs Irene Braude told me she was on the beach the day Sgt Jackson was attacked by the shark and helped to pull him out of the water. The shark had bitten Jackson's leg and he bled to death." (Source: Geoffrey Emerson). John Stanton, a teenage boy was also on the beach that day with his friends. "We heard a cry for help. We all jumped in and swam to the rock and splashed to frighten the shark off. We brought him back to the beach covered in blood, his left buttock missing." (Source: J.K. Stanton's Memoires IWM). An Australian newspaper reports that Captain A.M. Braude of HK Telephone Co rescued him. The news report goes on to say that large sharks have not been seen in Hong Kong bathing waters and it is believed this one followed a ship.

 

Police Constable 40 JAG MAL SINGH. Died 19/12/1941. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 735 JAGAT SINGH. Died 16/04/1943. Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 525 JERNAIL SINGH Died 19/12/1941.Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 271 JOGINDAR SINGH. Died 26/06/1944 aged 25. Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 560 JOGINDAR SINGH. Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Sub-Inspector ALBERT JOSEPH JOHNSON. Born 1888, died of wounds received while on duty 18/12/1941 aged 53 years. Hong Kong Police Force. Son of Henry and Mary Johnson, of East Dulwich, London, England. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 388 KALA SINGH. Died 23/12/1941. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable KAM YUEN Died Between 01/08/1942 and 31/08/1942 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 01. KAPUR SINGH. Died 25/03/1942. Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 89 KARAM SINGH. Died 19/12/1941. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable R/264 KARAMAT, A K. Died 11/12/1944 aged 27 years Reserve (Indian Coy). Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 766 KARNAIL SINGH Died 27/03/1943 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Constable 253 KARTAR SINGH. Died 15/02/1942 aged 30 years. Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 417 KARTAR SINGH

Died Between 01/01/1945 and 31/12/1945 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 496 KARTAR SINGH Died 16/07/1943 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 258 KARTAR SINGH Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 72 KARTAR SINGH Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 491 KEHAR SINGH Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable R/266 KESAR ALI Died 18/12/1941 aged 45 years. Indian Coy. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 367 KIRPAL SINGH Died 17/12/1941 aged 35 years. Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Lance Sergeant 139 KISHAN SINGH. Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 590 LACHHMAN SINGH. Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/11 LAM CHI MING. Died 25/12/1941 Hong Kong Police Force. Husband of Chung Yiu, of Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/665 LAU KAU. Died Between 01/09/1942 and 30/09/1942 Hong Kong Police Force. Husband of Li Nga, of Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/297 LAU LOI. Died Between 01/01/1942 and 31/12/1942 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable PCC/606 LEE SHUN. Died Between 01/06/1943 and 30/06/1943 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Lance Sergeant RICHARDSON BARRY LOXLEY LESLIE, Hong Kong Police Force. Born 4 May 1915 in Angus, Scotland. Died 26/12/1941 aged 26 years in the Queen Mary Hospital, Hong Kong. Son of Samuel Hunter Leslie Marie Lerslie nee McWalter and stepson of Frances E. Leslie, of Cockerton, Darlington, Co. Durham. At rest in Hong Kong Cemetery.

 

Detective Constable PCC/98 LEUNG MING. Died Between 01/01/1942 and 31/12/1942, Hong Kong Police Force. Husband of Li Wu, of Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Private 2057 LEUNG SHUI MING. Died Between 20/12/1941 and 25/12/1941 aged 27 years. Hong Kong Police Force. Husband of Yung Shau Han, of Kowloon, Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Private 2040 LI FU. Died Between 19/12/1941 and 25/12/1941 aged 29 years. Hong Kong Police Force. Son of Wong Sau Chang, of Kowloon, Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/292 LI LIM SANG. Died Between 01/12/1941 and 31/12/1941. Hong Kong Police Force. Son of Kwan Ling. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/289 LI WAH. Died Between 01/05/1942 and 31/05/1942. Hong Kong Police Force. Husband of Tang Kwan Tai, of Hong Kong. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Engineer E/22 LO WUN. Died 17/12/1941. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/398 LO YUI. Died Between 01/01/1942 and 31/01/1942. Hong Kong Police Force. Husband of Ho Wai Lan, of Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Assistant Superintendent LOIE, DAVID. Died Between 03/09/1939 and 31/12/1947. Chinese Coy.

