'Sir, executions are intended to draw spectators. If they do not draw spectators they don't answer their purpose.'

- Samuel Johnson, The Life of Samuel Johnson by J. Boswell (1791)

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'The Purpose'

Camera: Chamonix 45F-2

Lens: Schneider-Kreuznach Super-Angulon 8/90mm

Film: Fomapan 100

Exposure: f/8; 1/2sec

Process: FA-1027; 1+14; 9min

Kentucky

July 2024

Deus Ex: Mankind Divided - Downsampled from ~25 MP, hotsampled! with SRWE; Private mod;

Beginning in 1942, the Natzweiler Struthof concentration camp also became a discreet execution site for many of those condemned to death. The firing squad was made up of the camps SS guards.

More than 460 people were known to habe been executed today, including at the crematorium. But the exact figure is difficult to establish. Men and women murdered at Natzweiler were not all registered in the camp and for the most part were murdered without a trace.

Some of the executions were carried out in the sand quarry. One of the most striking of these executions was that of thirteen young Alsatians from Ballersdorf. On the night of 12 to 13 February 1943, they had tried to pass into Switzerland to escape forced inscription into the German army. Arrested and sentenced to death after a summary trial, they were shot in the Natzweiler sand quarry on 17 February.

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La sablière, lieu d’exécution

A partir de 1942, le camp de concentration de Natzweiler-Struthof devient aussi un lieu discret d’exécution pour de nombreux condamnés à mort. Ce sont les gardes SS du camp qui forment le peloton d’exécution.

Plus de 460 exécutions ont été recensées à ce jour, y compris au crématoire. Mais le chiffre exact reste difficile à établir. Les hommes et les femmes assassinés à Natzweiler n’étaient pas tous immatriculés au camp et sont pour la plupart été assassinés sans laisser de traces.

Une partie des exécutions a lieu dans cette sablière. L’une des plus marquantes est celle de treize jeunes Alsaciens de Ballersdorf. Dans la nuit du 12 au 13 février 1943, ils avaient tenté de passer en Suisse pour échapper à l’incorporation de force dans l‘armée allemande. Arrêtés et condamnés à mort après un jugement sommaire, ils ont été fusillés le 17 février à la sablière de Natzweiler.

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Exekutionsort Sandgrube

Ab 1942 wird das KZ Natzweiler-Struthof in aller Diskretion auch zu einem Ort, an dem zahlreiche zum Tode Verurteilten hingerichtet werden. Die Hinrichtungskommandos bestehen aus den SS-Wachen im Lager. Bis heute weiß man von über

460 Exekutionen, die auch im Krematorium stattfanden. Doch die genaue Zahl ist schwer zu ermitteln, denn die Männer und Frauen, die in Natzweiler ermordet wurden, waren nicht immer als Lagerinsassen erfasst, und die meisten von ihnen wurden in aller Heimlichkeit ermordet.

Ein Teil der Exekutionen fand in dieser Sandgrube statt.Traurige Berühmtheit erlangte die Hinrichtung von 13 jungen Elsässern aus Ballersdorf, die in der Nacht vom 12. auf den 13 Februar 1943 versucht hatten, sich der Zwangsrekrutierung durch die Deutschen durch Flucht in die Schweiz zu entziehen. Sie wurden gefasst und in einem Schnellverfahren zum Tode verurteilt und am 17. Februar in der Sandgrube in Natzweiler erschossen.

The Hidden Path is the historic route to the execution scene that took place in 1947 of two British Army sergeants, by the Jewish underground, Etzel. Even today, the place is still known as the Sargent Grove.

Metroline VWH2227 (LK66EOB) on Route N98 to Holborn, Red Lion Square.

The 98 and N98 were due to be cutback to Marble Arch in light of the Oxford Street pedestrianisation but with the project seemingly cancelled, both routes will still be continuing along Oxford Street to Holborn for the moment.

Ambrogio da Fossano, known as Bergognone (1453 circa - 1523) - Madonna and Child with Two Angels (1488-89) - tempera on panel 37 x 28 cm. - Poldi Pezzoli Museum, Milan

Il quadro rivela pienamente lo stile e la qualità pittorica di Ambrogio da Fossano detto il Bergognone, riconoscibili nella sorprendente capacità di definizione ottica e nella realizzazione tecnica di grande accuratezza, condotta con sottili velature e il sapiente uso di lacche rosse. La gamma cromatica è molto ricca e accesa, e gli accostamenti di colore sono raffinati, incentrati sulle sottili gradazioni dal rosso all’arancio. Il dipinto è caratterizzato da un singolare equilibrio tra l’arcaismo della composizione, in cui spicca il fondo dorato, e la grande modernità con cui sono riprodotti i panneggi, le parti anatomiche delle figure e i lineamenti dei volti. La composizione, con il Bambino che si avvicina in modo tenerissimo al volto della Madre, mentre è sostenuto da lei con le due mani, si riallaccia a un modulo arcaico, che ha origini trecentesche e che il pittore bresciano Vincenzo Foppa aveva già iniziato a proporre intorno al 1470. Il libro in primo piano, appoggiato sulle ginocchia della Vergine e con le pagine aperte, costituisce uno splendido brano di natura morta e contribuisce a creare una maggiore impressione di profondità nel dipinto. I riferimenti alle composizioni e allo stile di Vincenzo Foppa, come ad esempio la gravità con cui sono raffigurati i due angeli, o la gamma cromatica rosso-aranciata, suggeriscono di collocare l’esecuzione del quadro all’inizio della carriera di Bergognone, verso la metà degli anni ottanta del Quattrocento, in un momento in cui l’artista è ancora fortemente segnato dall’influsso del maestro bresciano. Il gruppo centrale con la Madonna e il Bambino è in uno stato di conservazione più che soddisfacente, mentre alcune abrasioni hanno indebolito il fondo, il tracciato delle aureole e la resa formale dei due angeli.

The painting fully reveals the style and pictorial quality of Ambrogio da Fossano, known as Bergognone, recognizable in his surprising capacity for optical definition and in his highly accurate technical execution, carried out with subtle glazing and the skilful use of red lacquer. The chromatic range is very rich and bright, and the color combinations are refined, centered on the subtle gradations from red to orange. The painting is characterized by a singular balance between the archaism of the composition, in which the golden background stands out, and the great modernity with which the drapery, the anatomical parts of the figures and the features of the faces are reproduced. The composition, with the Child who comes very close to his Mother's face in a very tender way, while he is supported by her with his two hands, goes back to an archaic module, which has fourteenth-century origins and which the Brescian painter Vincenzo Foppa had already begun to propose around 1470. The book in the foreground, resting on the Virgin's knees and with the pages open, constitutes a splendid piece of still life and contributes to creating a greater impression of depth in the painting. The references to the compositions and style of Vincenzo Foppa, such as the gravity with which the two angels are depicted, or the red-orange chromatic range, suggest that the execution of the painting can be placed at the beginning of Bergognone's career, towards the mid 1480s, at a time when the artist was still strongly influenced by the Brescian master. The central group with the Madonna and Child is in a more than satisfactory state of preservation, while some abrasions have weakened the background, the outline of the halos and the formal rendering of the two angels.

Patarei prison, Tallinn Estonia.

patareiprison.org/en/visit/

www.richardweber.it

In April 1864 Fernando Maximiliano José María de Habsburgo-Lorena (1832-1867) became Emperor Maximilian I of Mexico. He was not some extremely conservative royalist, but rather a broad-minded thinker who naively sought to 'improve' Mexico politically and socially. He'd reckoned though without the influence of the USA which was still then caught up in their own Civil War. That war however ended and the US with heavy hand meddled in Mexican politics, backing the so-called liberal counter forces to Maximilian's haphazard social rule.

It was a messy time, and soon the emperor was captured (1867) and quickly executed by firing squad (see the inset painting by Édouard Manet [1832-1883]). Maximilian remained much-loved in Habsburg territories, and the German sculptor Johannes Schilling (1828-1910) was commissioned to fashion his statue (1875, inset above left). The statue had a moveable history but now graces the Piazza Venezia near our apartment.

Maximilian was the guiding force behind the construction and execution of Miramare Castle (1856-1860) just up the coast from Trieste; but as is clear from the above he and his wife, Charlotte of Belgium, enjoyed its pleasures for only a very short time.

PS I think it's rather curious to call the Emperor 'I', given that there was no successor.

-- Putnam County's Only Public Execution --

On March 27, 1878, in gallows erected near here at the foot of Billygoat Hill, Joseph and George (Teek) Brassell were hanged in Putnam County's only publicly held execution. The justice system tried, convicted, and sentenced the brothers to death for the slaying of brothers Russell and John Allison during a robbery attempt on November 29, 1875. News of the event made national headlines. Two days after the hangings, The New York Times reported that 10,000 people came to the execution.

This marker is located on South Walnut Ave in Cookeville, Tennessee just past Proffitt Street if you are traveling south.

Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.

"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/

The victim could save his life by hurling a stone into the sea, which was very difficult

Execution of Robespierre - my entry for the "Mad History Contest" at Imperium der Steine. You had to build a MOC with a historical scene which should contain a little twist (limited 48x48 studs). I made a version where Skynet send a terminator in the wrong time and location. Hope you like it

I'm really pleased with this build, and I really love how the photos turned out. Enjoy!

-Nathan

Pieter Paul Rubens (Siegen, 28 June 1577 - Antwerp, 30 May 1640) - The marriage by proxy of Maria de 'Medici and Henry IV, in Florence on 5 October 1600 (1622-23) - preparatory cartoons for the Cycle of Maria de' Medici - Dimensions 61 x 50.3 cm - Alte Pinakothek Munich

Maria de' Medici, che era stata la regina della Francia come consorte di Enrico IV, era al momento dell'esecuzione dei dipinti la regina madre e reggente, dato che il re Luigi XIII era salito al trono all'età di nove anni (nel 1610). L'ordinativo del ciclo di dipinti era stato fatto da Maria stessa, allo scopo di rafforzare la sua sovranità e legittimità. Il programma di tutta la serie era stato ideato dall'abate di Saint-Ambroise, ma ugualmente la Regina, il Cardinale Richelieu e il pittore stesso hanno contribuito al soggetto con le loro proposte.

Rubens disegnò gli schizzi a Parigi, ma l'esecuzione fu eseguita con l'aiuto di collaboratori ad Anversa. Mentre le immagini della serie sono conservate nel Louvre, i cartoni si trovano nella Alte Pinakothek di Monaco di Baviera.

