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.

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

Execution Rocks Lighthouse in Long Island Sound. The smaller building and antennas have been removed in recent years.

 

Image ID: line4046, NOAA's America's Coastlines Collection

Location: New York, Long Island Sound

Credit: NOAA Historical Collection

History

The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family.[2] Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London.[2] The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King.[2] Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon.[2] Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton.[3] In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr[3] (see gallery drawing). The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.[3]

 

After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Elizabeth I of England. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.

 

The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.[4]

 

The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.

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

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.

  

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.

.

Execution

work

The good King and his brave Crown Knights have finally defeated Mallock the Dark Wizard and put him behind bars where he waited for his execution. However, their joy didn't last long, for soon thereafter, Mallock's entire evil army of the undead, with the help of the trolls, besieged the King's castle. They seemed to stop at nothing to free their dark master. And even though the king and his knights fought bravely, they were hopelessly outnumbered by the skeletons, so they called their neighbors and good friends, the dwarves and elves, for help, who swiftly rushed to their aid. And so, an epic battle between all fantasy factions ensued!

 

This is my entry for the Series 3 Building contest on Eurobricks and does not exceed more than two studs over the 8x8 base.

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

Billboard series #5

14 x 17

Pen and marker on paper.

"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.

execution of nguyen van lem

Koloman Moser (1868-1918)

Secretaire for Berta Waerndorfer

Vienna, 1903

Execution: Wiener Werkstätte

Macassar ebony, veneered; marquetry of Madagascar ebony, box wood, and mahogany; ivory and tortoiseshell inlay; brass

 

Koloman Moser (1868-1918)

Schreibschrank für Berta Waerndorfer

Wien, 1903

Ausführung: Wiener Werkstätte

Makassar-Ebenholz, furniert; Marketerie aus Madagaskar-Ebenholz, Buchsbaum- und Mahagoniholz; Einlagen aus Elfenbein und Schildplatt; Messing

 

H 2305/1975, Ankauf von purchased from Nora Hodges-Waerndorfer; New York

 

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

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

It is toooooo bad to be a pencil !!!!

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.

when an idea and execution come together, you get the perfect marriage. From concept to first sketch to this product and even the final image, this is my favorite idea so far. I amazed myself with how it worked out. Simple quickie sketch, but it does look just like I wanted, a curtain of reality being lifted. This is one of my few explore worthy images and it will be one of the least viewed. How ironic.

Born in Ireland in 1846, Ellen Thompson came to Australia aboard the ship Joshua with her mother and sister at age eleven. Little did she know then that she would become infamous in Queensland.

 

At 19, Ellen married William Wood and the couple had five children before Wood’s death nine years later. As a widow, Ellen found work as a housekeeper to William Thompson, a Port Douglas farmer.

 

Ellen and William Thompson were married in November 1880 and had a child together. The union was not a happy one. Ellen’s husband, 24 years her senior, was irritable and Ellen later ‘banished all the children so that they would not annoy the poor old man.’ Ellen’s friendship with John Harrison, a young marine deserter working on a nearby property, caused further conflict with her husband.

 

On the night of 22 October 1886, Harrison shot Thompson dead in Ellen’s presence. The Brisbane Courier reported that:

Her version of the tragedy was briefly that her husband and Harrison had been quarrelling, when she, with the intention of making peace between them, in a jocular spirit remarked to Harrison that if he did not shut up, the old man, meaning Thompson, would shoot him. Harrison immediately took up the revolver, saying ‘Will he? Well, I will have first shot,’ at the same time firing.

 

Both Ellen Thompson and John Harrison were tried in Townsville, convicted of the murder of William Thompson, and sentenced to hang. The night before their execution, Harrison confessed that he alone was guilty of Thompson’s murder, and that the shot had been in self-defence. But neither this admission nor Ellen’s protestations of innocence swayed the course of justice.

 

At 8am on the morning of 13 June 1887, Ellen Thompson became the first and only woman ever to be hanged in Queensland. Her criminal record remarks that she was a capable, industrious, talkative and cheerful woman who’d had a hard life. It also stated that she ‘died instantaneously’. The Brisbane Courier reported that the rope severed her jugular vein, causing blood to pour down her dress and onto the stone floor of Boggo Road Gaol. Harrison was executed immediately afterwards.

 

IID 2947

westbound on the upper deck of the bay bridge / highway 80 - san francisco, california

See more here: Virginia Execution

A "razakar", referring to the local militiamen accused of looting and committing murder and rape under Pakistani command during the past nine bloody months, pleads for mercy as Mukthi Bahini soldiers pummel him prior to bayoneting him to death at an execution of four men, Dec. 18, 1971, at a Dhaka, East Pakistan, race course (AP Photo/Michel Laurent/Horst Faas)

Series of 6 postcards illustrating the death of Edith Cavell during World War 1.

Edith Louisa Cavell (4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for saving the lives of soldiers from both sides without discrimination and in helping some 200 Allied soldiers escape from German-occupied Belgium during the First World War, for which she was arrested. She was subsequently court-martialled, found guilty of treason and sentenced to death. Despite international pressure for mercy, she was shot by a German firing squad. Her execution received worldwide condemnation and extensive press coverage.

 

en.wikipedia.org/wiki/Edith_Cavell

Royal Lyceum Theatre's production of "Glory on Earth" by Linda McLean based on the five recorded meetings between John Knox and Mary Queen of Scots.

Directed by David Grieg

First Performance 20th May 2017 at Royal Lyceum Theatre, Edinburgh

The Ice Sickle at Guillotine Falls.

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

Two clone troopers are held captive by a roaming mandelorian patrol.

   

"Any last words, clone trooper scum?"

201. Execution of the four persons condemned as conspirators (Mary E. Surratt, Lewis T. Powell, David E. Herold, and George A. Atzerodt), July 7,1865. Photographed by Alexander Gardner.

Mary Elizabeth Eugenia Jenkins Surratt May 1823 in Waterloo, Maryland, USA – July 7, 1865 in Washington, D.C) was convicted of taking part in the conspiracy to assassinate Abraham Lincoln. She was the first woman executed by the United States federal government, after being tried and found guilty, and was executed by hanging. She was the mother of John Surratt, also alleged to have been involved in the conspiracy.

  

FROM www.archives.gov/research/civil-war/photos/

Oświęcim, Poland |

Execution wall: from 1941 to 1943, Germans shot several thousand people at the wall in this courtyard between blocks 10 and 11. Most of those executed here were Polish political prisoners, above all, the leaders and members of clandestine organizations and people who helped escapees or facilitated contacts with the outside world.

panorama.auschwitz.org

If only there were a head

ift.tt/2gupwdO #Medal podium from the 1984 Sarajevo Olympics that was used as execution platform for prisoners during the Siege of Sarajevo by troops from the Army of the Republika Srpska, 1996 [2000x1000] . #history #retro #vintage #dh #HistoryPorn ift.tt/2h6Q5FI via Histolines

Gustav Klimt (1862-1918) - Nine drawings for the Execution of a frieze for the dining room of Palais Stociet in Brussels, 1910/11 : detail

Koloman Moser (1868-1918)

Sliding Table for the Dressing Room of the Home of Eisler von Terramare

Vienna, 1902/03

Execution: Caspar Hrazdil (?)

Maple, partially stained dark, solid and veneered; nickel

 

Koloman Moser (1868-1918)

Schiebetisch für das Toilettezimmer der Wohnung Eisler von Terramare

Wien, 1902/03

Ausführung: Caspar Hrazdil (?)

Ahornholz, z.T. dunkel gebeizt, massiv und furniert; Nickel

H 2630/1981, Schenkung donation Gudrun von Webern

 

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

The execution notices for two prominent traitors:

en.wikipedia.org/wiki/John_Amery

en.wikipedia.org/wiki/William_Joyce

On display in the small museum at Wandsworth Prison in London. I was particularly pleased to locate the one for 'Lord Haw Haw' (Willian Joyce).I couldn't believe my eyes when I first saw it a few years ago hanging in the corridor leading to the gents toilet in the pub nearest to the prison. But when I returned to photograph it, it had gone - and the pub had been turned into another soulless gastropub.

According to the warder who runs the museum it had been offered to someone who then passed it to the museum. It was clearly stolen, but doubtless the manager of the gastropub would have had no idea who Lord Haw Haw was and would have cared even less!

Execution Dock and the Town of Ramgate Pub