Hong Kong Police Force. Awarded King's Police Medal for Gallantry. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Staff Sergeant PSA/45 PETER HENRY LOUGHLIN Hong Kong Police Force. (Royal Naval Dockyard Police)

Died 02/10/1942 aged 35 years enroute from Hong Kong to Japan in He was a prisoner in ship Lisbon Maru when it was sunk by torpedo. Lisbon Maru was a cargo ship and it sank with thousands of Allied PoWs trapped in the hold by the Japanese. Husband of Ansonina Loughlin, of Hampstead, London,

England. Commemorated on the Sai Wan Memorial, Hong Kong.

www.telegraph.co.uk/history/world-war-two/9575914/The-las...

Wills and Admin, Ancestry. His address was Police Headquarters, Hong Kong, China died at se on date stated. His effects went to Antonia Loughlin, widow.

 

Lance Serjeant LSC/698 MAK PUI Died Between 01/05/1945 and 31/05/1945 Hong Kong Police Force Husband of Chan Kwai Chu. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 734 MALIK KHAN Died 23/12/1942 aged 27 years. Hong Kong Police Force. Buried at the time in Kowloon (ho Man Tin) No.3 Muslim Cemetery. Now at rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable PCC/419 MAN LUNG. Died 03/04/1943 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 123 MEHDI KHAN. Died 29/01/1942 aged 30 years. Hong Kong Police Force. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable355 MEHNGA KHAN

Died 12/02/1945 aged 35 years. Hong Kong Police Force. Buried at the time in Kowloon (ho Man Tin) No.3 Muslim Cemetery. Now at rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 690 MIR ZAMAN. Died 25/09/1942 aged 22 years. Hong Kong Police Force. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable 259 MIRAN KHAN

Died 28/11/1944 aged 37 years. Hong Kong Police Force. Buried at the time in Kowloon (ho Man Tin) No.3 Muslim Cemetery. Now at rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 150 MUHAMMAD AMIN. Died Between 01/12/1941 and 31/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 555 MUHAMMAD DIN. Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 795 MUHAMMAD KHAN. Died 29/07/1943 aged 23 years. Hong Kong Police Force. Buried at the time in Kowloon (ho Man Tin) No.3 Muslim Cemetery. Now at rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 195 MUHAMMAD KHAN. Died 13/05/1945 aged 25 years. Hong Kong Police Force. Buried at the time in Kowloon (ho Man Tin) No.3 Muslim Cemetery. Now at rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 349 MUHAMMAD SADIQ. Died 27/03/1945 aged 25 years. Hong Kong Police Force. Buried at the time in Kowloon (ho Man Tin) No.3 Muslim Cemetery. Now at rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 161 MUHAMMAD YUSUF. Died 07/07/1942 aged 28 years. Hong Kong Police Force. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Constable307 MUKHTIYAR SINGH. Died 01/04/1943 aged 22 years. Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Constable 346 MUNSHA SINGH. Died 07/06/1944 aged 38 years. Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 05. NADIR KHAN. Died 14/09/1942 aged 25 years Hong Kong Police Force. Son of Mawaz Khan, of Rupwal, Jhelum, Pakistan. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Lance Sergeant 444 NAND SINGH. Died 06/04/1945 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable274 NAND SINGH. Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 17 NATHE KHAN. Died 16/08/1945 aged 48 years. Hong Kong Police Force. At rest in Sai Wan War Cemetery, Hong Kong.

 

Constable113 NAZAR SINGH. Died 26/10/1943 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable R/1291 NG CHI TAT. Died Between 03/09/1939 and 31/12/1947. Chinese Coy. Hong Kong Police Force. Son of Chung Yuk, of Kowloon, Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Lance Sergeant 157 NG PING KWONG. Died 21/02/1942 Chinese Coy. Hong Kong Police Force. Husband of Wong Lai Fan, of Kowloon, Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 601 NIAMAT KHAN. Died 16/10/1944 aged 42 years. Hong Kong Police Force. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable 81 NUR DAD. Died 08/03/1945 aged 38 years. Hong Kong Police Force. At rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 784 NUR HUSAIN SHAH. Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Inspector NUR MUHAMMAD. Died 13/08/1945 aged 48 years. Hong Kong Police Force. At rest in Sai Wan War Cemetery, Hong Kong.

