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Geisterschloss 16/09/2017 11h25
The execution room in the Geisterschloss (Haunted Castle) of Europa-Park.
Geisterschloss
Geisterschloss (English: Haunted Castle) is a haunted house decorated as darkride in the German amusement park Europa-Park located in theme area Italy.
The attraction opened in 1982 under the name Spukschloss, but both the interior and exterior looked completely different. In both 1996 and 2005 the attraction has been redecorated. Today the theme of Geisterschloss is the Italian Renaissance.
Visitors enter the attraction via the central square of the theme area. At the entrance stands an animatronic of a Mythical being. Dressed in a brown robe with hood. In one hand he carries a bird and in the other a candlestick. In German, the being says that he has been living in the haunted house for years. The talking is sometimes interrupted by being coughed by the being, water being sprayed out of his mouth. After passing the creature, visitors enter a hall where they serve the waiting for the lifts where the front show will take place. A chandelier consisting of bones hangs in the hall. There are singing busts of a few centimeters in the wall. The same busts are arranged in a larger format along one of the scenes during the ride. Once in the show the visitors are addressed in German. The space turns out to be a lift. When the elevator has reached its destination, a "hanged person" falls down from a hole in the ceiling.
After the show the visitors walk via a staircase to a turntable where one can take place in one of the doombuggies. Visitors are guided through the castle during the ride. However, there is no story in the scenes. This way you pass the dining room, dance hall, garden and execution room.
FACTS & FIGURES
Opening: 1982
Builder: MACK Rides
Length: 192 meters
Speed: 3,96 km/u
Duration: 4 minutes
Number of doombuggies: 70
Capacity: 2500 riders/hour
[ Source and more information: Wikipedia - Geisterschloss ]
Through the last month 20 Iranian hostages executed by ruling rejim.
in the time that rejim knows better than others 99% of people hate it ,there is no other way for them to be in
power but terror ,torture,rape,executions.Actually the world is watching that the 70 million Iranians are hostaged by a rejim that every passing day proves its anti-iranian and anti -humanity manners.
Although there are more and more politicians insisting that such rejim must be controlled and managed
from other side of the Iranian borders.they believe such manners lead us to a barbaric thoughts which is deeply eager to ruling Iran completely.
Nooses in the Apartheid Museum (South Africa) representing those who were executed or committed suicide in detention under the various terrorism laws.
Paul Delaroche, The Execution of Lady Jane Grey, 1833, oil on canvas, 246 x 297 cm (The National Gallery, London)
Commander's log, date 05.03.2735:
My execution came and went. I had been 'cuffed again, and a hood had been put over my head. I was ready to die. I figured I could at least die with the satisfactory knowledge that I hadn't given away any DDF secrets. But then I heard some screams. They were the screams of the guards, as Jim was decapitating them. He rescued me, and I was quite astounded to see him. After all, I had believed him to be dead. But he explained the situation to me. He had actually come across a DM underwater patrol in the pond. It was the DM underwater patrol's blood I had seen, not Jim's. But he had gotten caught on a rock down there, so it was a while before he surfaced. He found a lone DM soldier and killed him to get weapons. Then he gathered intel and found me. And what a relief that was! Now, Jim and I shall return to base to resume our normal activities.
Jeremy Croup, Commander of the DDF, signing out.
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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Unlike Coulter, even supporters of capital punishment believe it should be done in a humane way and are aghast at hearing of this botched execution torturing the convict. Coulter’s inhumane response reminds us of why we should Never Trust Ann Coulter - at ANY Age, a new book available at www.coulterwatch.com/never.pdf.
Coulter commends executing teenagers who kill!:
“I enthusiastically embrace the death penalty [in the context of 14-year-old murderers].” – Ann Coulter, 4/10/97.
Coulter is OK with innocent people being executed if they’re guilty of other crimes:
“Sometimes people are innocent of the crime they were sentenced to death for, but perhaps not all crimes.” – Ann Coulter, 11/9/96.
Wants to kill people:
“I think that every day when I take the New York City subway. … I would like to kill all of them. I can analyze that and stop myself from killing people on a New York City street.” – Ann Coulter, 7/11/00
Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.
The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.
The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.
Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961.
One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.
The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.
Once more, the engine was based on that of a Cadillac.
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.
Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the EIGHT, though all MkIII V8 models are now referred to in this way, and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.
Also, as the replacement long-wheelbase MkIIIs would not be ready until 1962, the MkII-D long-wheelbase models ran concurrently for approximately 18 months (July 1960 - February 1962). The original MkIII production commencing on the short wheelbase in July 1961 and extending through to July 1964.
Notable styling features for all MkIIIs are the double stacked headlamps (supplemented by the */5th/* headlamp in the middle of the grille on the original MkIIIs). At the rear the tail lamps formed part of a 'rocket pod' assembly, also featuring the trademark Ralston 'X'. On the original MkIIIs this was supplemented by an additional '+' rocket form in the deep bumper treatment which extended all the way up to the trunklid.
Subtle fins graced the tops of the rear fender forms - a styling feature it appeared on the way out for most brands - but seemingly retained for premium brands - Cadillac - Lincoln - Imperial. The fin feature was also framed in chrome, offering the possibility for those customers who wished to choose a second additional colour for the exterior paintwork.
This pale yellow MkIII Convertible was one of the more commonly ordered MkIII models. and is typical of the series.
This Lego miniland-scale Ralston Tigre MkIII Convertible (1961) has been created for Flickr LUGNuts' 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
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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YOUTUBE: www.youtube.com/user/denofimagination
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Van Nelle Factory, Rotterdam The Netherlands – Architects: Brinkman and Van der Vlugt – masterplan 1914 – 1923; design 1923 – 1925; execution 1925 - 1931
The Van Nelle Factory is one of the highlights of the Modern Movement in the Netherlands. The impressive glass building is not only an example of functionalism and rational production, but also improved working conditions for workers in the twentieth century. The restored building is now one of the most important monuments of Rotterdam
The Firm Van Nelle was selling coffee, tea, tobacco and snuff in Rotterdam since 1782.
