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Simon was dragged out to the front entrance of the Black Scar Gang's base. Many other gang members stood out there waiting.
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.
The Postcard
A postally unused Collection Artistique carte postale published by L.M.
Although the card was not posted, someone has written in ink on the back:
"Just another card for your
collection.
I was leaning over looking
into this water the other
Sunday.
It is full of fish. They would
fight for a bit of bread, and
they looked so pretty, all
shining in the sun".
For two other early photographs of the carp lake at Fontainebleau, please search for the tags 88FCL73 and 48FTL88.
The Palace of Fontainebleau
The Palace of Fontainebleau, or Château de Fontainebleau, is located 55 kilometers (34 miles) southeast of the centre of Paris.
The castle and subsequent palace served as a residence for French monarchs from Louis VII to Napoleon III.
Francis I and Napoleon were the monarchs who had the most influence on the Palace as it stands today.
It became a national museum in 1927, and was designated a UNESCO World Heritage Site in 1981 for its unique architecture and historical importance.
The Medieval Palace
The earliest record of a fortified castle at Fontainebleau dates to 1137. It became a favorite residence and hunting lodge of the Kings of France because of the abundant game and many springs in the surrounding forest.
Fontainebleau took its name from one of the springs, la Fontaine de Bliaud, located now in the English Garden, next to the wing of Louis XV.
Fontainebleau was used by King Louis VII, for whom Thomas Becket consecrated the chapel in 1169; also by Philip II; by Louis IX (later canonised as Saint Louis), who built a hospital and a convent, the Couvent des Trinitaires, next to the castle; and by Philip IV, who was born and died in the castle.
The Renaissance Château of Francis I (1528–1547)
In the 15th. century some modifications and embellishments were made to the castle by Isabeau of Bavaria, the wife of King Charles VI, but the medieval structure remained essentially intact until the reign of Francis I (1494–1547).
He commissioned the architect Gilles Le Breton to build a palace in the new Renaissance style, recently imported from Italy. Le Breton preserved the old medieval donjon, where the King's apartments were located, but incorporated it into the new Renaissance-style Cour Ovale, built on the foundations of the old castle.
It included the monumental Porte Dorée, as its southern entrance. as well as a monumental Renaissance stairway, the Portique de Serlio, to give access the royal apartments on the north side.
Beginning in about 1528, Francis constructed the Galerie François I, which allowed him to pass directly from his apartments to the chapel of the Trinitaires. He brought the architect Sebastiano Serlio from Italy, and the Florentine painter Rosso Fiorentino, to decorate the new gallery.
Between 1533 and 1539 Fiorentino filled the gallery with murals glorifying the King, framed in stucco ornament in high relief, and panelling sculpted by the furniture maker Francesco Scibec da Carpi.
Another Italian painter, Francesco Primaticcio from Bologna, joined later in the decoration of the palace. Together their style of decoration became known as the first School of Fontainebleau. This was the first great decorated gallery built in France. Fontainebleau introduced the Renaissance to France.
In about 1540, Francis began another major addition to the château. Using land on the east side of the Château purchased from the order of the Trinitaires, he began to build a new square of buildings around a large courtyard.
The Château was surrounded by a new park in the style of the Italian Renaissance garden, with pavilions and the first grotto in France.
The Château of Henry II and Catherine de' Medici (1547–1570)
Following the death of Francis I, King Henry II decided to continue and expand the Château. The King and his wife chose the architects Philibert de l'Orme and Jean Bullant to do the work.
They extended the east wing of the lower court and decorated it with the first famous horseshoe-shaped staircase which was built between 1547 and 1559. The staircase was subsequently re-built for Louis XIII by Jean Androuet du Cerceau in about 1632-1634.
In the Oval Court, they transformed the loggia planned by Francois into a Salle des Fêtes or grand ballroom with a coffered ceiling. Facing the courtyard of the fountain and the fish pond, they designed a new building, the Pavillon des Poeles (destroyed), to contain the new apartments of the King.
The decoration of the new ballroom and the gallery of Ulysses with murals by Francesco Primaticcio and sculptured stucco continued.
At Henri's orders the Nymphe de Fontainebleau by Benvenuto Cellini was installed at the gateway entrance of Château d'Anet, the domain of Henri's primary mistress Diane de Poitiers (the original bronze lunette is now in the Musée du Louvre, with a replica in place).
Following the death of Henry II in a jousting accident, his widow, Catherine de' Medici, continued the construction and decoration of the château. She named Primaticcio as the new superintendent of royal public works.
He designed the section known today as the wing of the Belle Cheminée, noted for its elaborate chimneys and its two opposing stairways. In 1565, as a security measure due to the Wars of Religion, she also had moat dug around the château to protect it against attack.
Château of Henry IV (1570–1610)
King Henry IV made more additions to the château than any King since Francis I. He extended the oval court toward the west by building two pavilions, called Tiber and Luxembourg.
Between 1601 and 1606, he remade all the façades around the courtyard, including that of the chapel of Saint-Saturnin, to give the architecture greater harmony. On the east side, he built a new monumental domed gateway, the Porte du Baptistère.
Between 1606 and 1609, he built a new courtyard, the Cour des Offices or Quartier Henry IV, to provide a place for the kitchens as well as residences for court officials.
Two new galleries, the Galerie de Diane de Poitiers and the Galerie des Cerfs, were built to enclose the old garden of Diane. He also added a large Jeu de Paume, or indoor tennis court, the largest such court in the world.
A Second School of Fontainebleau painters and decorators went to work on the interiors. The architect Martin Fréminet created the ornate chapel of the Trinity, while the painters Ambroise Dubois and Toussaint Dubreuil created a series of heroic paintings for the salons. A new wing, named after its central building, La Belle Cheminée, was built next to the large carp pond.
Henry IV also devoted great attention to the park and gardens around the Château. The garden of the Queen or garden of Diane, created by Catherine de' Medici, with the fountain of Diane in the centre, was located on the north side of the palace.
Henry IV's gardener, Claude Mollet, who trained at Château d'Anet, created a large parterre of flower beds, decorated with ancient statues and separated by paths into large squares.
The fountain of Diana and the grotto were made by Tommaso Francini, who may also have designed the Medici Fountain in the Luxembourg Garden for Marie de Medici.
On the south side, Henry created a park, planted with pines, elms and fruit trees, and laid out a grand canal 1200 meters long, sixty years before Louis XIV built his own grand canal at Versailles.
The Château from Louis XIII through Louis XVI
King Louis XIII was born and baptized in the Château, and continued the works begun by his father. He completed the decoration of the chapel of the Trinity, and assigned the court architect Jean Androuet du Cerceau to re-construct the horseshoe stairway on the courtyard that had become known as the Cour de Cheval Blanc.
After his death, his widow, Anne of Austria, re-decorated the apartments within the Wing of the Queen Mothers (Aile des Reines Mères) next to the Court of the Fountain, designed by Primatrice.
King Louis XIV spent more days at Fontainebleau than any other monarch. He liked to hunt there every year at the end of summer and the beginning of autumn.
He made few changes to the exterior of the Château, but did build a new apartment for his companion Madame de Maintenon. He furnished it with major works of André-Charles Boulle. He also demolished the old apartments of the baths under the Gallery of Francis I to create new apartments for the royal princes.
The architect Jules Hardouin-Mansard built a new wing alongside the Galerie des Cerfs and the Galerie de Diane in order to provide more living space for the Court.
Louis XIV made major changes to the park and gardens; he commissioned André Le Nôtre and Louis Le Vau to redesign the large parterre into a French formal garden. He destroyed the hanging garden which Henry IV had built next to the large carp lake, and instead built a pavilion, designed by Le Vau, on a small island in the centre of the lake.
Louis XIV signed the Edict of Fontainebleau at the Château on the 22nd. October 1685, revoking the policy of tolerance towards Protestants begun by Henry IV.
Louis welcomed many foreign guests at the Château, including the former Queen Christina of Sweden, who had just abdicated her crown. While a guest in the Château on the 10th. November 1657, Christina suspected her Master of the Horse and reputed lover, the Marchese Gian Rinaldo Monaldeschi, of betraying her secrets to her enemies.
Her servants chased him through the halls of the Château and stabbed him to death. Louis XIV came to see her at the Château, did not mention the murder, and allowed her to continue her travels.
On the 18th. and 20th. May 1717, following the death of Louis XIV, the Russian Czar Peter the Great was a guest at Fontainebleau. A hunt for stags was organized for him, along with a banquet.
Although officially the visit was a great success, later memoires revealed that Peter disliked the French style of hunting, and that he found the Château too small, compared to the other royal French residences.
The routine of Fontainebleau also did not suit his tastes; he preferred beer to wine (and brought his own supply with him) and he liked to get up early, unlike the French Court.
The renovation projects of Louis XV were more ambitious than those of Louis XIV. To create more lodging for his enormous number of courtiers, in 1737–38 the King built a new courtyard, called the Cour de la Conciergerie or the Cour des Princes, to the east of the Galerie des Cerfs.
