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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.
www.pfarremarchegg.at/wp-content/uploads/2011/03/Geschich...
taken with Nokia N73 during international festival of programmes for children and youth - Prix Danube 2007 - that took place in the art museum Danubiana
An increasing number of death penalty is enforced in Indonesia – a crime against the international trend. The number of executions worldwide fell last year to 607, 22 percent fewer than in 2013. At the same time imposed 28 percent more death penalty in the world in 2014 than the year...
www.broadleak.com/2015/04/24/indonesia-breaks-execution-t...
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.
A "razakar", referring to the local militiamen accused of looting and committing murder and rape under Pakistani command during the past nine bloody months, pleads for mercy as Mukthi Bahini soldiers pummel him prior to bayoneting him to death at an execution of four men, Dec. 18, 1971, at a Dhaka, East Pakistan, race course (AP Photo/Michel Laurent/Horst Faas)
This is the memorial on Cannock Chase to the 22,000 Polish nationals executed in the Katyn forest during the Second World War by the infamous NKVD (People's Commissariat for Internal Affairs), which was a Soviet secret police organisation.
The Katyn massacre was in fact a series of mass executions carried out by the NKVD throughout April and May 1940.
The Soviet Union blamed Nazi Germany for this appalling atrocity, and incredibly continued to deny responsibilty for the massacre until 1990. Finally In November 2010, the Russian State Duma made an official statement attributing the massacre to Stalin and other Soviet officials, who apparently personally issued the orders for it to be carried out.
Buried in the soil beneath the memorial on Cannock Chase are phials of soil transported from Warsaw and the Katyn forest itself. The memorial was designed by Ronald Sims, and each year the UK's Polish community organises a service of remembrance at the site.
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.
I knelt to take this shot of a cross that commemorates the execution (by firing squad) of one of the leaders of the 1916 Easter Uprising in Kilmainham Gaol (Jail) in Dublin. As I did, a woman tripped over the base of that flagpole and fell.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Death row birds agonize to die !!!
Liberate Organize !!!
All over the World,
Kill Death Penalty NOW !!!!
USA 2009 - executions & stays
May
8 - Thomas Ivey - murdered by the state of South Carolina
14 - Willie McNair - murdered by the state of Alabama
14 - Donald Gilson - murdered by the state of Oklahoma
19 - Michael Riley - murdered by the state of Texas
20 - Dennis Skillicorn - murdered by the state of Missouri
27 - David Johnston - Florida - stayed
June
2 - Terry Hankins - murdered by the state of Texas
(the 200th execution under Rick Perry)
3 - Daniel Wilson - murdered by the state of Ohio
3 - James Dellinger - Tennessee - stayed
11 - Jack Trawick - murdered by the state of Alabama
17 - Reginald Clemons - Missouri - stayed
July
1 - Matthew Wrinkles - Indiana - stayed
9 - Michael DeLozier - murdered by the state of Oklahoma
14 - Paul Powell - Virginia - stayed
14 - John Fautenberry - murdered by the state of Ohio
16 - Kenneth Mosley - Texas - stayed - new date set Sept. 24
21 - Marvallous Keene - murdered by the state of Ohio -
USA's 1000th State Killing by lethal injection
23 - Roderick Newton - Texas - stayed
August
18 - Jason Getsy - murdered by the state of Ohio
19 - John Marek - murdered by the state of Florida
20 - David Wood - Texas - stayed
as of August 19
On 29 December 1880 Tuhiata, the convicted murderer of artist Mary Dobie, was executed in Wellington gaol.
Tuhiata, usually known as Tuhi, had later said the he never intended Mary harm. The pair had a fatal meeting out in the countryside where she was sketching, and by his account his attempt to ask her where she was from was misunderstood as she spoke no Māori and he little English. But when he dismounted from his horse and came towards her she became frightened and tried to give him the coins in her pocket to make him go away. She then uttered the fatal words that would lead to her death, telling him she would tell the soldiers about him. Fearful of being charged with theft he grabbed her and committed the far greater crime of murder, cutting her throat and dragging her body behind a flax bush.