The entirely new complex consists of the actual factory building, an office building, a warehouse, expedition and storage depots along the canal, a boiler house and several workshops. A cafeteria and sports fields were also to be found in the area. The factory building consists of three elongated in height sloping parts separated by stairwells. Tobacco has eight, coffee five and tea factory three floors. The staircases house the washing and changing facilities, toilets and lifts, separated for men and women. This allowed for continues factory floors and easily adjustable layouts. By using a concrete frame the non-load bearing facades could be made almost entirely of glass with only thin steel frames. Light and air could penetrate deep into the building. The expedition and storage strip along the water is connected to the main building by overhead conveyor bridges. Another sky bridge connects the plant to the office at the entrance of the complex. The office consists of a strip with two layers of offices and a large open space with glass walls and glass meeting rooms. The office follows the curve in the road. During construction, a tea room on the roof of the tobacco factory was added.
In 1942, low-rise warehouses designed by Brinkman and Van den Broek were realized. In 1974 at the back of the building, a new distribution center was built. In 1951 other products such as pudding and chewing gum made their entrance. After a takeover by the American Standard Brands in 1989, Van Nelle competitor Sara Lee / Douwe Egberts, sold the complex in 1995, so it could finally get the status of national monument. Using the name Van Nelle Design Factory, the complex started a new life. The factory complex was restored by Wessel de Jonge and Claessens Erdmann. The transparency of the factory floor was maintained as much as possible by the new climate walls on the inside. The new inner facades are made of aluminum and therefore clearly identifiable as new elements. On the floors office spaces of various sizes have been realized for the creative sector. The ground floor is used for exhibitions and conferences. The adjacent buildings have been restored and are used by a number of architectural firms.
The photo's were made in 1983 with a Nikkormat FT2 and a Nikkor 24 mm 1:2.8
26.11.13. The Bailiff of Stammheim, Hans Wirth, is beheaded in Baden on 28 September 1524 because of his Protestant faith. Detail from the bronze doors by Otto Münch (1885–1965), Zwingliportal, Grossmünster, Zürich, Switzerland
On the left is the original Robot Executioner. He kept trying to kill George by farting on him, so we had to get rid of him!
A New Vision for the Future
Making its debut at the 2017 Geneva International Motor Show, the EXP 12 Speed 6e concept represents a bold statement on the future of electric cars – and of luxury mobility.
Designed to transform the EV sector in both concept and execution, the EXP 12 Speed 6e fuses the unrivalled hand craftsmanship for which Bentley is famous, with electric performance, heart-stopping design and the range of a true grand tourer.
The EXP 12 Speed 6e is a statement of Bentley’s intention to create the world’s first true luxury electric sports car – and an overt invitation for the public to feed back on Bentley’s vision for the road ahead.
Exterior Design
The EXP 12 Speed 6e is not just an opportunity to envision an electric Bentley. It represents the future of Bentley design, both inside and out.
The exterior body shell is a sleek expression of sports car design, inspired by contemporary architecture, aircraft fuselages and the geometry of the natural world.
A natural evolution of Bentley’s design DNA, it takes the marque’s trademark muscular haunch and powerline to exhilarating new heights. The short front overhang, long bonnet and wide, planted rear aspect all contribute to an unmistakable sense of speed, while the iconic matrix grille features an exquisite smoked stainless steel finish. Contrasting copper highlights offer subtle acknowledgement of the car’s status as a fully electric vehicle, while an illuminated ‘6’ logo can be seen through the grille.
Throughout the car, form coexists with function to support a more sustainable future. The twin bonnet scoops, for example, double as heat sinks, keeping down the temperature of the car’s batteries and drivetrain, without the need for additional cooling technology.
Interior Design
Bentley’s future is one of innovative materials as well as inventive technology. The entire central tunnel, for example, is hewn from a solid piece of glass, encompassing a high-definition OLED curved display. All principle onboard controls are accessible from here, including navigation, entertainment and climate control.
Just as they do on the outside of the car, copper details provide visual interest throughout the cabin, adorning the gear selector and Bentley Dynamic Drive dial control. Even the veneer panels inside the doors feature copper accents, drawing the eye to the handcrafted, natural wood finish.
Tomorrow’s luxury customers will expect intuitive technology and traditional craftsmanship to be integrated seamlessly – a demand that has dictated much of the car’s groundbreaking design. The wing mirrors dispense with the usual reflective glass in favour of cameras, feeding visual input directly to the dash. It’s one more example of Bentley’s future design direction – and the company’s ongoing commitment to exceeding customer expectations in everything it does.
Electric Performance
Luxury is only one side of the Bentley equation. That’s why the EXP 12 Speed 6e has been conceived as more than just a showcase of design and craftsmanship. It is an entirely new format for both urban and open-road driving.
Electric power provides an opportunity to exceed the performance limits of cars built on the conventional combustion engine. From a standing start, electric motors deliver phenomenal levels of torque, which translates into heart-stopping acceleration.
In order to deliver a true grand touring experience, the EXP 12 Speed 6e would be built with the capacity to drive from London to Paris or Milan to Monaco on a single charge. This impressive range would be supported by fast recharging, thanks to inductive technology.
New Technology, New Thinking
Not all new concept cars are truly innovative. The EXP 12 Speed 6e is about much more than a car, however. It represents a first step on a journey that will change the way today’s drivers think about mobility and what it can be. From rapid charging and fast acceleration to a world of connected lifestyle services, where onboard concierge software responds to complex voice input, the world of luxury transport is set to change immeasurably.
For Bentley’s design team, this means looking beyond the horizon, to a day when drivers become passengers and car ownership gives way to transport as a service. The car of the future will be more luxurious, more sustainable and more autonomous than ever before.
87th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2017
(for further pictures and information please contact the link at the end of page!)
Maria Theresa monument
Maria Theresa monument in Vienna
Maria Theresa Square
The Maria Theresa monument is the most important ruler monument of the Habsburg monarchy in Vienna. It is reminiscent of the Empress Maria Theresa, who ruled from 1740 to 1780, and is since 1888 on the Maria Theresa Square on the Vienna ring road (Castle Square - Burgring) between the then Imperial Museums, in 1891 opened the Kunsthistorisches Museum (Museum of Art History) and in 1889 opened the Natural History Museum (Naturhistorisches Museum), in front of the background of the Museum Quarter, then the imperial stables. This by Tritons and Najad Fountains accompanied Ensemble monument counts to the UNESCO World Heritage Site Historic Centre of Vienna.