On the Cour du Cheval Blanc, the wing of the Gallery of Ulysses was torn down and gradually replaced by a new brick and stone building, built in stages in 1738–1741 and 1773–74, extending west toward the Pavilion and grotto of the pines.
Between 1750 and 1754, the King commissioned the architect Ange-Jacques Gabriel to build a new wing along the Cour de la Fontaine and the carp lake.
The old Pavilion des Poeles was demolished and replaced by the Gros Pavilion, built of cream-colored stone. Lavish new apartments were created inside this building for the King and Queen. The new meeting room for the Royal Council was decorated by the leading painters of the day, including François Boucher, Carle Vanloo, Jean-Baptiste Marie Pierre and Alexis Peyrotte. A magnificent small theatre was created on the first floor of the wing of the Belle Cheminée.
King Louis XVI also made additions to the Château in order to create more space for his courtiers. A new building was constructed alongside the Gallery of Francis I; it created a large new apartment on the first floor, and a number of small apartments on the ground floor, but also blocked the windows on the north side of the Gallery of Francis I.
The apartments of Queen Marie-Antoinette were redone, a Turkish-style salon was created for her in 1777, a room for games in 1786–1787, and a boudoir in the arabesque style. Louis XVI and Marie-Antoinette made their last visit to Fontainebleau in 1786, on the eve of the French Revolution.
The Château during the Revolution and the First Empire
During the French Revolution the Château did not suffer any significant damage, but all the furniture was sold at auction. The buildings were occupied by the Central School of the Department of Seine-et-Marne until 1803, when Napoleon I installed a military school there.
As he prepared to become Emperor, Napoleon wanted to preserve as much as possible of the palaces and protocol of the Old Regime. He chose Fontainebleau as the site of his historic 1804 meeting with Pope Pius VII, who had travelled from Rome to crown Napoleon Emperor.
Napoleon had a suite of rooms decorated for the Pope, and had the entire Château refurnished and decorated. The bedroom of the Kings was transformed into a throne room for Napoleon. Apartments were refurnished and decorated for the Emperor and Empress in the new Empire style.
The Cour du Cheval Blanc was re-named the Cour d'Honneur. One wing facing the courtyard, the Aile de Ferrare, was torn down and replaced with an ornamental iron fence and gate, making the façade of the Palace visible.
The gardens of Diane and the gardens of the Pines were replanted and turned into an English landscape garden.
Napoleon's visits to Fontainebleau were not frequent, because he was occupied so much of the time with military campaigns. Between 1812 and 1814, the Château served as a very elegant prison for Pope Pius VII. On the 5th. November 1810, the chapel of the Château was used for the baptism of Napoleon's nephew, the future Napoleon III, with Napoleon serving as his godfather, and the Empress Marie-Louise as his godmother.
Napoleon spent the last days of his reign at Fontainebleau, before abdicating there on the 4th. April 1814. On the 20th. April, after failing in an attempt to commit suicide, he gave an emotional farewell to the soldiers of the Old Guard, assembled in the Court of Honor. Later, during the One Hundred Days, he stopped there on the 20th. March 1815.
In his memoires, written while in exile on Saint Helena, he recalled his time at Fontainebleau:
"The true residence of Kings, the house of
the centuries. Perhaps it was not a rigorously
architectural palace, but it was certainly a place
of residence well thought out and perfectly
suitable. It was certainly the most comfortable
and happily situated palace in Europe.”
The Château during the Restoration and the Reign of Louis-Philippe (1815–1848)
Following the restoration of the Monarchy, Kings Louis XVIII and Charles X each stayed at Fontainebleau, but neither made any major changes to the palace. Louis-Philippe was more active, both restoring some rooms and redecorating others in the style of his period.
The Hall of the Guards and Gallery of Plates were redecorated in a Neo-Renaissance style, while the Hall of Columns, under the ballroom, was remade in a neoclassical style. He added new stained glass windows, made by the royal manufactory of Sèvres.
The Château During the Second Empire
Emperor Napoleon III, who had been baptised at Fontainebleau, resumed the custom of long stays at the Château, particularly during the summer. Many of the historic rooms, such as the Galerie des Cerfs, were restored to something like their original appearance, while the private apartments were redecorated to suit the tastes of the Emperor and Empress.
Numerous guest apartments were squeezed into unused spaces within the buildings. The old theatre of the palace, built in the 18th. century, was destroyed by a fire in the wing of the Belle Cheminée 1856. Between 1854 and 1857 the architect Hector Lefuel built a new theatre in the style of Louis XVI.
On the ground floor of the Gros Pavilion, the Empress Eugénie built a small but well-stocked museum, containing gifts from the King of Siam in 1861, and works of art taken during the pillage of the Summer Palace in Beijing.
The museum also featured paintings by contemporary artists, including Franz Xaver Winterhalter, and the sculptor Charles Henri Joseph Cordier. Close by, in the Louis XV wing, the Emperor established his office, and the Empress made her Salon of Lacquer.
These were the last rooms created by the royal residents of Fontainebleau. In 1870, during the Franco-German War, the Empire fell, and the Château was closed.
The Château from the Third Republic to the Present Day
During the Franco-Prussian War, the palace was occupied by the Prussians on the 17th. September 1870, and briefly used as an army headquarters by Frederic Charles of Prussia from March 1871.
Following the war, two of the buildings became the home of the advanced school of artillery and engineering of the French Army, which had been forced to leave Alsace when the province was annexed by Germany.
The Château was occasionally used as a residence by the Presidents of the Third Republic, and to welcome state guests including King Alexander I of Serbia (1891), King George I of Greece (1892) Leopold II of Belgium (1895) and King Alphonse XIII of Spain (1913).
It also received a visit by the last survivor of its royal residents, the Empress Eugenie, on the 26th. June 1920.
The façades the major buildings received their first protection by classification as historic monuments on the 20th. August 1913.
In 1923, following the Great War, the Château became the home of the Écoles d'Art Américaines, schools of art and music, which still exist today. In 1927 it became a national museum. Between the wars the upper floors of the wing of the Belle Cheminée, burned in 1856, were rebuilt by a grant from the Rockefeller Foundation.
During World War II, Fontainebleau was occupied by the Germans on the 16th. June 1940, and occupied until the 10th. November 1940, and again from the 15th. May to the end of October 1941.
Following the war, part of the Château became a headquarters of the Western Union and later NATO's Allied Forces Central Europe/Supreme Headquarters Allied Powers Europe, until 1966.
The general restoration of the Château took place between 1964 and 1968 under President Charles De Gaulle and his Minister of Culture, Andre Malraux. It was classified as a UNESCO World Heritage Site in 1981. In 2006, the Ministry of Culture purchased the royal stables, and began their restoration.
Beginning in 2007, restoration began of the theatre of the Château, created by Napoleon III during the Second Empire. The project was funded by the government of Abu-Dhabi, and in exchange the theater was renamed after Sheik Khalifa Bin Zayed al Nahyan. It was inaugurated on the 30th. April 2014.
On the 1st. March 2015, the Chinese Museum of the Château was robbed by professional thieves. They broke in at about six in the morning, and, despite alarms and video cameras, in seven minutes stole about fifteen of the most valuable objects in the collection, including the replica of the crown of Siam given by the Siamese government to Napoleon III, a Tibetan mandala, and an enamel chimera from the reign of the Qianlong Emperor (1736–1795).
The Grand Apartments at Fontainebleau
The Gallery of Francis I
The Gallery of Francis I is one of the first and finest examples of Renaissance decoration in France. It was originally constructed in 1528 as a passageway between the apartments of the King with the oval courtyard and the great chapel of the convent Trinitaires, but in 1531 Francis I made it a part of his royal apartments, and between 1533 and 1539 it was decorated by artists and craftsmen from Italy, under the direction of the painter Rosso Fiorentino, in the new Renaissance style.
The lower walls of the passage were the work of the master Italian furniture maker Francesco Scibec da Carpi; they are decorated with the coat of arms of France and the salamander, the emblem of the King. The upper walls are covered by frescoes framed in richly sculpted stucco. The frescoes used mythological scenes to illustrate the virtues of the King.
On the side of the gallery with windows, the frescoes represent Ignorance Driven Out; The Unity of the State; Cliobis and Biton; Danae; The Death of Adonis; The Loss of Perpetual Youth; and The Battle of the Centaurs and the Lapithes.
On the side of the gallery facing the windows, the frescoes represent: A Sacrifice; The Royal Elephant; The Burning of Catane; The Nymph of Fontainebleau (painted in 1860–61 by J. Alaux to cover a former entry to the gallery); The Sinking of Ajax; The Education of Achilles and The Frustration of Venus.
The Ballroom
The Ballroom was originally begun as an open passageway, or loggia, by Francis I. In about 1552 King Henry II closed it with high windows and an ornate coffered ceiling, and transformed it into a room for celebrations and balls.
The 'H', the initial of the King, is prominent in the decor, as well as figures of the crescent moon, the symbol of Henry's mistress Diane de Poitiers.
At the western end is a monumental fireplace, decorated with bronze statues originally copied from classical statues in Rome. At the eastern end of the room is a gallery where musicians played during balls.