Blood stained trousers believed to be Tuhi’s were recovered from the scene and his bloody knife was also found. The day of Mary’s murder was fine and she had visited the local store to buy a carpenter’s pencil for her sketching. A gifted artist she had supplied sketches of New Zealand scenery which were published in the London Graphic magazine. As she made her purchase Tuhi was also in the store where he unsuccessfully tried to buy a pair of moleskin trousers on credit. The same day he was seen dancing in the tap room of the local pub before riding his black horse in the direction Mary had taken. Before the murder he had been well thought of and was described by one witness as “usually a quiet man. He is not quarrelsome.” He was arrested and tried in Wellington where the jury took only 20 minutes to unanimously decide on his guilt. He was hanged soon after and the newspapers reported that he had walked “firmly” onto the scaffold and that death was instantaneous
Shown here is the coroner’s certification of Tuhiata’s death. It includes the official cause of death by hanging and the names of all witnesses present at the execution.
ACGS 16211 J1/283/u 1881/9
collections.archives.govt.nz/web/arena/search#/?q=R24425793
More information can be found here:
paperspast.natlib.govt.nz/newspapers/NZTIM18801230.2.50?q...
nzhistory.govt.nz/hokianga-chief-patuone-arrives-in-sydne...
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 Te Rua Mahara o te Kāwanatanga
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]
Sure Roschler! Be the funny guy Roschler! But now you will see the wrath of Roschler in the first ever live televised Execution On Flickr!
The reason for the executions, in cases where the Germans had some alleged reason, was mostly due to illegal work or attempting to leave the country. This involved 136 Norwegians. Their sentences were carried out publicly. The other 37 Norwegian citizens executed in Trandumskogen were made without judgement. Two Gestapo soldiers were shot in Telavåg while trying to stop an attempted escape to England. This was followed by reprisals in the form of mass destruction and executions. Others were taken to Grini for so-called "Flower Picking" and shot because sabotage bombers blew up a military transport train in Mjøndalen.
Most of the Russians who were shot were prisoners of war who had escaped from a prison transport.
Five of the six Englishmen were commando soldiers from one of the glider aircraft that had to make an emergency landing during the preparations for the action against the Rjukan heavy water facility. The last one, R. P. Evans, was with Shetlands-Larsen on the unsuccessful mission against the Tirpitz in November 1942. He was badly injured when the guys were on their way to Sweden. His comrades didn't think he would surive the journey, and because he was in English uniform, he was left without shooting him as the rule was. The Germans they had fought with took him prisoner and sent him to a hospital where he was until he recovered. Then they drove him out into Trandum forest and shot him with the other captured commando soldiers. They violated all international conventions, as both Russians and Englishmen were shot in uniform.
In the forest, an execution platoon with Hauptstürmbannführer Oscar Hans as leader, were waiting. This platoon, apart from Oscar Hans, consisted of volunteer German soldiers who saw it as a great honor to shoot Norwegian patriots. The graves were already dug. Those who were to be shot were led to the grave edge and shot with coarse caliber projectiles. The excavations and autopsies later showed that those who were bound together did not always dead when the graves were filled again. During the autopsy, a body was found that had a lot of sand in the lungs. They had obviously been breathing when the graves were filled in.
After the execution, a layer of lime was thrown over the bodies. The lime should dissolve and burn the bodies so that it would be impossible to identify them. Most of the graves were filled right away, but some were open as the executions took place over several days. After the tombs were filled again, all traces were cleared away. Empty cartridge sleeves were collected etc. The purpose was obviously to hide everything. But one thing they did worked against them. They dug up bushes and small trees from nearby and planted them on the graves. They died of course and made it easier for the investigation commission to find them after the liberation.
In 1946 a memorial was raised. A cross of stripped birch was set up by the road East of the tank shooting range.