Maria de 'Medici, who had been the queen of France as Henry IV's consort, was the queen mother and regent at the time of the paintings, given that King Louis XIII had ascended the throne at the age of nine (in 1610). The order for the cycle of paintings had been made by Mary herself, in order to strengthen her sovereignty and legitimacy. The program of the whole series had been conceived by the abbot of Saint-Ambroise, but equally the Queen, Cardinal Richelieu and the painter himself contributed to the subject with their proposals.

Rubens drew the sketches in Paris, but the execution was carried out with the help of collaborators in Antwerp. While the images of the series are kept in the Louvre, the cartoons are found in the Alte Pinakothek in Munich.

church of the Certosa of San Martino in Naples

La chiesa si compone di una navata unica con otto cappelle laterali e altre sale (una sacrestia, un coro, un refettorio, una sala capitolare, diverse cappelle e un parlatorio) che si succedono ai lati della zona absidale. Essa presenta nel suo insieme un livello di decorazione interna, sia pittorica che scultorea, a cavallo tra il XVI secolo e il XVIII secolo che la rendono una delle più importanti della città. Le esecuzioni marmoree e plastiche interne sono frutto prevalentemente dell'opera di Cosimo Fanzago, che fu chiamato a ristrutturare la certosa dal 1623 al 1656, occupandosi in questa circostanza anche di rifare la facciata esterna della chiesa

The church consists of a single nave with eight side chapels and other rooms (a sacristy, a choir, a refectory, a chapter house, several chapels and a parlor) which follow one another on the sides of the apsidal area. As a whole, it presents a level of internal decoration, both pictorial and sculptural, at the turn of the 16th and 18th centuries which make it one of the most important in the city. The marble and plastic interior executions are mainly the result of the work of Cosimo Fanzago, who was called to restructure the Charterhouse from 1623 to 1656, also taking care of redoing the external facade of the church in this circumstance

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I begin this photographic story with a description, starting from far away, from very far away, it is a story that speaks of chains, innocent men condemned to death, a voice that comes from a painting, chains that break by themselves, a barred door that opens spontaneously: we are in Palermo (Sicily), it is the 23rd (18th is also reported) August 1392 during the reign of Martin V, the Marina square (located in the Kalsa district of Palermo), overlooking the port (Cala), is the place designated for capital executions by hanging, in this way the population and sailors can witness the hangings, a few meters from the square is the church of " Our Lady of the Port", also known as the "church of the chain" due to the presence nearby of one end of a large and long chain which, when hooked to the two sides of the entrance from the sea to the port, thus put under tension, the same prevented Saracen pirate ships from entering it; the gallows is now ready for three condemned men to death, the sudden arrival of a violent storm prevents the imminent execution, the gendarmes and the condemned men take refuge in the nearby church of Our Lady of the Port, avoiding reaching the prison, the gendarmes tie the three unfortunate men with double chains, barricade the heavy church door from inside, the execution is postponed until the next day; during the night the gendarmes fall asleep, the three condemned men certainly cannot sleep, that is their last night, they approach a painting of the Virgin Mary placed on the altar, ask mercy from the Holy Mother, they invoke her incessantly, a voice is heard coming from the Sacred Image, the Divine Infant that Mary holds in Her arms has granted them freedom, the chains break without making a sound, the door opens spontaneously, the three incredulous men come out into the square, news of what happened immediately spreads, the gendarmes awakened by the clamor recapture the three condemned men, but the population resists, requests the intervention of the king, who arrives and learns of what happened, since the miracle has occurred he considers them innocent and therefore declares them free. Thus was born the cult of the "Our Lady of the Chain", She holds a long chain in Her hands. She is attributed the gift of Powerful Liberator, from all kinds of constraints, both physical and psychological. This cult quickly spread throughout Sicily, but also beyond, to Calabria, Puglia, Campania, and Lazio. In the locality of Cronarmerina, in the Piazza Armerina area (Enna), it is said that in the event of a difficult birth, the chain held by the statue of Our Lady of the Chain was placed on the pregnant woman's belly, thus facilitating the birth. This beginning introduces the current photographic story made on the first Sunday of May 2025, taken on the occasion of the "Great Feast" that Castiglione di Sicilia (Catania) dedicates to its Most Holy. The patron saint, Our Lady of the Chain, is celebrated every 5 years (with several exceptions). This celebration is characterized by the carrying in procession of the heavy marble statue, weighing approximately 800 kgs, made by the Gagini school, through the streets of the town, together with the relic of the “Virgin Mary’s Hair”. Every year, the “normal” celebration is celebrated, without carrying the Sacred Effigy in procession, always on the first Sunday in May and the second Sunday in August. Extraordinary events attributed to this Virgin Mary Statue have occurred in Castiglione. In 1612, the "miracle of sweating" occurred, linked to the "redemption of the mere and mixed empire." In short, during the Aragonese and Spanish occupation, Castiglione di S. (S. as Sicily) was subject to the rule of feudal lords, who exercised the "mere and mixed empire," thus having full powers of jurisdictional sovereignty over Castiglione in place of the king. The population attempted to "redeem" these rights to escape taxes and feudal arbitration, obtain their own autonomy, and be administered by royal magistrates. It is said that during a critical moment in the attempt to redeem the "mere and mixed empire," the statue of the Our Lady of the Chain "sweated," a supernatural phenomenon interpreted as the participation of the Blessed Virgin Mary and Her Infant in the suffering of the population, with her approval and protection in the process of redemption-liberation (a manuscript records what happened). In April 1809, after weeks of incessant prayers, the Statue was carried in procession to invoke Our Lady of the Chain to halt the advance of a lava flow from volcano Etna that threatened to destroy homes and fields in the Castiglione area. In 1879, the Statue was carried in procession behind the Castle to invoke the intercession of the Blessed Virgin Mary to put out a devastating fire; in 1946, at the end of World War II, a solemn procession was organized with the heavy Statue carried on shoulders, to thank the Blessed Virgin Mary for the end of the conflict; in 2020, the "Great Feast" was not celebrated due to the Covid-virus emergency. One aspect worthy of consideration is the deep attachment of the population of Castiglione di S. to the cult of Our Lady of the Chain, a cult that becomes a distinctive feature in the small communities of people of Castiglione scattered across many countries, some very far away. For example, in an interview with people who have moved to Australia (including their children or grandchildren) and now live in Brisbane or Sydney, we read that in every home of people off Castiglione there are always iconographic elements of Our Lady of the Chain, sacred images, small statues, postcards, paintings. And so, the anniversary of the "Great Feast” which occurs every 5 years, is a long-awaited moment for those who live abroad. The time comes to organize themselves into groups, take those who can, the same flight, and thus return to their native land, embrace their families again, and be able to see the Most Holy Mother again who "visits the town" walking its streets. A little curiosity: the first names "Cateno" or "Catena" are typically Sicilian names, originating from this Marian devotion. For example, our current and well-known mayor of Taormina (Messina), a politician, is named Cateno De Luca, as is the writer Catena Fiorello. Finally, a personal thought of mine: my paternal grandfather emigrated to the USA to find work and support his family. My grandmother remained in Taormina with their two children, her work as a photographer (she was the daughter of Gaetano D'Agata, assistant photographer of Baron-photographer Wilhelm von Gloeden, as I mentioned in a previous photo story) was not enough. My grandfather subsequently had to return to Sicily prematurely due to the outbreak of World War II. This photographic story of mine was created with constant, unceasing thought of all those Sicilians who emigrated abroad for work.