Historical Background
View from the top (2010)
The Empire of Austria in 1859 and 1866 lost Lombardy and Veneto to the new Kingdom of Italy. It was in 1866 forced to resigne after the defeat of the German war, the Prussians had triggered by violation of the rules of the German Confederation from Germany, which in 1871 was constituted as German Empire under a new empire. In 1867 Emperor Franz Joseph I. in Compromise with Hungary had to agree to the formal division of the empire into a ruled from Vienna cisleithanian and ruled from Budapest transleithanian half of the Empire, with Hungary increasingly presenting itself not as a part of the empire, but as a largely independent state. en.wikipedia.org/wiki/Leitha
During the World Exhibition 1873 in Vienna an economic crisis had occurred, the "founders' crash - Gründerkrach" that devalued liberalism as the leading political movement and new mass parties, for the time being, the Christian Social Party, and later the Social Democrats, putting forth. In addition, more and more national movements were felt in the multiethnic state.
Those centrifugal and the imperial power eroding tendencies one would counteract by patriotic appeals to splendor and glory of the empire. At the since 1858 under construction and in 1865 opened new Vienna ring road around the old town was offered the chance. On the Maria Theresa Square the center facing adjoining Heldenplatz outside the Hofburg in 1860 and 1865 monuments of the two most important generals of the monarchy were built. For the Maria Theresa square, which with the Heldenplatz should form an Imperial Forum, it was a good occasion to erect a monument to the historical mother of the nation. She had by her marriage to Francis Stephen of Lorraine and his election as emperor, the Roman-German Empire brought back to Vienna and the continuation of the dynasty, now as House of Habsburg-Lorraine, secured. She referred to a time when the development of the monarchy was not dependent on any political party nor on national political considerations, but by the wisdom of the rulers. Her reputation and popularity should radiate to the current empire.
The monument
Gypsum model of a draft of the monument
Maria Theresa surrounded by the allegories of the cardinal virtues
For the execution of the sculptures in 1874 the three sculptors Johannes Benk, Carl Kundmann and Caspar Zumbusch submitted designs. Emperor Franz Joseph I decided for Zumbusch, with his student Anton Brenek around 13 years working on the bronze sculptures, which have a total weight of 44 tons. Carl von Hasenauer designed the architecture of the monument.
With the base, the monument covers an area of 632 square meters and is 19.36 m high, on top the seated figure of the Empress with 6 m height. Base and chain pedestal consist of Mauthausen granite from Enghagen in Upper Austria, pedestal and base of brown hornblende granite from Petersburg-Jeschitz at Pilsen in the Czech Republic, the columns of serpentinite from Wiesen near Sterzing in South Tyrol.
The program's content for the monument came from Alfred von Arneth, director of the Imperial House, Court and State Archives. The monarch herself sits on her throne at the top, in the left hand a scepter and the Pragmatic Sanction, the State and the Constitutional Treaty, her allowing the rule in the Habsburg lands as woman, saluting with the right hand the people. Around the throne on the cornice are sitting as allegorical personifications of the cardinal virtues of justice, strength, gentleness and wisdom four female figures .
At the four sides of the base each is located a circular field with a relief and before that a freestanding statue in thematic context:
The consultants of the Archduchess are represented by Wenzel Anton Kaunitz as a statue and Johann Christoph von Bartenstein, Gundakar Thomas Graf Starhemberg and Florimond Claude of Mercy-Argenteau in relief, the background shows the Gloriette in the garden of Schonbrunn Palace.
For the administration stand Friedrich Wilhelm von Haugwitz (statue) and Antal Grassalkovich I, Samuel Brukenthal, Paul Joseph of Riegger, Karl Anton von Martini and Joseph von Sonnenfels in a consulting room in the Imperial Palace.
For the military stand Joseph Wenzel I (statue) with Franz Moritz von Lacy, Andreas Hadik of Futak and Franz Leopold of Nádasdy in front of the castle in Wiener Neustadt, in which in 1752 the Theresa Military Academy was established.
Science and art are represented by the physician Gerard van Swieten (statue), the numismatist Joseph Hilarius Eckhel, the historian György Pray and the composer Christoph Willibald Gluck, Joseph Haydn and the as child represented Wolfgang Amadeus Mozart in front of the Old University.
Consultants
Management
Military
Science and Art
On the diagonal axes surround equestrian statues of four commanders from the era of Maria Theresa the monument: Leopold Joseph von Daun (1705-1766), Ludwig Andreas von Khevenhüller (1683-1744), Gideon Ernst von Laudon (1717-1790) and Otto Ferdinand von Abensperg and Traun (1677-1748).
Leopold Joseph von Daun
Ludwig Andreas von Khevenhüller
Gideon Ernst von Laudon
Otto Ferdinand von Abensperg and Traun
Open base during the renovation (2008)
The monument is being totally renovated since October 2008. In a first step, the base whose granite cladding and the foundation were restored. Under the monument in the course of the work a 600-square-foot brick vault was discovered as a supporting structure that is similar to already known components underneath the equestrian statues on Heroes' Square. In a second step, the stone and metal surfaces are being rehabilitated until probably October 2013.
Reception
The monument in 1888
Maria Theresa Square in 1900
This exercise provides training across the spectrum of OCS readiness from requirements and development of warfighter staff integration and synchronization through contract execution supporting the joint force commander. (U.S. Air Force Photo by Tech. Sgt. Chad Chisholm/Released)
Ridi Bazar is a small pilgrimage town at the confluence of Kali Gandaki and Riri Khola
Nearby cities: Palpa, Butwal, BAGLUNG,PAINU,GHIURA, (LEKHANATH SHARMA)
Coordinates: 27°56'9"N 83°26'19"E
______________________________
Cremation is the combustion, vaporization and oxidation of dead bodies to basic chemical compounds, such as gases, ashes and mineral fragments retaining the appearance of dry bone. Cremation may serve as a funeral or post-funeral rite that is an alternative to the interment of an intact dead body in a coffin or casket. Cremated remains, which do not constitute a health risk, may be buried or interred in memorial sites or cemeteries, or they may be retained by relatives and dispersed in various ways. Cremation is not an alternative to a funeral, but rather an alternative to burial or other forms of disposal.
In many countries, cremation is usually done in a crematorium. Some countries, such as India and Nepal, prefer different methods, such as open-air cremation.
HISTORY
ANCIENT
Cremation dates from at least 20,000 years ago in the archaeological record, with the Mungo Lady, the remains of a partly cremated body found at Lake Mungo, Australia.
Alternative death rituals emphasizing one method of disposal of a body - inhumation (burial), cremation, or exposure - have gone through periods of preference throughout history.
In the Middle East and Europe, both burial and cremation are evident in the archaeological record in the Neolithic era. Cultural groups had their own preferences and prohibitions. The ancient Egyptians developed an intricate transmigration of soul theology, which prohibited cremation, and this was adopted widely among other Semitic peoples. The Babylonians, according to Herodotus, embalmed their dead. Early Persians practiced cremation, but this became prohibited during the Zoroastrian Period. Phoenicians practiced both cremation and burial. From the Cycladic civilisation in 3000 BC until the Sub-Mycenaean era in 1200–1100 BC, Greeks practiced inhumation. Cremation appeared around the 12th century BC, constituting a new practice of burial, probably influenced by Anatolia. Until the Christian era, when inhumation again became the only burial practice, both combustion and inhumation had been practiced, depending on the era and location. Romans practiced both, with cremation generally associated with military honors.
In Europe, there are traces of cremation dating to the Early Bronze Age (c. 2000 BC) in the Pannonian Plain and along the middle Danube. The custom becomes dominant throughout Bronze Age Europe with the Urnfield culture (from c. 1300 BC). In the Iron Age, inhumation again becomes more common, but cremation persisted in the Villanovan culture and elsewhere. Homer's account of Patroclus' burial describes cremation with subsequent burial in a tumulus, similar to Urnfield burials, and qualifying as the earliest description of cremation rites. This may be an anachronism, as during Mycenaean times burial was generally preferred, and Homer may have been reflecting the more common use of cremation at the time the Iliad was written, centuries later.
Criticism of burial rites is a common form of aspersion by competing religions and cultures, including the association of cremation with fire sacrifice or human sacrifice.
Hinduism and Jainism are notable for not only allowing but prescribing cremation. Cremation in India is first attested in the Cemetery H culture (from c. 1900 BC), considered the formative stage of Vedic civilization. The Rigveda contains a reference to the emerging practice, in RV 10.15.14, where the forefathers "both cremated (agnidagdhá-) and uncremated (ánagnidagdha-)" are invoked.
Cremation remained common, but not universal, in both Ancient Greece and Ancient Rome. According to Cicero, in Rome, inhumation was considered the more archaic rite, while the most honoured citizens were most typically cremated - especially upper classes and members of imperial families.
Christianity frowned upon cremation, both influenced by the tenets of Judaism and as an attempt to abolish Graeco-Roman pagan rituals. By the 5th century, the practice of cremation had practically disappeared from Europe.
In early Roman Britain, cremation was usual but diminished by the 4th century. It then reappeared in the 5th and 6th centuries during the migration era, when sacrificed animals were sometimes included with the human bodies on the pyre, and the deceased were dressed in costume and with ornaments for the burning. That custom was also very widespread among the Germanic peoples of the northern continental lands from which the Anglo-Saxon migrants are supposed to have been derived, during the same period. These ashes were usually thereafter deposited in a vessel of clay or bronze in an "urn cemetery". The custom again died out with the Christian conversion of the Anglo-Saxons or Early English during the 7th century, when inhumation became general.
MIDDLE AGES
Throughout parts of Europe, cremation was forbidden by law, and even punishable by death if combined with Heathen rites.[6] Cremation was sometimes used by authorities as part of punishment for heretics, and this did not only include burning at the stake. For example, the body of John Wycliff was exhumed years after his death and cremated, with the ashes thrown in a river, explicitly as a posthumous punishment for his denial of the Roman Catholic doctrine of transubstantiation.
On the other hand, mass cremations were often performed out of fear of contagious diseases, such as after a battle, pestilence, or famine. Retributory cremation continued into modern times. For example, after World War II, the bodies of the 12 men convicted of crimes against humanity at the Nuremberg Trials were not returned to their families after execution, but were instead cremated, then disposed of at a secret location as a specific part of a legal process intended to deny their use as a location for any sort of memorial. In Japan, however, erection of a memorial building for many executed war criminals, who were also cremated, was allowed for their remains.
HINDUISM AND OTHER INDIAN ORIGN RELIGIONS
Religions such as Hinduism, Jainism, and Sikhism practice cremation. In Buddhism cremation is acceptable but not mandated. The founder, Shakyamuni Buddha was cremated. For Buddhist spiritual masters who are cremated, one of the results of cremation are the formation of Buddhist relics.
A dead adult Hindu is mourned with a cremation, while a dead child is typically buried. The rite of passage is performed in harmony with the Hindu religious view that the microcosm of all living beings is a reflection of a macrocosm of the universe. The soul (Atman, Brahman) is the essence and immortal that is released at the Antyeshti ritual, but both the body and the universe are vehicles and transitory in various schools of Hinduism. They consist of five elements - air, water, fire, earth and space. The last rite of passage returns the body to the five elements and origins. The roots of this belief are found in the Vedas, for example in the hymns of Rigveda in section 10.16, as follows:
Burn him not up, nor quite consume him, Agni: let not his body or his skin be scattered,
O all possessing Fire, when thou hast matured him, then send him on his way unto the Fathers.
When thou hast made him ready, all possessing Fire, then do thou give him over to the Fathers,
When he attains unto the life that waits him, he shall become subject to the will of gods.
The Sun receive thine eye, the Wind thy Prana (life-principle, breathe); go, as thy merit is, to earth or heaven.
Go, if it be thy lot, unto the waters; go, make thine home in plants with all thy members.
— Rigveda 10.16
The final rites, in case of untimely death of a child, is usually not cremation but a burial. This is rooted in Rig Veda's section 10.18, where the hymns mourn the death of the child, praying to deity Mrityu to "neither harm our girls nor our boys", and pleads the earth to cover, protect the deceased child as a soft wool.