 

Inspector THOMAS O'CONNOR. Police Department Hong Kong Police Force. Died in action 18/12/1941 aged 46 years. Son of Thomas and Isabella O'Connor, husband of Lily Maud O'Connor, of Purley, Surrey, England. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Lance Sergeant LSA/92 THOMAS ARTHUR PORRITT. Died of wound received while on duty 18/12/1941 aged 40 years Hong Kong Police Force. Born 29 April 1907 at Stokesley Yorkshire to John Robert and Susanaha Porritt, nee Thompson of Great Ayton, Yorkshire, England. In 1911 aged 3 he was residing with his parents and siblings at Cleveland Street California, Great Ayton, Yorkshire.

He served in the Royal Navy, enlisting 24 May 1923 on HMS Ganges as Boy 2nd Class J107335. Leaving the service 2 September 1928 off Vivid I. He re-enlisted 24 March 1931 on HMS Emerald, leaving the navy by purchase 7 February 1944 of HMS Devonshire.

Wills and Admin, Ancestry. His residence in England was 10 Pool Terrace, Monkabecq Road, Great Ayton, Yorkshire. Died on dat. and place stated. His effects went to Susannah Porritt, widow.

Commemorated on the Sai Wan Memorial, Hong Kong.

 

Inspector EDWARD GEORGE POST . Police Department Hong Kong Police Force. Died in action 18/12/1941. Husband of Myrtle G Post, nee Palmer. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable652 PURAN SINGH. Died 15/03/1945 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 809 PYARA SINGH. Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 726 RATAN SINGH. Died 25/10/1943 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Sergeant A/149 MALCOLM KENNETH ROSS. Police Department, Hong Kong Police Force Killed in action 18/12/1941 aged 30 years. Son of Malcolm M. and Margaret Ross, of Aberdeen, Scotland.

Wills and Admin, Ancestry. His residence in England was 38 Ashvale Place, Aberdeen. Died on date stated. His effects went to William John Ross. Commemorated on the Sai Wan Memorial, Hong Kong.

  

Police Constable 751 RUSTAM KHAN. Died 21/01/1945 aged 42 years. Hong Kong Police Force. At rest in Sai Wan War Cemetery, Hong Kong.

 

Constable 50 SAHIB KHAN. Died 11/01/1945 aged 25 years. Hong Kong Police Force. Buried at the time in Kowloon (ho Man Tin) No.3 Muslim Cemetery. Now at rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 607 SANTA SINGH. Died 14/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Deputy Commissioner WALTER RICHARDSON SCOTT. Police Department Hong Kong Police Force and British Army Aid Group. He was sentenced to death by the Japanese and was executed in Hong Kong 29/10/1943 aged 44 years along with Volunteer William John Whire, British Aid Group. . It may have been the discovery of an escape plan. Son of Walter Norman and ' Dora Lydia Scott, nee Carlisle. Husband of June Samson Scott, of Los Angeles, California, U.S.A. In 1911 aged 11 years he was residing with his parents and siblings at 14 Coley Terrace Fulwell, Durham, Sunderland

He served in the ranks as 58561 with the Northumberland Fusiliers. Gained commission, served as Lieutenant in the Royal Engineers during the Great War.

On the 4 November 1922 he embarked from Liverpool bound for Hong Kong aged 22, Police Officer. His residence in England was 6 Arlington Street, Hull.

At rest in Stanley Military Cemetery, Hong Kong. (Photo) credit find a grave

 

Police Constable 630 SHER KHAN. Died 16/03/1945 aged 23 years. Hong Kong Police Force. Buried at the time in Kowloon (ho Man Tin) No.3 Muslim Cemetery. Now at rest in Sai Wan War Cemetery, Hong Kong.

 

Police Constable 110 SHER MUHAMMAD. Died Between 01/01/1945 and 31/12/1945. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 96 SHER MUHAMMAD. Died 16/01/1945 aged 35 years Hong Kong Police Force. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Police Constable 98 SULTAN MUHAMMAD. Died 17/08/1942 aged 21 years. Hong Kong Police Force. Son of Sharaf Khan, of Chawli, Jhelum, Pakistan. At rest in Happy Valley Muslim Cemetery, Hong Kong.

 

Seaman 53 SUNG SHUI CHING. Died 19/12/1941. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Lance Sergeant 02. SURAYAN SINGH. Died 26/12/1944 Hong Kong Police Force. Commemorated on the Sai Wan Cremation Memorial, Hong Kong.