On October 10th, 1954, this memorial was unveiled by H. K. H. Crown Prince Olav. Professor Per Palle Storm, had performed the artistic part of the work. The memorial is crowned by light Iddefjord granite. Towards the South is an inscription written in Norwegian. The same text translated into Russian is on the East and in English to the West. The memorial is located south of the grave field.
You can read all this and more (in Norsk) here - www.elg-johansen.com/Krigsside/FKL - Trandumskogen.htm
About twentyfour United States Navy SEALs approached the === INTERRUPT === THIS CAKE HAS BEEN OCCUPIED.
Information from:
en.wikipedia.org/wiki/Grant's_Tomb
The granite and marble structure was designed by architect John Duncan, and completed in 1897.[1] The National Park Service maintains that it is the largest mausoleum in North America. Duncan took as his general model the eponymous structure, the tomb of Mausolus at Halicarnassus, one of the seven wonders of the world; or rather a modern execution of a conception of it, since it is not known what it looked like.[2] A huge public subscription paid for it. Over a million people attended Grant's funeral parade in 1885. It was seven miles (11 km) long and featured Confederate and Union generals riding together in open victorias, U.S. President Grover Cleveland, his cabinet, all the Justices of the Supreme Court, and virtually the entire Congress. The parade for the dedication ceremony of the tomb, held April 27, 1897, the 75th anniversary of Grant's birth, was almost as large and was headed by President William McKinley. New York City was chosen as the burial site so that Mrs. Grant could visit frequently, and because Grant was grateful to New Yorkers for their outpouring of affection during his later years.
Tombs of Ulysses and Julia Grant.
Walt Whitman (1819-1892) wrote:
"As one by one withdraw the lofty actors
From that great play on history's stage eterne
That lurid, partial act of War and peace—of old and new contending,
Fought out through wrath, fears, dark dismays, and many a long suspense;
All past—and since, in countless graves receding, mellowing,
Victors and vanquish'd—Lincoln's and Lee's—now thou with them,
Man of the mighty days—and equal to the days!
Thou from the prairies!—tangled and many-vein'd and hard has been thy part,
To admiration has it been enacted!"
Duncan's overly-ambitious original design, chosen by the Grant Monument Association, included monumental staircases leading down through terraced gardens to a dock on the river, bridging the Hudson Line railroad tracks and providing public access to the shoreline. This plan was scaled back and the monument itself was reduced in size.
The completed structure includes a main lobby overlooking a sanctuary in which Grant and his wife are entombed, guarded by busts of Civil War generals William T. Sherman, George H. Thomas, James B. McPherson, Philip H. Sheridan, and E.O.C. Ord. The domed space, with commemorative mosaic murals and sculpture, including "Victory" and "Peace" by J. Massey Rhind, and a large central oculus revealing on the lower level the twin granite sarcophagi of the President and Mrs. Grant, are quite spectacular examples of purely symbolic Beaux-Arts civic triumphalism. The conception has similarities to the design for the tomb of Napoleon Bonaparte at Les Invalides in Paris.[2] Over the entrance are carved words from Grant's letter accepting the Republican nomination for President in 1868: "Let us have peace."
Grant's tomb 2004
National Park Service administration of the national memorial was authorized on August 14, 1958. (President Grant signed the act establishing the first national park, Yellowstone.) As with all historic areas administered by the National Park Service, the memorial was listed on the National Register of Historic Places on October 15, 1966.
[edit]Decay and restoration
In the late 20th century and despite being legally protected by the National Park Service, the tomb was allowed through neglect[3] to gradually decline to a state of severe disrepair.[4] While New York City's subway trains were being vandalized with spray-painted graffiti[5], so was the tomb.[6] The defaced tomb was considered by many to be an eyesore, but it was low on the priority list for restoration.[7] Attitudes changed, however, when interest in the American Civil War and its generals increased significantly in 1989 with the release of a hit U.S. motion picture, Glory, which was based on a true event in the Civil War. In 1990, the Ken Burns PBS television documentary, The Civil War, was broadcast to a large audience[8] and received critical acclaim. It contributed to the spark of national interest in this period of American history. Suddenly, reenactments of Civil War battles nationwide became highly popular and battlefield sites again became major tourist destinations.