SATI
The act of sati refers to a funeral ritual in which a widowed woman committed suicide on the husband's funeral pyre. While a mention of self-immolation by one of several wives of an Indian king is found in a Greek text on India, along with self-immolation by widows in Russia near Volga, tribes of Thracians in southeast Europe, and some tribes of Tonga and Fiji islands, vast majority of ancient texts do not mention this practice. Rare mentions of such cremations in aristocratic circles appear in texts dated to be before the 9th century AD, where the widow of a king had the choice to burn with him or abstain. Ancient texts of Hinduism make no mention of Sati; its early medieval era texts forbid it, while post 10th century medieval era texts partly justify it and criticize the practice. The practice of sati, grew after 1000 CE, becoming a particularly significant practice by Hindus in India during the Islamic wars of conquest in South Asia.
This practice was made illegal in 1829 during the British colonial rule of India. After gaining independence from British colonial era, India passed a series of additional laws. The Indian Sati Prevention Act from 1988 further criminalised any type of aiding, abetting, and glorifying of sati. In modern India, the last known case of Sati was in 1987, by Roop Kanwar in Rajasthan. Her action was found to be a suicide, and it led to the arrest and prosecution of people for failing to act and prevent her suicide during her husband's cremation.
BALI
Balinese Hindu dead are generally buried inside the container for a period of time, which may exceed one month or more, so that the cremation ceremony (Ngaben) can occur on an auspicious day in the Balinese-Javanese Calendar system ("Saka"). Additionally, if the departed was a court servant, member of the court or minor noble, the cremation can be postponed up to several years to coincide with the cremation of their Prince. Balinese funerals are very expensive and the body may be interred until the family can afford it or until there is a group funeral planned by the village or family when costs will be less. The purpose of burying the corpse is for the decay process to consume the fluids of the corpse, which allows for an easier, more rapid and more complete cremation.
ISLAM
Islam strictly forbids cremation. Islam has specific rites for the treatment of the body after death.
WIKIPEDIA
This is a picture of Auschwitz Birkenau. Also known as Auschwitz two. This was the camp designed as final sollution for the jews. This camp is specially designed for the extermination of the jews.
Here you see the track where thousands of people arrived. The drove to the left, the SS-ers and jewish special assigned people asked them to leave their lugage which 'would' be stored for them. After that they would be seperated, men one side, women the other. SS staff selected those capable for work. Those not capable for work were mostly executed the same day.
I've started watching Game of Thrones. In the first episode the line "The man who passes the sentence should swing the sword." stuck with me a bit. Seems pretty honorable, anyway I'm stoked to see where this show goes. I heard the books were good.
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Promenade in paris during holiday season
The Palais de Justice made famous during the French Revolution, the Conciergerie (where Marie Antoinette was imprisoned), the stained glass mastery of the church Saint Chapelle, the famous Pont Neuf Bridge, and the delightful residences and shops of the island Île de Sainte Louis.
Perhaps the most well-known and important of the world's museums, the Louvre has an incomparable collection of art (including the Mona Lisa), statuary and historic artifacts. The beautiful Tuilleries Gardens are nearby, as is the Orangerie that houses Monet's famous Water Lily paintings.
Home of the Sorbonne, the Pantheon, the fabulous Museum of the Middle Ages and the Delacroix Museum, this is the historic, "intellectual capital" of Paris.
The Place de la Concorde and its famous obelisk was once the site of the guillotine and the executions of many of the royalty during the French Revolution.
Champs Elysées - This the romantic heart of Paris and one of the most popular streets for strolling and shopping while gazing at the monumental Arc de Triomphe. Seine River cruises are nearby.
The Saint Louis des Invalides church houses the final resting place of Napoleon I, and many other of France's military heroes. Nearby is the Musée d'Orsay, the grand museum of the Impressionists, as well as the Rodin Museum exhibiting many of the master's works.
Melrose, Bronx, New York City, New York, United States
No. 614 Courtlandt Avenue , an early multi-use building in the Bronx, was built in 1871-72 for Julius Ruppert and contained a saloon, public rooms, meeting rooms, and a residential flat. Most likely the work of a builder-contractor, the imposing building displays a variety of early to late Second Empire style motifs successfully combined to reconcile the several uses contained within the building with their exterior expression. Hewlett S. Baker's renovation in 1882 only further enriched the facade.
The building is a monument to the first stage of urbanization within what had been the previously rural south Bronx, helping by its presence to establish a sense of place in the new village of Melrose South. No. 614 also has many of the stylistic features which characterized the buildings along the Bowery between Canal and Houston Streets in the area known as "Kleine Deutschland," where Julius Ruppert first established his business before following his fellow Germans to the Bronx. With its varied uses, the building sheltered a variety of German ethnic activities.
Melrose South and its Early Settlers
The majority of the mid-19th century settlers in New York City's future 23rd Ward (1874), the southwest Bronx, arrived from Manhattan's Lower East Side, eager to leave their noisy and dark, cramped and airless tenements. One of their earliest objectives was the sparsely populated freehold manor, seat of the Morris family who had been prominent in colonial government and the affairs of the early republic, which only recently had been opened for development. Though not a model for subsequent expansion, "New Village," the first subdivision, carries with it some of the method and some of the ingredients of those that followed. In 1848 an association 222 members strong, for the most part German and some Irishmen, mechanics and laboring men, met at the Military Hall at 193 Bowery. Represented by their agents, Jordan Mott, Nicholas McGraw and Charles W. Houghton, they had purchased 200 acres from Gouvemeur Morris, _ Jr.
Lots were drawn and assigned with but one proviso: each owner was to erect a house of no less than $300.00 value within three years, and Morris executed a deed to each new owner. In 1850 New Village became Morrisania, when Mott's early development along the Harlem River, (which had been Morrisania) became Mott Haven.
New Village's success inspired Morris to develop his property further. With Robert Elton and Hampton Denman he had Andrew Findlay, a surveyor, lay out several more communities, Woodstock, Melrose and Melrose East and South, in 1850. Melrose South was incorporated as a village a year later, and in 1864 Morrisania was incorportated as a township, embracing these and ten other villages.
At the time of its incorporation as a village, the boundaries of Melrose South were East 160th Street and the Village of Melrose to the north and East 148th Street and Mott Haven to the south. Its eastern boundary was the Old Boston Post Road (Third Avenue) and its western boundary the railroad. But before the Civil War the area was principally farmland. In 1856 the number of dwellings totalled 173; twelve years later there were 488. Like the citizens of New Village, the preponderance of Melrose South's first residents were German, seeking a healthier alternative to life on the Lower East Side.
Courtlandt Avenue, running north and south along a ridge, was the main shopping street, lined by beer halls and the scene of parades by German bands. Intersecting it, from south to north, were Mott, Benson, Denman,Gouverneur, Wilton, Schuyler, Springfield, Mary and Melrose streets.
The Protection Hall, whose members sponsored marching bands and drill teams, had its headquarters — incorporating a beer garden, bowling alley and dance hall — on the west side of Courtlandt between Springfield (154th) and Mary (155th) Streets. Melrose South had its own brewery, J. & M. Haffen's on Elton (152nd) between Courtlandt and Melrose. The Arion Liedertafel Hall was on the west side of Courtlandt between Benson and Gouverneur and so was the Melrose Turn v ere in. There were many beer gardens too. Indeed, Melrose South was compared with the area around Manhattan's Tompkins Square — "Kleine Deutschland," and Courtlandt was called "Dutch Broadway."
For example, in 1871 at the intersection of Courtlandt and Gouverneur (151st Street) — Ruppert's building would occupy the northeast corner — Jacob Sauter, a butcher, lived on the east side of Courtlandt north of Gouverneur; William Langrebe, a tailor, occupied the northwest corner of Courtlandt and Gouverneur; August Schulte had a grocery store on the southeast corner of the intersection. Andrew Schrenk, also listed on the southeast corner, may have lived upstairs. A rooming house occupied the southwest corner, among whose tenants there was an actor and an Irish laundress. August Frenke, a blacksmith in working in Manhattan, dwelled in the first house on the north side of Gouverneur, east of Courtlandt; John Giesner, the cabinet maker, lived next door to him in the second house east of Courtlandt.^ Only the northeast corner was vacant.
The history of the northeast corner of Courtlandt and Gouverneur (151st) is a reflection of Melrose South's early development in microcosm. The butcher Jacob Sauter, mentioned above, engaged in speculative real-estate as well. Immediately following the Civil War (1865) he purchased three lots at the intersection of Courtlandt and Gouverneur from Philip Schuler: lot 300 on the north side of Gouverneur; lot 301 on the corner; and lot 302 on the west side of Courtlandt. Sauter sold lot 300 to Henry - Penning, Sr., in April 1867 and two months later lot 301 to Philip Brecher. Sauter had retained the northern seven feet of lot 301 along Courtlandt.
By 1870 Brecher had divided the remaining fifty foot frontage along Courtlandt, creating two lots, each twenty-five by one hundred feet. A year later Brecher sold the new corner lot to Julius Ruppert, and immediately, Ruppert set about to build his handsome four-story brick building.
The First Owner
The presence of Julius Ruppert (d.1877) is first recorded on the Lower East Side. His initial place of business - a billiard hall in 1859 - was at No. 50 Bowery. In 1863 he moved to No. 5 Avenue A, at the northwest corner of 1st Street, where he maintained a saloon until his death. Beer, most likely the new German lager, was the specialty of the house, except for a short period (1865-67) immediately after the Civil War when he ran a hotel on the premises also. The beer gardens along the Bowery, many of them large buildings decorated within to imitate gardens, could accommodate hundreds of guests. Music was often provided and whole families came to be entertained. Ruppert's establishment at A and 1st was in a four-story building (Plate 2), still standing, with taller second story windows which suggest this floor contained public rooms. His was but one of the beer halls contributing to Avenue A's erstwhile Gemutlichkeit.
No doubt, Ruppert was aware of his countrymen's migration to the Bronx and was motivated to follow his former customers and to offer them the same hospitality in their new neighborhood along "Dutch Broadway" as that they had enjoyed in "Kleine Deutschland." The second story of his building at 614 Courtlandt (Plate 1), with second story windows even taller than those at Avenue A and 1st Street, contained public rooms, most likely designed to house the convocations of fraternal, patriotic or cultural societies. This use is suggested by the proximity of the ground floor saloon. The third story contained meeting rooms while a one-family flat occupied the fourth story.
Ruppert himself never moved his residence from Manhattan, but his widow Catharine (d.1926) did. One year before her husband's death, she took title to the building. And though Catharine Ruppert attempted to sell the building in December of that year — evidently an unsatisfactory arrangement -— she was residing there in 1880, and it remained her address until 1894. It was Catharine Ruppert who commissioned Hewlett S. Baker, architect, to renovate the building in 1882, ^ dividing the second and third stories into two residential flats each. Baker lowered the second story ceiling and, as a consequence, the height of the distinctive windows; he also lowered the Gouverneur Street entrance.
Until her heirs sold No. 614 in 1927, Catharine Ruppert leased the ground story, and often some dwelling space abov^,' to tavern keepers, with but one exception. Her first tenant in 1889-1894, was a butcher, Mortimer C. Langrebe, perhaps a kinsman of William Langrebe, the tailor across Courtlandt Avenue.
The Building and Its Design
Julius Ruppert's multi-use, three-story building with its mansard fourth story is an imposing structure. Aside from the tall mansard, "Ruppert's building has other remarkable features. Among these are the tall, second story windows already mentioned, as well as the raised decorative ornament on the roof dormers. But most remarkable of all is the manipulation of stylistic forms to translate the varied aspects of the building's several functions into architecture.
No. 614 Courtlandt represents a combination of successive historical styles, styles characteristic of the third quarter of the 19th century. The cast-iron segmental window heads and their foliate corbels are characteristic of the late Italianate mode. The steeply pitched mansard roof is typically of the Second Empire Style. The heavy, bracketed and modillioned, galvanized metal cornice is neo-Grec. The second story window tympana with their fan motifs suggest Queen Anne ornament. The decorative reveals in the brick chimneys can be seen in both neo-Grec and Queen Anne prototypes.
One explanation for this apparent multiplicity has already been touched upon; Hewlett Baker's interior renovation for Catharine Ruppert in 1882, had a definite impact on the exterior of the building her husband had built eleven years before. But despite the presence of these variegated stylistic elements, building records and stylistic analysis indicate there were but two building campaigns.
Julius Ruppert's building can be considered as generally Second Empire in style, a revival of French .Renaissance forms associated with Napoleon Ill's ambitious program for reconstructing offical Paris. The style was accepted in the major cities of Europe as well as in post-Civil War New York. There is a German quality about its use here — the crisp and practical manipulation of architectural elements rather than the grand and symmetrical interpretation more typical of the French. The mansard roof is, of course, de rigeur.
The imbricated slates and oval dormers, the rounded edges of the roof's metal framing and this framing's convex corners, the rosettes and the roof's iron cresting are all stock Second Empire stylistic components. Segmental-arched windows and doors are also characteristic of this style. The late Italianate window hoods (Plate 4) are not inappropriate here; many Second Empire style buildings retain Italianate features. These windows (all but the three ground story windows on Gouverneur which have straight iron lintels) with their corbelled iron sills compare favorably with those of a contemporary firehouse in Morrisania, the Lady Washington Engine Company No. 1 (1872), but now destroyed (plate 5). Even the fourth story dormers echo the segmental curve of the windows below.
Neither the modillions of the cornice entablature nor the circular panels of the architrave below them are foreign to the Second Empire style, but the paired brackets although somewhat neo-Grec in character are an integral part of the cornice design itself; and their placement plays a small but sensitive part in resolving the facades conflicting symmetry. These brackets are articulated as projecting triglyphs. As such they are not inappropriate; the Second Empire style made frequent and explicit use of the classical orders. Finally, the symmetrical aspect of the Courtlandt Avenue facade, albeit clumsy, fits the Second Empire canon.
Who might have designed Julius Ruppert's building? Most likely, it was a builder-contractor, perhaps not even a Bronx man, but someone Ruppert knew in "Kleine Deutschland." He appears to have been familiar with Ruppert's establishment on the Lower East Side. Like No. 5 Avenue A , No. 614 -. ^has four stories, the entrance to the upper floors is located on the side street to the rear of the building and the second story ceilings and windows are taller than those in the two stories above. On one hand, the combination of early and late Second Empire stylistic features, the manipulated symmetry, and the slight chronological stylistic disparity between the mansard, the cornice, and the window heads, speaks of a builder dependent upon ready-made, pre-cast elements.
On the other hand, there is no doubt that No. 614 Courtlandt's builder was familiar with the rudiments of proportion and possessed a knowledge of styles. Our builder, rather than mimicking the exact synnnetry of French prototypes, produced a Second Empire facade of imposing practicality. He integrated the various parts with a pleasing and confident authority.
The most conspicuous of the exterior changes caused by Baker's 1882 interior renovation are the terra-cotta, second story window tympana (Plate 4), introduced when Mrs. Ruppert had the second story adapted to residential use. The decorative terra-cotta panel above the building's 151st St. entrance (Plate 6) is Baker's also (now a metallic silver color, it matched the tympana before it was painted). He introduced this design, a two-handled, classical lamp within a wreath and an ornamental frame in low relief, when he lowered the height of the original doorway. The fire escapes with their decorative iron balustrades were attached to the building at this time.
In 1911 Mrs. Ruppert was required to broaden a fire escape on the 151st Street side and add another to the Courtlandt Avenue facade, both on the second story. In 1933 the firm of De Rose & Cavalieri was retained by a new owner, Leandro Casario, real-estate and insurance broker at 566 Courtlandt Avenue, to renovate within once more. New bathrooms required new windows in the building's eastern (rear) wall at the second and third stories. At this time the original 151st Street stoop was removed.
There appears always to have been some kind of structure in the rear yard. It was a frame shed in 1882, but by 1933 it had become a wooden frame, two-car garage. The present brick-faced, one-story, three-car garage was built at that time. This structure which faces 151st Street is on the Landmark site but is not being identified as a protected feature.
Description
The building is located at the northeast corner of Courtlandt Avenue and 151st Street with the main facade on Courtlandt and the secondary, although longer, facade on 151st Street. Four stories high, it is of red brick.
The ground floor was planned as a commercial space. On Courtlandt, shop windows would have originally flanked a central entrance. Recently the modern roll down security gates have been painted sky blue. The current shopfront is a later addition, but remnants of the original — one iron pilaster supporting an iron cornice which extends across the front and around the corner for one bay — survives. At the base of the iron pilaster, at the northern edge of the building, is stamped the name of the foundry, "J. Alexander, Greenpoint"(Plate 7). On 151st Street are three ground floor window openings, now covered with grilles, with projecting iron lintels and projecting iron sills supported on pendant corbels. The entrance to the upper floors is at the eastern end, up a low stoop. A decorative terra-cotta panel with lamp motif is placed above the door. An iron door hood is aligned with the lintels of the ground floor windows.
At the second floor on the Courtlandt Avenue facade are three tall window openings with segmental, projecting cast-iron hoods on foliate corbels and stone sills. Segmental-arched tympana, bearing fan motifs, are set within the window heads. Until recently the sash had been wood four-over-four; now they are aluminum one-over one. Originally the alignment of these windows would have corresponded with the ground floor openings, unlike the 151st Street elevation where the second story windows are still aligned with the ground floor openings. Here the window openings resemble those on Courtlandt Avenue except for the projecting iron sills with pendant corbels.
At the third story on both elevations, the segmental-arched window openings are not similarly aligned, reflecting the different use of this story; there are four openings on Courtlandt and six on 151st Street. The cast-iron window hoods and corbelled sills are like those seen below. Until very recently the northernmost window on the Courtlandt facade retained its original wood four-over-four sash. Now all the windows in the building have been given aluminum one-over-one sash.
A massive, bracketed and modillioned cornice of metal with paneled architrave surmounts the third story. The fourth story mansard is covered with imbricated slate and punctuated by metal-framed dormers which correspond to the alignment of the third story windows. On Courtlandt oval dormers flank a broad segmental-arched dormer with paired segmental-arched windows with two-over-two sash. The pediment of this dormer contains a central escutcheon secured with a riband and flanked by rinceaux. It is set, in turn, within a central mansard — a reassertion of the central ity of the lower floors — which bears a cavetto cornice.
Applied to the metal surface is a raised eagle, wings outspread. Apparently this eagle is not associated with the decorative escutcheon and riband program just below. Though somewhat bloated in appearance, no doubt due to a lack of exactness in execution, this eagle may be a reflection of the enthusiasm for the impending national centennial.^ The four segmental-arched dormers on 151st Street bear simple riband bows. Two tall, panelled brick chimneys flank these dormers. Recently, these chimneys have been parged and the mansard painted white.
Decorative iron fire escape balconies may be seen at the third story on Courtlandt Avenue and the second, third, and fifth stories on 151st Street.