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Inizio questo racconto fotografico con descrizione, partendo da lontano, da molto lontano, è una storia che parla di catene, uomini innocenti condannati a morte, una voce che proviene da un quadro, catene che si spezzano da sole, un portone sbarrato che si apre spontaneamente: siamo a Palermo (Sicilia), è il 23 (viene anche riportato il 18) agosto 1392 durante il regno di Martino V, la Piazza Marina (si trova nel quartiere Kalsa di Palermo), si affaccia sul porto (Cala), è il luogo deputato alle esecuzioni capitali per impiccagione, in tal modo la popolazione ed i marinai possono assistere alle impiccagioni, a pochi metri dalla piazza si trova la chiesa di “S.Maria del porto”, conosciuta anche come la “chiesa della catena” per la presenza nelle vicinanze di una estremità di una grossa e lunga catena che, quando agganciata ai due lati dell’ingresso dal mare del porto, messa così in tensione, la stessa impediva alle navi pirata saracene di entrarvi dentro; la forca è ora pronta per tre condannati a morte, l’improvviso sopraggiungere di un violento temporale impedisce l’imminente esecuzione, gendarmi e condannati riparano nella vicina chiesa di S. Maria, evitando di raggiungere il carcere, i gendarmi legano i tre malcapitati con doppie catene, sbarrano da dentro il pesante portone della chiesa, l’esecuzione viene rimandata all’indomani; durante la notte i gendarmi si addormentano, i tre condannati non possono certo dormire, quella è la loro ultima notte, si avvicinano ad un quadro della Madonna posto sull’altare, chiedono misericordia alla Madre Santissima, la invocano incessantemente, una voce si ode provenire dalla Sacra Immagine, il Divino Infante che Maria sorregge in braccio ha concesso loro la libertà, le catene si spezzano senza fare rumore, il portone si spalanca spontaneamente, i tre increduli escono nella piazza, si sparge immediatamente la notizia di quanto accaduto, i gendarmi svegliati dal clamore riacciuffano i tre condannati, ma la popolazione si oppone, richiede l’intervento del re, il quale sopraggiunge e viene a conoscenza dell’accaduto, poiché c’è stato il miracolo li considera innocenti e quindi li dichiara liberi. Così nacque il culto per la “Madonna della Catena”, Ella regge tra le mani una lunga catena, Le viene attribuito il dono di Potente Liberatrice, da ogni sorta di costrizione in senso lato, fisico e psichico, culto che rapidamente si diffonde maggiormente in tutta la Sicilia, ma anche oltre, in Calabria, Puglia, Campania, Lazio. In località Cronarmerina, sul territorio di Piazza Armerina (Enna), si racconta che in presenza di un parto difficile, sulla gestante si adagiava sul ventre la catena tenuta in mano dalla statua della Madonna della Catena, per favorirne così il parto. Questo incipit, per introdurre l’attuale racconto fotografico, realizzato la prima domenica di maggio del 2025, in occasione della “Festa Grande” che Castiglione di Sicilia (Catania) dedica alla sua SS. Patrona, la Madonna della Catena, che viene celebrata ogni 5 anni (con diverse eccezioni) caratterizzata dal portare in processione la pesante statua di marmo, del peso di circa 800 kg, ad opera della scuola dei Gagini, per le vie del paese, insieme alla reliquia del “Capello della Madonna”, mentre ogni anno si celebra la festa “normale”, senza portare in processione il Sacro Simulacro, sempre la prima domenica di maggio, e la seconda domenica di agosto. Eventi straordinari in quel di Castiglione, attribuiti a questa Madonna ne sono accaduti, nel 1612 avvenne il “miracolo della sudorazione”, legato al “riscatto del mero et mixto imperio”, in breve, Castiglione di S. durante l’occupazione aragonese e spagnola, era soggetta al dominio da parte di signori feudali, che esercitavano il “mero et mixto imperio”, avevano così pieni poteri di sovranità giurisdizionale su Castiglione al posto del re, la popolazione cercò di “riscattare” questi diritti per sottrarsi a tasse ed arbìtri feudali, ottenere una propria autonomia, ed essere amministrati dai magistrati regi, si narra che durante un momento critico del tentativo di riscatto del “mero et mixto imperio” la statua della Madonna della Catena avrebbe “sudato”, fenomeno sovrannaturale interpretato come partecipazione della SS. Maria e del Suo Infante alle sofferenze della popolazione, con la Sua approvazione e protezione nel processo di riscatto – liberazione (si legge quanto accaduto in un manoscritto). Nell’aprile 1809 dopo settimane di incessanti preghiere, la statua fu portata in processione, per invocare la Madonna della Catena nel fermare l’avanzare di una colata lavica proveniente dall’Etna che minacciava di distruggere case e campi del territorio di Castiglione; nel 1879 la statua fu portata in processione dietro il Castello, per invocare l’intercessione della SS. Maria per far cessare un devastante incendio; nel 1946 alla fine della seconda guerra mondiale, si organizzò una solenne processione con la pesante statua portata in spalla, per ringraziare la SS. Maria per la fine del conflitto mondiale; nel 2020 la “Festa Grande” non fu celebrata, causa l’emergenza dettata dal Covid-virus. Un aspetto degno di considerazione è il profondo attaccamento della popolazione di Castiglione di S. al culto della Madonna della Catena, culto che diviene una nota distintiva nelle piccole comunità di Castiglionesi che si trovano sparse in molte nazioni, alcune lontanissime, ad esempio, in una intervista a persone trapiantate in Australia (anche, i loro figli od i loro nipoti) che vivono a Brisbane od a Sydney, si legge che in ogni casa di castiglionesi sono sempre presenti elementi iconografici della Madonna della Catena, immagini sacre, piccole statue, cartoline, quadri, ed ecco che la ricorrenza della “Festa Grande” che si verifica ogni 5 anni, è un momento attesissimo da coloro che vivono all’estero, giunge il momento di organizzarsi in gruppi, prendere chi può, lo stesso volo aereo, e così ritornare alla terra natia, riabbracciare i familiari, poter rivedere la SS. Madre che “fa visita al paese” percorrendo le sue strade. Una piccola curiosità, il nome proprio di persona “Cateno o Catena”, sono nomi tipicamente siciliani, provengono da questa devozione mariana, ad esempio il nostro attuale e conosciuto sindaco di Taormina (ME), uomo politico, si chiama Cateno De Luca, od anche la scrittrice Catena Fiorello. Infine, un mio personale pensiero, mio nonno paterno emigrò negli USA per cercare lavoro e così poter mantenere la famiglia, mia nonna restò a Taormina con i loro due figli, il suo lavoro come fotografa (era la figlia di Gaetano D’Agata, assistente fotografo del barone-fotografo Wilhelm von Gloeden, ne ho parlato in un mio precedente racconto fotografico) non era sufficiente, successivamente mio nonno dovette anzitempo rientrare in Sicilia per il presentarsi del conflitto mondiale, questo mio racconto fotografico è stato realizzato pensando costantemente, incessantemente, a tutti quei Siciliani emigrati all’estero per necessità di lavoro.

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Instagram: www.instagram.com/codyaner_bricks/

Bare Theatre's 2016 production of Henry VI. Clifford slays Richard, Duke of York, to get revenge for his father's death.

-Translated from Russian-

Vincenzo Foppa (Brescia, 1427 circa - 1515 circa) - Polyptych of the Graces (1500-1505) - oil and tempera on panel Brera Art Gallery, Milan

Registro superiore: San Francesco che riceve le stigmate cm 144 × 96,5, tavola centrale; I santi Chiara e Bonaventura cm 140 × 98,2 tavola sinistra; I santi Ludovico da Tolosa e Bernardino da Siena cm 139 × 98, tavola destra; Il Salvatore benedicente cm 42 × 41; cimasa;

Registro inferiore Madonna con Bambino e angeli cm 185,5 × 98,5 tavola centrale; I santi Gerolamo e Alessandro cm 150,5 × 96 tavola sinistra; I santi Vincenzo e Antonio cm 151 × 96, tavola destra; Predella: Annunciazione, Visitazione, Due angeli, Natività e Fuga in Egitto cm 42 × 97 ciascuno

Il polittico, proveniente dalla chiesa francescana di Santa Maria delle Grazie a Bergamo, fu smembrato in occasione delle soppressioni napoleoniche e giunse a Brera nell’arco di un secolo; la carpenteria originaria si è conservata solo in parte, per esempio negli scomparti laterali del registro superiore, mentre la cornice che lo racchiude è successiva al 1896. Si tratta di uno dei capolavori dell’artista, una strepitosa macchina d’altare che abbaglia con la profusione degli ori e la preziosità di vesti e decorazioni, tradizionalmente riferita, per le sue connotazioni stilistiche e in assenza di elementi documentari, all’ottavo- nono decennio del Quattrocento.

Recentemente, tuttavia, alcuni documenti hanno dimostrato che nel 1500 il mercante Martino Grassi donò alla chiesa cinquecento ducati per la realizzazione dell’ancona dell’altare maggiore, di cui si era già deliberata l’esecuzione; poiché negli anni venti dello stesso secolo Marcantonio Michiel descrisse il polittico di Foppa proprio sull’altare maggiore delle Grazie, si può credere che quest’ultimo sia identificabile con quello donato da Grassi, eseguito pertanto nei primissimi anni del XVI secolo; il polittico costituirebbe, in questo caso, l’esito di un’operazione volutamente arcaizzante, compiuta dal maestro bresciano alla fine della sua carriera probabilmente a seguito di precise indicazioni della committenza.

Upper register: Saint Francis receiving the stigmata 144 × 96.5 cm, central panel; Saints Clare and Bonaventure 140 × 98.2 cm, left panel; Saints Louis of Toulouse and Bernardine of Siena 139 × 98 cm, right panel; The Blessing Savior 42 × 41 cm; cymatium;

Lower register Madonna and Child with Angels 185.5 × 98.5 cm, central panel; Saints Jerome and Alexander 150.5 × 96 cm, left panel; Saints Vincent and Anthony 151 × 96 cm, right panel; Predella: Annunciation, Visitation, Two Angels, Nativity and Flight into Egypt cm 42 × 97 each

The polyptych, coming from the Franciscan church of Santa Maria delle Grazie in Bergamo, was dismembered during the Napoleonic suppressions and arrived in Brera within a century; the original carpentry has been preserved only in part, for example in the side compartments of the upper register, while the frame that encloses it is after 1896. This is one of the artist's masterpieces, an astonishing altar machine that dazzles with the profusion of gold and the preciousness of its vestments and decorations, traditionally attributed, due to its stylistic connotations and in the absence of documentary evidence, to the eighth-ninth decade of the fifteenth century.

Recently, however, some documents have shown that in 1500 the merchant Martino Grassi donated to the church five hundred ducats for the realization of the ancona of the high altar, of which the execution had already been deliberated; since in the twenties of the same century Marcantonio Michiel described Foppa's polyptych right on the high altar of the Grazie, it is possible to believe that this last one is identifiable with the one donated by Grassi, executed therefore in the very first years of the 16th century; the polyptych would constitute, in this case, the result of a deliberately archaizing operation, carried out by the Brescian master at the end of his career probably following precise indications of the client.

For now, Edgewater has had a “stay of execution” for a couple more years. As a result, the coal trains keep rolling and as long as they’re rolling, I’ll keep shooting.

If you are interested in my works, they are available on Getty Images.

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攝影，作為一種強而有力的表達及溝通工具，提供了千變萬化的感受、詮釋及表現。

Photography, as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution.

～Ansel Adams

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July 7, 1865: Adjusting the ropes before hanging the conspirators,

fltr Mary Surratt, Lewis Powell, David Herold and Georg Atzerodt.

A detail from one of the photographs of the execution by Alexander Gardner.

www.robswebstek.com/2012/07/adjusting-ropes-execution-of-...

Source: en.wikipedia.org/wiki/Mount_Rushmore

Mount Rushmore National Memorial is a national memorial centered on a colossal sculpture carved into the granite face of Mount Rushmore (Lakota: Tȟuŋkášila Šákpe, or Six Grandfathers) in the Black Hills near Keystone, South Dakota, United States. Sculptor Gutzon Borglum created the sculpture's design and oversaw the project's execution from 1927 to 1941 with the help of his son, Lincoln Borglum. The sculpture features the 60-foot-tall (18 m) heads of four United States Presidents recommended by Borglum: George Washington (1732–1799), Thomas Jefferson (1743–1826), Theodore Roosevelt (1858–1919) and Abraham Lincoln (1809–1865). The four presidents were chosen to represent the nation's birth, growth, development and preservation, respectively. The memorial park covers 1,278 acres (2.00 sq mi; 5.17 km2) and the mountain itself has an elevation of 5,725 feet (1,745 m) above sea level.

The sculptor and tribal representatives settled on Mount Rushmore, which also has the advantage of facing southeast for maximum sun exposure. Doane Robinson wanted it to feature American West heroes, such as Lewis and Clark, their expedition guide Sacagawea, Oglala Lakota chief Red Cloud, Buffalo Bill Cody, and Oglala Lakota chief Crazy Horse. Borglum believed that the sculpture should have broader appeal and chose the four presidents.