As more persons began to seek out and visit Grant's Tomb, it was natural that more people would notice its defaced condition.[9] In the early 1990s, a paper concerning the deteriorating condition of Grant's Tomb by a Columbia University[10] student, Frank Scaturro[11], was released to the news media and attracted nationwide interest. He had previously urged restoration of the tomb by writing to supervisors of the National Park Service, but had been repeatedly rebuffed and ignored, so he went over their heads to get attention. At this period in the mid-1990s New York was making a successful comeback, with Times Square, Central Park, and the city's subway trains already cleaned up. New Yorkers were surprised to learn that a national shrine — and one of their city's historic tourist destinations — had been largely forgotten while other improvements had been made across the city.
View from the crypt level of Grant's Tomb, showing the ceiling, rotunda, and mural of Ulysses S. Grant and Robert E. Lee following restoration
As a result of Mr. Scaturro's revelations, Grant's descendants[12] and the Illinois state legislature threatened to remove the remains of the former President and First Lady and have them buried in Illinois.[13] The National Park Service was embarrassed into spending $1.8 million[14] to restore the memorial and to provide for upkeep and increased security monitoring.[15] When the work was complete, a re-dedication[16] was held on the dedication's centennial, April 27, 1997.[17]
The New York City Navy ROTC unit now uses the large area in front of the tomb for May commissioning ceremonies of new ensigns (Navy) and second lieutenants (Marine Corps).
The Grant Monument Association is currently making plans to add a new visitor center behind the tomb[18], complete with public restrooms[19] which are prohibited in the tomb itself[20] under the express stipulation of Mrs. Grant.[21] The existing adjacent Overlook Pavilion, which affords a view of the Hudson River, is currently undergoing restoration.
[edit]Public art project
In 1972, to celebrate the 100th anniversary of the establishment of Yellowstone National Park, a sculpture consisting of 17 concrete benches bearing colorful mosaics was created around the monument. The sculpture, entitled The Rolling Bench, was designed by artist Pedro Silva and the architect Phillip Danzig, and was built with the help of hundreds of neighborhood children over a period of three years.[22] The project was sponsored by CITYarts, a non-profit organization founded in 1968 to create works of public art by bringing together children and artists. The sculpture underwent restoration during the summer of 2008 under the supervision of Silva
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-... ■■■■■
Soldier Three (Rein) zipties Jainas hands no problem. Before he bothers for her feet... he pulls one of the execution hoods from his belt. With ehr still pinned to teh wall, he pulls it down over her head and zips the heavy, thick leather hood into place.
Candy Sperber thinks she heard things happening outside, and with the help of the security cam she takes a look. She chuckles as she sees the person waving.
Rai Pawpad crashes to the ground, his breath whooshing out at the man slams into his back. He lays there, stunned, trying desperately to inhale.
Sarraah Huntress tilted her head as she looked into the camera, getting quickly bored of this she turned aorund and checked the alley behind herself, happily smoking away
Laurick Scarbridge spines around onto the child's hips, and takes each of his hands - attempting to pull them around to the small of his back. If he was successful, he would latch the handcuffs around Rai's wrists and stand up.
Jaina Lefevre screams into the hood, struggling and twisting her body against the wall. Terror fills her screams and she arches and twists. "DON'T WANNA DIE! DON'T KILLS ME!"
Candy Sperber wondered what that person wanted, was that a customer? not sure if she should go outside and ask about it, she keeps looking at the camera feed
Soldier Three (Rein) leans to the hood and whispers with his distorted voice "Then be quiet. And still." and he'd sweep her feet out from under her, a knee to the small of her back when she lands (which would likely be hard) and he would move to ziptie her ankles together
Tristaniel McMinnar grimaces at the screams, having to put more effort into remaining detached from this.