The Dollar Savings Bank was founded in 1887 by John Haffen of the prominent Haffen family, which controlled much of the Bronx in the late nineteenth and early twentieth centuries. It was the first thrift institution to be organized in the Bronx, preceding its competitors by sixteen years.
Structured as a mutual savings bank, it was managed for the benefits of the depositors, which assured that most savings would not leave the Bronx. The bank’s early leaders moved quickly to organize development in the Bronx and used the savings deposits to fund improvements in the borough. As the number of accounts increased, the bank’s location in the Haffen building at 2808 Third Avenue was unable to accommodate its rapid growth, and the bank sought new and more spacious quarters.
Designed by the renowned firm of Renwick, Aspinwall & Tucker in 1919, the Classical Revival Style, and the free standing bank building illustrate the style adopted by savings institutions during the last decades of the 19th and the first decades of the 20th century. The banks design has the visual continuity of classical architecture linked with civic pride that is symbolic of the bank’s wealth and stability that typifies the characteristics of the Classical Revival bank building style.
The impressive building is clad entirely in limestone, and sits on a trapezoidal corner lot with facades facing three streets; the window fenestration is distinct on each façade. The canted main entrance with central bracketed pediment, roundarched window, flanking paired Ionic pilasters, with laurel leafs all evoke the traditional classical deign.
The building is crowned by a stone frieze engraved with DOLLAR SAVINGS BANK. This distinctive bank building is a significant reminder of the Classical Revival style banks built in New York City at this time.
By the late 1940s, Dollar had become the sixth largest savings bank in the country. This building, the former Dollar Savings Bank at 2792 Third Avenue, served as the bank’s headquarters from the time it was constructed until c. 1950, when the offices were moved to the Fordham branch at 2516 to 2530 Grand Concourse (a designated New York City Landmark). It is now the Bronx Temple of Seventh Day Adventist Church.
By the turn of the century, the commercial heart of Melrose—with numerous theaters, shops, and banks—was centered around the intersection of East 149th Street, Melrose, Willis and Third Avenues, known as the Hub. It is the oldest major shopping district in the Bronx, with inhabitants throughout the borough patronizing its department stores, boutiques, movie palaces and vaudeville theaters. The intersection of 149th Street and Third Avenue became to known as the “42nd Street and Broadway” of the Bronx. As predicted, by 1911 the intersection was “the great business center of the north borough.” Melrose continued to prosper well into the twentieth century.
The Classical Revival style-building is clad entirely in limestone. The building sits on a trapezoidal corner lot with facades facing three streets; the window fenestration is distinct on each façade. At the base of the Third Avenue façade below each pair of pilasters is a narrow vertically oriented rectangular window with wrought-iron security grilles. This feature is repeated on the base of Willis Avenue façade. Below each window on the same façade is a horizontally oriented narrow window with wrought-iron security grilles, which graduates in size.
On the corner of Third Avenue is the canted main entrance with central bracketed, pedimented entrance, which features a round-arched window with keystone above, flanked by Ionic pilasters. Left of the central entrance are two sets of paired round-arched windows separated by paired Ionic pilasters, a design element that is repeated at the corner of each façade.
On the 147th Street façade are a series of five large round-arched windows with keystones and separated by molded stone discs, flanked at the corners by one-over-one windows with transom, followed by a molded stone decorative panel featuring an eagle and laurel wreath, with a small casement window above nestled between paired Ionic pilasters. This window fenestration is repeated on the Willis Avenue façade. Willis Avenue also features a bracketed pedimented entrance, with a round-arched window and keystone above flanked by Ionic pilasters, and three, one-over-one windows with transoms, followed by a molded stone decorative panel featuring an eagle and laurel wreath, with a small casement window above.
On all three facades the architrave is decorated with paired laurel leafs above each pilaster, crowned by a stone frieze engraved with DOLLAR SAVINGS BANK, followed by a acanthus leaf band and then, a denticulated cornice; the Willis Avenue façade is topped by an angular stone pediment. The northern façade is constructed of brick, it contains two window openings that are partially obscured. The second story is a later addition to the building, and is also constructed of limestone. There are two small one-over-one windows on the Third Avenue façade, five on the 147th Street façade, and two on the Willis Avenue façade. The addition is topped by a metal roof.
From the 1987 NYCLPC Landmark Designation Report:
A very interesting read is the Encyclopaedia of Executions that covers each execution in Britian in the Twentieth Century.
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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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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.
------------------------------------------------------------------------------------------
WEBSITE: denofimagination.com/
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Not only was Heinz Petry mere 16 year old when executed, his execution took place on June 11, 1945 -long after World War II hostilities in Europe ended.
There were actually three boys, two of them students of AHS.(Adolf Hitler School) Of the latter one who was arrested by the Americans, could escape. The other two were convicted and executed on 01.06.1945. That was the Adolf Hitler students Heinz Petry and the Hitler Youth Josef Schöner (not Schener). In the court's opinion of the U.S. military the accusation of spying served only as a pretext for the Chairman of the Military Court who emphasized in the court's opinion "that the responsibility for the fate of the two boys lies with the Nazi leaders, and they only, will send send them to their deaths. The German military and political leaders force us", said the chairman,"to fight fire with fire and blood with blood. We will not tolerate those responsible to hide behind women and children". Unless the presiding judge considered this a "deterrent sentence", he unjustly sentenced the sixteen and seventeen year-old boys whose guilt as so called spies did not justify the death penalty. Read the text quoted in the "Aachen News" www.youtube.com/watch?v=XOKEebktVco
Fontaines de la Concorde (Est. 1840) - two monumental fountains "Fontaine des Mers et des Fleuves" located in the Place de la Concorde in the center of Paris. Designed by Jacques Ignace Hittorff during the reign of King Louis-Philippe. The south fountain commemorates the maritime commerce and industry of France, and the north fountain commemorates navigation and commerce on the rivers of France.
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Place de la Concorde (Est. 1772) - one of the major public squares in Paris and the largest square in the French capital. In the eighth arrondissement between the Tuileries Gardens and the Champs-Élysées. In history it was the site of many notable public executions using the guillotine, including the execution of King Louis XVI, during the French Revolution.
Info: en.wikipedia.org/wiki/Place_de_la_Concorde
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