The decor was restored many times over the years. The floor, which mirrors the design of the ceiling, was built by Louis-Philippe in the first half of the 19th. century.
The frescoes on the walls and pillars were painted beginning in 1552 by Nicolo dell'Abate, following drawings by Primatice. On the garden side of the ballroom, they represent: The Harvest; Vulcan forging weapons for Love at the request of Venus; Phaeton begging the sun to let him drive his chariot; and Jupiter and Mercury at the home of Philemon and Baucis.
The frescoes on the side of the Oval Courtyard represent: The feast of Bacchus; Apollo and the Muses on Mount Parnassus; The Three Graces dancing before the gods; and The wedding feast of Thetis and Peleus.
St. Saturnin's Chapel
Behind the ballroom, there is St. Saturnin's Chapel. The lower chapel was originally built in the 12th. century, but was destroyed and completely rebuilt under Francis I. The windows made in Sèvres were installed during Louis Philippe's period, and were designed by his daughter Marie, an artist herself.
The upper chapel was the royal chapel decorated by Philibert de l'Orme. The ceiling, made in the same style as the ballroom, ends with a dome.
Room of the Guards
A room for the guards was always located next to the royal bedchambers. The Salle des Gardes was built during the reign of Charles IX. Some traces of the original decor remain from the 1570's, including the vaulted ceiling and a frieze of military trophies attributed to Ruggiero d'Ruggieri.
In the 19th. century Louis Philippe turned the room into a salon, and redecorated it with a new parquet floor of exotic woods echoing the design of the ceiling, along with a monumental fireplace (1836), which incorporates pieces of ornament from demolished rooms that were built the 15th. and early 16th. century.
The bust of Henry IV, attributed to Mathieu Jacquet, is from that period, as are the two figures on either side of the fireplace. The sculpted frame around the bust, by Pierre Bontemps, was originally in the bedchamber of Henry II.
The decorations added by Louis Philippe include a large vase decorated with Renaissance themes, made by the Sèvres porcelain manufactory in 1832.
During the reign of Napoleon III, the hall was used as a dining room.
Stairway of the King
The stairway of the King was installed in 1748 and 1749, in the space occupied during the reign of Francis I by the bedroom of Anne de Pisseleu, the Duchess of Étampes, a favorite of the King.
It was designed by the architect Ange-Jacques Gabriel, who used many decorative elements from the earlier room, which had originally been decorated by Primatice.
The upper portion of the walls is divided into panels, oval and rectangular, with scenes representing the love life of Alexander the Great. The paintings are framed by large statues of women by Primatice. The eastern wall of the room was destroyed during the reconstruction, and was replaced during the reign of Louis Philippe in the 19th. century with paintings by Abel de Pujol.
The Queen's Bedroom
All of the Queens and Empresses of France from Marie de Medici to the Empress Eugènie slept in the bedchamber of the Queen. The ornate ceiling over the bed was made in 1644 by the furniture-maker Guillaume Noyers for the Dowager Queen Anne of Austria, the mother of Louis XIV, and bears her initials.
The room was redecorated by Marie Leszczynska, the Queen of Louis XV in 1746–1747. The ceiling of the alcove, the decoration around the windows and the wood panelling were made by Jacques Vererckt and Antoine Magnonais in the rocaille style of the day. The decoration of the fireplace dates to the same period.
The doors have an arabesque design, and were made for Marie-Antoinette, as were the sculpted panels over the doors, installed in 1787. The bed was also made especially for Marie Antoinette, but did not arrive until 1797, after the Revolution and her execution. it was used instead by Napoleon's wives, the Empress Josephine and Marie-Louise of Austria.
The walls received their ornamental textile covering, with a design of flowers and birds, in 1805. It was restored in 1968–1986 using the original fabric as a model.
The furniture in the room all dates to the First Empire. The balustrade around the bed was originally made for the throne room of the Tuileries Palace in 1804. The armchairs with a sphinx pattern, the consoles and screen and the two chests of drawers were placed in the room in 1806.
The Boudoir of Marie-Antoinette
The boudoir next to the Queen's bedroom was created for Queen Marie-Antoinette in 1786, and permitted the Queen to have a measure of privacy.
The room is the best surviving example of the decorative style just before the French Revolution, inspired by ancient Roman models, with delicately painted arabesques, cameos, vases, antique figures and garlands of flowers against a silver background, framed by gilded and sculpted woodwork.
The room was made for the Queen by the same team of artists and craftsmen who also made the game room; the design was by the architect Pierre Rousseau (1751-1829); the wood panelling was sculpted by Laplace, and painted by Michel-Hubert Bourgeois and Louis-François Touzé.
Eight figures of the Muses were made in plaster by Roland; the ornate mantle of the fireplace was made by Jacques-François Dropsy, and decorated with glided bronze works by Claude-Jean Pitoin.
The mahogany parquet floor, decorated with the emblems of the Queen, was made by Bernard Molitor, and finished in 1787. The painted ceiling, by Jean-Simon Berthélemy, shows Aurora with a group of angels.
The furnishings were designed for the room by Jean-Henri Riesener, using the finest materials available; mother of pearl, gilded bronze, brass, satin and ebony. Some of the original furnishings remain, including the cylindrical desk and the table, which were made between 1784 and 1789.
The two armchairs are copies of the originals made by Georges Jacob which are now in the Gulbenkian Museum in Lisbon, while the footstool is the original.
The Throne Room of Napoleon (former bedroom of the King)
The Throne Room was the bedroom of the Kings of France from Henry IV to Louis XVI.
In 1808 Napoleon decided to install his throne in the former bedroom of the Kings of France in the location where the royal bed had been. Under the Old Regime, the King's bed was a symbol of royal authority in France and was saluted by courtiers who passed by it. Napoleon wanted to show the continuity of his Empire with the past monarchies of France.
The majority of the carved wood ceiling, the lower part of the wood panelling, and the doors date to the reign of Louis XIII. The ceiling directly over the throne was made at the end of the reign of Louis XIV.
Louis XV created the portion of the ceiling directly over the throne, a new chimney, sculpted wooden medallions near the fireplace, the designs over the doors, and the fine carved woodwork facing the throne (1752–54).
He also had the ceiling painted white and gilded and decorated with mosaics, to match the ceiling of the bedroom of the Queen.
Napoleon added the standards with his initial and the Imperial eagle. The decoration around the throne was originally designed in 1804 by Jacob-Desmalter for the Palace of Saint-Cloud, and the throne itself came from the Tuileries Palace.
The chimney was originally decorated with a portrait of Louis XIII painted by Philippe de Champaigne, which was burned in 1793 during the French Revolution. Napoleon replaced it with a portrait of himself, by Robert Lefèvre. In 1834, King Louis-Philippe took down Napoleon's picture and replaced with another of Louis XIII.
The Council Chamber
The Council Chamber, where the Kings and Emperors met their closest advisors, was close to the Throne Room. It was originally the office of Francis I, and was decorated with painted wooden panels showing following designs of Primatice, the virtues and the heroes of antiquity.
The room was enlarged under Louis XIV, and the decorator, Claude Audran, followed the same theme.
The room was entirely redecorated between 1751 and 1754 by the architect Ange-Jacques Gabriel, with arcades and wooded panels showing the virtues, and allegories of the seasons and the elements, painted by Jean-Baptiste Marie Pierre and Carle van Loo.
The painter Alexis Peyrotte added another series of medallions to the upper walls depicting floral themes, the sciences and arts. The five paintings on the vaulted ceiling were the work of François Boucher, and show the seasons and the sun beginning its journey and chasing away the night.
A half-rotonda on the garden side of the room was added by Louis XV in 1773, with a painted ceiling by Lagrenée depicting Glory surrounded by his children.
The room was used as a council chamber by Napoleon I, and the furnishings are from that time. The armchairs at the table for the ministers are by Marcion (1806) and the folding chairs for advisors are by Jacob-Desmalter (1808).
Apartment of the Pope and of the Queen-Mothers
The apartment of the Pope, located on the first floor of the wing of the Queen Mothers and of the Gros Pavillon, takes its name from the 1804 visit of Pope Pius VII, who stayed there on his way to Paris to crown Napoleon I the Emperor of France.
He stayed there again, involuntarily, under the close supervision of Napoleon from 1812 to 1814. Prior to that, beginning in the 17th. century it was the residence of the Queen Mothers Marie de' Medici and Anne of Austria.
It was also the home of the Grand Dauphin, the oldest son of Louis XIV. In the 18th. century it was used by the daughters of Louis XV, and then by the Count of Provence, the brother of Louis XVI.
During the First Empire it was used by Louis, the brother of Napoleon, and his wife Queen Hortense, the daughter of the Empress Josephine. During the reign of Louis-Philippe, it was used by his eldest son, the Duke of Orleans.
During the Second Empire, it was occupied by Stephanie de Bade, the adopted niece of Napoleon I. It was restored in 1859–1861, and used thereafter for guests of high rank. It was originally two apartments, which were divided or joined over the years depending upon its occupants.
The Grand Salon, the Antechamber to the Bedroom of the Queen-Mother (Mid-17th. century)
The Salon de Reception was the anteroom to the bedroom of Anne of Austria, wife of Louis XIII and mother of Louis XIV. It features a gilded and sculpted ceiling divided into seven compartments, representing the sun and the known planets, along with smaller compartments for military trophies.
The room was created in 1558 by Ambroise Perret as the bedroom of Henry II in the pavilion des Poeles, a section of the Château that was later destroyed. Anne had it moved and decorated with her own emblems, including a pelican. The wood paneling in the room is probably from the same period.
The decor of the bedroom dates largely to the 1650's; it includes grotesque paintings in compartments on the ceiling, attributed to Charles Errard; richly carved wood paneling featuring oak leaves and putti; and paintings over the doors of Anne of Austria costumed as Minerva and Marie-Therese of Austria costumed as Abundance, both painted by Gilbert de Sève.
The bedroom was modified in the 18th. century by the addition of a new fireplace and sculptured borders of cascades of flowers around the mirrors added in 1784. During the Second Empire, painted panels imitating the style of the 17th. century were added above the mirrors and between the mirrors and the doors.
The Gallery of Diana
The Gallery of Diana, an eighty-metre (242 feet) long corridor now lined with bookcases, was created by Henry IV at the beginning of the 17th. century as a place for the Queen to promenade. The paintings on the vaulted ceiling, painted beginning in 1605 by Ambroise Dubois and his workshop, represented scenes from the myth of Diana, goddess of the Hunt.
At the beginning of the 19th. century, the gallery was in ruins. In 1810 Napoleon decided to turn it into a gallery devoted to the achievements of his Empire. A few of the paintings still in good condition were removed and put in the Gallery of Plates.
The architect Hurtault designed a new plan for the gallery, inspired by the Grand Gallery of the Louvre, featuring paintings on the ceiling illustrating the great events of Napoleon's reign.
By 1814 the corridor had been rebuilt and the decorative frames painted by Moench and Redouté, but the cycle of paintings on the Empire had not been started when Napoleon fell from power.
Once the monarchy was restored, King Louis XVIII had the gallery completed in a neoclassical style. A new series of the goddess Diana was done by Merry-Joseph Blondel and Abel de Pujol, using the painted frames prepared for Napoleon's cycle.
Paintings were also added along the corridor, illustrating the history of the French monarchy, painted in the Troubador style of the 1820's and 1830's, painted by a team of the leading academic painters.
Beginning in 1853, under Napoleon III, the corridor was turned into a library and most of the paintings were removed, with the exception of a large portrait of Henry IV on horseback by Jean-Baptiste Mauzaisse. The large globe near the entrance of the gallery, placed there in 1861, came from the office of Napoleon in the Tuileries Palace.
The Apartments of Napoleon
In 1804 Napoleon decided that he wanted his own private suite of apartments within the Palace, separate from the old state apartments. He took over a suite of six rooms which had been created in 1786 for Louis XVI, next to the Gallery of Francis I, and had them redecorated in the Empire style.
The Emperor's Bedroom
Beginning in 1808, Napoleon had his bedroom in the former dressing room of the King. From this room, using a door hidden behind the drapery to the right of the bed, Napoleon could go directly to his private library or to the offices on the ground floor.
Much of the original decor was unchanged from the time of Louis XVI; the fireplaces, the carved wooden panels sculpted by Pierre-Joseph LaPlace and the sculpture over the door by Sauvage remained as they were.
The walls were painted with Imperial emblems in gold on white by Frederic-Simon Moench. The bed, made especially for the Emperor, was the summit of the Empire style; it was crowned with an imperial eagle and decorated with allegorical sculptures representing Glory, Justice, and Abundance.
The Emperor had a special carpet made by Sallandrouze in the shape of the cross of the Legion of Honor; the branches of the cross alternate with symbols of military and civilian attributes.
The chairs near the fireplace were specially designed, with one side higher than the other, to contain the heat from the fire while allowing the occupants to see the decorations of the fireplace.
The painting on the ceiling of the room was added later, after the downfall of Napoleon, by Louis XVIII. Painted by Jean-Baptiste Regnault, it is an allegory representing The clemency of the King halting justice in its course.
The study was a small room designated as Napoleon's work room. In 1811 he added the camp bed, similar to the bed he used on his military campaigns, so he could rest briefly during a long night of work.
The salon of the Emperor was simply furnished and decorated. It was in this room, on the small table on display, that the Emperor signed his abdication in 1814.
The Theatre
Concerts, plays and other theatrical productions were a regular part of court life at Fontainebleau. Prior to the reign of Louis XV these took place in different rooms of the palace, but during his reign, a theatre was built in the Belle-Cheminée wing. It was rebuilt by the architect Gabriel, but was destroyed by a fire in 1856.
It had already been judged too small for the court of Napoleon III, and a new theatre was begun in 1854 at the far eastern end of the wing of Louis XIV. It was designed by architect Hector Lefuel in the style of Louis XVI, and was inspired by the opera theatre at the palace of Versailles and that of Marie-Antoinette at the Trianon Palace.
The new theatre, with four hundred seats arranged in a parterre, two balconies and boxes in a horseshoe shape, was finished in 1856. It has the original stage machinery, and many of the original sets, including many transferred from the old theatre before the fire of 1856.
The theatre was closed after the end of the Second Empire and was rarely used. A restoration began in 2007, funded with ten million Euros by the government of Abu-Dhabi. In exchange, the theatre was renamed after Sheik Khalifa Bin Zayed al Nahyan.
It was inaugurated on the 30th. April 2014. The theatre can be visited, but it no longer can be used for plays because some working parts of the theater, including the stage, were not included in the restoration.
The Chinese Museum
The Chinese Museum, on the ground floor of the Gros Pavillon close to the lake, was among the last rooms decorated within the Chateau while it was still an imperial residence.
In 1867, the Empress Eugenie had the rooms remade to display her personal collection of Asian art, which included gifts given to the Emperor by a delegation sent by the King of Siam in 1861, and other objects taken during the destruction and looting of the Old Summer Palace near Beijing by a joint British-French military expedition to China in 1860.
The objects displayed in the antechamber include two royal palanquins given by the King of Siam, one designed for a King and the other (with curtains) for a Queen. Inside the two salons of the museum, some of the walls are covered with lacquered wood panels in black and gold, taken from 17th. century Chinese screens, along with specially designed cases to display antique porcelain vases.
Other objects on display include a Tibetan stupa containing a Buddha taken from the Summer Palace in China; and a royal Siamese crown given to Napoleon III.
The salons are lavishly decorated with both Asian and European furnishings and art objects, including silk-covered furnishings and Second Empire sculptures by Charles Cordier and Pierre-Alexandre Schoenewerk. The room also served as a place for games and entertainment; an old bagatelle game and a mechanical piano from that period are on display.
In addition to the Chinese Museum, the Empress created a small office in 1868, the Salon of Lacquerware, which was also decorated with lacquered panels and Asian art objects, on the ground floor of the Louis XV wing. This was the last room decorated before the fall of the Empire, and the eventual transformation of the Chateau into a museum.
The Chapel of the Trinity
The Chapel of the Trinity was built at the end of the reign of Francis I to replace the old chapel of the convent of the Trinitaires. It was finished under Henry II, but was without decoration until 1608, when the painter Martin Freminet was commissioned to design frescoes for the ceiling and walls.
The sculptor Barthèlemy Tremblay created the vaults of the ceiling out of stucco and sculpture. The paintings of Freminet in the central vaults depict the redemption of Man, from the appearance of God to Noah at the launching of the Ark (Over the tribune) to the Annunciation.
They surrounded these with smaller paintings depicting the ancestors of the Virgin Mary, the Kings of Judah, the Patriarchs announcing the coming of Christ, and the Virtues.
Between 1613 and 1619 Freminet and Tremblay added paintings in stucco frames between the windows on the sides of the chapel, depicting the life of Christ. Freminet died in 1619, and work did not resume until 1628.
The Trinity chapel, like Sainte-Chapelle in Paris other royal chapels, had an upper section or tribune, where the King and his family sat, with a separate entrance; and a lower part, where the rest of the Court was placed.
Beginning in 1628, the side chapels were decorated with iron gates and carved wood panelling, and the Florentine sculptor Francesco Bordoni began work on the marble altar. The figure to the left depicts Charlemagne, with the features of Henry II, while the figure on the right depicts Louis IX, or Saint Louis, with the features of Louis XIII, his patron.
Bordoni also designed the multicolored marble pavement before the altar and on the walls of the nave. The painting of the Holy Trinity over the altar, by Jean Dubois the Elder, was added in 1642.
In the mid-17th. century the craftsman Anthony Girault made the sculpted wooden doors of the nave. while Jean Gobert made the doors of the tribune where the Royal family worshipped.
In 1741 the royal tribune was enlarged, while ornate balconies of wrought iron were added between the royal tribune and the simpler balconies used by the musicians and those who chanted the mass. In 1779, under Louis XVI, the frescoes of Freminet illustrating the life of Christ, which had deteriorated with time, were replaced by new paintings on the same theme. The paintings were done in the same style by about a dozen painters from the Royal Academy of Painting and Sculpture.
Under Napoleon, the old tabernacle of the chapel, which had been removed during the Revolution, was replaced by a new one designed by the architect Maximilien Hurtault.
Beginning in 1824, the chapel underwent a program of major renovation and restoration that lasted for six years. The twelve paintings of the life of Christ were removed, as well as the gates to the side chapels.
During the Second Empire, the wood panelling of the side chapels was replaced. The restoration was not completed until the second half of the 20th. century, when the twelve paintings, which had been scattered to different museums, were brought together again and restored in their stucco frames. Between 1772 and 1774, a small organ made by François-Henri Cilquot was installed on the left side of the chapel, near the altar.
On the 5th. September 1725, the chapel was the setting for the wedding of Louis XV and Marie Leszczynska. Napoleon III was baptized there on 4 November 1810, and Ferdinand-Philippe d'Orleans, the son of King Louis-Philippe, was married there to Helene de Mecklembourg Schwerin on the 30th. May 1837.
The Gardens and the Park at Fontainebleau
From the time of Francis I, the palace was surrounded by formal gardens, representing the major landscaping styles of their periods; the French Renaissance garden, inspired by Italian Renaissance gardens; the French formal garden, the favorite style of Louis XIV; and, in the 18th. and 19th. century, the French landscape garden, inspired by the English landscape garden.
The Garden of Diana
The Garden of Diana was created during the reign of Henry IV; it was the private garden of the King and Queen, and was visible from the windows of their rooms.
The fountain of Diana was originally in the centre of the garden, which at that time was enclosed by another wing, containing offices and later, under, Louis XIV, an orangery. That building, and another, the former chancellery, were demolished in the 19th. century, thereby doubling the size of the garden.
From the 17th. until the end of the 18th. century, the garden was in the Italian and then the French formal style, divided by straight paths into rectangular flower beds centred on the fountains, and decorated with statues, ornamental plants and citrus trees in pots.
It was transformed during the reign of Napoleon I into a landscape garden in the English style, with winding paths and trees grouped into picturesque landscapes, and it was enlarged during the reign of Louis-Philippe. it was opened to the public after the downfall of Napoleon III.
The fountain in the centre was made by Tommaso Francini, the master Italian fountain-maker, whose work included the Medici Fountain in the Jardin du Luxembourg in Paris.
The bronze statue of Diana, the goddess of the hunt, with a young deer, was made by the Keller brothers in 1684 for another royal residence, at Marly. It is a copy of an antique Roman statue, Diana of Versailles, which was given by the Pope to King Henry IV, and which is now in the Louvre.
The original statue of the fountain, made by Barthelemy Prieur in 1602, can be seen in the Gallery of the Cerfs inside the palace. The sculptures of hunting dogs and deer around the fountain were made by Pierre Biard.
The Carp Lake, English Garden, Grotto and Spring
The lake next to the palace, with an area of four hectares, was made during the reign of Henry IV, and was used for boating parties by members of the Court, and as a source of fish for the table and for amusement.
Descriptions of the palace in the 17th. century tell of guests feeding the carp, some of which reached enormous size, and were said to be a hundred years old. The small octagonal house on an island in the center of the lake, Pavillon de l'Étang, was added during the reign of Louis XIV, then rebuilt under Napoleon I, and is decorated with his initial.
The English garden also dates back to the reign of Henry IV. In one part of the garden, known as the garden of pines, against the wing of Louis XV, is an older structure dating to Francis I; the first Renaissance-style grotto to be built in a French garden, a rustic stone structure decorated with four statues of Atlas.
Under Napoleon, his architect, Maximilien-Joseph Hurtault, turned this part of the garden into an English park, with winding paths and exotic trees, including catalpa, tulip trees, sophora, and cypress trees from Louisiana, and with a picturesque stream and boulders.
The garden also features two 17th. century bronze copies of ancient Roman originals, the Borghese gladiator and the Dying Gladiator. A path leads from the garden through a curtain of trees to the spring which gave its name to the palace, next to a statue of Apollo.
The Parterre and Canal
On the other side of the Château, on the site of the garden of Francis I, Henry IV created a large formal garden, or parterre Along the axis of the parterre, he also built a grand canal 1200 metres long, similar to one at the nearby château of Fleury-en-Biere.
Between 1660 and 1664 the chief gardener of Louis XIV, André Le Nôtre, and Louis Le Vau rebuilt the parterre on a grander scale, filling it with geometric designs and paths bordered with boxwood hedges and filled with colourful flowerbeds.
They also added a basin, called Les Cascades, decorated with fountains, at the head of the canal. Le Nôtre planted shade trees along the length of the canal, and also laid out a wide path, lined with elm trees, parallel to the canal.
The fountains of Louis XIV were removed after his reign. More recently, the Cascades were decorated with works of sculpture from the 19th. century. A large ornamental fountain was installed in the central basin in 1817.
A bronze replica of an ancient Roman statue, "The Tiber", was placed in the round basin in 1988. It replaced an earlier statue from the 16th. century which earlier had decorated the basin.
Two statues of sphinxes by Mathieu Lespagnandel, from 1664, are placed near the balustrade of the grand canal.
Tor Books
From the dust jacket:
It's after 9/11. After the bombing. After the Iraq War. After 7/7. After the Iran War. After the nukes. After the flu. After the Straits. After Rosyth. It's the day when the world changes all the way down to its fundamental assumptions.
HARVEY MACLEAN: SYRIA; DECAPITATION; ESPIONAGE
JIA LAN HUANG: SHANGHAI; CRANIAL SHOT; EMBEZZLEMENT
PAMELA BAKER: OHIO; ELECTROCUTION; INFANTICIDE
In a world just down the road from our own, online bloggers vie with old-line political operatives and new-style police to determine just where reality lies. And on every cable system, the mysterious Execution Channel broadcasts deaths from around the world, around the clock.
LARISA SOSNITSKAYA: RUSSIAN FEDERATION; CRANIAL SHOT; SERIAL MURDER
AHMED WAZIRIH: SYRIA; REPEATED APPLICATION OF LEGITIMATE FORCE CULMINATING IN CEREBRAL HEMMORHAGE; TERRORISM
ABRAHAM IRWIN: TEXAS; MULTIPLE GUNSHOT; LOOTING
James Travis is a British patriot and a French spy. On the day the Big One hits, Travis and his daughter must strive to make sense of the nuclear bombing of Scotland and the political repercussions of a series of terrorist attacks. With the information war in full swing, the only truth they have is what they're able to see with their own eyes. They know that everything else is - or may be - a lie.
BURT FRANKS: CALIFORNIA; LETHAL INJECTION; MURDER
ORLANDO ALARCON: VENEZULA; FIRING SQUAD; COUNTERREVOLUTION
AXELE CURBELO: VENEZULA; FIRING SQUAD; COUNTERREVOLUTION
For in this near future - our near future - day-to-day life becomes much like real intelligence work today: a world in which everything has meaning, and nothing has meaning, and the meanings change as lies build on lies, until someone who intends to lie is finally telling the truth.
------------------------------------
I've liked a lot of other books by MacLeod, so I am looking forward to this.
----------------------------------
Started: 2008-08-01
Finished: 2008-08-16
A near-future thriller taking place in a slightly alternate history. An explosion that destroys an air base in Scotland is quickly followed by several terrorist attacks against British infrastructure. The attacks drag the Travis family into the intelligence plots of the Western governments as various agencies try to figure out what happened, and to hide the truth.
I really enjoyed the book. It is a fast-paced quick read that kept my interest throughout. The way in which the history differs from our own, and how little difference it actually makes is interesting. Unlike MacLeod's other books, there is not much actual science fiction content for most of the book, although he does stick with his familiar ideas that the Western governments seem to be dooming themselves with their increasing paranoia about security and attempts at control. I did feel that the ending went a little over the top as it suddenly veers off in a direction that was hinted at throughout the book, but which also seems like something out of more of a pulp novel.
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2014-01-23: 1000 views
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2018-01-25: 8000 views
This one proved tough. Not the actual execution of the icon itself but more finding the right metaphor that would work in the layout given.
Recognise the pictures? Yeah, did them for Moovida originally. The icons for Moovida including the rest of the UI are going to be dumped soon so might as well salvage what I can right? :)
All the Tiles icons for the 'Ma...' *ahh sorry caught myself there nearly described what it was for :)....
Anyway, all the Tiles icons are captured in a kind of glass square, I dont want to do things where elements are cut off inside it like some iPhone icons or cheating the perspective badly.
I had to play around with a lot of sketches and ideas but finally settled on this one. At one point I was rendering a picture held by the frame of a book like a traditional photo album but, it just didn't seem to work (might go back to it though): www.istockphoto.com/stock-photo-6358888-old-photographs-i... ...something like that but maybe some colored corner pieces and some flourals on the paper.
The design above is kind of fun, less formal and with more visual interest. Scared it is almost too detailed next to the other icons. Will need to look a the entire set and maybe rethink them for an overall balance :(.
Another 5 young Iranians executed last day in the city of Ahvaz . this is a clear message of the ruling rejim (which late grand ayatollah montazeri told about : " this rejim is not islamic nor a republic." although he died very soon after these words but his braveness told enough.)
The message that rejim is trying to send is not only prove its knowledge of the death of the rejim but it is direct message that they are battling with the god.
We will wait and see what they have got as respond from the almighty god.
Albert Black wished witnesses a merry Christmas and prosperous new year as he stood on the scaffold on 5 December 1955.
The 20 year old Irish immigrant had stabbed to death an acquaintance Alan Jacques. Jacques had severely beaten Black not long before and witnesses would say Black was frightened of him.
Jacques was selecting a song for the jukebox in 'Ye Old Barn Café' in Queens St in Auckland when Black stabbed him in the neck. In a climate of moral outrage over supposed youth delinquents the “jukebox murder”, as it was widely known, became a touchstone of all that all that was wrong with society. Albert Black, unskilled, poor and recently arrived from Belfast was the example the hard line moralists had been looking for and he was shown no mercy. Pro death penalty Prime Minister Jack Marshall blocked the attempts of Black’s mother Kathleen to travel from Ireland to visit her son before he was executed. She raised a petition of 12,000 signatures begging for clemency for Albert but it achieved nothing.
Black was led to the gallows where it was reported that he “died game” after delivering his message to those attending his execution. The story has gained new momentum with the publication of Fiona Kidman’s 'This Mortal Boy', a novel which draws heavily on her extensive research into the life and crime of Albert Black. Kidman is convinced he should have been convicted of manslaughter not murder and is campaigning for his sentence to be downgraded.
While this will be too late for Black it will be of comfort to his surviving family, including a daughter who was born several months after his death.
Shown here is the statement of Mount Eden Prison Superintendent Horace Haywood one of the witnesses to Albert Black’s execution.
Archives Reference: J46 1454 COR1955/1253
collections.archives.govt.nz/web/arena/search#/?q=R23847484
More information can be found here:
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objecti...
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter www.twitter.com/ArchivesNZ
Material supplied by Archives New Zealand.
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
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WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
On February 18th 1943 Sophie Scholl and her brother Hans, members of the White Rose resistance group, threw leaflets from the main building of Munich University. The last sentence read: 'Our people stand ready to rebel against the National Socialist enslavement of Europe in a fervent breakthrough of freedom and honour'. They were arrested and executed, along with their friend Christoph Probst, four days later. I made this video to mark the 70th Anniversary of Sophie's execution. It features other women who refused to submit to Hitler and the Nazis and is dedicated to all the women, known and unknown, who fought and died to defeat the Third Reich.
Thank you to the Angelic Upstarts for the music.
Full video at: youtu.be/xgMbU89V7vI
Edouard Manet - Execution of emperor Maximilian [1868] - Lithograph - NYC MET, AN 21.48
Who wants to know more about the historical background, why archduke Maximilian of Hapsburg entered in the Mexican adventure may read the following article:
www.holocaustianity.com/hysteria/maximilian.html
More about the history of Manet's paintings:
1) en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian
2) www.moma.org/interactives/exhibitions/2006/Manet/
or
www.moma.org/interactives/exhibitions/2006/Manet/detail_f...
Used by the Trujillo regime as one of many tools to torture, terrorize, and control his opposition.. This was one of the many tactis used by the regime, along with improsnment, brutal beatings, and killing of the accused family. Trujillo known for his ruthless tactics in his later years as dictator, used the electrical chair as an object to terrify the public and anyone who goes on his opposition. Trujillo was known for sitting in many of the electrecuations and invited press so that the country would know he is serious buissiness. Trujillo also at time gave punishment similar to this to his own men and his own regime so that any person in the regime would know not to go against him. The dictator showed no mercy. In his early years as ruler of the small Island Trujillo was known as a person who would take the country away from poverty and restore it to economical greatness. His ruthless acts began as soon as the country saw no need for him to be in power and his approval ratings soon went to a downward spiral. His fear of loosing his power sparked murders, rapes, beatings, and various unreasobable inprisonments.
Espaillat, Arturo R.. Trujillo: The Last Caesar. Chicago. IL: H. Regnery Co, 1963.
Picture taken by Otto Piron
for more Information visit en.wikipedia.org/wiki/Rafael_Le%c3%b3nidas_Trujillo
A Young Persons Guide To King Parrot Australian Album Tour 2025
All Ages Show
Singing Bird Studios
Frankston, VIC
Australia
Supports:
Goat Sharman
Wombat
Brutal Execution
Delhi, commemoration of the Martyrdom of Guru Tegh Bahadur
Guru Tegh Bahadur (1 April 1621 – 24 November 1675), revered as the ninth Nanak, was the ninth of ten Gurus (Prophets) of the Sikh religion. Guru Tegh Bahadur carried forward the light of sanctity and divinity of the first Sikh Guru, Guru Nanak; his spiritual revelations dealing with varied themes such as the nature of God, human attachments, body, mind, sorrow, dignity, service, death and deliverance, are registered in the form of 115 poetic hymns in the sacred text Guru Granth Sahib.
Although a Guru of the Sikhs, Guru Tegh Bahadur was approached by Hindu Pandits from Kashmir in 1675, to seek his intercession against the forced conversions of Hindus to Islam by the Mughal rulers of India. For resisting these forced conversions and for himself refusing to convert to Islam, Guru Teg Bahadur was publicly executed via beheading at the imperial capital Delhi on the orders of the Mughal Emperor Aurangzeb. Along with Guru Teg Bahadur, three other Sikhs, Bhai Mati Das, Bhai Sati Das and Bhai Dayala, were also executed. Owing to this sacrifice, Guru Tegh Bahadur is revered as Hind-di-Chaadar (shield of Hind(India)). Gurudwara Sis Ganj Sahib and Gurdwara Rakab Ganj Sahib in Delhi mark the places of execution and cremation of the Guru's body.
(source: en.wikipedia.org/wiki/Guru_Tegh_Bahadur)
WIESBADEN, Germany - Senior U.S. Army leaders listen during the 2017 USAREUR Winter Conference. Over 200 commanders and senior enlisted leaders gathered at U.S. Army Europe Headquarters in Clay Kaserne to attend the USAREUR Winter Commander's Conference Jan. 24 - 26.
After what I felt was the successful execution of my arm swap for my Skipper body, I guess I got the bug to try more!
I got the "Barbie® Beauty Salon & Doll - Brunette" and "Fashionista 54-Tutu Cool - Petite" a while ago. The beauty salon doll had articulated knees, but stiff arms. Miss Tutu had been put on a MTM body, but I thought maybe she should remain petite. Ms. Beauty Salon got an arm transplant from an old body I had laying around and Miss Tutu got a Medium Azone body with large breasts! I also had an Azone Medium body with small breasts, so I put one of the many MTM Purple Top heads I had laying around on it. She is shown next to an AA Petite so you can see a size comparison.
E. H. Wilson: Criminals awaiting execution, 1899-1910. Tied to a cross-shaped frame, two criminals wait to be moved to the scene of their death. The queue was passed through a hole in the top of the vertical post to keep the body in position, and a rope around the neck was twisted until strangulation occurred.
Source: The Face of China As Seen by Photographers & Travelers 1860-1912, p. 38
According to Kaleme website, Hamid Ghassemi-Shall and his family have been informed of his imminent execution during this week’s visit at Evin Prison.
Hamid Ghassemi-Shall, 42, was arrested in 2008 while visiting his family, and was later charged with espionage.
He was sentenced to death in 2009. An Iranian court has rejected an appeal.
“Canada is gravely concerned by indications that the execution of Mr. Ghassemi-Shall may be carried out imminently,” Baird said in a joint statement Sunday with Diane Ablonczy, the junior minister for foreign affairs.
Baird called on the Iranian government to grant clemency to Ghassemi-Shall on compassionate and humanitarian grounds and to respect its international human rights obligations.
The Iranian-born Ghassemi-Shall emigrated to Canada after Iran’s 1979 revolution, and most recently lived in Toronto.
He is awaiting execution in Tehran’s notorious Evin prison, where another Canadian — photojournalist Zahra Kazemi of Montreal — was beaten, raped and killed in 2003.
Another Canadian resident, web programmer Saeed Malekpour of Richmond Hill, Ont., is also on death row in Evin prison. Malekpour, who was born in Iran, is charged with setting up a website that was used to post pornography. He maintains his innocence and says he was tortured into confessing to crimes against Islam.
Prime Minister Stephen Harper is also calling on Iran to spare the life of an Iranian-Canadian convicted of espionage and awaiting execution.
Harper warned there will be consequences if Hamid Ghassemi-Shall is executed.
Harper’s warning followed a similar statement by Foreign Affairs Minister John Baird who said Sunday that Ottawa is “gravely concerned” by indications that Ghassemi-Shall’s execution may be imminent.
“We urge Iran to reverse its current course and to adhere to its international human rights obligations,” Baird said.
■■■■■ www.persianicons.org/human-right/iranian-canadian-facing-... ■■■■■
Thierry Geoffroy / Colonel exhibit now at The Kuma Museum his tent from document Kassel d13 , 2012 ( unsolicited )
that created debates about contempoarary art , started occupy movement in front of Fridericianum museum ... got confiscated , inspired marble tent installation documenta14
read more here :
www.emergencyrooms.org/documenta_kassel.html
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
The art work can be asking about "The Execution of Emperor Maximilian "where Manet paint an " after excecution moment "
Is art always too late ?
Can art prevent accidents ?
Does art always comes after the shooting or can art sometimes prevent it ?
Can artists have an impact ?
Could it be an art that could prevent and stop accidents not only witness and express about them ?
Thierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
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#biennalist #Biennalism #biennalecritic
#venicebiennale
#documentakassel #documenta #d13 #documenta13
#manet #edouardmanet
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
The parish church
Design and construction
Machegg is documented have been founded in 1268 by Bohemian King Ottokar. Only ten years later, he fell in the battle against Rudolf of Habsburg in Dürnkrut. The city was therefore never fully developed. The Gothic parish church, dedicated to the Holy Margaretha, was not completed. To execution came just the choir - and as georradar measurments in 1998 resulted - the foundations of the long house. It was also determined by this deep investigations, that the portapoint (line between the portal) of the planned nave is over 7 meters outside the entrance of today's church (tower). The choir meets in the floor plan to that of the Dome of Wiener Neustadt, a mighty cathedral was Ottokar's plan!
This portalpoint (after DI . Dr. E. Reidinger) is als urban planning point of reference. The church is in the axle geometry of the city involved, and therefore the key to the entire system concept and founding date .
At that time, living and belief are a unit, such as state and church. The planning of the city is closely linked with that of the church. Eastern to Marchegg is the holy day, by which the town was entrusted to the divine protection and blessings.
In 1268 fell the green thursday, standding at the beginning of the passion, death and finally the resurrection of jesus christ on the 5th april. On that day, so reveals the bent axis of our parish, the long house was oriented in the direction of sunrise. 8 april 1268 (Easter Sunday ) was then the orientation of the choir as part of a sacred act.
Reidinger: "The reconstructed construction plan of the city and the orientation of the church with the bent axis give the answer to the date of the founding of the city.
What great importance does this mean to the churchbuilding! in the resurrection liturgy (long time on Easter Sunday early in the morning hours celebrated) shines the rising sun through the middle window into the dark church interior! Christ is risen!
As Rudolf I in the year 1278 achieved the mighty victory over King Ottokar, he gave in grateful remembrance of the fact that God, "not far from the church to marche field (Marchfeld)e", him rescued from the deadly danger, including the space along with bridge in front of the mill. In the donation letter issued by him he takes the church with their possessions under his special protection.
Later, the exact date and reason on which legal situation is unknown, Marchegg figures as vicariate of the parish parish of melk Weikendorf and the abbey of melk was holding the patronage.
From the year 1410 is a legal decision is available that the parish priest of Marchegg, the then called Wernherus, as mother gift to the church of Weikendorf every year for pennies pound as sign of filial dependence has to pay.
In the year 1429 was Johann Ströbein from Grossenzersdorf rector of the filial church santa Margaret of Marchegg.
In the same year figures Marchegg in a directory of the parishes and benefices of the diocese of Passau.
On 23 July 1465 asked the owner of dominion of Marchegg, earl Rüdiger von Starhemberg, the abbot of melk to give the vacant parish church of Marchegg to the Mert Putner (Martinus Pertner).
In the year 1506 came the former parish priest of Stillfried, Johannes Syndel as pastor to Marchegg.
In the Protestant Reformation protestant estate owner salm and landau monopolized the patronage and put in preacher.
The transfer of the reign earl Paul Pálffy took place on 26 May 1621 and in the course of the Counter-Reformation the condition take care of the parish and abolish the preachers in said place. Pallfy vowed further only to allow the Catholic religion in Marchegg.
Probably the parish from the end of the fifteenth century has been administrated by the former P. Paulinern of Mariathal (marianka - Order of Saint Paul the First Hermit) in Slovakia. From there came a priest all months for pastoral work to Marchegg. Because due to the floods often no priest appeared, Pálffy 1632 war looking for a world-priest. However, because of the poor pay and the many damage to the church and the parsonage, he could not get one for some time until Pater Sebastian Kempf finally in the year 1634 here was delegated by by the order of Saint Paul.
Before 1663 the erection of John Chapel next to the church.
1689 the parish was robbed during the kuruc fightings.
On 10 March 1697 received in the local parish church a turkish woman the holy sacrament of baptism. Probably she was left behind from the entourage of the turkish war.
1748 Maria-Lauretta chapel was built next to the parish church on an old tomb.
1776 In the church was erected to the holy Leonhard and Wendelin a new constructed side altar.
1784 The branch site Breiteseen was separtend from the parish of Marchegg and raised to an independent "Lokalkaplay".
1784 The parish of Marchegg was incorporated into the archdiocese of Vienna.
1786 26the march was abandoned cemetery location around the church.
Because of the danger of collapsing bell tower (roof rider) was demolished in 1787 and the roof is covered the same.
1786 - 1789 church annex
1790 worship was once again celebrated in the church and the church bells newly transferred to the new tower.
1850, as the bell tower threatened to collapse, it was removed, the main entrance of the church locked and the ship supported.
1853 Prince Pálffy let begin the construction of the church tower. The tower rests on 170 oak trunks.
In 1855 the cross was placed on the newly constructed tower. The cross made of of iron has been galvanically gildened, was picked up in a solemn procession from the castle and consecrated by Dechant Simon Schwarz.
Renovation of the church interior: a woman from Vienna, Magdalena Schineder, a marcheggerin (born to Marchegg), gave 350 fl, mister notary dionys Klemer 40 fl, for acquisition of new altarpiece for the high altar, which dates from the school of the famous painter Kupelwieser. The remaining contributions came from the community, from Vienna, Prague, Brno, Malacka and Baumgarten.
Termination of the church renovation in 1856.
1878 600 year anniversary of the church.
1890 New stained glass windows. Donors. Prince Palffy, Earl Apponyi, Vicar Rohrwasser (born Marchegger):
1895 Prince Liechtenstein donated two stained glass windows
1897 Flood. Parsonage and church were under water. In the church, the water reached up to the kneeling benches.
1899 17th september round 5:15 early in the morning reached the high water church and main square. Church services took place till 23nd september in the castle chapel.
1899 Princess Palffy donated a white alb, which she had embroidered herself.
1910 12th november inserting of the figural windows was completed. In the night were broken parts and robbed the offertory. The pastor prompted to remove all offertories.
1911 King Ferdinand of Bulgaria visited the parish on the journey through.
1917 The copper and the skirts of the windows of the church tower were removed and replaced by zinc sheet.
In january 1918 the organ pipes were requisitioned for war purposes.
1930 18.9. Laying of the foundation stone of a makeshift church at the railway station.
1931 7.10. Construction of the temporary church and nursery was completed. Financing by pastor Kowanda and the club "Catholic action in Marchegg".
1938 On 15th march came SA-men from Marchegg and took money, cash book and passbook of Catholic young folk. Amount of 45 shillings. Catholic young folk was dissolved.
Since 7th april on the steeple blew the swastika flag.
In 1940 cardinal Innitzer came for visitation to Marchegg. Teenagers rampaged and scolded the cardinal.
1945 Shelling of Marchegg - city church received 7 strikes. Above the presbyterium in the stone window frames, front under the base of the church. 4 shots hit the tower and the roof of the new part of the church. Between church and kindergarten 2 strikes, 5 strikes in the parish garden.
In 1953, the statue of Holy Elisabeth was erected.
In 1954, the statue of Saints Michael, Barbara and Katharina that were destroyed in the bomb hit came back restored. 9th may blessing of the bells.
1958 Completion of the extention of the church Christ the King at Marchegg station.
1960 At the renovation of the ceiling several frescoes were found, two of which were saved.
Consecration the statue of St. Elizabeth, gift of the Federal Monuments Office.
1967 Lightning struck during a funeral in the church tower. Thanks to the lightning protection system, no damage has been produced.
In 1970 the albhon organ was blessed by archbishop Dr. Josef Schoiswohl. Donation of Kommerzialrat Josef Durry.
1989 Consecration of altar and organ of the church of Christ the King by auxiliary bishop DDr. Helmut Krätzl.
1992 Consecration ot the new altar of the city church by Bishop Florian Kuntner.
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Alfred "Jake" Lingle was a reporter for the Chicago Tribune who liked to mingle with cops and gangsters alike. In June of 1930, Lingle had just walked down these subway steps when he was shot in the head from behind and killed. Despite the conviction of Leo Vincent Brothers for the murder it's probable that he was taking the rap for the real killer. Lingle had made enemies of Al Capone and had threatened Bugs Moran 2 weeks prior over his share of the Sheridan Wave nightclub. The hit could have been ordered by either side of the Beer War.
Located at the southwest corner of Michigan Ave. and Randolph St.
Savonarola, a Dominican friar, was instrumental in creating a popular republic in Florence after the Medici family was expelled. He was an ascetic, very much against sin and objects that might facilitate sin, and he organised a bonfire of the vanities in 1497. He was excommunicated in 1497 and in 1498 public opinion turned against him. He was arrested and burnt at the stake.
BOMBARIO, O DOOD! TE SCHENDIG IN DE NOOD.
[Bombario, O Death ! Too shamefully in peril.] [1720]
This engraving represents the interior of a palace. In the company of dancing stock-traders, accompanied by devils, Bombario has been arrested by the Grim Reaper. John Law, promoter of the Mississippi Company and controller of the French economy, is also pulled aside by a couple of satyrs. In the background is Vianen, destination of bankrupted investors.
Summary and original Dutch verses are below.
Inside a palace, in the main chamber, Death, a skeleton, has seized a man by his vest as if about to bear him away. The latter is "Bombario" (Humbug), so often represented in satires on the Mississippi Scheme and its promoters (see "Atlas," 172O, No. 1648, and "De Laggende Law," &c. 1720, No. 1632). At his feet lies a label inscribed "Ag meedemakkers help nou ook" (Oh Comrades, help me too!) His name is written on a box which has fallen from his hands to the floor ; from the box a considerable number of papers have escaped, on these are the following words, "Naa Viane" (To Vianen; q.v.), "'tis tog miss" ('tis a miss after all), "'tis bedrog" ('tis a cheat), "Tot bederf" (to ruin), "Voor Armoet" (for Poverty), "Nog meer wint" (Yet more Wind, i. e. schemes), papers with zeroes on them, signifying the losses of those who had been engaged in the schemes of Law. On another piece of paper is "gelt sugt" (geldzuchtig - avaricious), on another " Voor rys gelt" (for a rise in money).
Behind Bombario, who is thus arrested, appears John Law (of the Mississippi Company – in French style and with fleur-de-lis on sleeves), who has been seized by two satyrs. These are armed with spears, and one of whom says "Wy sellen uw wat aarsleeren" (We shall give you a good lesson.) Mr. Law is dragged forwards in the path of Death; on a label at his feet is "Ik had het nooyt zoo gedagt" (I had never thought it.) In front of the group which comprises the above-named captives of Death and the satyrs, stands a dwarf, with money falling out of a purse which drops from his right hand, and holding a label in his left hand on which is "Wie zal hy nouw vragen om raat” (Who will he now ask for advice?) The dwarf points to the advancing group. Other satyrs are making captives of many persons in the hall, the latter fly in all directions, one of them, a Dutchman, appears to have dropped a keg of spirits; he exclaims, "Ag myn" (Ah mine!), another individual retreats, crying "O spyt" (O rue!) A coffer with money bags, some of which lie outride, stands in the corner of the design, and is inscribed " Overvloet van Goud" (Glut of Gold.)
In the background, through an arched opening, in which a corridor ends, is a view of the country without, in the distance of which is a city, "Viane[n]" (Vianen – the refuge for criminals and bankrupts); a man in the mid-distance is stabbing another, who lies on the ground before him; an execution is shown on our right; on our left persons are standing before the door of a house, one is entreating for mercy from the others, one lies dead on the earth, bales of goods lie near them.
To the right, Time, with his hour-glass lying on the floor at his feet, is pushing back a large curtain from the front of a throne room. Mercury approaches the throne, as if he were in the act of introducing Bombario in the charge of Death to the judge of right and wrong. At Mercury's feet is "Merkurius klagten" (Mercury complains), that is, protests to Justice against the conduct of Law in injuring the course of fair trade and commerce. The inscriptions exterior to the picture were not altered in the second state of the plate.
Below the design, to the left represents, "DEMOCRITE" (Democritus). A boy dressed like a zany, with a fool's cap and bells on his head, holds in one hand a bladder, with peas inside it and attached to a short stick; this instrument he appears to be shaking in order to make a noise, which should be vain and foolish. The boy points to the Orb of Sovereignty, which is inscribed "Mississipi” (Mississippi Company), "West" (West India Company), and "Zuid" (South, the South Sea Company); a landscape with the sea-coast is in the background. In the second state the background is replaced by a tomb.
The compartment on our right represents "HERACLITE (Heraclitus)", standing by an Orb of Sovereignty and weeping, with his foot on two volumes, which are inscribed, "Groot boek" (Great Book), and "Klein (i. e. Klyne Boek, or Little Book); a broken toy windmill lies at the side of the Orb, likewise a broken ring, which has been formed of a serpent swallowing its own tail, a satirical emblem of the bubble schemes, which is repeated in many of the designs described in this Catalogue.
Below the design fourteen lines of Dutch verse are engraved, to the following effect:
"In the Royal Palace of Hoorn (a town in the province of North Holland) all the burghers are sitting, and eating a slice of Weesp (another town) bacon, and drinking a Hoorn glass of gin. But whilst all this is going on, Death comes and picks Bombario out of their midst. 'Run', cries one Director, 'run;' but when he is going to start, a foreign policeman takes him, and brings him to a place where time will show what all the brooding and trading is going to amount to. Every one acts his part, be it little or much, and after that gets his due reward".
Original:
De Boertjes knappen al temaal (allemaal?),
In ’t Hoorense Paleis Royal,
Een lekker weesops spekje, met
Een Hoorens pimpeltje, men vret,
En zuipt, maar wyl men schranst en likt
Zo komt se Schraale Dood, hy pikt
Bombario vlak uit den hoop:
Loop! Schreeuwt een Director, Loop! Loop!
Doch als die loopen wil zo vat
Een vreemde diender hem by ’t gat
En brengt hem daar de tyd doet zien
Wat al ’t bruyen zal geschien
Elk speeld zyn rol, ’t zy min, of veel
En wacht zyn loon, of straf ten deel.
This is the first state of the print, and refers to the Mississippi Scheme, John Law of Lauriston, the South Sea Company and other bubbles of 1720. The body of the design is the same as in the second state, described under "A Satire on Mr. Knight", March 8, 1721, except that the space which was afterward occupied by "Roomse Schildery" (Romish picture), and represented the death of Pope Clement XI, contains a picture of Justice seated on a throne, holding a balance and attended by Liberty and Glory (?).
This print is No. 32 in vol. i. of "Het Groote Tafereel der Dwaasheid", a collection of satires on the schemes in question.
Source: Prints and Drawings in the British Museum, Division I. Political and Personal Satires, Volume II June 1689-1733, Chiswick Press (1873), Catalog No. 1658. pp 503-504 & 575-579. 1658. 10-5/8 X 10-5/8 in
[I combined the descriptions of the two states so the explanations would make sense]
Business Books That Matter is a new Book Club program co-organized by White & Lee and the Software Development Forum (SDForum) and sponsored by Microsoft.
The conversation centered on Execution: The Discipline of Getting Things Done by Larry Bossidy and Ram Charan.
Moderator:
Mark Cameron White
Partner, White & Lee LLP
Panelists:
J. Peter Herz
Former CEO of 3ware, Inc. and Board Chairman, IPextreme, Inc.
Bruce Lichorowic
CEO, Intalio, Inc.
General consensus was that the book was good for large company process execution with a Midwest mentality. But in the Silicon Valley, emphasis is on innovation and practice.
Foggy, panoramic view of the Long Island Sound and Execution Rocks Lighthouse (1850) from Sands Point, Long Island, NY.
It is rumored that the lighthouse's site got its name before the American Revolutionary War when British colonial authorities executed people by chaining them to the rocks at low tide, allowing the rising water to drown them. This folklore has never been verified by any historical record. The name for this island was actually chosen to reflect the historically dangerous shipping area created by the rocks' exposure during low tides. On March 3, 1847, the United States Congress appropriated $25,000 for creation of Execution Rocks Lighthouse. Designed by Alexander Parris, construction was completed in 1849, although it was not lit until 1850. Over the years, it has survived both a fire and a shipwreck. [Wikipedia]
An image dating to the mid nineteenth century entitled 'Anne Boleyn's last farewell of her ladies'. Part of my collection of nineteenth century depictions of Anne Boleyn.
Presidential Candidate 總統候選人
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Tianliang Ma
~ a Taiwanese social reformer, philosopher, photographer and film director
“Touching Fairness and Justice”
馬天亮
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《感動的公平與正義》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
www.facebook.com/filmshapely/info
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
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WorldCat® Identities
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National Bibliographic Information Network (NBINet)
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192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
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National Taiwan University of Science and Technology 國立臺灣科技大學
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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
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聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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University of California, Berkeley period
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University of Michigan period
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University of Oxford period
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University of Glamorgan period
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University of Huddersfield period
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art galleries uk
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Mitrasites system
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articles.whmsoft
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German
www.wer-ist.org/person/Jin_Mann
www.pediatr.org.tw/DB/News/file/1913-1.pdf
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