Sarraah Huntress was genuinly suprised to see the pink robot thingy seemingly stalking her. She was normally quite trigger happy but quite calm todat..so far. She just looked at Bell while smoking away. The camera feed would probably show her heavily armoured form and large gun quite well, even being so close
Jaina Lefevre oofs and lands hard, breath rushing out in a wheeze. She whimpers at the knee...ribs only barely healed, not having enough breath to really scream again. She sobs into the hood, fogging up her goggles and making her nose run.
Rai Pawpad barely notices the handcuffs on his wrists, he's so grateful for the opportunity to breath. After a moment he turns his head to say "Jaina? JAINA?"
Soldier Three (Rein) looks over to Four (Laurick) and Rai. He pulls a ziptie and execution hood from his belt. He offers the hood to Four while he himself moves to ziptie Rai's feet together.
Laurick Scarbridge reaches out and pulls the hood from Soldier Three, like he was offered a bit ago. He takes it and begins the process of putting it over Rai's head. "We should grab two of the big dumpster bags from the trash can there."
Candy Sperber pays some more attention to the screen that's showing what's happening outside the doors of the lab, noticing the large gun. What was really going on? was she going to spend the night here because the street was not safe? well, that's nothing new in the city but why was that soldier outside the lab?
Sarraah Huntress slipped back into work mode and tossed her cigarette on the floor as the Elliena approached, holding her machine gun in one hand and putting her other hand up in a halt gesture, she moved to the middle of the alley, but didn't say anything
Soldier Three (Rein) zipties the boys legs, considernig hte bag concept. "Too risky." he says with distorted voice. "Orders were unharmed, and bags could suffocate. We'll just have to move fast."
Tristaniel McMinnar keeps a silent vigil on his alleyways, the rush from the brief chase ebbing and his breath returning to normal. He glances over his shoulder to the muffled sounds of distorted speech.
Rai Pawpad had been struggling fiercely, but freezes as the hood comes down over his head.
Jaina Lefevre is squirming and wheezing on the ground. "Rai?" she calls through the hood. "Don't wanna diiiiieee!"
Soldier Three (Rein) motions for Four to take Rai as he moves back to Jaina. He'd grab her by both shoulders and lift her over his,bound legs before him, her head hanging behind him.
Sarraah Huntress took a couple of steps back, this was the pink brigade's lucky night, she was feeling less trigger happy than usual and knew she was on camera. She did keep her hand up and withdrew very slowely, the weight of her entire body quite visible fromt he way she shifted.
Laurick Scarbridge grabbed Rai up by the chains of the cuffs with one hand, and his other hand moved underneath of his shoulder. He'd attempt to pull Rai to his feet, and if he was successful he would lift him up onto his shoulder as Three had.
Tristaniel McMinnar backtracks, sweeping the alleyways as they move as a unit back towards the church.
Soldier Three (Rein) is also muttering into his com via a throat mic. Most of it is military code.. "three under cover accross from church with female objective"
Soldier Three (Rein) nods over his shoudler to Trist, the ziptied and hooded girl ehld over his shoulders as he knelt in cover
Tristaniel McMinnar rounds on Ciro's six, checking their tail end.
Sarraah Huntress turned about to see her comrades appearing in a hail of racket. This sounded like the perfect neutralisation scenario, so she started pacing forwards, eyes on Elliena
Tristaniel McMinnar lets the rest of the squad move on with the Tango's. He snaps the stock of his rifle up, bringing it into the line of fire as the girl's fist whips towards it.
Soldier Three (Rein) moves on, Jaina, bound and hooded, over his shoulders
Soldier Three (Rein) says in his distorted voice "Lets get em to the brig"
1st panel, top: The execution of Maximilian in 1867.
Maximilian of the House of Hapsburg was an Austrian archduke who was proclaimed Emperor of Mexico with the backing of France and Mexican monarchists. Republican forces led by Benito Juárez, refused to recognize his administration. When France withdrew its military support after pressure from America, Maximilian and his generals were captured and executed in 1867. His last words were, "I forgive everyone, and I ask everyone to forgive me. May my blood which is about to be shed, be for the good of the country. Viva Mexico, viva la independencia!".