 

Police Constable 29 SURJAN SINGH. Died 19/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 244 SWARUP SINGH. Died Between 01/01/1944 and 31/12/1944 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Coxswain 100 TAM TIM. Died 11/12/1941 Hong Kong Police Force. Husband of Wong Fuk Yee. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/556 TANG WING. Died Between 01/01/1942 and 31/01/1942 Hong Kong Police Force. Husband of Chan Yuet. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/65 TANG YAU. Died 25/12/1941 Hong Kong Police Force Husband of Leung Yung, of Hong Kong. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable 162 TEJA SINGH. Died 22/12/1941 Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Police Constable PCC/343 TSE MUK YUEN. Died Between 01/01/1942 and 31/12/1942. Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Constable 67 WALI DAD. Died 09/02/1944 aged 38 years Hong Kong Police Force. Commemorated on the Sai Wan Memorial, Hong Kong.

 

Sub-Inspector JOHN JOSEPH WALSH. Hong Kong Police Force. Died 04/03/1942 aged 43 years of a coronary infraction in Tweed Bay Hospital, Stanley Camp Honk Kong. Son of Thomas and Briget Walsh, of Macroom, Co. Cork, Irish Republic, husband of Jeannette Monica Walsh, of Macroom.

In 1911 he was residing with his parents and siblings at 56 Mountmassy Road, Macroom, County Cork. His father was a retired policeman. At rest in Stanley Military Cemetery, Hong Kong.

  

Execution

Kilmainham Gaol was built in 1796 as a replacement for an older prison. It has a sorrowful past with deplorable conditions. It is the place of imprisonment and subsequent execution of the leaders of the 1916 Easter Rising.

28 gun crimes are committed every day in the UK

Children as young as 11 carry guns

Being in the wrong gang, not selling enough drugs, just being in the wrong place

can lead to an execution

 

this photo was stage by two giggling 15 year olds with a toy gun in my back yard

although very tempting to whack them both for not being serious no teenager was harmed

 

Again this is for a photo course i am doing think i may need to retake this one

As if my hamfisted execution of PS's Vanishing Point feature didn't give it away, yes, unfortunately, this is Photoshopped.

 

But I thought about it couple of weeks ago, ended up driving out to take the shot of the billboard right before the Super Bowl last weekend, and finally got around to it this morning.

 

It wouldn't surprise me if Pepsi's appropriation of the Obama logo - and in an indirect way, the appropriation of the blood, sweat and tears of the millions of faceless Americans who were involved in some way in seeing that Obama ended up in the White house - got a lot of other people thinking the same way (in a way, it seems sort of obvious), but I haven't seen any yet and just wanted to float the meme out there.

 

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

Pepsi billboard, base of the Ben Franklin Bridge, Philadelphia, PA, manipulated

 

Thomas K on EKTACHROME 160T expired 12/2001

with Heidosmat-Rolleinar

not sure if the processing went wrong somewhere or if it is due to the expired film

lovin it though

"Keukenhof Gardens" Holland Netherlands Execution Flowers 213-1363 04

  

Fine Art Prints are available at www.wildphotons.com

10% of your purchases go to an environmental or educational cause.

Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

 

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

 

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

 

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

ift.tt/2hgJKeM #A Russian spy is laughing through his execution in Finland during the Winter War, 1942 [1200x898] #history #retro #vintage #dh #HistoryPorn ift.tt/2hgEQyn via Histolines

via gabber.od.ua updates ift.tt/1qyAIKO from gabber.od.ua

“The scriptures present a God who delights in genocide, rape, slavery, and the execution of nonconformists, and for millennia those writings were used to rationalize the massacre of infidels, the ownership of women, the beating of children, dominion over animals, and the persecution of heretics and homosexuals. Humanitarian reforms such as the elimination of cruel punishment, the dissemination of empathy-inducing novels, and the abolition of slavery were met with fierce opposition in their time by ecclesiastical authorities and their apologists. The elevation of parochial values to the realm of the sacred is a license to dismiss other people’s interests, and an imperative to reject the possibility of compromise.”

― Steven Pinker, The Better Angels of Our Nature: Why Violence Has Declined

 

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(Note: These videos were taken far before the COVID-19 pandemic. To protect ourselves and our community we stay home except when absolutely necessary or for short walks away from other people!)

Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

 

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

 

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

 

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

Colosseum

Following, a text, in english, from the Wikipedia the Free Encyclopedia:

The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]

The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.

Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).

Exterior

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Interior

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

 

Coliseu (Colosseo)

A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:

 

O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.