Peter Norbeck, U.S. senator from South Dakota, sponsored the project and secured federal funding. Construction began in 1927 and the presidents' faces were completed between 1934 and 1939. After Gutzon Borglum died in March 1941, his son Lincoln took over as leader of the construction project. Each president was originally to be depicted from head to waist, but lack of funding forced construction to end on October 31, 1941.

Sometimes referred to as the "Shrine of Democracy", Mount Rushmore attracts more than two million visitors annually.

Source: www.blackhillsbadlands.com/parks-monuments/mount-rushmore...

Mount Rushmore National Memorial is a large-scale mountain sculpture by artist Gutzon Borglum. The figures of America's most prominent U.S. presidents--George Washington, Thomas Jefferson, Abraham Lincoln, and Theodore Roosevelt—represent 150 years of American history.

The Memorial is located near Keystone in the Black Hills of South Dakota, roughly 30 miles from Rapid City.

Each year, approximately three million tourists from all over the world visit Mount Rushmore to experience this patriotic site. Today, the wonder of the mountain reverberates through every visitor. The four "great faces" of the presidents tower 5,725 feet above sea level and are scaled to men who would stand 465 feet tall.

There are many amenities at the site including the Mount Rushmore Audio Tour, Lincoln Borglum Visitor Center & Museum, the Presidential Trail, Youth Exploration Area, Sculptor’s Studio, a parking garage with R.V. parking, pet exercise areas, , the Carvers Café, Memorial Ice Cream Shop, Gift Shop and the Mount Rushmore Bookstores.

Additional Foreign Language Tags:

(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"

(South Dakota) "داكوتا الجنوبية" "南达科他州" "Dakota du Sud" "दक्षिण डकोटा" "サウスダコタ" "사우스다코타" "Южная Дакота" "Dakota del Sur"

(Mount Rushmore) "جبل رشمور" "拉什莫尔山" "Mont Rushmore" "माउंट रशमोर" "ラシュモア山" "러시모어 산" "Гора Рашмор" "Monte Rushmore"

五條港風情畫 - 普濟殿 / 簡單的設計 - 視覺張力大

The Five ports Graffiti - Puji Temple / Simple design - Big visual tension

El Graffiti Cinco puertos - Templo de Puji / Diseño simple - Gran tensión visual

五條港の風情の絵 - 普済殿 / 簡単な設計 - 視覚の張力が大きいです

Die Fünf-Ports Graffiti - Puji Temple / Einfaches Design - Große visuelle Spannung

Le Graffiti Cinq ports - Puji Temple / Conception simple - Grande tension visuelle

Tainan Taiwan / Tainan Taiwán / 台灣台南

管樂小集 2018/01/20 安平古堡 Fort Zeelandia performances 1080P

{ 熱蘭古典小集 Zeelandia Classical small set クラシックな小さなセット }

{View large size on fluidr/觀看大圖}

Carl zeiss planar 50mm 1:1.4 HFT West Germany

{My Blog / 管樂小集精彩演出-觸動你的心}

{My Blog / Great Music The splendid performance touches your heart}

{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}

{Mi blog / La gran música el funcionamiento espléndido toca su corazón}

{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}

{Mon blog / La grande musique l'exécution splendide touche votre coeur}

Melody 曲:JAPAN / Words 詞:Sheesen / Singing : Sheesen

{ 夢旅人 1990 Dream Traveler 1990 }

家住安南鹽溪邊

The family lives in nearby the Annan salt river

隔壁就是聽雨軒

The next door listens to the rain porch

一旦落日照大員

The sunset Shineing to the Taiwan at once

左岸青龍飛九天

The left bank white dragon flying in the sky

老街物語 - 鹽酸仔 / 行人街中過 - 桑椹果碰頭

The story of the Ancient streets - Mulberry fruit / Pedestrian Street - Mulberry fruit drop on my had

古い街の物語 - 桑の果実 / 通行人の街の中で過ぎます - 桑の桑果は会います

La historia de las calles antiguas - Fruta de la mora / Calle peatonal - la caída del fruto de la mora en la cabeza

Die Geschichte der alten Straßen - Mulberry Obst / Fußgängerzone - Mulberry Obst Tropfen auf meinem Kopf

L'histoire des rues anciennes - Mulberry fruits / Rue piétonne - Mulberry chute des fruits sur la tête

Anping Tainan Taiwan / Anping Tainan Taiwán / 台灣台南安平

管樂小集 2016/02/20 台南孔子廟 Confucian temple Tainan performances

{ Watercolor of Brazil 巴西水彩畫 ブラジルの水彩画 }

{View large size on fluidr / 觀看大圖}

{My Blog / 管樂小集精彩演出-觸動你的心}

{My Blog / Great Music The splendid performance touches your heart}

{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}

{Mi blog / La gran música el funcionamiento espléndido toca su corazón}

{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}

{Mon blog / La grande musique l'exécution splendide touche votre coeur}

Melody 曲:JAPAN / Words 詞:Sheesen / Singing : Sheesen

{ 夢旅人 1990 Dream Traveler 1990 }

家住安南鹽溪邊

The family lives in nearby the Annan salt river

隔壁就是聽雨軒

The next door listens to the rain porch

一旦落日照大員

The sunset Shineing to the Taiwan at once

左岸青龍飛九天

The left bank white dragon flying in the sky

My girl's birthday today!! And that is she shooting with black card.

If you are interested in my works, they are available on Getty Images.

.

Follow me on Facebook | Portfolio | Tumblr | Blog | 500px | Flickriver | Fluidr | Flavors.me | Google+ | Twitter | exfm | Vimeo

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攝影，作為一種強而有力的表達及溝通工具，提供了千變萬化的感受、詮釋及表現。

Photography, as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution.

～Ansel Adams

The first outdoor event in London, UK, since the beginning of the troublesome virus and I was a little rusty.

Commemoration of the execution of King Charles Ist.

Paris - Antonio Canova.

Antonio Canova (1 November 1757 – 13 October 1822) was an Italian sculptor who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical style, his work marked a return to classical refinement after the theatrical excesses of Baroque sculpture.

Antonio Canova was born in Possagno, a village of the Republic of Venice situated amid the recesses of the hills of Asolo, where these form the last undulations of the Venetian Alps, as they subside into the plains of Treviso. At three years of age Canova was deprived of both parents, his father dying and his mother remarrying. Their loss, however, was compensated by the tender solicitude and care of his paternal grandfather and grandmother, the latter of whom lived to experience in her turn the kindest personal attention from her grandson, who, when he had the means, gave her an asylum in his house at Rome.

His father and grandfather followed the occupation of stone-cutters or minor statuaries; and it is said that their family had for several ages supplied Possagno with members of that calling. As soon as Canova's hand could hold a pencil, he was initiated into the principles of drawing by his grandfather Pasino. The latter possessed some knowledge both of drawing and of architecture, designed well, and showed considerable taste in the execution of ornamental works. He was greatly attached to his art; and upon his young charge he looked as one who was to perpetuate, not only the family name, but also the family profession.

The early years of Canova were passed in study. The bias of his mind was to sculpture, and the facilities afforded for the gratification of this predilection in the workshop of his grandfather were eagerly improved. In his ninth year he executed two small shrines of Carrara marble, which are still extant. Soon after this period he appears to have been constantly employed under his grandfather. Amongst those who patronized the old man was the patrician family Falier of Venice, and by this means young Canova was first introduced to the senator of that name, who afterwards became his most zealous patron.

Between the younger son, Giuseppe Falier, and the artist a friendship commenced which terminated only with life. The senator Falier was induced to receive him under his immediate protection. It has been related by an Italian writer and since repeated by several biographers, that Canova was indebted to a trivial circumstance - the moulding of a lion in butter - for the warm interest which Falier took in his welfare. The anecdote may or may not be true. By his patron Canova was placed under Bernardi, or, as he is generally called by filiation, Giuseppe Torretto, a sculptor of considerable eminence, who had taken up a temporary residence at Pagnano, one of Asolo's boroughs in the vicinity of the senator's mansion.

This took place whilst Canova was in his thirteenth year; and with Torretto he continued about two years, making in many respects considerable progress. This master returned to Venice, where he soon afterwards died; but by the high terms in which he spoke of his pupil to Falier, the latter was induced to bring the young artist to Venice, whither he accordingly went, and was placed under a nephew of Torretto. With this instructor he continued about a year, studying with the utmost assiduity.

After the termination of this engagement he began to work on his own account, and received from his patron an order for a group, Orpheus and Eurydice. The first figure, which represents Eurydice in flames and smoke, in the act of leaving Hades, was completed towards the close of his sixteenth year. It was highly esteemed by his patron and friends, and the artist was now considered qualified to appear before a public tribunal.

The kindness of some monks supplied him with his first workshop, which was the vacant cell of a monastery. Here for nearly four years he labored with the greatest perseverance and industry. He was also regular in his attendance at the academy, where he carried off several prizes. But he relied far more on the study and imitation of nature. A large portion of his time was also devoted to anatomy, which science was regarded by him as the secret of the art. He likewise frequented places of public amusement, where he carefully studied the expressions and attitudes of the performers. He formed a resolution, which was faithfully adhered to for several years, never to close his eyes at night without having produced some design. Whatever was likely to forward his advancement in sculpture he studied with ardour. On archaeological pursuits he bestowed considerable attention. With ancient and modern history he rendered himself well acquainted and he also began to acquire some of the continental languages.

Three years had now elapsed without any production coming from his chisel. He began, however, to complete the group for his patron, and the Orpheus which followed evinced the great advance he had made. The work was universally applauded, and laid the foundation of his fame. Several groups succeeded this performance, amongst which was that of Daedalus and Icarus, the most celebrated work of his noviciate. The terseness of style and the faithful imitation of nature which characterized them called forth the warmest admiration. His merits and reputation being now generally recognized, his thoughts began to turn from the shores of the Adriatic to the banks of the Tiber, for which he set out at the commencement of his twenty-fourth year.

Before his departure for Rome, his friends had applied to the Venetian senate for a pension, to enable him to pursue his studies without embarrassment. The application was ultimately successful. The stipend amounted to three hundred ducats (about 60 pounds per annum), and was limited to three years. Canova had obtained letters of introduction to the Venetian ambassador, the Cavaliere Zulian, and enlightened and generous protector of the arts, and was received in the most hospitable manner.

His arrival in Rome, on 28 December 1780, marks a new era in his life. It was here he was to perfect himself by a study of the most splendid relics of antiquity, and to put his talents to the severest test by a competition with the living masters of the art. The result was equal to the highest hopes cherished either by himself or by his friends. The work which first established his fame at Rome was Theseus Vanquishing the Minotaur, now in the collections of the Victoria & Albert Museum, in London. The figures are of the heroic size. The victorious Theseus is represented as seated on the lifeless body of the monster. The exhaustion which visibly pervades his whole frame proves the terrible nature of the conflict in which he has been engaged. Simplicity and natural expression had hitherto characterized Canova's style; with these were now united more exalted conceptions of grandeur and of truth. The Theseus was regarded with fervent admiration.

Canova's next undertaking was a monument in honor of Clement XIV; but before he proceeded with it he deemed it necessary to request permission from the Venetian senate, whose servant he considered himself to be, in consideration of the pension. This he solicited, in person, and it was granted. He returned immediately to Rome, and opened his celebrated studio close to the Via del Babuino. He spent about two years of unremitting toil in arranging the design and composing the models for the tomb of the pontiff. After these were completed, other two years were employed in finishing the monument, and it was finally opened to public inspection in 1787. The work, in the opinion of enthusiastic dilettanti, stamped the author as the first artist of modern times.

After five years of incessant labor, he completed another cenotaph, to the memory of Clement XIII, which raised his fame still higher. Works now came rapidly from his chisel. Amongst these is Psyche, with a butterfly, which is placed on the left hand, and held by the wings with the right. This figure, which is intended as a personification of man's immaterial part, is considered as in almost every respect the most faultless and classical of Canova's works. In two different groups, and with opposite expression, the sculptor has represented Cupid with his bride; in the one they are standing, in the other recumbent. These and other works raised his reputation so high that the most flattering offers were sent to him from the Russian court to induce him to remove to St Petersburg, but these were declined, although many of his finest works made their way to the Hermitage Museum. "Italy", says he, in writing of the occurrence to a friend, "Italy is my country - is the country and native soil of the arts. I cannot leave her; my infancy was nurtured here. If my poor talents can be useful in any other land, they must be of some utility to Italy; and ought not her claim to be preferred to all others?"

Numerous works were produced in the years 1795-1797, of which several were repetitions of previous productions. One was the celebrated group representing the Parting of Venus and Adonis. This famous production was sent to Naples. The French Revolution was now extending its shocks over Italy; and Canova sought obscurity and repose in his native Possagno. Thither he retired in 1798, and there he continued for about a year, principally employed in painting, of which art also he had some knowledge. Events in the political world having come to a temporary lull, he returned to Rome; but his health being impaired from arduous application, he took a journey through a part of Germany, in company with his friend Prince Rezzonico. He returned from his travels much improved, and again commenced his labors with vigour and enthusiasm.

The events which marked the life of the artist during the first fifteen years of the period in which he was engaged on the above-mentioned works scarcely merit notice. His mind was entirely absorbed in the labors of his studio, and, with the exception of his journeys to Paris, one to Vienna, and a few short intervals of absence in Florence and other parts of Italy, he never quit Rome. In his own words, "his statues were the sole proofs of his civil existence."

There was, however, another proof, which modesty forbade him to mention, an ever-active benevolence, especially towards artists. In 1815 he was commissioned by the Pope to superintend the transmission from Paris of those works of art which had formerly been conveyed thither under the direction of Napoleon. By his zeal and exertions - for there were many conflicting interests to reconcile - he adjusted the affair in a manner at once creditable to his judgment and fortunate for his country.

In the autumn of this year he gratified a wish he had long entertained of visiting London, where he received the highest tokens of esteem. The artist for whom he showed particular sympathy and regard in London was Benjamin Haydon, who might at the time be counted the sole representative of historical painting there, and whom he especially honored for his championship of the Elgin marbles, then recently transported to England, and ignorantly depreciated by polite connoisseurs. Among Canova's English pupils were sculptors Sir Richard Westmacott and John Gibson.

Canova returned to Rome in the beginning of 1816, with the ransomed spoils of his country's genius. Immediately after, he received several marks of distinction: he was made President of the Accademia di San Luca, the main artistic institution in Rome, and by the hand of the Pope himself his name was inscribed in "the Golden Volume of the Capitol", and he received the title of Marquis of Ischia, with an annual pension of 3000 crowns.

He now contemplated a great work, a colossal statue of Religion. The model filled Italy with admiration; the marble was procured, and the chisel of the sculptor ready to be applied to it, when the jealousy of churchmen as to the site, or some other cause, deprived the country of the projected work. The mind of Canova was inspired with the warmest sense of devotion, and though foiled in this instance he resolved to consecrate a shrine to the cause. In his native village he began to make preparations for erecting a temple which was to contain, not only the above statue, but other works of his own; within its precincts were to repose also the ashes of the founder. Accordingly he repaired to Possagno in 1819. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno, in order to direct the workmen, and encourage them with pecuniary rewards and medals.

In the meantime the vast expenditure exhausted his resources, and compelled him to labor with unceasing assiduity notwithstanding age and disease. During the period which intervened between commencing operations at Possagno and his decease, he executed or finished some of his most striking works. Amongst these were the group Mars and Venus, the colossal figure of Pius VI, the Pietà, the St John, the recumbent Magdalen. The last performance which issued from his hand was a colossal bust of his friend, the Count Cicognara.

In May 1822 he paid a visit to Naples, to superintend the construction of wax moulds for an equestrian statue of the perjured Bourbon king Ferdinand VII. This journey materially injured his health, but he rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the place of his birth, when he experienced a relapse. He proceeded to Venice, and expired there at the age of nearly sixty-five. His disease was one which had affected him from an early age, caused by the continual use of carving-tools, producing a depression of the ribs. The most distinguished funeral honors were paid to his remains, which were deposited in the temple at Possagno on 25 October 1822. His heart was interred in a marble pyramid he designed as a mausoleum for the painter Titian in the church of Santa Maria Gloriosa dei Frari in Venice, now a monument to the sculptor.

Among Canova's heroic compositions, his Perseus with the Head of Medusa (photo, right) appeared soon after his return from Germany. The moment of representation is when the hero, flushed with conquest, displays the head of the "snaky Gorgon", whilst the right hand grasps a sword of singular device. By a public decree, this fine work was placed in one of the stanze of the Vatican hitherto reserved for the most precious works of antiquity.

In 1802, at the personal request of Napoleon, Canova returned to Paris to model a bust of the first consul. The artist was entertained with munificence, and various honors were conferred upon him. The statue, which is colossal and entitled Napoleon as Mars the Peacemaker, was not finished till four years after. On the fall of the great emperor, Louis XVIII presented this statue to the British government, by whom it was afterwards given to the Duke of Wellington.

Palamedes, Creugas and Damoxenus, the Combat of Theseus and the Centaur, and Hercules and Lichas may close the class of heroic compositions, although the catalogue might be swelled by the enumeration of various others, such as Hector and Ajax, and the statues of George Washington (commissioned by the State of North Carolina to be displayed in its Capitol Building), King Ferdinand of Naples, and others.

Under the head of compositions of grace and elegance, the statue of Hebe takes the first place in point of date. Four times has the artist embodied in stone the goddess of youth, and each time with some variation. The last one is in the Museum of Forlì, in Italy. The only material improvement, however, is the substitution of a support more suitable to the simplicity of the art. Each of the statues is, in all its details, in expression, attitude and delicacy of finish, strikingly elegant.

The Dancing Nymphs maintain a character similar to that of the Hebe. The Three Graces and the Venus are more elevated. The Awakened Nymph is another work of uncommon beauty. The mother of Napoleon, his consort Maria Louise (as Concord), to model whom the author made a further journey to Paris in 1810, the princess Esterhazy and the muse Polymnia (Elisa Bonaparte) take their place in this class, as do the ideal heads, comprising Corinna, Sappho, Laura, Beatrice and Helen of Troy.

Of the cenotaphs and funeral monuments the most splendid is the monument to the archduchess Archduchess Maria Christina, Duchess of Teschen, consisting of nine figures.

Besides the two for the Roman Pontiffs already mentioned, there is one for Alfieri, another for Emo, a Venetian admiral, and a small model of a cenotaph for Horatio Nelson, besides a great variety of monumental relieves.

A BRIEF HISTORY OF THE MUSEUM

The Metropolitan Museum of Art was founded in 1870 by a group of American citizens – businessmen and financiers as well as leading arists and thinkers of the day – who wanted to create a museum to bring art and art education to the American people.

The Metropolitan's paintings collection also began in 1870, when three private European collections, 174 paintings in all, came to the Museum. A variety of excellent Dutch and Flemish paintings, including works by such artists as Hals and Van Dyck, was supplemented with works by such great European artists as Poussin, Tiepolo, and Guardi.

The collections continued to grow for the rest of the 19th century – upon the death of John Kensett, for example, 38 of his canvases came to the Museum. But it is the 20th century that has seen the Museum's rise to the position of one of the world's great art centers. Some highlights: a work by Renoir entered the Museum as early as 1907 (today the Museum has become one of the world's great repositories of Impressionist and Post-Impressionist art)...in 1910 the Metropolitan was the first public institution to accept works of art by Matisse...by 1979 the Museum owned five of the fewer than 40 known Vermeers...the Department of Greek and Roman Art now oversees thousands of objects, including one of the finest collections in glass and silver in the world...The American Wing holds the most comprehensive collection of American art, sculpture, and decorative arts in the world...the Egyptian art collection is the finest outside Cairo...the Islamic art collection is without peer...and so on, through many of the 17 curatorial departments.

In 1880, the Metropolitan Museum moved to its current site in Central Park. The original Gothic-Revival-style building has been greatly expanded in size since then, and the various additions (built as early as 1888) now completely surround the original structure. The present facade and entrance structure along Fifth Avenue were completed in 1926.

A comprehensive architectural plan for the Museum approved in 1971 was completed in 1991. The architects for the project were Kevin Roche John Dinkeloo and Associates, and the overall aim was to make the Museum's collections more accessible to the public, more useful to the scholars and, in general, more interesting and informative to all visitors.

Among the additions to the Museum as part of the master plan are: the Robert Lehman Wing (1975), which houses an extraordinary collection of Old Masters, as well as Impressionist and Post-Impressionist art; the installation in The Sackler Wing of the Temple of Dendur (1978), an Egyptian monument (ca. 15 B.C.) that was given to the United States by Egypt; The American Wing (1980), whose magnificent collection also includes 24 period rooms offering an unparalleled view of American art history and domestic life; The Michael C. Rockefeller Wing (1982) for the display of the arts of Africa, Oceania, and the Americas; the Lila Acheson Wallace Wing (1987), which houses modern art; and the Henry R. Kravis Wing, devoted to European sculpture and decorative arts from the Renaissance to the beginning of the 20th century.

With the building now complete, the Metropolitan Museum continues to refine and reorganize the collections in its existing spaces. In June 1998, the Arts of Korea gallery opened to the public, completing a major suite of galleries – a "museum within the Museum" – devoted to the arts of Asia. In October 1999 the renovated Ancient Near Eastern Galleries reopened. And a complete renovation and reinstallation of the Greek and Roman Galleries is underway: the first phase, The Robert and Renée Belfer Court for early Greek art, opened in June 1996; the New Greek Galleries premiered in April 1999; and in April 2000 the Cypriot Galleries will open to the public.

Antonio Canova (Possagno, 1 de Novembro de 1757 — Veneza, 13 de Outubro de 1822) foi um desenhista, pintor, antiquário e arquiteto italiano, mas é mais lembrado como escultor, desenvolvendo uma carreira longa e produtiva. Seu estilo foi fortemente inspirado na arte da Grécia Antiga, suas obras foram comparadas por seus contemporâneos com a melhor produção da Antiguidade, e foi tido como o maior escultor europeu desde Bernini, sendo celebrado por toda parte. Sua contribuição para a consolidação da arte neoclássica só se compara à do teórico Johann Joachim Winckelmann e à do pintor Jacques-Louis David, mas não foi insensível à influência do Romantismo. Não teve discípulos regulares, mas influenciou a escultura de toda a Europa em sua geração, atraindo inclusive artistas dos Estados Unidos, permanecendo como uma referência ao longo de todo o século XIX especialmente entre os escultores do Academismo. Com a ascensão da estética modernista caiu no esquecimento, mas sua posição prestigiosa foi restabelecida a partir de meados do século XX. Também manteve um continuado interesse na pesquisa arqueológica, foi um colecionador de antiguidades e esforçou-se por evitar que o acervo de arte italiana, antiga ou moderna, fosse disperso por outras coleções do mundo. Considerado por seus contemporâneos um modelo tanto de excelência artística como de conduta pessoal, desenvolveu importante atividade beneficente e de apoio aos jovens artistas. Foi Diretor da Accademia di San Luca em Roma e Inspetor-Geral de Antiguidades e Belas Artes dos estados papais, recebeu diversas condecorações e foi nobilitado pelo papa Pio VII com a outorga do título de Marquês de Ischia.[1][2][3]

ntonio Canova era filho de um escultor de algum mérito, Pietro Canova, que faleceu quando o filho tinha cerca de três anos. Um ano depois sua mãe, Angela Zardo, também o deixou, casando com Francesco Sartori e entregando o menino aos cuidados de seu avô paterno, Passino Canova, também escultor, e de sua tia Caterina Ceccato. Teve um meio-irmão das segundas núpcias de sua mãe, o abade Giovanni Battista Sartori, de quem se tornou amigo íntimo, e que foi seu secretário e executor testamentário. Aparentemente seu avô foi o primeiro a notar seu talento, e assim que Canova pôde segurar um lápis foi iniciado nos segredos do desenho. Sua juventude foi passada em estudos artísticos, mostrando desde cedo predileção pela escultura. Com nove anos já foi capaz de produzir dois pequenos relicários em mármore, que ainda existem, e desde então seu avô o empregou para diversos trabalhos. O avô era patrocinado pela rica família Falier de Veneza, e através dele Canova foi apresentado ao senador Giovanni Falier, que se tornou seu assíduo protetor, e cujo filho Giuseppe se tornou um dos seus mais constantes amigos. Através de Falier, Canova, com cerca de 13 anos, foi colocado sob a orientação de Giuseppe Torretto, um dos mais notáveis escultores do Vêneto em sua geração. Seu estudo foi facilitado pelo acesso que teve a importantes coleções de estatuária antiga, como as mantidas pela Academia de Veneza e pelo colecionador Filippo Farsetti, que foi-lhe útil estabelecendo novos contatos com ricos patronos. Logo suas obras foram elogiadas pela precoce virtuosidade, capacitando-o a receber suas primeiras encomendas, entre elas duas cestas de frutas em mármore para o próprio Farsetti, muito admiradas. A cópia que fez em terracota dos célebres Lutadores Uffizi valeu-lhe o segundo prêmio na Academia.[4][5]

Com a morte de Torretto a continuidade da instrução de Canova foi confiada a Giovanni Ferrari, sobrinho do outro, mas permaneceu com ele apenas um ano. Então, com apenas dezesseis anos, decidiu iniciar o trabalho por conta própria, e logo recebeu de Falier a encomenda para estátuas representando Orfeu e Eurídice. O conjunto, acabado entre 1776-77, resultou tão bem e atraiu tanto aplauso que seus amigos já previam para ele um futuro brilhante.[5] Nele, e em outro grupo importante, representando Dédalo e Ícaro (1778-79), o escultor já mostrava grande maturidade. Seu estilo nessa fase, se tinha um caráter ornamental típico do Rococó, era também vigoroso, e ao mesmo tempo se distinguia da tradição naturalista da arte veneziana e evidenciava uma tendência à idealização que adquirira com seus estudos dos clássicos.[4]

O grande progresso de Canova levou Falier a organizar sua ida para Roma, a fim de que se aperfeiçoasse. Roma nessa época era o mais importante centro de peregrinação cultural da Europa e uma meta obrigatória para qualquer artista que aspirasse à fama. Com sua pletora de monumentos antigos e grandes coleções, numa fase em que estava em pleno andamento a formação do Neoclassicismo, a cidade era toda um grande museu, e oferecia inúmeros exemplares autênticos para estudo em primeira mão da grande produção artística do passado clássico. [4] Antes de sua partida seus amigos conseguiram-lhe uma pensão de 300 ducados anuais, que se manteria por três anos. Também obteve cartas de apresentação para o embaixador veneziano na cidade, o Cavalier Girolamo Zulian, um ilustrado patrono das artes, que o recebeu com grande hospitalidade quando o artista chegou ali em torno de 1779 (Cf. nota: [6]), e providenciou a primeira exibição pública, em sua própria casa, de um trabalho do artista, uma cópia do grupo de Dédalo e Ícaro que mandou vir de Veneza e que suscitou a admiração de quantos a viram. Segundo o relato do conde Leopoldo Cicognara, um de seus primeiros biógrafos, apesar da aprovação unânime da obra Canova sentiu enorme embaraço naquele momento, falando muitas vezes dele anos mais tarde como um dos episódios mais tensos de sua vida. Através de Zulian Canova foi assim introduzido, com um sucesso imediato, na populosa comunidade local de intelectuais, onde brilhavam o arqueólogo Gavin Hamilton, os colecionadores sir William Hamilton e o cardeal Alessandro Albani, e o antiquário e historiador Johann Joachim Winckelmann, o principal mentor do Neoclassicismo, entre tantos outros que partilhavam de seu amor aos clássicos.[5][7]

Em Roma Canova pôde aprofundar o estudo das mais importantes relíquias da Antigüidade, completar sua educação literária, aperfeiçoar sua fluência no francês e colocar-se na competição com os melhores mestres da época.[8] O resultado ficou além de suas próprias expectativas. Sua primeira obra produzida em Roma, patrocinada por Zulian, foi Teseu vencendo o Minotauro (1781), que foi recebida com grande entusiasmo, a ponto de ser declarada como o marco inaugural de uma nova era para as artes. Em seguida esculpiu um pequeno Apolo em ato de coroar a si mesmo (1781-82), para o senador Abondio Rezzonico, uma estátua de Psiquê (1793) para Zulian, e passou a contar com o apoio de Giovanni Volpato, que abriu-lhe outras portas, entre elas a do Vaticano. Nesse período estabeleceu uma ligação tumultuada com a filha de Volpato, Domenica.[9][7]

Sua próxima encomenda, acertada por intermédio de Volpato, foi um monumento fúnebre ao papa Clemente XIV, mas para aceitá-la decidiu pedir permissão ao Senado de Veneza, em consideração à pensão que lhe haviam conseguido. Sendo concedida, fechou sua oficina em Veneza e voltou imediatamente para Roma, onde abriu um novo atelier nas imediações da Via del Babuino, onde os dois anos seguintes foram passados para a conclusão do modelo, e outros dois gastos na realização da obra, que foi finalmente inaugurada em 1787, atraindo o elogio dos maiores críticos da cidade. Durante esse período se engajou paralelamente em projetos menores, alguns baixos-relevos em terracota e uma estátua de Psique. Mais cinco anos foram despendidos na elaboração de um cenotáfio para Clemente XIII, entregue em 1792, que levou sua fama a alturas ainda maiores.[9]

Nos anos seguintes, até o encerramento do século, Canova se aplicou com ingente empenho em produzir um significativo conjunto de novas obras, entre elas vários grupos de Eros e Psiquê, em atitudes diferentes, que lhe valeram um convite para que se instalasse na corte russa, mas declarando sua íntima ligação com a Itália, declinou. Outras foram a Despedida de Vênus e Adônis, o grupo Hércules furioso lançando Licas ao mar, uma estátua de Hebe, e uma primeira versão da Madalena penitente. Mas o esforço foi excessivo para sua saúde, e o uso continuado de um apetrecho de escultura chamado trapano, que comprime o peito, provocou o afundamento de seu esterno. Sentindo-se exausto após tantos anos de atividades intensas e ininterruptas, e em vista da ocupação francesa de Roma em 1798, retirou-se para Possagno, onde aplicou-se à pintura, e logo seguiu em uma excursão de recreio pela Alemanha em companhia de seu amigo o Príncipe Rezzonico. Também passou pela Áustria, onde recebeu a encomenda de um cenotáfio para a arquiduquesa Maria Cristina, filha de Francisco I, que resultou anos mais tarde em uma obra majestosa, a melhor que produziu nesse gênero. Nessa mesma ocasião foi induzido a enviar para a capital austríaca o grupo de Teseu matando o centauro, que havia sido destinado para Milão, e que foi instalado em um templo em estilo grego construído especialmente para esse fim nos jardins do Palácio de Schönbrunn.[9]

Em sua volta a Roma em 1800, revigorado, produziu em poucos meses uma das suas composições mais aclamadas, o Perseu com a cabeça da Medusa (1800-01), inspirado livremente no Apolo Belvedere e julgado digno de ombrear com ele, e que lhe valeu o título de Cavalier, concedido pelo papa. Em 1802 foi convidado por Napoleão Bonaparte para visitar Paris e criar uma estátua sua, e segundo o testemunho de seu irmão, que o acompanhara, o escultor e o estadista mantiveram conversações em um nível de grande franqueza e familiaridade. Também encontrou o pintor Jacques-Louis David, o mais importante dos neoclássicos franceses.[10]

Em 10 de agosto de 1802 o papa Pio VII indicou o artista como Inspetor-Geral das Antiguidades e Belas Artes do Vaticano, posto que conservou até sua morte. Além de ser um reconhecimento de sua obra escultórica, a indicação implicava que ele também era considerado um conhecedor, com a capacidade de julgar a qualidade das obras de arte e um interesse em preservar as coleções papais. Entre as atribuições do cargo estavam a responsabilidade pela emissão de autorizações para escavações arqueológicas e a supervisão dos trabalhos de restauro, aquisição e exportação de antiguidades, além da supervisão sobre a instalação e organização de novos museus nos estados papais. Ele inclusive comprou 80 peças antigas com seus próprios recursos e as doou para os Museus Vaticanos. Entre 1805 e 1814 foi quem decidiu sobre a vinda de todos os artistas bolsistas italianos para aperfeiçoamento em Roma. Em 1810 foi indicado para a presidência da Accademia di San Luca, a mais importante instituição artística da Itália em sua época, e permaneceu como um baluarte de estabilidade na esfera cultural romana ao longo do turbulento período da ocupação francesa, sendo confirmado em suas posições por Napoleão. Sua missão administrativa culminou com a incumbência de resgatar, em 1815, o espólio artístico arrebatado da Itália pelo imperador francês, e por seu zelo e esforço conseguiu resolver o difícil trabalho de acomodar interesses internacionais divergentes e recuperar diversos tesouros para sua pátria, entre eles obras de Rafael Sanzio, o Apolo Belvedere, a Vênus Medici e o Laocoonte.[11][12]

No outono deste ano pôde realizar o sonho há muito acalentado de viajar a Londres, onde foi recebido com grande consideração. Sua viagem tinha dois propósitos primários: agradecer a ajuda que o governo britânico lhe dera da recuperação do acervo italiano confiscado, e conhecer os Mármores de Elgin, um grande conjunto de peças removidas do Partenon de Atenas, criadas por Fídias e seus assistentes, conhecimento que para ele foi uma revelação, contribuindo para confirmar sua impressão de que a arte grega era superior pela qualidade de seu acabamento e pela sua atenção à natureza. Ele também foi solicitado a dar seu parecer de perito sobre a importância do conjunto, que estava sendo posto à venda por Lord Elgin para a Coroa, e expressou-se nos termos mais elogiosos, mas recusou-se a restaurá-las, conforme foi convidado a fazê-lo, considerando que deviam permanecer como testemunhos autênticos da grande arte grega.[13] Voltando a Roma em 1816 com as obras devolvidas pela França, foi recebido em triunfo e recebeu do papa uma pensão de 3 mil escudos, tendo seu nome inscrito no Livro de Ouro do Capitólio com o título de Marquês de Ischia.[3][14]

Então Canova começou a elaborar o projeto para uma outra estátua, monumental, representando a Religião. Não por servilismo, uma vez que era um devoto ardente, mas sua idéia de instalá-la em Roma acabou frustrado mesmo sendo financiado por ele mesmo e estando pronto o modelo em seu tamanho definitivo, que entretanto acabou sendo executado em mármore em tamanho muito reduzido por ordem Lord Brownlow e levado para Londres. Mesmo assim ele decidiu erguer um templo em sua vila natal que conteria aquela escultura conforme seu plano original e outras peças de sua autoria, e nele deveriam, no tempo, repousar suas cinzas. Em 1819 foi lançada a pedra fundamental, e em seguida Canova retornou a Roma, mas a cada outono voltava às obras para acompanhar o seu progresso e instruir os empregados, encorajando-os com recompensas financeiras e medalhas. Mas o empreendimento se revelou excessivamente custoso, e o artista teve de voltar ao trabalho com renovado empenho a despeito de sua idade e doenças. Desta fase são algumas de suas peças mais significativas, como o grupo de Marte e Vênus para a Coroa Inglesa, a estátua colossal de Pio VI, uma Pietà (somente o modelo), outra versão da Madalena penitente. Sua última obra acabada foi um enorme busto de seu amigo o Conde Cicognara.[15]

Em maio de 1822 visitou Nápoles para superintender a construção do modelo para uma estátua eqüestre do Rei Fernando IV de Nápoles, mas o trajeto cobrou caro de sua saúde. Voltando a Roma, recuperou-se, mas em sua visita anual a Possagno já chegou lá doente, e recusando o repouso seu estado piorou. Então foi levado a Veneza, onde faleceu lúcido e serenamente. Suas últimas palavras foram "Anima bella e pura" (alma bela e pura), que pronunciou várias vezes antes de expirar. Testemunhos de amigos presentes em seu transpasse dizem que seu semblante foi adquirindo uma crescente radiância e expressividade, como se estivesse absorvido em uma contemplação extática. A autópsia realizada em seguida revelou uma obstrução do intestino por uma necrose na altura do piloro. Seu funeral, realizado em 25 de outubro de 1822, foi cercado das mais altas honras, entre a comoção de toda a cidade, e os acadêmicos disputaram para carregar seu caixão. Seu corpo foi em seguida sepultado em Possagno e seu coração foi depositado em uma urna de pórfiro mantida na Academia de Veneza. Sua morte gerou luto em toda a Itália, e as homenagens fúnebres ordenadas pelo papa em Roma foram assistidas por representantes de várias casas reais da Europa. No ano seguinte começou a ser erguido um cenotáfio para ele, a partir de um modelo que havia sido criado pelo próprio Canova em 1792 por encomenda de Zulian, originalmente para celebrar o pintor Ticiano, mas que não havia sido realizado. Hoje o monumento pode ser visitado na Basílica de Santa Maria Gloriosa dei Frari, em Veneza.[15]

Segundo a Memória Biográfica sobre o artista deixada pelo seu amigo íntimo o Conde Cicognara, Canova manteve ao longo de toda sua vida hábitos frugais e uma rotina regular. Acordava cedo e imediatamente começava a trabalhar. Após o almoço costumava retirar-se para um breve repouso. Teve uma doença crônica de estômago que permanece não identificada, que causava dores severas em ataques que se sucederam ao longo de toda sua vida. Parece ter nutrido uma fé religiosa profunda e sincera. Não manteve uma vida social especialmente brilhante, embora fosse constantemente solicitado para frequentar os círculos de personalidades ilustres que o admiravam, mas era comum que recebesse amigos em sua própria casa após sua jornada de trabalho, à noite, quando se revelava um anfitrião de modos finos, inteligente, afável e caloroso. Segundo suas próprias palavras, suas esculturas eram a única prova de sua existência civil. Parece que em duas ocasiões esteve perto de contrair matrimônio, mas permaneceu solteiro por toda a vida. Seu grupo de amigos, porém, era grande e a eles dedicava um afeto intenso e elevado. Não manteve discípulos regulares, mas se notava talento superior em algum artista iniciante não poupava bons conselhos e encorajamento. Muitas vezes apoiou financeiramente jovens promissores e buscou-lhes encomendas. Mesmo sempre às voltas com muito trabalho, não hesitava em abandonar seu atelier assim que fosse chamado por outro artista para dar sua opinião sobre assuntos de arte ou oferecer conselhos técnicos.[16]

Alimentou um perene entusiasmo pelo estudo da arte antiga e pela arqueologia. Gostava da literatura clássica e fazia frequentes leituras, mas de hábito alguém lia para ele enquanto trabalhava. Considerava a leitura de bons autores um recurso indispensável para aperfeiçoamento pessoal e de sua arte. Não foi um escritor, mas manteve profusa correspondência com amigos e intelectuais, onde se evidencia um estilo de escrita claro, simples e vívido, que foi-se refinando ao longo dos anos sem perder sua força e espontaneidade. Uma de suas cartas de 1812 atesta que chegou a pensar em publicar algo sobre sua arte em seus princípios gerais, mas não o concretizou. Contudo, em segredo muitas de suas observações e idéias foram registradas por seu círculo de associados e tornadas públicas mais tarde. Parecia ser imune à inveja, à crítica e à bajulação, e nunca se afligiu com o sucesso alheio; ao contrário, não economizava elogios quando percebia grandeza na obra de seus colegas de ofício, e manifestava gratidão por conselhos ou reparos que julgava justos e apropriados. Quando uma crítica contundente apareceu publicada em um jornal de Nápoles, dissuadiu seus amigos que queriam prover uma réplica, dizendo que seu trabalho se encarregaria de dar a resposta adequada.[17] As relações de Canova com a política de seu tempo são exemplificadas nas obras que criou para a Casa da Áustria e a Casa de Bonaparte, onde os desejos de legitimação e glorificação dos governantes entraram em conflito com a postura politicamente neutra que o escultor desejava manter. Teve obras recusadas ou severamente criticadas por ambas por não se enquadrarem naqueles desejos, como o grupo de Hércules furioso que lança Licas ao mar (1795), rejeitado pelo imperador austríaco, e o mesmo acontecendo com o retrato alegórico que fez para Napoleão como Marte pacificador.[18] Sua opinião a respeito de Napoleão tem sido descrita como ambígua, sendo ao mesmo tempo um admirador, aceitando da sua família várias encomendas, e um crítico, especialmente pela sua invasão da Itália e o confisco de um grande acervo de obras de arte italianas.[19]

Apreciava o sucesso de suas obras e era vivamente grato por isso, mas nunca evidenciou que um desejo de glória pessoal fosse seu objetivo primário, apesar de ter sido um dos artistas de seu tempo mais expostos aos perigos da celebridade, pois recebeu diversas condecorações e a proteção de muitos nobres importantes, foi ele mesmo nobilitado em vários Estados da Europa, incumbido de altos cargos públicos e incluído como membro em muitas academias de arte mesmo sem jamais tê-lo solicitado. Gastou boa parte da fortuna que veio a acumular em obras de caridade, no fomento de associações de classe e no apoio aos jovens artistas. Em várias ocasiões adquiriu com recursos próprios obras de arte para museus públicos e coleções de livros para bibliotecas, não raro fazendo suas doações anonimamente. Também em vários momentos precisou ser alertado para não dissipar seus rendimentos com os problemas alheios.[20][8]

Seu permanente fascínio pela antiguidade clássica fez com que ele acumulasse uma significativa coleção de peças arqueológicas de mármore e terracota. Sua coleção de placas de terracota da Campania era especialmente interessante, embora nunca citada nas suas primeiras biografias. As peças eram em sua maioria fragmentárias, mas muitas estavam íntegras e eram de alta qualidade, e as tipologias que ele preferiu reunir evidenciam que ele estava à frente das tendências museológicas e colecionistas de seu tempo. O seu interesse pelo material estava ligado ao uso da argila para criar os modelos de suas obras em mármore, e ele a preferia antes do que o gesso por ser mais fácil de trabalhar, e a empregava também para a elaboração dos relevos que ele chamava "de recreação privada", onde representava cenas que encontrava em suas leituras de Homero, Virgílio e Platão.[21]

A first detail shot from my recent scene for the #scififactioncontest.

The sad sight of the former Blakeley's Commercial Recycling scrapyard in Platt Bridge, Wigan. The company went under in c.2018, leaving around ten buses and a large number of lorry trailers open to the elements and subject to vandalism, with almost no windows left intact on site and severe fire damage to several of the carcasses. Somebody is making slow progress in scrapping them - Google Maps appears to show that several Dennis Darts and at least one Olympian have disappeared since the 2019 survey - but for now it seems most of these are here to stay. Sadly I imagine all are beyond rescue and will eventually be scrapped, although I have the faintest glimmer of hope for a couple of vehicles which appear to be in reasonable external condition given their history so far. I've certainly seen vehicles saved from worse condition, with a lot of time, funding, and love.

Edit as of September 2023: apparently within a couple of months of me making my visit, Blakeley's Commercial Recycling was completely cleared. All of the vehicles listed here, as well as the vast number of lorry trailers stored on-site, are presumed to have been scrapped. Looks like I timed this visit just right after all.

I'll now attempt to list the vehicles present in order from the north-west corner of the site - that is, from left to right, farthest to nearest in this photograph - but obviously I'll never know for certain whether I got them all.

Registration: R422 WPX (1998)

Livery: First Kernow 'Barbie' (42522)

Chassis: Dennis Dart SLF

Bodywork: Plaxton Pointer II B37F

First 42522 was with the company for its entire life before withdrawal came in April 2016. By May the vehicle was in this position at Blakeley's, and has not moved since. It is in poor external condition with a lot of broken windows et cetera, but appears to be materially complete. It is visible on the far left of this photo.

Registration: T301 JLD (1999)

Livery: First Glasgow 'Barbie' (41301)

Chassis: Dennis Dart SLF

Bodywork: Marshall C39 Capital B22D

Again new to First at the turn of the century, this Dart had the significantly rarer Capital bodywork, and was withdrawn in May 2014, moving to Blakeley's at some point that year. Sadly, at some point around January 2019, the vehicle was the victim of an arson attack and was almost completely destroyed. Its wreck is mostly occluded from this photo, but can just be made out behind the red Merc.

Registration: PLZ 5590 (1993, original registration L733 LWA)

Livery: Darwen Coach Services unbranded maroon

Chassis: Mercedes-Benz 709D

Bodywork: Alexander Sprint B25F

This little minibus was new to Stagecoach East Midlands thirty years ago, but passed on to Darwen Coach Services around 2007 and was painted in a plain maroon colour. I wasn't able to ascertain a withdrawal date but by 2016 the minibus was stored in the scrapyard, where it remained until it too was destroyed by arson around early-2019. Now, the only part which remains in near-original condition is the front bumper - which unusually still carries the registration plate.

Registration: R330 HYG (1998)

Livery: First Potteries 'Barbie' (40179)

Chassis: Dennis Dart SLF

Bodywork: Plaxton Pointer II B37F

Another career First bus, 40179 was withdrawn in late-2013 and after some time as a spares donor was moved to Platt Bridge in late-2014. Like several vehicles here, it too was destroyed in the arson attack, being reduced to a mostly-empty shell with only the rear bulkhead and engine having survived. It is just about visible in the centre of this photo if you have an eagle eye through the burnt and twisted framework.

Registration: N649 VSS (1996)

Livery: ex-Stagecoach 'Beachball' unbranded (40649)

Chassis: Mercedes-Benz 709D

Bodywork: Alexander Sprint B25F

The second 709 present was new to Stagecoach Manchester before transfer to more rural duties in Cumbria. The vehicle was also transferred to Darwen Coach Services, this time in 2009, and was withdrawn around the same time as her older sister, although this one never received a repaint out of Stagecoach colours and even kept the fleet number. Surviving the arson attack, the vehicle is nevertheless in very poor condition and has been heavily stripped for parts.

Registration: T160 BBF (1999)

Livery: First Potteries 'Barbie' (40007)

Chassis: Optare M850

Bodywork: Optare Solo B27F

The first of two Solos stored at the back of the scrapyard, this vehicle was withdrawn in mid-2014 and heavily cannibalised for spares before being moved to the scrapyard by the end of that year. By early-2016 it had moved into its current position and has not been touched since, except by vandals and the occasional urban explorer. It appears to be mostly in the condition in which it arrived at the scrapyard with many components missing and has since suffered minor vandalism such as broken windows; its rear is just about visible through the burnt-out wrecks in the rear of this photo.

Registration: W313 DWX (2000)

Livery: First Midland Red 'Barbie' (50282)

Chassis: Optare M850

Bodywork: Optare Solo B27F

The second Solo has seen several operators; new to First Bradford and then transferring to First West Yorkshire, First Wyvern, and then finally First Midland Red before withdrawal came in mid-2014. By late-2014 the Solo was at Blakeley's, and has been in the same position alongside its sister since at least early-2016, seven years ago. It is also in largely the same condition.

Registration: L630 VCV (1994)

Livery: Darwen Coach Services white

Chassis: Mercedes-Benz 709D

Bodywork: Plaxton Beaver B25F

The third and final Merc on site, but with slightly better bodywork and in slightly better condition. The vehicle was new to Western National but by 2006 was in service with Darwen Coach Services, from whom it was withdrawn by 2018, probably around the same time as the other two present. It is by far the most intact of the three, but that is not to say that it is in good nick, and it is clearly rotten with many smaller components damaged or missing.

Registration: T579 JNG (1999)

Livery: First Eastern Counties 'Barbie' (65579)

Chassis: Scania L94UB

Bodywork: Wright Axcess Floline B43F

After spending over fifteen years with First Eastern Counties, this Scania was transferred to First Kernow for its final few months, being transferred in c.March 2015 and withdrawn by the end of that year. The vehicle was also moved to this position in the scrapyard by April 2016, and has not moved since, visible on the right of this photo. Another bus which seems to be fairly materially complete, but nevertheless missing a lot of glass and a few bodyside panels.

Registration: W825 PFB (2000)

Livery: First Devon & Cornwall 'Barbie', Ugobus branding (48225)

Chassis: Volvo B6BLE

Bodywork: Wright Crusader II B36F

Another southern bus to end up dying this far north, this vehicle spent its entire career in and around Plymouth until the axe came in March 2016. Dropped off at Platts Bridge the following month, it too has not moved since, and has now been heavily vandalised and stripped. It is juuuust about visible behind the Scania in this photograph.

Registration: S725 AFB (1998)

Livery: First Devon & Cornwall 'Barbie' (42725)

Chassis: Dennis Dart SLF

Bodywork: Plaxton Pointer II B37F

The fourth Dart on site, this vehicle was new to First Bristol and was finally withdrawn from First Devon and Cornwall in c.2016. Little is known about the vehicle since then, as it was next recorded in the scrapyard in 2022, already in very poor condition with a lot of missing windows, body panels, and displaying damage to the bumpers. Even the eagle-eyed will do very well to see it through the tangled mess of wreckage in this photograph; I certainly can't.

Registration: G301 UYK (1990)

Livery: Pilkingtonbus cream and red

Chassis: Leyland Olympian

Bodywork: Leyland H47/31F

Woo, on to the deckers! The first featured here is the oldest bus on-site, built 33 years ago at the time of writing. This vehicle was new to London United but later transferred to East Yorkshire Motor Services, where during 2007 it entered immortality as an EFE die-cast model, code 29614. Transferred first to Coachmasters around 2009 and painted a luminous yellow, the bus was with Pilkington by the end of that year, with final withdrawal coming in early-2016, as a non-disability-compliant vehicle. It was in position in the scrapyard by May and has again not really moved since, but nevertheless appears to be in tolerable condition, even in spite of its geriatric age. Its red top deck can clearly be seen in the photograph.

Registration: N430 FKK (originally Irish 96-DD-277, 1996)

Livery: Ebley Coaches red and cream

Chassis: Volvo Olympian

Bodywork: Alexander RH H47/27D

The final bus visible in the scrapyard is a Volvo Olympian, new to Dublin Bus in 1996 and exported in 2007. The vehicle for almost its entire British existence wore the bright pink-and-purple colour scheme of Uno, despite later transferring to Southern Transit in 2010 and then North Somerset Coaches in 2015. North Somerset appears to have focused on vehicle preservation since 2013, so whether this vehicle constituted preserved for a short while is up in the air, but before too long it was with Ebley Coaches and painted in their maroon and cream livery, which it still carries to this day. It was sadly not with them long, certainly under a year, before fate took control - by May 2016 the bus had appeared in Blakeley's scrapyard, withdrawn not due to her age but due to a massive gash in the roof, clearly due to collision with some kind of obstacle, perhaps a bridge, a building, or even a particularly obstinate tree. The 'Dubliner' has seemingly not moved since June 2016, its interior still exposed to nature thanks to the roof damage and it has apparently been stripped of a few parts.

CSX E803 screams through the town of Walkerton with BNSF 9669, a SD70MAC still sporting its OG BN Executive Scheme, on a coal empty from the LSRC in Wixom.

Not actually Execution Dock but close to. Located on the river behind the Prospect of Whitby pub, Wapping Wall.

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Hitman 2, 4k (cropped) / Nvidia Ansel / ReShade / CT for Ansel unlock by u/PascalTheAnalyst