In the mural, the imperial eagle of the Hapsburgs flies away from Mexico, towards Europe after Maximilian's death.
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1st panel, bottom: Indians constructing new buildings and the branding of Indian slaves by the Spanish conquistadors.
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Between 1st & 2nd panel, middle: Hernán Cortés and his Mexican mistress La Malinche, with their son Martin. Below this is the suppression of the Mayan culture with the burning of the Mayan codices & manuscripts by the Bishops Juan de Zumárraga and Diego de Landa.
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2nd panel, top: The Mexican Revolution (1910-20).
On the left side is the dictator Porfirio Diaz. His policies gave most of Mexico's resources away to foreign companies, as shown by the various industries in the background.
On the right are the leading Revolutionaries. Notable figures are Otilio Montaño who is the figure wearing his headband. He stands next to Emiliano Zapata, a leading figure in the Mexican Revolution. Pancho Villa is the figure sporting a macho mustache and wearing the sombrero.
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2nd panel, middle: An auto-da-fé during the Inquisition in Mexico. The figure in glasses to the left side of the heretics is the archbishop Juan de Mendoza and the religious figure to the right is Pedro Moya de Contreras who was the inquisitor general, and archbishop & Viceroy of Mexico.
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2nd panel, bottom: A Conquistador rapes an Indian woman and behind him, native Tlaxcaltecans who sided & fought alongside with the Spanish.
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3rd panel, top: Banner with the Zapatista slogan "Tierra y Libertad" (Land and Liberty). From left to right above the banner are Emiliano Zapata (the revolutionary leader), Felipe Carrillo Puerto (governor of Yucatán), and José Guadalupe Rodríquez..
On the top left are Álvaro Obregón Salido and Plutarco Elías Calles. Both were key players in the Mexican Revolution. Alvaro Obregón Salido was was a Mexican farmer and general who became President in 1920. Plutarco Elías Calles was a Mexican general and politician who suceeded Obregón as President.
Below Álvaro Obregón in the mural are Agustín de Iturbide (in red and white regal costume) and Vicente Guerrero (in red vest holding the banner).
At the end of the Mexican War of Independence, the Army of the Three Guarantees was created to fight Spanish royalist forces which refused to accept Mexican independence. The army was formed from the unification of the Spanish troops led by Agustín de Iturbide and the Mexican insurgent troops of Vicente Guerrero. The decree creating this army stated the three guarantees which it was meant to defend: religion, independence, and unity.
In the mural, Vicente Guerrero is holding the flag of the Three Guarantees. On 27 September 1821, Iturbide led the Army of the Three Guarantees triumphantly into Mexico City; the following day Mexico was declared independent.
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3rd panel, centre: Miguel Hidalgo's response to the Spanish prohibition against growing grapes to protect the sales of Spanish imports of the items.
Miguel Hidalgo, was a Mexican priest and a leader of the Mexican War of Independence. He tried to help the poor by showing them how to grow olives and grape. In 1810 he gave the famous speech, "The Cry of Dolores", calling upon the people to protect the interest of their King Fernando VII (held captive by Napoleon) by revolting against the Spaniards. He led an army of poor farmers & civilians across Mexico, but was eventually defeated and killed by the Spanish.
The figure holding the sword is Martín Cortée (son of Hernán Cortés and La Malinche). He was educated in Spain and returned to Mexico in 1563. However, he was accused of conspiracy against the Crown and subsequently imprisoned, tortured and sentenced to indefinite exile in Spain, never to return to Mexico.
Eagle clutching the Aztec symbol of war, the Atl-Tlachinolli ("burning water").
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3rd panel, bottom: The siege of Tenochtitlan 1521.
Tenochtitlan was the capital of the Aztec Empire. During the Spanish conquest of the Aztec Empire, Hernán Cortés allied with rivals of the Aztecs, including the Totonacs, and the Tlaxcaltecas. Cortés fought numerous battles against the Aztecs, but it was the siege of Tenochtitlan in 1521 that was the final and decisive battle that led to the downfall of the Aztec civilization.