O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.

Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.

O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.

Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.

Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.

Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.

Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.

O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".

A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.

Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.

O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.

 

Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.

O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.

Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.

The Postcard

 

A postcard bearing no publishers name. The image is a glossy real photograph.

 

The card was posted in Margate on Wednesday the 25th. July 1934 to:

 

Miss Edna Pace,

83, Halton Mansions,

Islington,

London.

 

The message, which was written in a childish hand on the divided back of the card, was as follows:

 

"Dear Edna,

I am having a nice time

on the sands and in the

sea.

With love from

Cecil".

 

Margate

 

Margate is a seaside town in Thanet, Kent, England, 24 km north-east of Canterbury. It includes Cliftonville, Garlinge, Palm Bay and Westbrook.

 

The town has been a significant maritime port since the Middle Ages, and was associated with Dover as part of the Cinque Ports in the 15th. century. It became a popular place for holidaymakers in the 18th. century, owing to easy access via the Thames, and later with the arrival of the railways.

 

Popular landmarks include the sandy beaches and the Dreamland amusement park. During the late 20th. century the town went into decline along with other British seaside resorts, but attempts are being made (2021) to revitalise the economy.

 

History of Margate

 

Margate was recorded as "Meregate" in 1264 and as "Margate" in 1299, but the spelling continued to vary into modern times. The name is thought to refer to a pool gate or gap in a cliff where pools of water are found, often allowing swimmers to jump in.

 

Margate gives its name to the relatively unknown yet influential Battle of Margate. It started on the 24th. March 1387, and was the last major naval battle of the Caroline War phase of the Hundred Years' War.

 

Despite the battle being named after Margate, very little actually happened near the coastal town - the battle is named after Margate as this was where an English fleet of 51 vessels was anchored.

 

Margate has been a leading seaside resort for at least 250 years. Like its neighbour Ramsgate, it has been a traditional holiday destination for Londoners drawn to its sandy beaches. Margate had a Victorian jetty which was largely destroyed by a storm in 1978.

 

In the late 18th. century, the town was chosen by the physician John Coakley Lettsom as the location for the Royal Sea Bathing Hospital, which was the first of its kind in Great Britain.

 

Like Brighton and Southend, Margate was infamous for gang violence between mods and rockers in the 1960's, and mods and skinheads in the 1980's.

 

The Turner Contemporary Art Gallery occupies a prominent position next to the harbour, and was constructed there with the specific aim of revitalising the town. The Thanet Offshore Wind Project, completed in 2010, is visible from the seafront.

 

Margate Tourism

 

For at least 250 years Margate has been drawing Londoners to its beaches, Margate Sands. The bathing machines in use at Margate were described in 1805 as:

 

"Four-wheeled carriages, covered with canvas, and

having at one end of them an umbrella of the same

materials which is let down to the surface of the water,

so that the bather descending from the machine by a

few steps is concealed from the public view, whereby

the most refined female is enabled to enjoy the

advantages of the sea with the strictest delicacy".

 

The Dreamland Amusement Park (featured in "The Jolly Boys' Outing" episode of the TV series Only Fools and Horses) is situated in the centre of Margate. After its closure in 2006, it reopened in 2015 following a lengthy campaign by the "Save Dreamland" Campaign Group.

 

The Scenic Railway roller coaster at Dreamland, which opened in 1920, is Grade II* Listed, and is the second oldest in the world. It was severely damaged by fire on the 7th. April 2008, but has now been fully restored and reopened to the public.

 

Cliftonville, next to Margate, had an Arnold Palmer mini golf course. It closed, and was illegally converted into a skate park, which was later shut down by the council amid safety concerns.

 

Margate Theatres and Exhibitions

 

There are two notable theatres, the Theatre Royal in Addington Street – the second oldest theatre in the country – and the Tom Thumb Theatre, the second smallest in the country, in addition to the Winter Gardens.

 

The Theatre Royal was built in 1787, burned down in 1829 and was remodelled in 1879. From 1885 to 1899, actor-manager Sarah Thorne ran a school for acting at the Theatre Royal which is regarded as Britain's first formal drama school.

 

Actors who received their initial theatrical training there include Harley Granville-Barker, Evelyn Millard, Louis Calvert, George Thorne, Janet Achurch, Adelaide Neilson and Irene and Violet Vanbrugh.

 

An annual jazz festival takes place in June.

 

In September, an annual car show commences known as "Oh So Retro" featuring classic and retro vehicles, trade stalls and family-friendly entertainment.

 

Margate Museum in Market Place explores the town's seaside heritage in a range of exhibits and displays.

 

The Margate Grotto and Caves

 

The Shell Grotto, has walls and roof covered in elaborate decorations of over four million shells. These cover 2,000 square feet (190 m2) in complex patterns. It was discovered in 1835, and is of unknown age and origin. It has been designated as a Grade I listed building.

 

First discovered in 1798, the Margate Caves (also known as the Vortigern Caves) are situated at the bottom of Northdown Road.

 

The Walpole Bay Tidal Pool

 

The Walpole Bay Tidal Pool is a Grade 2 listed tidal sea bathing pool built in 1937. The pool covers over four acres, and its dimensions are 450 ft long, 300 ft wide at the seaward end and 550 ft long at the landward end. The water in the pool is refreshed by the incoming tide twice a day, and fresh water springs rise from the beach within the walls.

 

The Turner Contemporary Gallery

 

The former chairman of the Margate Civic Society, John Crofts, had a plan to develop a centre that would show the link that the painter JMW Turner shared with Margate. Turner described the Thanet skies as "The loveliest in all Europe."

 

Crofts became increasingly determined to create such a gallery, and in 1998 the Leader of Kent County Council met a number of people from the art world to discuss the idea.

 

They hoped that the centre would regenerate the once-thriving town of Margate and offer an alternative to Margate's traditional tourist trade. The County Council offered to partly fund the building of the Turner Gallery. In 2001 the Turner Contemporary was officially established. The view from the gallery is similar to that seen by Turner from his lodging house.

 

To reduce the cost, Thanet District Council chose a new site inland from the harbour wall. The scheme was supported by the artist Tracey Emin, who was brought up in Margate. The building itself was designed by David Chipperfield Architects after the abandonment of the design by Snøhetta + Spence.

 

Building work started in 2008, but the project's initiator, John Crofts, died in 2009. The Turner Contemporary Gallery officially opened on the 16th. April 2011.

 

Historic Sites in Margate

 

There is a 16th.-century, two-storey timber-framed Tudor house built on a flint plinth in King Street.

 

Margate's Jubilee Clock Tower was built to commemorate Queen Victoria's Golden Jubilee in 1887, although not completed until 1889. It had a Time Ball mechanism, mounted on a mast atop the tower, which was raised a few minutes before 1 pm each day and dropped at precisely 1 pm, thereby allowing residents, visitors and ships to know the exact time.

 

The Time Ball fell out of use many years ago, but the Margate Civic Society raised funds to have the Time Ball repaired and brought back into use. This was successful, and a civic ceremony celebrated the restoration on the 24th. May 2014, Queen Victoria's birthday, and the 125th. anniversary of the Clock Tower's official opening. The Time Ball now drops at 1 pm each day, and is one of only a handful of working time balls in the world.

 

Draper's Mill is a smock mill built in 1845 by John Holman. It was working by wind until 1916 and by engine until the late 1930's. It was saved from demolition, and is now restored and open to the public.

 

Cultural References to Margate

 

Margate features at the start and as a recurrent theme in Margate writer Iain Aitch's travelogue, A Fete Worse Than Death. The author was born in the town.

 

T. S. Eliot, who in 1921 recuperated after a mental breakdown in the suburb of Cliftonville, commented in his poem The Waste Land Part III - The Fire Sermon:

 

"On Margate sands.

I can connect

Nothing with nothing".

 

Margate features as a destination in Graham Swift's novel Last Orders and its film adaptation. The character Jack Dodds had asked to have his remains scattered at Margate, and the book tells the tale of the drive to Margate and the memories evoked on the way.

 

The Victorian author William Thackeray used out-of-season Margate as the setting for his early unfinished novel 'A Shabby Genteel Story'.

 

"Margate" is the title of a UK single released by Chas & Dave in 1982.

 

"Margate Fhtagn" is a song by UK steampunk band The Men That Will Not Be Blamed For Nothing. The story related in the song combines the Victorian tradition of the seaside holiday with the works of H. P. Lovecraft, specifically the Cthulhu Mythos, to tell the tale of a Victorian family going on a seaside holiday to Margate, which gets interrupted by Cthulhu rising from the sea.

 

It is thought that Ralph Vaughan Williams wrote his Lark Ascending whilst walking along the cliffs in Margate.

 

The spirit of early 20th. century Margate and Cliftonville was caught by John Betjeman (1906 - 1984) in his poem "Margate 1940":

 

Margate 1940

 

From out The Queen's Highcliffe for weeks at a stretch

I watched how the mower evaded the vetch,

So that over the putting-course rashes were seen

Of pink and of yellow among the burnt green.

 

How restful to putt, when the strains of a band

Announced a thé dansant was on at The Grand,

While over the privet, comminglingly clear,

I heard lesser Co-Optimists down by the pier.

 

How lightly municipal, meltingly tarr'd,

Were the walks through the lawns by the Queen's Promenade

As soft over Cliftonville languished the light

Down Harold Road, Norfolk Road, into the night.

 

Oh! then what a pleasure to see the ground floor

With tables for two laid as tables for four,

And bottles of sauce and Kia-Ora and squash

Awaiting their owners who'd gone up to wash -

 

Who had gone up to wash the ozone from their skins

The sand from their legs and the rock from their chins,

To prepare for an evening of dancing and cards

And forget the sea-breeze on the dry promenades.

 

From third floor and fourth floor the children looked down

Upon ribbons of light in the salt-scented town;

And drowning the trams roared the sound of the sea

As it washed in the shingle the scraps of their tea.

 

Beside The Queen's Highcliffe now rank grows the vetch,

Now dark is the terrace, a storm-battered stretch;

And I think, as the fairy-lit sights I recall,

It is those we are fighting for, foremost of all.

 

We know from Betjeman's letters that he visited Margate in 1929 while staying at nearby Birchington with his convalescing employer.

 

This visit alone would have been sufficient to acquaint him with Margate's pre-war gaiety, the innocent pleasures it offered as a family seaside resort, as well as the more upmarket pretensions of its eastern extension, Cliftonville.

 

There were probably subsequent visits, one of which must have taken place in the early years of the second World War, as recorded in the poem 'Margate, 1940'.

 

The evocation of the resort's former glories poignantly conjures up, by contrast, the neglected, bomb-battered desolation it had become.

 

Note: 'Vetch' is a climbing plant in the pea/legume family. It produces small, pealike flowers (often blue, purple, yellow, or white). It grows quickly and is highly valued in farming for forage (animal feed) and as green manure. Like other legumes, vetches host bacteria on their roots that take nitrogen from the air and convert it into a natural fertilizer, thereby improving soil health.

 

Margate in Film and Television

 

J. M. W. Turner's long-term relationship with Mrs. Sophia Booth of Margate was featured in the film Mr. Turner (2014).

 

The railway station and Dreamland feature prominently in the Only Fools & Horses episode "The Jolly Boys' Outing" (1989).

 

In series 4 (2017) of the British television crime drama Peaky Blinders, the character Alfie Solomons chooses to reside at Margate, where he's shot on the beach by Tommy Shelby.

 

The town appeared on BBC TV's The Apprentice in May 2009.

 

The 2012 BBC television drama series True Love was set and filmed in Margate. The show had its first public screening at the Turner Contemporary.

 

The 2014 ITV sitcom Edge of Heaven was set in a 1980's-themed bed and breakfast establishment in Margate.

 

Otto Planetta

 

So what else happened on the day that Cecil posted the card to Edna?

 

Well, on the 25th. July 1934, Otto Planetta murdered Engelbert Dollfuss, Austrian Chancellor during the unsuccessful July Putsch, four years before the Anschluss. He and the other assassins were members of SS Regiment 89.

 

Planetta, was born on the 2nd. August 1899 in Vyškov, Austro-Hungarian Empire (now the Czech Republic) was an Austrian National Socialist.

 

Planetta was sentenced to death and executed by hanging on the 31st. July 1934 in Vienna, Austria. He was cremated at Feuerhalle Simmering. His ashes are buried at Dornbacher Friedhof in Vienna.

execution of nguyen van lem

Voila! The execution is complete and now we all get to drink delicious juice! Sorry George, we'll miss ya!

Print depicting the execution of Anne Boleyn, consort to Henry VIII and mother of Elizabeth I. Print made by Jan Luyken, c.1664-1712.

 

Inscription: ‘ANNA BULLEYN Gemalinne van HENDRIK DE VIII/Koning van Engeland, binnen London onthalst’.

 

The print is part of a series of plates depicting the deaths of various notable persons. They are held at the British Museum.

 

Height: 190mm (trimmed)

Width: 146mm

Hanging British penny dreadful, Famous Crimes Police Budget Edition vol. IV No. 45, 1902, The Execution of James Bloomfield Rush by anonymous (may be publisher Harold Furniss). The first issue featured Jack the Ripper.

Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.

 

The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.

 

The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.

 

Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961. For the MkIII-C of 1967 the V8 engine was enlarged to 429 CID (7.0 litre) with the new OHV Cadillac engine, but power remained the same as the 1961-67 models, while torque rose to 480 lb.ft (650 Nm).

 

One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.

 

The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.

 

Once more, the engine was based on that of a Cadillac.

 

www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...

 

The prototype engines were produced in 7.4 and 8.2 litre forms, originally to support the fitment of the V12 to the upcoming Cadillac Eldorado - Cadillac's first front-wheel-drive vehicle. Ultimately the V12 installation in the Eldorado was cancelled, as the engineering team considered the engine to be transversely installed, until late in the development, where the V12 length would have been a significant disadvantage in terms of installing a matching transmission. Cadillac instead, continued with V8 development at the same swept capacities, even when the Eldorado was ultimately launched with the longitudinal engine installation with the gearbox alongside. As the Eldorado was to be the most premium of premium Cadillacs, the large capacity V8s filtered across to the RWD BOF models, but the V12 was not fitted to any of the division's cars.

 

This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.

 

Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the E I G H T, and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.

 

Ralston remained (relatively) conservative on the engine specification, choosing not to lift the power from the original Cadillac specification, nonetheless choosing the larger 8.2 litre capacity engine at a rated 394 hp (296 kW) and 506 lb.ft (686 Nm).

 

Externally there was noting to differentiate between the fitment of the V8 and V12 engines to the cars, other than the subtle text spelling out or on the side engine vent ahead of the doors. The 1964 introduction coincided with a minor external facelift, key change being the fitment of a third 'X' feature in the front grille, replacing the '5th' headlamp feature fitted on 1961-early 1964 vehicles. Additionally, the modest tailfins were trimmed smaller again, and a more conservative rear licence plate treatment used in place of the 3rd rocket pod in the rear facia.

 

In 1967, the Tigre MkIII-C underwent further revisions. There were new front fenders, eliminating the large, round double stacked headlamps, replacing them with small corner bumperettes and small double-stacked corner lamps. the headlamps were now hidden behind louvres in the new grille. There was now a single 'X' form at the front of the grille, centrally mounted. At the rear, the existing rocket pod tail lamps were retained. The 1967 MkIII-C reverted to the MkIII 1961-64 trunklid and bumper, but with the central '+' rocket feature supplanted by the licence plate. For all SWB body styles. there were new tapered fender tops (barely fins), recalling the Tigre MkII C & D. Long wheelbase 4-door cars retained the MkIII-B rear fenders as they suited the overall vehicle lines better.

 

Minor changes to the side of the vehicle included deeper opening doors, and a more open front wheelarch taper. A chrome trim feature led from the front fender vent to the rear rocket pod.

 

The model shown here is the commonly ordered Hardtop Coupe - a very sharp looking car, despite the origins dating back eight years to 1959 for the basic architecture. The model is one of the 7.0 litre V8s, despite there being little differentiation externally to vehicles fitted with the V12.

 

A very similar car was used as the prototype vehicle fitted with early versions of the extremely rare V16. These cars were development mules for the proposed Ralston Centaur - to be termed , though ultimately no completed customer cars were ordered, the 21 prototype engines fitted to various Tigre MkIII vehicles were either completed as un-homologated show cars for use by the Ralston family on their various estates, later restored from their mule conditions to rare collector cars, or unfortunately, destroyed. It has been long rumoured that the 13 crushed cars all had their engines removed, so potentially there is a small pool of functioning 10 litre V16s waiting for re-fitment to Ralston chassis.

 

This Lego miniland-scale Ralston Tigre MkIII C Hardtop Coupe (1967) has been created for Flickr LUGNuts' 108th Build Challenge, - 'LUGNuts Turn Nine' - where all previous Challenge themes are available to chose to build from - to the theme of the 95th Build Challenge - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.

 

[Cadillac V12 engine information taken from 'thetruthaboutcars.com']

 

www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...

 

work

The Ice Sickle at Guillotine Falls.

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Heads will roll... oh, yes... heads WILL roll.