Cuauhtémoc was the Aztec ruler of Tenochtitlan at the time of the siege. His name means "One That Has Descended Like an Eagle". As Tenochtitlán fell to the Spanish, Cuauhtémoc was captured and tortured by Hernán Cortés. In 1525, he was hanged for treason while accompanying a Spanish expedition to Guatemala.
In the mural, Hernán Cortés is on horseback with vizer up leading the attack. Beneath him are indigenous peoples who fought alongside the Spanish against the Aztecs.
Cuauhtémoc is dressed in an eagle costume, leading the defense of Tenochtitlán. Next to him is a priest who offers up a Spanish victim's heart. Next to the Priest is Cuitláhuac, who ruled Tenochtitlan for just 80 days and was succeeded by Cuauhtémoc. Cuitláhuac died of smallpox that had been introduced to the New World by the Europeans.
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4th panel, top: The Federal Constitution of the United Mexican States of 1857.
The Constitution of 1957 was ratified on February 5, 1857 establishing individual rights for Mexicans such as freedom of speech, freedom of the press and the right to bear arms. It also reaffirmed the abolition of slavery.
However, some of the reforms curtailed the power of the Catholic Church, restricting their privileges and forcing the sale of property belonging to the church.
In the mural, Benito Juárez who was the President of the Republic, is seen holding the constitution.
In the background are men with pick-axes destroying churches and the door of the central church is already destroyed.
Between the monk and the Pope is Antonio López de Santa Anna, president of Mexico on several occasions. He was corrupt and funneled government funds into his own pockets.In 1855 a group of liberals led by Benito Juárez and Ignacio Comonfort overthrew Santa Anna and fled to Cuba.
Opposite Antonio López de Santa Anna is Miguel Miramón - a staunch conservative who opposed the Constitution of 1857 and fought in the War of Reform. In 1867, he was shot for treason on the order of President Benito Juárez. The broken sword held by Miguel Miramón in the mural represents his betrayal of Mexico.
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4th panel, centre: The New Laws of 1542.
The New Laws of 1542 were created to prevent the exploitation of the Indigenous peoples of the Americas by the Encomenderos. This included its solemn prohibition of their enslavement and stated that the natives would be considered free persons and the encomenderos could no longer demand their labour.
The Spanish missionary Bartolomé de las Casas was instrumental for the creation of the New Laws, who was able to influence the King to sign the New Laws. His active role in the reform movement earned Bartolomé de las Casas the nickname, "Defender of the Indians".
In the mural, Bartolomé de las Casas is seen holding a cross shielding Indigenous people from the Spanish conquerors. A stone serpent sculpture is used as a Christian baptismal font to baptise Indigenous people.
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5th panel, top: The Mexican–American War (1846-48).
The Mexican–American War started after the 1845 U.S. annexation of Texas, which Mexico considered part of its territory.
The mural shows scenes of the Battle of Chapultepec in September 1847. Nicolás Bravo was the Mexican general who led the troops defending Chapultepec Castle.
In the mural, Nicolás Bravo is holding his sword in front of the Mexican troops. Chapultepec Castle is in the background and the flying eagle holds the Aztec symbol of war, the Atl-Tlachinolli.
The National Palace, Mexico City.
Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA
"9956-- Execution by the Garrote in the Yard of the City Prison, Havana, Cuba" copyright 1899 B.L. Singley, Keystone View Company
legos will be spilt this night!
I used a single flash(580EXII) inside of a westcott apollo softbox at camera left and triggered with pocket wizards TT1. shot at 1/400th to take down the ambient light.
The gas chambers at Dachau were apparently only used to execute small handfuls of people; not the production-line scale murder, as in some of the other camps.
A lightly dressed girl hangs on the wooden beam. Nobody seems to be bothered of it. Macabre protest action of a nightclub owner in a dispute with the authorities because of the opening times. Rorschach, Switzerland, March 12, 2012.
Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA