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This collage features photos from CC group members, who for the last challenge were "Shooting the light".
* Sunrise
* Sunset
* Blue Hour (the short period of time directly before sunrise and after sunset, when natural light has a blue tinge)
* Golden Hour ( the short period of time after sunrise or before sunset, during which daylight is redder and softer than when the sun is higher in the sky.)
Find out more at Compositionally Challenged, where we aim to inspire creativity and improve our technical skills.
This image features a relatively small galaxy known as UGC 5189A, which is located about 150 million light-years away in the constellation Leo. This galaxy was observed by Hubble to study a supernova explosion in 2010 known as SN 2010jl. This particular supernova was notable for having been an exceptionally luminous supernova event. In fact, over a period of three years, SN 2010jl released at least 2.5 billion times more visible energy alone than our Sun emitted over the same timeframe across all wavelengths.
Even after supernovae have faded to non-observable levels, it can still be of interest to study the environments where they occurred. This can provide astronomers with valuable information: supernovae can take place for a variety of reasons, and understanding the environments in which they took place can help improve our understanding of the conditions necessary for them to be triggered. Furthermore, follow-up studies after supernovae can improve our understanding of the immediate aftermath of such events, from their potent effects on the gas and dust around them, to the stellar remnants they leave behind.
To this end, UGC 5189A has been observed many times by Hubble since 2010. This image is from data collected in three of the latest Hubble studies of UGC 5189A, which also examined several other relatively nearby galaxies that recently hosted supernovae — ‘relatively nearby’, in this context, meaning roughly 100 million light years away.
[Image Description: A galaxy that is flat and misshapen. Above and on its right it is covered by plumes of shining gas and dust, while its centre and left side are more dim and patchy. A trail of dark, dim dust stretches from below the galaxy up and off to the left, where there are three more bright patches. The background around the galaxy is quite dark, with only a few small background galaxies and one star visible.]
Credits: ESA/Hubble & NASA, A. Filippenko; CC BY 4.0
Blesbok Loop Road before sunset
Die Blesbok Loop Straße vor Sonnenuntergang
Golden Gate Highlands National Park is located in Free State, South Africa, near the Lesotho border. It covers an area of 340 km2 (130 sq mi). The park's most notable features are its golden, ochre, and orange-hued, deeply eroded sandstone cliffs and outcrops, especially the Brandwag rock. Another feature of the area is the numerous caves and shelters displaying San rock paintings. Wildlife featured at the park includes mongooses, eland, zebras, and over 100 bird species. It is the Free State's only national park and is more famous for the beauty of its landscape than for its wildlife. Numerous palaeontology finds have been made in the park, including dinosaur eggs and skeletons.
Geography and climate
"Golden Gate" refers to the sandstone cliffs found on either side of the valley at the Golden Gate dam. In 1875, a farmer called J.N.R. van Reenen and his wife stopped here as they travelled to their new farm in Vuurland. He named the location "Golden Gate" when he saw the last rays of the setting sun fall on the cliffs.
In 1963, 47.92 km2 (11,840 acres) was proclaimed as a national park, specifically to preserve the scenic beauty of the area. In 1981, the park was enlarged to 62.41 km2 (15,420 acres), and in 1988, it was enlarged to 116.33 km2 (28,750 acres). In 2004, the park was announced to be joining with the neighbouring QwaQwa National Park. The amalgamation of QwaQwa National Park was completed in 2007, increasing the park's area to 340 km2 (84,000 acres).
The park is 320 km (200 mi) from Johannesburg and is close to the villages of Clarens and Kestell, in the upper regions of the Little Caledon River. The park is situated in the Rooiberge of the eastern Free State, in the foothills of the Maluti Mountains. The Caledon River forms the southern boundary of the park, as well as the border between the Free State and Lesotho. The elevation ranges from a 1,800 m (5,900 ft) plateau in the north to heights of 2,700 m (8,900 ft) in the south. The highest peak in the park (and also in the Free State) is Ribbokkop at 2,829 m (9,281 ft) above sea level.
The park is located in the eastern highveld region of South Africa and experiences a dry, sunny climate from June to August. It has showers, hail, and thunderstorms between October and April. It has thick snowfalls in the winter. The park has a relatively high rainfall of 800 mm (31 in) per year.
Vegetation
The park is an area of rich highveld and montane grassland flora. It has more than 60 grass species and a large variety of bulbs and herbs. Each of these species has its own flowering time, meaning that veld flowers can be seen throughout the summer. The park also has Afromontane forests and high-altitude Austro-Afro alpine grassland, which is scarce in South Africa. The ouhout (Leucosidea sericea), an evergreen species, is the most common tree in the park. Ouhout is a favourite habitat of beetles and 117 species occur on these trees in the park. The Lombardi poplars and weeping willows in the park are introduced species, but are kept because of their cultural and historic connection with the eastern Free State. Other exotic species in the park, for example wattle and bluegum, are systematically eradicated.
Wildlife
Instead of reintroducing one of the "big five" into the park, the sungazer lizard and water mongoose were reintroduced. Twelve species of mice, 10 species of carnivores, and 10 antelope species have been recorded in the park.[ The grey rhebok and the mountain reedbuck were present when the park was established.
Geology and palaeontology
The geology of the park provides very visual "textbook" examples of Southern Africa's geological history. The sandstone formations in the park form the upper part of the Karoo Supergroup. These formations were deposited during a period of aeolian deposition towards the end of the Triassic Period. At the time of deposition, the climate of the area the park covers was becoming progressively drier until arid desert conditions set in, resulting in a land of dunes and sandy desert, with occasional scattered oases. The deposition of the sandstones ended when lava flowed out over the desert 190 million years ago.
The following sequence of geological formations is visible in the park (starting from the bottom): the Molteno Formation, Elliott Formation, Clarens Formation, and Drakensberg Formation. The yellow-brown Golden Gate and Brandwag cliffs are made up of the Clarens formation. The layers in this formation are 140 to 160 m (460 to 520 ft) thick. The Drakensberg Formation comprises the basaltic lava that flowed over the desert. It forms the mountain summits in the park. On Ribbokkop, it is 600 m (2,000 ft) thick.[6] The Elliot Formation is a red mudstone where many dinosaur fossils have been found.
The oldest dinosaur embryos ever discovered were found in the park in 1978. The eggs were from the Triassic Period (220 to 195 million years ago) and had fossilised foetal skeletons of Massospondylus, a prosauropod dinosaur. More examples of these eggs have since been found in the park. Other fossils found in the park include those of advanced cynodontia (canine toothed animals), small thecodontia (animals with teeth set firmly in the jaw), and bird-like and crocodile-like dinosaurs.
Accommodation
Accommodation in the park is available at Glen Reenen and Brandwag Rest camps. Caravan and campsites with all amenities are available at Glen Reenen camp. The hotel was formerly part of the Brandwag camp, but since its recent refurbishment, it is managed separately by SANParks as Golden Gate Hotel. The nearest town to Golden Gate Highlands National Park is Clarens (17 km to the west), but Phuthaditjhaba is also easily reached by a good tar road, driving through the access gate to the east of the park.
Notes
This park will be included in the Maloti-Drakensberg Transfrontier Conservation Area, Peace Park.
(Wikipedia)
Der Golden-Gate-Highlands-Nationalpark (englisch Golden Gate Highlands National Park) liegt in Südafrika, im Südosten des Freistaates nahe der Grenze zu Lesotho, und zeichnet sich besonders durch seine malerischen Felslandschaften aus. Orange oder ocker gefärbte Sandsteinfelsen ragen über das bergige Grasland auf. Außerdem gibt es Felsmalereien der San.
Der nördliche Eingang zum Park liegt bei dem Künstlerdorf Clarens.
Fauna und Flora
Der Nationalpark ist mehr für die Schönheit seiner Landschaft als für seine Tierwelt bekannt. Dennoch gibt es eine Vielzahl an Tierarten:
Verschiedene Säugetiere wie Weißschwanzgnus, Elenantilopen, Blessböcke, Kronenducker, Rehantilopen, Bergriedböcke, Südliche Oribi, Südafrikanische Kuhantilopen, Springböcke und Steinböckchen.
Über 100 Vogelarten darunter
Greifvögel wie
Geier: Bartgeier, Kapgeier
Adler: Malaienadler, Kampfadler
Felsenbussard
Falken: Lannerfalke, Wanderfalke, Turmfalke
Größere Vogelarten wie Schwarzstorch, Kahlkopfibis, Kapsegler und Alpensegler
Typische Vogelarten für das Hochland, insb.:
Frankoline: Grauflügelfrankolin und Rotflügelfrankolin
Schmätzer: Bergsteinschmätzer, Rotbauchschmätzer und Fahlschulterschmätzer
Steinrötel
Orangebrust-Felsenspringer
Erdspecht
Zistensänger: Zwergzistensänger, Trauerzistensänger und Langschwanz-Zistensänger
Natalhonigvogel
Nektarvögel: Malachitnektarvogel, Doppelband-Nektarvogel und Kapnektarvogel
Basutogirlitz aus der Gattung der Girlitze
Die Vegetation kann in Grasland und Wälder eingeteilt werden. Dabei ist der Golden-Gate-Highlands-Nationalpark momentan der einzige Grasland-Nationalpark in Südafrika. Im Park finden sich mehr als 60 Grasarten.
Im afromontanen Wald wird die Vegetation von Leucosidea sericea dominiert. Die Bäume werden als auch Ouhut (deutsch: Altholz) bezeichnet, aufgrund der „alten“ Erscheinung der gedrehten Stämme ausgewachsener Bäume und da das Holz wie altes, verrottetes Holz brennt.
(Wikipedia)
Features on J.B. Jackson and Howard Fogg, cover photograph by Jeff Brouws. More at: www.railphoto-art.org/railroad-heritage-47/
This DreamWorld image features Katie Johnson having been given a sleeping draught, sending her into a deep slumber by unknown forces. I suspect the billowing blue smoke will begin to shape itself into some kind of form any minute now; who or what is behind this is a mystery!
Read my blog for more about the image and the "vacation" I'm forcing myself to take for the next week or two!
Model: the beautiful and graceful Katie Johnson
*Blog
Vintage postcard, no. 1022832, 2007. Photo: Universal / Focus Features. Jake Gyllenhaal in Brokeback Mountain (Ang Lee, 2005). Caption: "Jake Gyllenhaal is flawless. His performance is a mercurial mix of plain, poetic and practical." - Joe Morgenstern, The Wall Street Journal
The career of American actor Jake Gyllenhaal (1980) spanned more than three decades. He is the son of film director Stephen Gyllenhaal and screenwriter Naomi Foner, and the younger brother of actress Maggie Gyllenhaal. He had his breakthrough in the cult film Donnie Darko (2001). He earned praise for his performance as Jack Twist in Ang Lee's gay drama Brokeback Mountain (2005), including the BAFTA Award for Best Supporting Actor and an Academy Award nomination. Gyllenhaal starred in various action films and thrillers, including David Fincher's Zodiac (2007) and Nightcrawler (2014).
Jake Gyllenhaal was born in 1980 in Los Angeles, California, as Jacob Benjamin Gyllenhaal. He is the son of producer and screenwriter Naomi Foner and director Stephen Gyllenhaal, and the younger brother of actress Maggie Gyllenhaal. Paul Newman was his godfather, and Jamie Lee Curtis is his godmother. He made his film debut at 11 in the comedy City Slickers (Ron Underwood, 1991) as the son of Billy Crystal. He appeared in his father's films several times, including A Dangerous Woman (Stephen Gyllenhaal, 1993) along with his sister Maggie, Bop Gun (Stephen Gyllenhaal, 1994), an episode of the TV series Homicide: Life on the Street, and the comedy Homegrown (Stephen Gyllenhaal, 1998), starring Billy Bob Thornton. Gyllenhaal graduated from Harvard-Westlake School in 1998 and attended Columbia University. After two years, he dropped out to focus on his acting career. He starred in the successful October Sky (Joe Johnston, 1999). His next film, Donnie Darko (Richard Kelly, 2001), was not a box-office success on its initial release, but the film became a cult favourite. Gyllenhaal starred as a troubled teenager who experiences visions of a six-foot-tall (1.8-meter) rabbit named Frank, who tells him that the world is coming to an end. For this role, he received an Independent Spirit Award Best Actor nomination. Gyllenhaal followed up with roles in the box-office bomb Bubble Boy (Blair Hayes, 2001), The Good Girl (Miguel Arteta, 2002) with Jennifer Aniston, and Moonlight Mile (Brad Silberling, 2002) opposite Dustin Hoffman. In 2002, Gyllenhaal made his theatre debut in Kenneth Lonergan's revival of 'This Is Our Youth' in London. The play was well-received and played for eight weeks in the West End. Then the Sci-Fi Blockbuster The Day After Tomorrow (Roland Emmerich, 2004) followed, in which Dennis Quaid co-starred as his father. Gyllenhaal also starred as a U.S. Marine during the first Gulf War in Jarhead (Sam Mendes, 2005) and played a graduate student in mathematics in the drama Proof (John Madden, 2005) with Gwyneth Paltrow.
Jake Gyllenhaal was critically acclaimed for his performance as a gay cowboy in Brokeback Mountain (Ang Lee, 2005), based on the story by Annie Proulx. He and Heath Ledger play young men who meet as sheep herders. They embark upon a sexual relationship that begins in the summer of 1963 and lasts for 20 years. The film won numerous accolades, including the Golden Lion prize at the 62nd Venice Film Festival and three Academy Awards. Gyllenhaal won the BAFTA Award for Best Actor in a Supporting Role and was also nominated for the Academy Award for Best Supporting Actor. He and Ledger also won an MTV Movie Award for Best Kiss in 2006. Afterwards, he starred in the thriller Zodiac (David Fincher, 2007), the drama Brothers (Jim Sheridan, 2009) with Tobey Maguire, and Prince of Persia: The Sands of Time (Mike Newell, 2010), based on the video game. He starred opposite Anne Hathaway in the romantic-comedy Love and Other Drugs (Edward Zwick, 2010), for which he was nominated for a Golden Globe. In the 2010s, he starred in the techno-thriller Source Code (Duncan Jones, 2011), the crime film End of Watch (David Ayer, 2012), for which Gyllenhaal was also an executive producer, and the thriller Prisoners (Denis Villeneuve, 2013) with Hugh Jackman. A new highlight was his role in the thriller Nightcrawler (Dan Gilroy, 2014) as a petty thief who moves into Los Angeles crime journalism. For his role, he was nominated for a Golden Globe and a BAFTA Award. In 2015, Gyllenhaal debuted on Broadway in British playwright Nick Payne's 'Constellations' at the Samuel J. Friedman Theatre. His later film roles include Demolition (Jean-Marc Vallée, 2015), The Covenant (Guy Ritchie, 2023) and In the Grey (Guy Ritchie, 2026). Jake Gyllenhaal was in relationships with Kirsten Dunst (2002-2004) and Reese Witherspoon (2007-2009), and since 2018, he has been in a relationship with French model Jeanne Cadieu. Following the release of Brokeback Mountain, rumours circulated regarding the actor's sexual orientation. Gyllenhaal reacted: 'You know it's flattering when there's a rumour that says I'm bisexual. It means I can play more kinds of roles. I'm open to whatever people want to call me. I've never really been attracted to men sexually, but I don't think I would be afraid of it if it happened.' Gyllenhaal is the godfather of Matilda Rose Ledger (2005), daughter of his Brokeback Mountain co-stars Heath Ledger and Michelle Williams.
Sources: Pedro Borges, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Montacute is an Elizabethan manor house, very grand with lots of windows (at a time when windows were expensive) and decorative features.
At Montacute, Somerset, England. A National Trust property.
On display in the roundhouse gallery of Baltimore's B&O Railroad Museum is one of the oldest examples of a classic, 4-4-0 "American Standard" locomotive, B&O Locomotive #25. Built in 1856 by the Mason Machine Works in Taunton, MA, this engine became the second B&O Locomotive to carry the number 25. She incorporated a number of innovative features which would later become "standard" equipment on engines of this type. Among these were the design of the smokebox, the pilot truck and the use of Stephenson Valve Gear. This locomotive's history is replete with significant events, including hauling the train carrying President-elect Abraham Lincoln to his inauguration in Washington, DC. This engine also participated heavily in the US Civil War, hauling troops and supplies to strategic locations throughout the 4 year conflict. She served the B&O until her retirement in 1892.
As one look around the current B&O museum will tell you, the Baltimore & Ohio Railroad did a great job preserving numerous examples of its classic locomotives, which is why she survives to this day. Restored a number of times both during her service and in her retirement as a traveling exhibit, this engine has been kept operational for most of her history. She was exhibited at a number of rail events and Worlds Fairs. In 1927, the railroad gave her the name "William Mason" in honor of her builder.
In the 1950s, she enjoyed a brief period as a movie locomotive, participating in several productions, most notably as a stand-in for the Western & Atlantic "General" in the 1956 Disney production "The Great Locomotive Chase." Her last operating restoration took place in 1998 at the Strasburg Railroad, where she received her one and only 1,472 Service Day Inspection before participating in the filming of the movie "The Wild Wild West." Since then, she's been confined to the museum in Baltimore, where she made demonstration runs for several years.
During her most recent inspection in 2014 however, it was discovered that her crown sheet had worn too thin for safe operation and the cost of replacing it exceeded the museum's restoration budget. It was decided that for the foreseeable future she would become a static display, so she was cosmetically restored as you see her now. This decision ended her reign as the oldest operating steam locomotive in the US....at least for now. As I understand it, the issue is really funding. There is not much concern about destruction of historic fabric, because as noted previously, she's been rebuilt a number of times and the boiler is not original. Although her current paint scheme is shockingly different from anything she's worn for at least 120 years, a forensic analysis of the many layers of paint on her led the museum to conclude that this scheme is probably authentic for the mid-1800s period.
Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Pevsner described it as "the most complete small medieval manor house in the county", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham Mote wholly surrounds its courtyard and looks inward, into it, offering little information externally.[9] The construction is of "Kentish ragstone and dull red brick,"[10] the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.[11]
The moat of Ightham Mote
The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat."[10] The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the great hall, to which were attached, at the high, or dais end, the chapel, crypt and two solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.
The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loggia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel.[12] The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. [13] Parts of the interior were remodelled by Richard Norman Shaw.[14] wikipedia
16th century-late 19th century
The house remained in the Selby family for nearly 300 years.[3] Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne.[4] He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son.[5] During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s.[6] The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham Mote to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. Ightham Mote was rented-out in 1887 to American Railroad magnate William Jackson Palmer and his family. For three years Ightham Mote became a centre for the artists and writers of the Aesthetic Movement with visitors including John Singer Sargent, Henry James, and Ellen Terry. When Mrs Bigge died in 1889, the executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.[6]
Late 19th century-21st century
The Mote was purchased by Thomas Colyer-Fergusson.[6] He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect.[7] Ightham Mote was opened to the public one afternoon a week in the early 20th century.[7]
Sir Thomas Colyer-Fergusson's third son, Riversdale, died aged 21 in 1917 in the Third Battle of Ypres, and won a posthumous Victoria Cross. A wooden cross in the New Chapel is in his memory. The oldest brother, Max, was killed at the age of 49 in a bombing raid on an army driving school near Tidworth in 1940 during World War II. One of the three daughters, Mary (called Polly) married Walter Monckton.
On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.[8]
In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.[8]
In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions.[1]
And now let´s talk about the Model
This is one of the Planes that I wanted to build for many years. The plane itself almost doesn´t have any round areas, which gave it somehow a dieselpunk style.
The model features a ventral rack to fit external bombs, three defensive gun positions (the ventral gun turret when not in use can be retracted into the fuselage), detailed cockpit, retractable landing gear and some movable air surfaces.
Thanks for watching! Don´t forget to subscribe my Flickr page:
Eínon
Features: Bronzer, Freckles, Mole, Blush, Evox and Swallow Ears Compatible
AIMI SKINS EXCLUSIVE @ SWANK Event
Event Period: MAR 7th to 31ST
Event Location: maps.secondlife.com/secondlife/Swank%20Events/156/218/37
@ Mainstore after event:
The Ave Maria Welcome Center is located at 5076 Annunciation Circle #104, Ave Maria, FL 34142, in the heart of the town center. The center is open Monday through Friday from 9:00 AM to 5:00 PM, and Saturday and Sunday from 10:00 AM to 4:00 PM. You can contact the staff directly by calling (239) 352-3903 or emailing Info@AveMaria.com.
Ave Maria is an award-winning, master-planned community in Southwest Florida, located about 45 minutes east of Naples. Founded in 2005 by Domino’s Pizza founder Tom Monaghan and Barron Collier Companies, it is renowned for its small-town charm, affordability, and close-knit, faith-based roots anchored by Ave Maria University.
Key Community Features
Location: Collier County, FL, roughly 45 minutes inland from Vanderbilt Beach and Southwest Florida International Airport.
Housing: Master-planned by builders like Lennar, Pulte Homes, and CC Homes, with prices generally spanning from the low $200s to the $800s.
Neighborhoods: Includes multi-generational communities like Avalon Park, Maple Ridge, and the 55+ Del Webb Naples neighborhood.
Amenities & Lifestyle
Town Center: Features over 70 businesses, including dining, shopping, medical offices, and a Publix grocery store.
Recreation: Resort-style water parks, two expansive community parks, a dog park, and two 18-hole championship golf courses.
Schools: Offers A-rated K-12 schools, making it highly attractive for growing families.
University: Ave Maria University is situated at the center of the town alongside the striking Ave Maria Parish church, known for its iconic steel and glass oratory.
Credit for the data above is given to the following websites:
www.google.com/search?q=town+of+ave+maria+florida&sca...
en.wikipedia.org/wiki/Ave_Maria,_Florida
© All Rights Reserved - you may not use this image in any form without my prior permission.
Architectural Significance
Design Features
Significant buildings:
There are no individual significant buildings as such in Finn Slough. The importance of the built form in this area stems from the cluster arrangement of the structures, their history as a group, and their development over time. There are no exact dates available for the construction of the individual homes, only that the majority of them were built between the first settlement of the area and approximately 1940. New additions have continued the pattern of incremental development and have retained the overall vernacular character of the buildings.
Overall built form:
The site has a linear boardwalk spine on Whitworth Island, with houses on either side connected to the boardwalk by gangplanks. The buildings can be accessed by boat from the river or on foot by a wooden footbridge from the dyke to the boardwalk. Buildings on the north side are accessed from Dyke Road. The majority of the buildings are one or two storey wood frame dwellings and fishery-related buildings with fairly steep pitched gable roofs. Many of them are on stilts. They have evolved from the early “scow houses” which were rectangular structures on floating barges, and used as dwellings by local fishermen.
Aesthetic qualities:
Although the structures at Finn Slough are rough and vernacular in nature, they still demonstrate a degree of aesthetic quality through a consistent massing and scale of buildings, their clustering along the slough and along a central corridor, and through a rhythm of rooflines, dock structures, and hydro poles. As well, there is a consistency in building materials, and in the muted natural colours of the buildings and the landscape which makes the area particularly attractive.
Source: www.richmond.ca/plandev/planning2/heritage/HeritageInv/de...
Paxton’s Tower,
Llanarthne,
Carmarthenshire.
TAKEN - Sat 30th Oct'21
The tower is 36 feet high. The lower part of the tower is triangular in shape with a turret at each corner. On the first floor there is a banqueting room. Coloured glass from one of the windows can now be seen in the Carmarthen Museum at Abergwili. On the second floor there is a hexagonal prospect room surrounded by roof terraces. The windows to the prospect room are now bricked up. There is currently public access to the first floor banqueting room via stairs in one of the corner turrets.
This Miami Beach beach-front resort features a full-service spa and 6 restaurants and lounges. The honored Guests can lounge at the outdoor pool and hot tub or visit the Art Deco District, which is just a 5-minute walk away.
This hotel offers a city or ocean view in all rooms; a flat-screen cable TV, small refrigerator, and sofa bed are also provided. Room service is available 24 hours a day.
The front desk is open 24 hours a day for added convenience to the Guests. The Loews Miami Beach Hotel guests can also stay in touch with free public Wi-Fi. Shops are on site as well.
The Loews Miami Beach Hotel was designed by Nichols Architects (formerly known as Nichols Brosch Sandoval & Associates or NBWW).
The project, completed in 1998, involved the construction of a new 800-key tower and the restoration of the historic 1939 Art Deco St. Moritz building.
Key details regarding the design team include:
Original Architecture: John Nichols served as the founder and lead designer. The architectural team also included partners Don Wolfe, Patrick Busteed, and Henry Paredes.
Recent Renovations (2025): A major $55 million guestroom transformation, completed in late 2025, was designed by the New York-based firm Meyer Davis.
Specialty Design: Interior architecture for specific hospitality areas has previously involved Cass Calder Smith, with Design Principal Cass Calder Smith and Project Architect Taylor Lawson leading the team.
Credit for the data above is given to the following websites:
www.loewshotels.com/miami-beach
apps.miamidadepa.gov/PropertySearch/#/?address=1601%20col...
www.google.com/search?q=who+was+the+architect+of+the+loew...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Features
: Theme: The stamp shows an artistic rendering of the facades and towers of the monumental City Hall in Haarlem.
Value: 55 cents (at the time in Dutch guilders).
Design: The stamp was designed by the Aesthetic Department of the PTT and printed by Joh. Enschedé in Haarlem.
Date of issue: May 2, 1978.
Catalog number: This stamp is registered in the Dutch NVPH catalog under number 1158.
The lower floor features a living room, foyer, kitchen, and dining room while the upper floor features a bedroom. The first floor worked out well design-wise, but the second floor is an absolute mess due to all the supports / arches / beams needed to hold the roof together. Speaking of the roof, both sections aren't very pretty, but it works... at the cost of taking a whole bunch of upstairs space on the inside, as you can see.
The top version features the iconic green finish and a stock for stabilized firing. However, the bottom version has no stock and features a wooden finish.
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•Former AMP Society Building. This fine stone building was built for the AMP Society in 1917. It is classified by the National Trust because of its unusual architectural features. It has some classical Greek elements- the triangular and curved pediments across the top of the building, and the long columns- five, down the façade, and the laurel motifs around the circular features in the triangular pediments above the main doors. It has some Art Nouveau features - the curvaceous scrolls on the tops and bottoms of the five “classical” style columns. It has some Art Deco features with the vertical stone “fans” which contrast with the horizontal stone work for the overall building. Unfortunately there are some tacky wooden supports in the ground floor window frames.
ATLANTA, GEORGIA - OCTOBER 26: Lee "Gumayusi" Min-hyeong (L) and Ryu "Keria" Min-seok of T1 pose at the League of Legends World Championship Semifinals Features Day on October 26, 2022 in Atlanta, GA. (Photo by Fernando Decillis/Riot Games)
TopGear 2002 Season 1 (Episode 6): Renault AVANTIME on the Cool Wall: Jeremy Clarkson places the Renault AVANTIME on the very edge of the Sub-Zero section!
TopGear 2008 Season 12 (Episode 3) a used AVANTIME was recognized by the presenters Jeremy Clarkson, Richard Hammond and James May as one of the few cars that they all three liked.
www.flickr.com/photos/halfbyte/3040409681/
This is my 2002 Renault AVANTIME 2.0 16V TURBO 'NOIR NOCTURNE' photographed on our driveway.
No other car in the world has these ingenious doors and I'm sure this feature will be one of the most remembered features of this AVANTGARDE LOOKING FUTURE CLASSIC.
Detail ingenious doors: www.autoreview.ru/new_site/year2001/n13/avantime/avant-19...
THE AVANTIME HISTORY RETOLD
Renault suffered from over-capacity at their factories, and rather than letting people off, they wanted to take over the manufacture of the hugely successful Espace. So, they made the agreement with Matra that if Matra was given the task of developing this new high-spec topmodel, Renault could bring the Espace production in-house. Since Renault don't have the knowhow and expertise to produce cars like Matra do, they had to redesign the Espace, making it the conventional steel car we see marketed as "Espace IV". Matra took on the task and they came up with a series of design-ideas, all based on the "Espace III".
The Geneva motor show in March 1999 saw the unveiling of a new Renault concept car - where it was called a "Coupéspace" - which leads the way in opening up a long forgotten niche - that of a luxurious Grand Tourer Coupé with space for four adults to relax in comfort.
Poster AVANTIME 1999: www.flickr.com/photos/m_and_jiji/6920221965/
In the 1920's and '30's Renault's main products were luxurious sports models like the 1929 eight-cylinder Reinastella and 1930 Nervastella, driven by Royalty and Europe's aristocracy. The AVANTIME takes some inspiration from these powerful Grand Tourers, built to cover large distances in great comfort and style, whilst focusing firmly on the future. The AVANTIME, illustrates in a forthright manner Renault's ability to shape the future of the motor car. The manufacturer is convinced that there is room in the market for a new breed of coupe, targeted at a customer group seeking the visual distinction, rarity and driving enjoyment of a coupe with the luxury of space and comfort found in a large car or monospace, all wrapped up in a vehicle which is technologically advanced and forward looking. Styled by Patrick Le Quément, the AVANTIME was intended to combine the space of an MPV with four-place pillarless qualities of a coupé. Regarding the styling, Thierry Metroz, design project manager, said, "We wanted someone walking around the car to be continually astonished."
You sit high up, with glass all around you. The AVANTIME has no B-pillars - one thing that certainly delayed the project was getting the pillar-less design safety-approved - which adds a roadster feel to it, with windows down.
It was named the AVANTIME, which is not pronounced fully in French, but a combination 'AVANT' as in French for "ahead" and 'TIME' pronounced in english. In other words "Ahead of its time". They are quite probably right, and it will not be the first time Matra have been ahead of their time, and have spotted a niche almost before it appeared. It is an avantgarde looking car, the target group were people (former Espace-owners) whose kids have left home, but who still prefer the style and flexibility of the Espace, spiced up with a more luxurious interior and some decent performance. Very similar to the Espace the AVANTIME uses a warm-galvanized chassis in the lower part, but with the upper structure done in aluminium, to get the centre of gravity even lower than the Espace. The bodywork is still polyester, which is bonded in place. The doors are now a (galvanized) steel construction with polyester bodypanels bonded to it, making them much stronger than standard Espace doors, which were all fibreglass, with a metal frame, and in later models (J63 and JE) a side-impact steel bar about halfway up, on the inside. The frontend design is developed from the Espace, with the air-con intake moved to above the headlights, rather than the sidemirrors. The sidemirrors, on the other hand, have moved towards the door-windows again, as on the early Espace models.
Matra's engineers have avoided the top-heaviness of a minivan or SUV by fitting a lightweight aluminum superstructure to the Espace chassis. The track has been widened, the suspension lowered, and the wheels and brakes enlarged. Careful development has produced a car that feels stable at high speed on the autobahn, steers accurately, rolls only a little when cornered hard, yet smoothes all but the roughest roads. This is an impressive achievement and makes the AVANTIME fun for the driver and calm and secure for the passengers.
Renault has enlisted the services of French fashion designer Jean-Paul Gaultier to front its first-ever cross-brand advertising campaign "Créateur d'automobiles" (a one-minute spot with music by Etienne de Crécy). The pan-European ad aims to position the French motor brand as being creative and innovative, paving the way for forthcoming launches such as the new AVANTIME GT Coupe in 2001. TV advertising, by incumbent agency Publicis, breaks on October 17 (2000) and shows Gaultier designing and producing a new dress, from sketches to the finished product on the catwalk. After the fashion show, the model sees a Renault AVANTIME and is captivated by it. The ad then shows the process by which the car was created, in reverse from the completed car back to the production line. The designer's sketch is reduced to a blank piece of paper, mirroring Gaultier's process. Eric Bernard, Renault's worldwide advertising director, said: 'We're going to cause a stir with this campaign, and we hope to surprise and interest those who only think of Renault as a brand for small and medium-sized cars. 'It will trigger awareness and help us develop the new message in preparation for the launch of our new large cars.' The TV campaign's launch is being timed to coincide with the Birmingham International Motor Show, where Renault is unveiling its production version of the AVANTIME. It is being supported by press and poster activity.
Link Renault AVANTIME spot commercial 2001: www.youtube.com/watch?v=2FS3V-akz-c
In the meantime - there was a considerable delay in launching the AVANTIME - Renault had tested their design studio VEL SATIS with the public at car-shows and put the VEL SATIS into production, and hit the marked about the same time as the Avantime was finally ready. This means that Renault had two different approaches to the high-end luxury car, one being almost entirely Renault, the other a Matra. The Renault VEL SATIS has 4 doors, which should appeal to less adventurous (or more conservative) people. The AVANTIME was a two-doors only car (well, Matra did have a prototype 4-door version, but it never made it to production), but the doors are "huge" to allow for easy access, and are novel in the way they open, as they are internally hinged, making them sort of fold when you open them. Hereby even these huge doors will only require the same parkingspace as any other car, but at the same time offering excellent access. Having the AVANTIME compete with its Renault sibling obviously was not a good thing for Matra, who must have felt that Renault had not kept their part of the deal. To add insult to injury, its no secret that Renault urged their sales-organisation to push the VEL SATIS before the AVANTIME (by offering higher bonuses to the sales-people). This caused the AVANTIME to sell suficciently poor, to drain Matra for funds, and since there were no hopes for Renault helping them out, Matra decided in december 2002 that enough was enough and in April 2003 they shut down Matra Automobile and closed the factory in Romorantin. The last AVANTIME left the Matra assembly lines 18th of April 2003.
The following production figures have been published (Source: Matra France, L.Thimonner, 2003 ):
2001 : 2067
2002 : 5097
2003 : 1286
HISTORY REPEATING
Only 8450 Renault AVANTIME's were eventually built, before its abrubt end-of-life...
In the science fiction movie 'Children of men' (released 2006), the AVANTIME prototype 4-door version was seen in the cinema, Clive Owen and Julianne Moore travel in the AVANTIME until a breathtaking action sequence disrupt the journey...
Avantime has retained its feeling of novelty!
www.google.nl/url?sa=t&rct=j&q=renault%20icons%20...
The tale of Renault's short lived but stunning coupé is brought to life using interviews with the key players in the cars development, including ex Renault Head of Design Patrick Le Quement and Matra's Phillipe Guedon. With a colourful gathering of over 200 of the iconic cars at the famous Montlhery race track, the Avantime's 10th anniversary is the centre piece of this programme. Enthusiasts and experts swap opinions about what prevented this car becoming as much of a success as it perhaps should have been. Even more of the car's story is provided by Renault Avantime insiders Thierry Metroz and Carole Hurel, while current boss of Renault design, Laurens Van Den Acker gives his verdict on what makes this unique car so special.
Official Video Renault 10 Years AVANTIME, the "Coupéspace"
www.youtube.com/watch?v=MCXHroaxg8w&feature=feedu
Explore Renault AVANTIME
Beaghmore is a complex of early Bronze Age megalithic features, stone circles and cairns, 8.5 miles north west of Cookstown, County Tyrone in Northern Ireland, on the south-east edge of the Sperrin Mountains.
Mackay's Dictionary of Ulster Place-names says that it is from Irish an Bheitheach Mhór, meaning "big place of birch trees", a name that reflects the fact that the area was a woodland before being cleared by Neolithic farmers.
Beaghmore stone circles, alignments and cairns are State Care Historic Monuments in the townland of Beaghmore, in the Cookstown District Council area.
The site was discovered by George Barnett in the late 1930s during peat cutting when 1,269 stones were uncovered, and partially excavated in 1945–1949 when it was taken into state care. It was also excavated again in 1965. Hearths and deposits of flint tools were discovered and have been carbon dated to 2900-2600BC. Several of the stone rows run over the tumbled walls of field structures which also date from the Neolithic period. Excavation of one of the cairns revealed a polished porcellanite axe, which may have originated from the Tievebulliagh axe factory, some 70 miles away in County Antrim. The largest cairn featured a central pit containing an oak branch.
There are seven low stone circles of different sizes, six of which are paired, twelve cairns and ten stone rows. The circles are between 10 and 20m in diameter, and are associated with earlier burial cairns and alignments of stone rows lead towards them. The stones are small with few more than 0.5m in height and the circles are distorted, suggesting they are related to kerbs surrounding some megalithic tombs. A typical feature of the stone rows is a high and low arrangement where short rows of tall stones run beside much longer rows of small stones. The stone rows radiate from the circles in a roughly north-east direction.
Excavation has revealed that the site overlays a Neolithic cultivation site, and it is thought that the stones may have been erected in response to deteriorating soil fertility and the encroachment of peat.(Wikipedia)
Caesars Palace is a luxury hotel and casino in Paradise, Nevada, United States. The hotel is situated on the west side of the Las Vegas Strip between Bellagio and The Mirage. It is one of Las Vegas's largest and best known landmarks.
Caesars Palace was founded in 1966 by Jay Sarno and Stanley Mallin, who sought to create an opulent facility that gave guests a sense of life during the Roman Empire. It contains many statues, columns and iconography typical of Hollywood Roman period productions including a 20-foot (6.1 m) statue of Augustus Caesar near the entrance. Caesars Palace is now owned by Vici Properties and operated by Caesars Entertainment. As of July 2016, the hotel has 3,960 rooms and suites in six towers and a convention facility of over 300,000 square feet (28,000 m2).
The hotel has a large range of restaurants. Among them are several which serve authentic Chinese cuisine to cater to wealthy East Asian gamblers. From the outset, Caesars Palace has been oriented towards attracting high rollers. The modern casino facilities include table games such as blackjack, craps, roulette, baccarat, Spanish 21, mini-baccarat, Pai Gow and Pai Gow poker. The casino also features a 4,500-square-foot (420 m2) 24-hour poker room; and many slot machines and video poker machines.
The hotel has operated as a host venue for live music and sports entertainment. In addition to holding boxing matches since the late 1970s, Caesars also hosted the Caesars Palace Grand Prix from 1981 to 1982. Notable entertainers who have performed at Caesars Palace include Frank Sinatra, Reba McEntire and Brooks & Dunn, Sammy Davis Jr., Ella Fitzgerald, Teresa Teng, Count Basie, Dean Martin, Rod Stewart, Stevie Nicks, The Moody Blues, Celine Dion, Ike & Tina Turner, Shania Twain, Bette Midler, Cher, Elton John, Liberace, Diana Ross, Liza Minnelli, Julio Iglesias, Ann-Margret, Tony Bennett, Harry Belafonte, Lena Horne, Judy Garland, Gloria Estefan, Janet Jackson, Mariah Carey, Matt Goss and Deana Martin.
The main performance venue is The Colosseum. The theatre seats 4,296 people and contains a 22,450-square-foot (2,086 m2) stage. The stage was a special construction for Celine Dion's show, A New Day..., in 2003. After departing in 2007, Dion returned to the Colosseum with her new show entitled "Celine" on March 15, 2011, which was under contract through June 9, 2018 for 65 shows per year.
History
Early history
In 1962, cabana motel owners Jay Sarno and Stanley Mallin applied for a $10.6 million loan from the Teamsters Central States Pension Fund. He began plans to build a hotel on land owned by Kirk Kerkorian. Sarno would later act as designer of the hotel he planned to construct. His vision was to emulate life under the Roman Empire. The objective of the palace was to ensure an atmosphere in which everybody staying at the hotel would feel like a Caesar; this is why the name "Caesars Palace" lacks an apostrophe, making "Caesars" a plural instead of possessive noun. Caesars Palace was instrumental in beginning a new era of lavish casinos from the late 1960s onward. Architectural writer, Alan Hess, stated: "Caesars Palace needed only a sumptuous array of Classical statuary and a host of marble-white columns to establish its theme. The visitor's imagination, in league with well-placed publicity, filled in the opulence". Jefferson Graham wrote that the result was "the gaudiest, weirdest, most elaborate, and most talked about resort Vegas had ever seen. [Its] emblem was a chesty female dipping grapes into the waiting mouth of a recumbent Roman, fitted out in toga, laurel wreath, and phallic dagger".
The inauguration ceremony was held on August 5, 1966. Sarno and his partner, Nate Jacobsen, spent one million dollars on the event. The cost included "the largest order of Ukrainian caviar ever placed by a private organization", two tons of filet mignon, 300 pounds (140 kg) of Maryland crabmeat and 50,000 glasses of champagne. Cocktail waitresses in Greco-Roman wigs would greet guests and say "Welcome to Caesars Palace, I am your slave". Among the performers at the opening were Andy Williams and Phil Richards. According to author Ovid Demaris, Caesars Palace was "a mob-controlled casino from the day it opened its doors". By the time it opened, the significant publicity of the new hotel had generated $42 million in advanced bookings.
On December 31, 1967, stunt performer Evel Knievel arrived at the hotel to watch a boxing match and convinced Sarno that he could jump over the distance of 140 feet (43 m) over the fountains. ABC came in to film the jump, in which Knievel hit the top of the safety ramp after the jump and flew over his handlebars into the parking lot of neighbouring Dunes. Fracturing his pelvis, several bones and suffering a concussion, he lay in a hospital unconscious for 29 days in a coma before recovering. On April 14, 1989, Knievel's son Robbie successfully completed the jump.
The first casino at the hotel was named Circus Circus. It was intended to be the world's liveliest and most expensive casino, attracting elite gamblers from around the world. In 1969, a Federal Organized Crime Task Force accused the casino's financial manager, Jerome Zarowitz, of having ties with organized-crime figures in New York and New England. Although Zarowitz was never tried, the task force pressured Sarno and his other investors to sell the casino, which led to it being acquired by Lum's restaurant chain owners Stuart and Clifford S. Perlman for $60 million. The company soon shed its restaurant operations and changed its name to Caesars World. On July 15 of that year, executives lay ground on an expansion area of the hotel, and they buried a time capsule in the area.
Frank Sinatra began performing at Caesars Palace in 1967, after a fallout with Howard Hughes and Carl Cohen at The Sands. He signed a three-year contract. In the early morning hours of September 6, 1970, Sinatra was playing a high stakes baccarat at the casino, where he was performing at the time. Normal limits for the game are US$2,000 per hand; Sinatra had been playing for US$8,000 and wanted the stakes to be raised to US$16,000. When Sinatra began shouting after his request was denied, hotel executive Sanford Waterman came to talk with him. Witnesses to the incident said the two men both made threats, with Waterman producing a gun and pointing it at Sinatra. Sinatra walked out of the casino and returned to his Palm Springs home without fulfilling the rest of his three-week engagement there. Waterman was booked on a charge of assault with a deadly weapon, but was released without bail. The local district attorney's office declined to file charges against Waterman for pulling the gun, stating that Sinatra had refused to make a statement regarding the incident. Despite swearing to never perform at Caesars again, Sinatra returned after his retirement in January 1974, and became a frequent performer at Caesars Palace throughout the decade. He was performing at Caesars when his mother Dolly died in a plane crash in January 1977, and in 1979 he was awarded the Grammy Trustees Award in a party at the hotel, while celebrating 40 years in show business and his 64th birthday. When Sinatra was given back his gaming license by the Nevada Gaming Commission in 1981, he became an entertainment-public relations consultant at the casino for $20,000 a week.
In 1971, some 1,500 African American rights activists stormed the hotel in a protest. The National Welfare Rights Organization was involved with a "coalition of welfare mothers, Legal Services lawyers, radical priests and nuns, civil rights leaders, movie stars and housewives". Five years later in the spring of 1976, hundreds of African American workers went on strike at the hotel in the first major strike in Las Vegas history. The entrances to the hotel and casino were blocked, and the hotel lost several million dollars from the strike, including one cancellation worth $500,000. In 1973, the Del Webb corporation was contracted to build a $8 million 16-story building adjacent to the Palace.
In 1981, a fire broke out at the hotel, hospitalizing 16 people. The Perlmans sold their shares in Caesars World that year after trying to get a gaming license for a casino in Atlantic City, New Jersey. The New Jersey Casino Control Commission accused the brothers of doing business with people who had organized-crime connections.
Later history
In 1986, the annual Teamsters convention was held at Caesars with a $650,000 party. The lavish feast included caviar, crab claws, roast beef and a range of 15 different desserts. In 1991, Sheila King won a $250,000 jackpot in the casino at Caesars Palace on a $500 machine and won $50,000 twice soon afterward. Over three years she won $200 million on the machines but kept pumping the money back into the machines. Despite her luck, in 1994 her winnings fell to $500,000, and she spent much of her time over the next four years in the law courts claiming that the casino operators had tampered with her machines and deceived her to keep her winning.
In the 1990s, the hotel's management sought to create more elaborate features to compete with the other modern Las Vegas developments. The Forum Shops at Caesars opened in 1992; it was one of the first venues in the city where shopping, particularly at high-end fashion house stores, was an attraction in itself. A new redevelopment opened on October 22, 2004.
In June 2005, Harrah's Entertainment acquired Caesars Entertainment, Inc. and became the owner of Caesars Palace. Harrah's changed its own name to Caesars Entertainment in 2010, to capitalize on the prestige of the Caesars brand.
In 2010, Caesars Palace was fined $250,000 by the Nevada Gaming Commission for permitting a high-limit baccarat player to dance on the card table while the game was underway. In September 2015, Caesars Palace agreed to pay the Financial Crimes Enforcement Network an $8 million civil money penalty for violating the Bank Secrecy Act.
In October 2017, ownership of Caesars Palace was transferred to Vici Properties as part of a corporate spin-off; Vici leased the property back to Caesars Entertainment at an initial annual rent of $165 million.
Architecture
Jeff Campbell of Lonely Planet refers to the hotel as "quintessentially Las Vegas", a "Greco-Roman fantasyland featuring marble reproductions of classical statuary". The art deco style fused with clear influences from Hollywood epic productions dominate. Construction of the 14-story Caesars Palace hotel on the 34-acre (14 ha) site began in 1962, and it opened in 1966. It lay next to Dunes Hotel and opposite the Desert Inn. The original hotel featured lanes of cypresses and marble columns as part of a 900 feet (270 m) frontage, with the hotel set back 475 feet (145 m) . The car park could accommodate up to 1300 cars.
Water is heavily used for at least 18 fountains throughout—the casino resort uses over 240 million gallons a year. A 20 feet (6.1 m) high statue of Julius Caesar hailing a taxi lies in the driveway leading to the entrance, and there are replicas of Rape of the Sabine Women and statues of Venus and David which greet guests as they arrive. Near the entrance is a four-faced, eight-handed Brahma shrine which weighs four tons. It was made in Bangkok, Thailand, with a casting ceremony on November 25, 1983, according to the inscription on it. A multimillion-dollar renovation of the main entrance began in July 2021, and was finished seven months later. It includes a domed ceiling and a 15-foot statue of Augustus.
Exterior
A $75 million renovation of the hotel's original Roman Tower, built in 1966 and extended in 1974, was completed in January 2016. The 14-story Tower, last renovated in 2001, will have 20 rooms added for a total of 587 rooms and suites, and will be renamed the Julius Tower. Entertainment Close-Up wrote that the Julius Tower is the "latest piece of a $1 billion investment to cement Caesars Palace as the premier resort at the center of the Las Vegas Strip". Nobu Tower (formerly Centurion Tower) is a 14-story tower that was completed in 1970 at a cost of $4.2 million. In 2011 it was announced that the tower would be renovated and be renamed to Nobu, and to operate as the first Nobu Hotel with a restaurant. A remodeling of the Nobu Hotel took place during 2021.
Rooms in the Forum Tower opened in 1979. The Palace Tower opened in 1998 and mirrors the Greco-Roman theme of the hotel with fluted columns and Corinthian columns and pediments on its facade and fountains and statues scattered around its interior space.
Plans for the Augustus Tower began in 2003 and were consolidated in 2004 with the architects Bergman Walls Associates. The expansion at a cost of $289 million US included a 26-story, 345-foot-tall tower, as well as an addition of new convention and meeting facilities at the resort. The Augustus opened in 2005 with 949 rooms, which were designed for more upscale luxury and service than the other parts of the resort. The Octavius Tower opened in January 2012. The 668-room tower was added as part of a $860-million expansion. The tower shares a lobby with the Augustus Tower. The pools at Caesars Palace are modeled after the Roman baths.
Entertainment
Many international performers have performed at the hotel, including Frank Sinatra, Sammy Davis Jr., Rod Stewart, Celine Dion, Cher, Bette Midler, Liberace, Liza Minnelli, Elton John, George Burns, Pat Cooper, Diana Ross, Teresa Teng, Paul Anka, Julio Iglesias, Judy Garland, David Copperfield, Stevie Nicks, Dolly Parton, Tony Bennett, Gloria Estefan, Phyllis Diller, Luis Miguel, Ike & Tina Turner, Janet Jackson, Shania Twain, Jerry Seinfeld, Harry Belafonte, Louie Anderson, Ricky Martin, Mariah Carey, Deana Martin, B.B. King, The Moody Blues, Pilita Corrales and Matt Goss. In mid-1996, a new venue known as "Caesars Magical Empire" was created on the property, showcasing magicians such as Michael Ammar, Jon Armstrong, Lee Asher, Whit Haydn, Jeff "Magnus" McBride, and Alain Nu. The "Empire" was closed on November 30, 2002, after which the structure was razed to make room for a large concert hall created for singer Celine Dion. The Colosseum at Caesars Palace is a 4,296-seat entertainment venue with a 22,450 square feet (2,086 m2) stage, which was originally built at a cost of $95-million for Celine Dion's show, A New Day..., in 2003. A success, the Colosseum show earned almost $175,000 on average per night and grossed $500 million in four years. The venue has since hosted performances by numerous other artists. Gloria Estefan performed a special seven-day concert in October 2003 for the launch of her album Unwrapped, titled Live & Unwrapped. In May 2007, Bette Midler was announced as Dion's formal replacement, performing 100 shows a year, with Elton John continuing to perform his popular Red Piano show 50 nights a year while Midler was on hiatus. After taking a three-year hiatus, Cher, following her Farewell Tour, returned to Caesars Palace with a three-year contract, performing 200 shows beginning May 6, 2008.
On May 26, 2009, U.S President Barack Obama performed in the Colosseum in the one-night show A Good Fight alongside Sheryl Crow, Bette Midler and Rita Rudner to fundraise for Nevada's senator Harry Reid re-election campaign. Several streets were closed and the Augustus tower was blocked as security precautions by the Secret Service during the visit. In March 2011, Celine Dion returned to The Colosseum with her new show entitled "Celine", which is under contract for 70 shows per year, through 2017. In 2015, Reba McEntire and Brooks & Dunn began a concert residency at the Colosseum titled Together in Vegas. Absinthe is a live show that premiered on April 1, 2011, on the forecourt of the hotel. The show is hosted by The Gazillionaire, played by actor and former Cirque du Soleil clown Voki Kalfayan and his assistant, Penny Pibbets, portrayed by actress Anais Thomassian. The show is performed outside in a Spiegeltent on a 9 feet (2.7 m) diameter stage. The tent accommodates 600 persons who are seated on folding chairs circled around the stage.
The Pussycat Dolls Lounge, an adjunct of the Pure Nightclub, opened at Caesars Palace in 2005. The lounge was patterned after a vintage strip club. The club's center was a stage where dancers called the Pussycat Girls clad in fishnet hose and corsets, began a new dance show every half hour. Celebrities like Paris Hilton and Christina Aguilera occasionally danced as "guest pussycats". In 2007, Caesars Palace opened a Pussycat Dolls Casino directly across from the Pussycat Dolls Lounge. It had an oval pit at the casino's center, where two go-go dancers in cages performed in response to the music. At the end of February 2010, the Pussycat Dolls left the Pure nightclub for a new lounge at the Chateau nightclub, which is part of Paris Las Vegas.
The Omnia (Latin for "[the sum of] all things") nightclub, opened in March 2015, replacing the Pure nightclub which operated there for over a decade. The $107 million expansion and redesign incorporates both the 34,000 square feet (3,200 m2) Pure facility and the adjacent World of Poker tournament room to create a 75,000 square feet (7,000 m2) space that can accommodate 3,500 people. Designed by the Rockwell Group, the club is outfitted with theatrical lighting, sound, and climate-control systems, along with rigging and catwalks for aerial performers. It is operated by the Hakkasan Group.
The replica of Cleopatra's Barge houses a bar and lounge that opened at Caesars Palace in 1970. Rat Pack members Frank Sinatra and Dean Martin often visited the Barge, with Sinatra occasionally singing there after his own shows.
Sports
The New Yorker writes that Caesars Palace was "dubbed the Home of Champions after hosting decades of events like boxing matches, auto races, and volleyball tournaments". The Caesars Palace Grand Prix car race (a Formula One World Championship event) was held at the car park of Caesars Palace in 1981 and 1982. The new race proved to be a financial disaster, and was not popular among the drivers, primarily because of the desert heat and its counter-clockwise direction, which put a tremendous strain on the drivers' necks. When Nelson Piquet clinched his first World Championship by finishing fifth in 1981, it took him fifteen minutes to recover from heat exhaustion. The 1982 race was won by Michele Alboreto in a Tyrrell, but the race was not renewed for the following season due to poor attendance. The following two years a CART (IndyCar) event was run, with Mario Andretti and Tom Sneva winning, before the open-wheel event was permanently dropped. In 2013 it hosted a round of the Stadium Super Trucks.
Many boxing matches have been held in Caesars Outdoor Arena and at its since demolished Sports Pavilion (an indoor sports arena) since the late 1970s. The hotel has hosted fights between George Foreman and Ron Lyle in January 1976, Roberto Durán and Esteban de Jesús in January 1978, Larry Holmes and Muhammad Ali in October 1980, Holmes and Gerry Cooney in June 1982 as well as Wilfredo Gómez versus Juan Antonio Lopez at the same date; Gómez's bout with Salvador Sánchez on August 21, 1981, Marvin Hagler vs. Roberto Durán and a world championship fight between Shane Mosley and Shannan Taylor. In April 1987, the 15,356-seat arena at Caesars Palace hosted "The Super Fight" boxing match between Sugar Ray Leonard and Marvin Hagler. Two bouts between Evander Holyfield and Riddick Bowe were contested here, including Evander Holyfield vs. Riddick Bowe in November 1992, and a revenge match a year later in which Holyfield took the title, and he fought with Michael Moorer at Caesars Palace, including Evander Holyfield vs. Michael Moorer in April 1994 for the WBA, IBF and Lineal Heavyweight Championships. In 2004 boxing returned to the Palace, when Wladimir Klitschko and former Olympian Jeff Lacy headlined a card televised on Showtime at the Palace's new outdoor amphitheatre.
Caesars Palace has played host to a number of professional wrestling events throughout the 1990s, the most notable of which is WWE's WrestleMania IX in April 1993 which capitalized on the Roman theme of the venue. Billed as the "Worlds Largest Toga Party" it remains to this day the only WrestleMania with a particular theme. World Championship Wrestling also held a series of events at Caesars Palace, including Clash of the Champions XXX in January 1995 as well as Clash of the Champions XXXII and an episode of WCW Monday Nitro, each in January 1996.
On September 27, 1991, a National Hockey League preseason game between the Los Angeles Kings and New York Rangers was held on an outdoor rink built in the Caesars Palace parking lot. Behind a goal from Wayne Gretzky, the Kings came back from a 2–0 deficit to win 5–2. The game served as a prelude to "Frozen Fury", an annual series of preseason games in Las Vegas played primarily against the Colorado Avalanche at the MGM Grand Garden Arena, and eventually the establishment of an expansion team in Las Vegas, the Vegas Golden Knights, for the 2017–18 NHL season.
In popular culture
Caesars Palace has been a location in numerous films. It has appeared in films such as Hells Angels on Wheels (1967), Where It's At (1969),[196] The Only Game in Town (1970), The Electric Horseman (1979), Rocky III (1982), Oh, God! You Devil (1984), You Ruined My Life (1987), Rain Man (1988), Hearts Are Wild (1992), Fools Rush In (1997), Ocean's Eleven (2001), Intolerable Cruelty (2003), Dreamgirls (2006), Iron Man (2008), The Hangover (2009), 2012 (2009), The Hangover Part III (2013) and Step Up: All In (2014).
In television it has appeared in series such as The Partridge Family, the "Viva Ned Flanders" episode of The Simpsons, The Sopranos, Friends, The Strip (1999), and Keeping Up With the Kardashians. It also appeared in the season 12 premiere of America's Next Top Model. The short-lived 1990s game show Caesars Challenge taped in the casino's theatre and pulled contestants from the audience; losing players were given tickets to Caesars shows and dinner as a consolation prize, while an audience game played at the end offered audience members the chance to get casino chips and chocolate coins.
(Wikipedia)
Das Caesars Palace ist ein Hotel in Paradise im Großraum Las Vegas im US-Bundesstaat Nevada. Es ist im Stil eines antiken römischen Palastes errichtet; der Name leitet sich von Gaius Iulius Caesar her, dem Herrscher des antiken Rom, und soll dessen Pracht widerspiegeln.
Das Hotel am Las Vegas Boulevard besitzt 3.960 Gästezimmer und Suiten in sechs Zimmertürmen. Säulen, Statuen und Wasser-Fontänen prägen das Erscheinungsbild der Anlage. Das im Hotel integrierte Spielkasino belegt eine Fläche von etwa 15.000 Quadratmetern. Die Forum Shops, ein großes Einkaufszentrum mit exklusiven Geschäften sowie ein weitläufiger Pool- und Gartenbereich gehören ebenso zu dem Komplex.
Geschichte
1962 erhielt Jay Sarno einen Kredit über 10,6 Mio. US$ aus dem Central States Pension Fund der Teamsters und errichtete von 1962 bis 1965 ein Hotel mit angeschlossenem Kasino. Es wurde am 5. August 1966 eröffnet. Ein Jahr nach der Eröffnung des Hotels erlangte das Hotel durch den Motorradstuntman Evel Knievel großes Aufsehen, als dieser sich schwer verletzte, nachdem er im Beisein zahlreicher Zuschauer über die Brunnenanlage entlang der Vorfahrt des Caesars Palace gesprungen war, jedoch bei der Landung stürzte.
1962 begann der Bau des Roman Towers, dem ersten Hotelturm der Anlage mit 680 Zimmern in 14 Geschossen. Das halbkreisförmige Gebäude wurde zentriert hinter dem Haupteingang und der von Springbrunnen gesäumten Vorfahrt angelegt. 1970 wurde das Hotel durch den rechteckigen, erneut 14-stöckigen, Centurion Tower mit 222 Zimmern erweitert. Der abgerundete Roman Tower wurde später um eine entgegengesetzt-gekrümmte Kurve verlängert. Der Forum Tower mit 22 Geschossen kam 1979 hinzu. Am 17. Oktober 1981 und am 25. September 1982 fand auf dem Parkplatzgelände der Große Preis von Las Vegas statt. Sieger der Formel-1-Rennen waren Alan Jones (1981) sowie Michele Alboreto (1982). Da die Rennstrecke auf den Parkplätzen des Caesars Palace sehr uneben war, fand der Grand Prix nur zweimal im Großraum Las Vegas statt.
Das Caesars Palace war in den 1980er Jahren Austragungsort vieler berühmter Box-Kämpfe, bevor es in den 1990er Jahren von einem reinen Casino-Hotel zu einem familienfreundlichen Unterhaltungskomplex umgebaut wurde. Diese Änderung haben alle großen Hotels im Großraum Las Vegas vollzogen. Auch heute finden allerdings noch Boxkämpfe statt, vor allem in der Außenanlage „Thomas and Mack Arena“. 1987 wurden Szenen des 1988 erschienenen oscarprämierten Kinofilms Rain Man mit Tom Cruise und Dustin Hoffman in den Hauptrollen im Caesars Palace gedreht.
1997 wurde der Palace Tower errichtet. Erstmals wurde dessen Fassade im römisch inspirierten Stil gestaltet. Die bis dahin errichteten Hoteltürme kamen ohne ebensolchen aus. Im selben Jahr wurden auch die 1992 eröffneten Forum Shops, wie auch die Casino- und Konferenzflächen erweitert und die ebenso römisch gestaltete Pool- und Gartenanlage errichtet. Im Jahr 2000 wurden nun an allen früher errichteten Bauteilen antike Stilelemente nachgerüstet um sie den neu gebauten Hotelteilen anzugleichen.
2003 wurde das Colosseum eröffnet, ein modernes Theatergebäude mit über 4000 Sitzplätzen, das äußerlich dem antiken Kolosseum in Rom nachempfunden ist. Viele Künstler haben im Laufe der Jahre im Caesars Palace gastiert, beispielsweise Frank Sinatra, Liberace und David Copperfield. Seit März 2003 stehen abwechselnd unter anderen Cher, Céline Dion, Elton John und Shania Twain auf der Bühne des Colosseum. Für die Pussycat Dolls wurde darüber hinaus die „Pussycat Dolls Lounge“ eröffnet, in der sie auch auftraten.
Im Jahr 2004 wurden die Forum Shops mit einer dem Strip zugewandten dreistöckigen Ausbaustufe auf die heutige Größe ausgebaut. In diesem Gebäudeteil befinden sich auch die bekannten spiralförmigen Rolltreppen. Im Jahr 2005 wurden der Augustus Tower (35 Geschosse, 949 Zimmer) und die neue Hotellobby ihrer Bestimmung übergeben. Im selben Jahr hat der französische 3-Sterne-Koch Guy Savoy ein Restaurant im Caesars Palace eröffnet.
2008 diente das Casino als Filmset für den Kinohit Hangover. In diesem fragt Alan (Zach Galifianakis) die Rezeptionistin, ob Caesar wirklich im Caesars Palace gelebt habe. 2013 wurde das Hotel erneut als Filmset in Hangover 3 genutzt.
Der bisher letzte Neubau des Hotels ist der Octavius Tower und wurde 2011 eröffnet. Das Caesars ist damit eines der wenigen Hotels im Großraum Las Vegas, das seit seiner Eröffnung keine Gebäudeteile abgerissen bzw. (wie dort üblich) gesprengt hat, sondern stattdessen immer wieder erweitert und umgebaut wurde.
Seit 2013 befindet sich im ehemaligen Centurion Tower des Caesars das eigenständig betriebene Boutique-Hotel Nobu Hotel.
Besitzverhältnisse
Nach mehreren Besitzerwechseln gehört das Caesars Palace seit 2005 zur Harrah’s Entertainment, Inc. Die Harrah’s Gruppe hat Caesars Entertainment, Inc. (bis 2003 Park Place Entertainment Corporation), einem Konzern mit 55.000 Mitarbeitern, der knapp 30 Hotel-Kasinos weltweit unterhält, übernommen. Seit 2010 tritt nun das gesamte Unternehmen wieder als Caesars Entertainment auf.
In Las Vegas gehören unter anderem die Hotels Bally’s, Flamingo und Paris zur Gruppe. Es gibt weitere Caesars Hotels in den Vereinigten Staaten, beispielsweise in Atlantic City, New Jersey.
(Wikipedia)
"Casa Cuseni is a house-garden-museum, with countless delightful works of art of all shapes and types: here a table lamp with the features of a beautiful girl, in Art Nouveau style."
“Casa Cuseni è una casa-giardino-museo, con innumerevoli deliziose opere d'arte di ogni foggia e tipo: qui una lampada da tavolo con le fattezze di una bella fanciulla, in stile liberty.”
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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".
This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.
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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.
Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).
Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.
Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.
…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.
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I've just released a quarterly publication called Earth, which features stories and interviews about art, magic, and the universe. Issue 1 features stories and insights from some of this generation's finest cultural leaders, check it out at earthquarterly.org
An unusual picture in that it features a Hounslow Garage bus on loan to Stamford Brook at the Queens Gate Terrace bus stand which was rarely used by Route 27 on account of it being quite pointless.
Coming from the west, if curtailed at Kensington High Street Station, the procedure for turning around (officially) involved going so far off the 27 route that by the time this had been done it would have been just as quick to have carried on to Notting Hill Gate thus covering a bit more of the normal route. So a 27 at this location was fairly rare and even more so once I had proved that it was possible to do a U turn (unofficial) in Kensington High Street and other drivers dared to do likewise!
Queens Gate Terrace was then, and certainly is now, a very expensive residential address. To have an almost constantly used bus stand (73`s were there all through the day) in the middle of the road was unusual and it could obviously not be used by passengers on safety grounds so the nearest bus stop was some distance away on the main road. RM 1170 and RM 1034 are seen on 1 July 1982.
New Blog Entry#31 - Back to School
Features:
Beany Bags & Dress by Little Clover by Cami Claire Bloodmoon and Back to School Notebooks by Maple Toodledoo Clothing - SL coming to The Play Room !
All credits can be found at charliebearsdiary.wordpress.com/2018/09/05/blog31-back-to...
<3 Charlie
NASA Deputy Administrator Pam Melroy, left, NASA Associate Administrator Bob Cabana, and NASA Administrator Bill Nelson are shown an early mirror alignment image from the James Webb Space Telescope, by NASA Webb Optical Telescope Element Manager Lee Feinberg, as NASA Program Director for the James Webb Space Telescope Program Greg Robinson, right, looks on, Monday, Feb., 7, 2022, at the Mary W. Jackson NASA Headquarters building in Washington. This engineering visual, which features 18 unfocused dots of light, demonstrates that the Webb team has successfully identified starlight through each of Webb’s 18 hexagonal mirror segments – the starting point in a months-long process to progressively align the segments into a single, precise mirror to prepare the telescope for science. Photo Credit: (NASA/Bill Ingalls)
Pacific Fair Shopping Centre in Broadbeach,Gold Coast, Queensland Australia. August 2018.
The shopping centre has been done up since we were last here and it is amazing.
Note the accumulation of iron (redox feature) and areas of reduction (gray color) from the lower subsoil of an Augusta soil.
For a detailed description of the soil, visit:
soilseries.sc.egov.usda.gov/OSD_Docs/A/AUGUSTA.html
Redoximorphic features (RMFs) consist of color patterns in a soil that are caused by loss (depletion) or gain (concentration) of pigment compared to the matrix color, formed by oxidation/reduction of iron and/or manganese coupled with their removal, translocation, or accrual.
For more information about describing and sampling soils, visit:
www.nrcs.usda.gov/resources/guides-and-instructions/field...
or Chapter 3 of the Soil Survey manual:
www.nrcs.usda.gov/sites/default/files/2022-09/The-Soil-Su...
For additional information on "How to Use the Field Book for Describing and Sampling Soils" (video reference), visit:
www.youtube.com/watch?v=e_hQaXV7MpM
For additional information about soil classification using USDA-NRCS Soil Taxonomy, visit:
www.nrcs.usda.gov/resources/guides-and-instructions/keys-...
or;
www.nrcs.usda.gov/resources/guides-and-instructions/soil-...
For more information about Hydric Soils and their Field Indicators, visit:
www.nrcs.usda.gov/resources/guides-and-instructions/field...
Striking features on this gorgeous girl. 😊
Opisthoncus quadratarius. 💛
Victoria Point SE QLD Australia.
Adult Female that lives in my grandma's pot plant on the balcony. She's a little shy at first but friendly. With patientce and a gentle touch I managed to get her in position for a couple of snaps. She sat pretty chilled for the whole time.
Nikon D810, AF-S 60mm f/2.8G ED, Neewer LED with diffuser. 📷
This Reserve is dedicated under the Crown Lands Act (1929–1985) for the preservation of the scenic and natural features of the breakaways landscape.
Features and Funcions:
- Engines Rotate for Vertical Landing
- Turret can Rotate 180 Degrees
- Turret is Accessible from the Command Deck
- Finished Interiors
- Rotating Side Mounted Guns
- Foldable Landing Gear
- Loading Ramp
- Jump Seats for Four Man SWAT Team
- Easy Access to Lower Level (Command Deck Floor Folds and Lifts Out)
- Two Prisoner Cells
- Pilot and Navigator Chairs
Credits:
Side-Mounted Turrets: Legohaulic
Command Chairs: Legodrome
Rear Exhaust Grilles: Larry Lars
"Casa Cuseni is a house-garden-museum, with countless delightful works of art of all shapes and types: here a table lamp with the features of a beautiful girl, in Art Nouveau style."
“Casa Cuseni è una casa-giardino-museo, con innumerevoli deliziose opere d'arte di ogni foggia e tipo: qui una lampada da tavolo con le fattezze di una bella fanciulla, in stile liberty.”
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".
This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.
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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.
Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).
Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.
Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.
…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.
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Statue features Jack Judge - writer of the 1st World War song "It's a long way to Tipperary"
He is sat reading his song sheet, accompanied by a Soldier playing harmonica.
www.writers.warpoetry.co.uk/readers/stalybridge-tipperary...
This round barn features walls of clay tile and a tile silo in its center. It was built to house cows on the lower floor and hay in the mow above. The structure was possibly designed and constructed by Alga Shivers, a son of a slave who built many of the round barns in Vernon and Monroe counties. It stands at E7702 A Upper Maple Dale Road, just east of Viroqua, and was placed on the National Register of Historic Places in 2014.
LONDON, ENGLAND - MAY 07: T1 at the League of Legends - Mid-Season Invitational Features Day on May 7, 2023 in London, England. (Photo by Colin Young-Wolff/Riot Games)
Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle. It is the seat of the Bishop of Bath and Wells, whose cathedra it holds as mother church of the Diocese of Bath and Wells. Built as a Roman Catholic cathedral from around 1175 to replace an earlier church on the site since 705, it became an Anglican cathedral when King Henry VIII split from Rome. It is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals.
Its Gothic architecture is mostly inspired from Early English style of the late 12th to early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff-leaf" style. Its Early English front with 300 sculpted figures is seen as a "supreme triumph of the combined plastic arts in England". The east end retains much ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close It is a Grade I listed building.
The earliest remains of a building on the site are of a late-Roman mausoleum, identified during excavations in 1980. An abbey church was built in Wells in 705 by Aldhelm, first bishop of the newly established Diocese of Sherborne during the reign of King Ine of Wessex. It was dedicated to St Andrew and stood at the site of the cathedral's cloisters, where some excavated remains can be seen. The font in the cathedral's south transept is from this church and is the oldest part of the present building. In 766 Cynewulf, King of Wessex, signed a charter endowing the church with eleven hides of land. In 909 the seat of the diocese was moved from Sherborne to Wells.
The first bishop of Wells was Athelm (909), who crowned King Æthelstan. Athelm and his nephew Dunstan both became Archbishops of Canterbury. During this period a choir of boys was established to sing the liturgy. Wells Cathedral School, which was established to educate these choirboys, dates its foundation to this point. There is, however, some controversy over this. Following the Norman Conquest, John de Villula moved the seat of the bishop from Wells to Bath in 1090. The church at Wells, no longer a cathedral, had a college of secular clergy.
The cathedral is thought to have been conceived and commenced in about 1175 by Reginald Fitz Jocelin, who died in 1191. Although it is clear from its size that from the outset, the church was planned to be the cathedral of the diocese, the seat of the bishop moved between Wells and the abbeys of Glastonbury and Bath, before settling at Wells. In 1197 Reginald's successor, Savaric FitzGeldewin, with the approval of Pope Celestine III, officially moved his seat to Glastonbury Abbey. The title of Bishop of Bath and Glastonbury was used until the Glastonbury claim was abandoned in 1219.
Savaric's successor, Jocelin of Wells, again moved the bishop's seat to Bath Abbey, with the title Bishop of Bath. Jocelin was a brother of Hugh (II) of Lincoln and was present at the signing of the Magna Carta. Jocelin continued the building campaign begun by Reginald and was responsible for the Bishop's Palace, the choristers' school, a grammar school, a hospital for travellers and a chapel. He also had a manor house built at Wookey, near Wells. Jocelin saw the church dedicated in 1239 but, despite much lobbying of the Pope by Jocelin's representatives in Rome, did not live to see cathedral status granted. The delay may have been a result of inaction by Pandulf Verraccio, a Roman ecclesiastical politician, papal legate to England and Bishop of Norwich, who was asked by the Pope to investigate the situation but did not respond. Jocelin died at Wells on 19 November 1242 and was buried in the choir of the cathedral; the memorial brass on his tomb is one of the earliest brasses in England. Following his death the monks of Bath unsuccessfully attempted to regain authority over Wells.
In 1245 the ongoing dispute over the title of the bishop was resolved by a ruling of Pope Innocent IV, who established the title as the "Bishop of Bath and Wells", which it has remained until this day, with Wells as the principal seat of the bishop. Since the 11th century the church has had a chapter of secular clergy, like the cathedrals of Chichester, Hereford, Lincoln and York. The chapter was endowed with 22 prebends (lands from which finance was drawn) and a provost to manage them. On acquiring cathedral status, in common with other such cathedrals, it had four chief clergy, the dean, precentor, chancellor and sacristan, who were responsible for the spiritual and material care of the cathedral.
The building programme, begun by Reginald Fitz Jocelin, Bishop in the 12th century, continued under Jocelin of Wells, who was a canon from 1200, then bishop from 1206. Adam Locke was master mason from about 1192 until 1230. It was designed in the new style with pointed arches, later known as Gothic, which was introduced at about the same time at Canterbury Cathedral. Work was halted between 1209 and 1213 when King John was excommunicated and Jocelin was in exile, but the main parts of the church were complete by the time of the dedication by Jocelin in 1239.
By the time the cathedral, including the chapter house, was finished in 1306, it was already too small for the developing liturgy, and unable to accommodate increasingly grand processions of clergy. John Droxford initiated another phase of building under master mason Thomas of Whitney, during which the central tower was heightened and an eight-sided Lady chapel was added at the east end by 1326. Ralph of Shrewsbury followed, continuing the eastward extension of the choir and retrochoir beyond. He oversaw the building of Vicars' Close and the Vicars' Hall, to give the men who were employed to sing in the choir a secure place to live and dine, away from the town and its temptations. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and he surrounded his palace with crenellated walls, a moat and a drawbridge.
John Harewell raised money for the completion of the west front by William Wynford, who was appointed as master mason in 1365. One of the foremost master masons of his time, Wynford worked for the king at Windsor, Winchester Cathedral and New College, Oxford. At Wells, he designed the western towers of which north-west was not built until the following century. In the 14th century, the central piers of the crossing were found to be sinking under the weight of the crossing tower which had been damaged by an earthquake in the previous century. Strainer arches, sometimes described as scissor arches, were inserted by master mason William Joy to brace and stabilise the piers as a unit.
By the reign of Henry VII the cathedral was complete, appearing much as it does today (though the fittings have changed). From 1508 to 1546, the eminent Italian humanist scholar Polydore Vergil was active as the chapter's representative in London. He donated a set of hangings for the choir of the cathedral. While Wells survived the Dissolution of the Monasteries better than the cathedrals of monastic foundation, the abolition of chantries in 1547 resulted in a reduction in its income. Medieval brasses were sold, and a pulpit was placed in the nave for the first time. Between 1551 and 1568, in two periods as dean, William Turner established a herb garden, which was recreated between 2003 and 2010.
Elizabeth I gave the chapter and the Vicars Choral a new charter in 1591, creating a new governing body, consisting of a dean and eight residentiary canons with control over the church estates and authority over its affairs, but no longer entitled to elect the dean (that entitlement thenceforward belonged ultimately to the Crown). The stability brought by the new charter ended with the onset of the Civil War and the execution of Charles I. Local fighting damaged the cathedral's stonework, furniture and windows. The dean, Walter Raleigh, a nephew of the explorer Walter Raleigh, was placed under house arrest after the fall of Bridgwater to the Parliamentarians in 1645, first in the rectory at Chedzoy and then in the deanery at Wells. His jailor, the shoe maker and city constable, David Barrett, caught him writing a letter to his wife. When he refused to surrender it, Barrett ran him through with a sword and he died six weeks later, on 10 October 1646. He was buried in an unmarked grave in the choir before the dean's stall. During the Commonwealth of England under Oliver Cromwell no dean was appointed and the cathedral fell into disrepair. The bishop went into retirement and some of the clerics were reduced to performing menial tasks.
In 1661, after Charles II was restored to the throne, Robert Creighton, the king's chaplain in exile, was appointed dean and was bishop for two years before his death in 1672. His brass lectern, given in thanksgiving, can be seen in the cathedral. He donated the nave's great west window at a cost of £140. Following Creighton's appointment as bishop, the post of dean went to Ralph Bathurst, who had been chaplain to the king, president of Trinity College, Oxford and fellow of the Royal Society. During Bathurst's long tenure the cathedral was restored, but in the Monmouth Rebellion of 1685, Puritan soldiers damaged the west front, tore lead from the roof to make bullets, broke the windows, smashed the organ and furnishings, and for a time stabled their horses in the nave.
Restoration began again under Thomas Ken who was appointed by the Crown in 1685 and served until 1691. He was one of seven bishops imprisoned for refusing to sign King James II's "Declaration of Indulgence", which would have enabled Catholics to resume positions of political power, but popular support led to their acquittal. Ken refused to take the oath of allegiance to William III and Mary II because James II had not abdicated and with others, known as the Nonjurors, was put out of office. His successor, Richard Kidder, was killed in the Great Storm of 1703 when two chimney stacks on the palace fell on him and his wife, while they were asleep in bed.
By the middle of the 19th century, a major restoration programme was needed. Under Dean Goodenough, the monuments were moved to the cloisters and the remaining medieval paint and whitewash removed in an operation known as "the great scrape". Anthony Salvin took charge of the extensive restoration of the choir. Wooden galleries installed in the 16th century were removed and the stalls were given stone canopies and placed further back within the line of the arcade. The medieval stone pulpitum screen was extended in the centre to support a new organ.
In 1933 the Friends of Wells Cathedral were formed to support the cathedral's chapter in the maintenance of the fabric, life and work of the cathedral. The late 20th century saw an extensive restoration programme, particularly of the west front. The stained glass is currently under restoration, with a programme underway to conserve the large 14th-century Jesse Tree window at the eastern terminal of the choir.
In January 2014, as part of the Bath film festival, the cathedral hosted a special screening of Martin Scorsese's The Last Temptation of Christ. This provoked some controversy, but the church defended its decision to allow the screening.
In 2021, a contemporary sculpture by Anthony Gormley was unveiled on a temporary plinth outside the cathedral.
Since the 13th century, Wells Cathedral has been the seat of the Bishop of Bath and Wells. Its governing body, the chapter, is made up of five clerical canons (the dean, the precentor, the canon chancellor, the canon treasurer, and the archdeacon of Wells) and four lay members: the administrator (chief executive), Keeper of the Fabric, Overseer of the Estate and the chairman of the cathedral shop and catering boards. The current bishop of Bath and Wells is Peter Hancock, who was installed in a service in the cathedral on 7 June 2014. John Davies has been Dean of Wells since 2016.
Employed staff include the organist and master of choristers, head Verger archivist, librarian and the staff of the shop, café and restaurant. The chapter is advised by specialists such as architects, archaeologists and financial analysts.
More than a thousand services are held every year. There are daily services of Matins, Holy Communion and Choral Evensong, as well as major celebrations of Christian festivals such as Christmas, Easter, Pentecost and saints' days. The cathedral is also used for the baptisms, weddings and funerals of those with close connections to it. In July 2009 the cathedral undertook the funeral of Harry Patch, the last British Army veteran of World War I, who died at the age of 111.
Three Sunday services are led by the resident choir in school terms and choral services are sung on weekdays. The cathedral hosts visiting choirs and does outreach work with local schools as part of its Chorister Outreach Project. It is also a venue for musical events such as an annual concert by the Somerset Chamber Choir.
Each year about 150,000 people attend services and another 300,000 visit as tourists. Entry is free, but visitors are encouraged to make a donation towards the annual running costs of around £1.5 million in 2015.
Construction of the cathedral began in about 1175, to the design of an unknown master-mason. Wells is the first cathedral in England to be built, from its foundation, in Gothic style. According to art historian John Harvey, it is the first truly Gothic cathedral in the world, its architects having entirely dispensed with all features that bound the contemporary east end of Canterbury Cathedral and the earlier buildings of France, such as the east end of the Abbey of Saint Denis, to the Romanesque. Unlike these churches, Wells has clustered piers rather than columns and has a gallery of identical pointed arches rather than the typically Romanesque form of paired openings. The style, with its simple lancet arches without tracery and convoluted mouldings, is known as Early English Gothic.
From about 1192 to 1230, Adam Lock, the earliest master-mason at Wells for whom a name is known, continued the transept and nave in the same manner as his predecessor. Lock was also the builder of the north porch, to his own design.
The Early English west front was commenced around 1230 by Thomas Norreys, with building and sculpture continuing for thirty years. Its south-west tower was begun 100 years later and constructed between 1365 and 1395, and the north-west tower between 1425 and 1435, both in the Perpendicular Gothic style to the design of William Wynford, who also filled many of the cathedral's early English lancet windows with delicate tracery.
The undercroft and chapter house were built by unknown architects between 1275 and 1310, the undercroft in the Early English and the chapter house in the Geometric style of Decorated Gothic architecture. In about 1310 work commenced on the Lady Chapel, to the design of Thomas Witney, who also built the central tower from 1315 to 1322 in the Decorated Gothic style. The tower was later braced internally with arches by William Joy. Concurrent with this work, in 1329–45 Joy made alterations and extensions to the choir, joining it to the Lady Chapel with the retrochoir, the latter in the Flowing Decorated style.
Later changes include the Perpendicular vault of the tower and construction of Sugar's Chapel, 1475–1490 by William Smyth. Also, Gothic Revival renovations were made to the choir and pulpitum by Benjamin Ferrey and Anthony Salvin, 1842–1857.
Wells has a total length of 415 feet (126 m). Like Canterbury, Lincoln and Salisbury cathedrals, it has the distinctly English arrangement of two transepts, with the body of the church divided into distinct parts: nave, choir, and retro-choir, beyond which extends the Lady Chapel. The façade is wide, with its towers extending beyond the transepts on either side. There is a large projecting porch on the north side of the nave forming an entry into the cathedral. To the north-east is the large octagonal chapter house, entered from the north choir aisle by a passage and staircase. To the south of the nave is a large cloister, unusual in that the northern range, that adjacent the cathedral, was never built.
In section, the cathedral has the usual arrangement of a large church: a central nave with an aisle on each side, separated by two arcades. The elevation is in three stages, arcade, triforium gallery and clerestory. The nave is 67 feet (20 m) in height, very low compared to the Gothic cathedrals of France. It has a markedly horizontal emphasis, caused by the triforium having a unique form, a series of identical narrow openings, lacking the usual definition of the bays. The triforium is separated from the arcade by a single horizontal string course that runs unbroken the length of the nave. There are no vertical lines linking the three stages, as the shafts supporting the vault rise above the triforium.
The exterior of Wells Cathedral presents a relatively tidy and harmonious appearance since the greater part of the building was executed in a single style, Early English Gothic. This is uncommon among English cathedrals where the exterior usually exhibits a plethora of styles. At Wells, later changes in the Perpendicular style were universally applied, such as filling the Early English lancet windows with simple tracery, the construction of a parapet that encircles the roof, and the addition of pinnacles framing each gable, similar to those around the chapter house and on the west front. At the eastern end there is a proliferation of tracery with repeated motifs in the Reticulated style, a stage between Geometric and Flowing Decorated tracery.
The west front is 100 feet (30 m) high and 147 feet (45 m) wide, and built of Inferior Oolite of the Middle Jurassic period, which came from the Doulting Stone Quarry, about 8 miles (13 km) to the east. According to the architectural historian Alec Clifton-Taylor, it is "one of the great sights of England".
West fronts in general take three distinct forms: those that follow the elevation of the nave and aisles, those that have paired towers at the end of each aisle, framing the nave, and those that screen the form of the building. The west front at Wells has the paired-tower form, unusual in that the towers do not indicate the location of the aisles, but extend well beyond them, screening the dimensions and profile of the building.
The west front rises in three distinct stages, each clearly defined by a horizontal course. This horizontal emphasis is counteracted by six strongly projecting buttresses defining the cross-sectional divisions of nave, aisles and towers, and are highly decorated, each having canopied niches containing the largest statues on the façade.
At the lowest level of the façade is a plain base, contrasting with and stabilising the ornate arcades that rise above it. The base is penetrated by three doors, which are in stark contrast to the often imposing portals of French Gothic cathedrals. The outer two are of domestic proportion and the central door is ornamented only by a central post, quatrefoil and the fine mouldings of the arch.
Above the basement rise two storeys, ornamented with quatrefoils and niches originally holding about four hundred statues, with three hundred surviving until the mid-20th century. Since then, some have been restored or replaced, including the ruined figure of Christ in the gable.
The third stages of the flanking towers were both built in the Perpendicular style of the late 14th century, to the design of William Wynford; that on the north-west was not begun until about 1425. The design maintains the general proportions, and continues the strong projection of the buttresses.
The finished product has been criticised for its lack of pinnacles, and it is probable that the towers were intended to carry spires which were never built. Despite its lack of spires or pinnacles, the architectural historian Banister Fletcher describes it as "the highest development in English Gothic of this type of façade."
The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger. Together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower.
In 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as "a calendar for unlearned men" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.
According to Cockerell, the side of the façade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel in relief, some of which have survived. Between the gables of the niches are quatrefoils that contain a series of narratives from the Bible, with the Old Testament stories to the south, above the prophets and patriarchs, and those from the New Testament to the north. A horizontal course runs around the west front dividing the architectural storeys at this point.
Above the course, zones four and five, as identified by Cockerell, contain figures which represent the Christian Church in Britain, with the spiritual lords such as bishops, abbots, abbesses and saintly founders of monasteries on the south, while kings, queens and princes occupy the north. Many of the figures survive and many have been identified in the light of their various attributes. There is a hierarchy of size, with the more significant figures larger and enthroned in their niches rather than standing. Immediately beneath the upper course are a series of small niches containing dynamic sculptures of the dead coming forth from their tombs on the Day of Judgement. Although naked, some of the dead are defined as royalty by their crowns and others as bishops by their mitres. Some emerge from their graves with joy and hope, and others with despair.
The niches in the lowest zone of the gable contain nine angels, of which Cockerell identifies Michael, Gabriel, Raphael and Uriel. In the next zone are the taller figures of the twelve apostles, some, such as John, Andrew and Bartholomew, clearly identifiable by the attributes that they carry. The uppermost niches of the gable contained the figure of Christ the Judge at the centre, with the Virgin Mary on his right and John the Baptist on his left. The figures all suffered from iconoclasm. A new statue of Jesus was carved for the central niche, but the two side niches now contain cherubim. Christ and the Virgin Mary are also represented by now headless figures in a Coronation of the Virgin in a niche above the central portal. A damaged figure of the Virgin and Christ Child occupies a quatrefoil in the spandrel of the door.
The central tower appears to date from the early 13th century. It was substantially reconstructed in the early 14th century during the remodelling of the east end, necessitating the internal bracing of the piers a decade or so later. In the 14th century the tower was given a timber and lead spire which burnt down in 1439. The exterior was then reworked in the Perpendicular style and given the present parapet and pinnacles. Alec Clifton-Taylor describes it as "outstanding even in Somerset, a county famed for the splendour of its church towers".
The north porch is described by art historian Nikolaus Pevsner as "sumptuously decorated", and intended as the main entrance. Externally it is simple and rectangular with plain side walls. The entrance is a steeply arched portal framed by rich mouldings of eight shafts with stiff-leaf capitals each encircled by an annular moulding at middle height. Those on the left are figurative, containing images representing the martyrdom of St Edmund the Martyr. The walls are lined with deep niches framed by narrow shafts with capitals and annulets like those of the portal. The path to the north porch is lined by four sculptures in Purbeck stone, each by Mary Spencer Watson, representing the symbols of the Evangelists.
The cloisters were built in the late 13th century and largely rebuilt from 1430 to 1508 and have wide openings divided by mullions and transoms, and tracery in the Perpendicular Gothic style. The vault has lierne ribs that form octagons at the centre of each compartment, the joints of each rib having decorative bosses. The eastern range is of two storeys, of which the upper is the library built in the 15th century.
Because Wells Cathedral was secular rather than monastic, cloisters were not a practical necessity. They were omitted from several other secular cathedrals but were built here and at Chichester. Explanations for their construction at these two secular cathedrals range from the processional to the aesthetic. As at Chichester, there is no northern range to the cloisters. In monastic cloisters it was the north range, benefiting most from winter sunlight, that was often used as a scriptorium.
In 1969, when a large chunk of stone fell from a statue near the main door, it became apparent that there was an urgent need for restoration of the west front. Detailed studies of the stonework and of conservation practices were undertaken under the cathedral architect, Alban D. R. Caroe and a restoration committee formed. The methods selected were those devised by Eve and Robert Baker. W. A. (Bert) Wheeler, clerk of works to the cathedral 1935–1978, had previously experimented with washing and surface treatment of architectural carvings on the building and his techniques were among those tried on the statues.
The conservation was carried out between 1974 and 1986, wherever possible using non-invasive procedures such as washing with water and a solution of lime, filling gaps and damaged surfaces with soft mortar to prevent the ingress of water and stabilising statues that were fracturing through corrosion of metal dowels. The surfaces were finished by painting with a thin coat of mortar and silane to resist further erosion and attack by pollutants. The restoration of the façade revealed much paint adhering to the statues and their niches, indicating that it had once been brightly coloured.
The particular character of this Early English interior is dependent on the proportions of the simple lancet arches. It is also dependent on the refinement of the architectural details, in particular the mouldings.
The arcade, which takes the same form in the nave, choir and transepts, is distinguished by the richness of both mouldings and carvings. Each pier of the arcade has a surface enrichment of 24 slender shafts in eight groups of three, rising beyond the capitals to form the deeply undulating mouldings of the arches. The capitals themselves are remarkable for the vitality of the stylised foliage, in a style known as "stiff-leaf". The liveliness contrasts with the formality of the moulded shafts and the smooth unbroken areas of ashlar masonry in the spandrels. Each capital is different, and some contain small figures illustrating narratives.
The vault of the nave rises steeply in a simple quadripartite form, in harmony with the nave arcade. The eastern end of the choir was extended and the whole upper part elaborated in the second quarter of the 14th century by William Joy. The vault has a multiplicity of ribs in a net-like form, which is very different from that of the nave, and is perhaps a recreation in stone of a local type of compartmented wooden roof of which examples remain from the 15th century, including those at St Cuthbert's Church, Wells. The vaults of the aisles of the choir also have a unique pattern.
Until the early 14th century, the interior of the cathedral was in a unified style, but it was to undergo two significant changes, to the tower and to the eastern end. Between 1315 and 1322 the central tower was heightened and topped by a spire, which caused the piers that supported it to show signs of stress. In 1338 the mason William Joy employed an unorthodox solution by inserting low arches topped by inverted arches of similar dimensions, forming scissors-like structures. These arches brace the piers of the crossing on three sides, while the easternmost side is braced by a choir screen. The bracing arches are known as "St Andrew's Cross arches", in a reference to the patron saint of the cathedral. They have been described by Wim Swaan – rightly or wrongly – as "brutally massive" and intrusive in an otherwise restrained interior.
Wells Cathedral has a square east end to the choir, as is usual, and like several other cathedrals including Salisbury and Lichfield, has a lower Lady Chapel projecting at the eastern end, begun by Thomas Witney in about 1310, possibly before the chapter house was completed. The Lady Chapel seems to have begun as a free-standing structure in the form of an elongated octagon, but the plan changed and it was linked to the eastern end by extension of the choir and construction of a second transept or retrochoir east of the choir, probably by William Joy.
The Lady Chapel has a vault of complex and somewhat irregular pattern, as the chapel is not symmetrical about both axes. The main ribs are intersected by additional non-supporting, lierne ribs, which in this case form a star-shaped pattern at the apex of the vault. It is one of the earliest lierne vaults in England. There are five large windows, of which four are filled with fragments of medieval glass. The tracery of the windows is in the style known as Reticulated Gothic, having a pattern of a single repeated shape, in this case a trefoil, giving a "reticulate" or net-like appearance.
The retrochoir extends across the east end of the choir and into the east transepts. At its centre the vault is supported by a remarkable structure of angled piers. Two of these are placed as to complete the octagonal shape of the Lady Chapel, a solution described by Francis Bond as "an intuition of Genius". The piers have attached shafts of marble, and, with the vaults that they support, create a vista of great complexity from every angle. The windows of the retrochoir are in the Reticulated style like those of the Lady Chapel, but are fully Flowing Decorated in that the tracery mouldings form ogival curves.
The chapter house was begun in the late 13th century and built in two stages, completed about 1310. It is a two-storeyed structure with the main chamber raised on an undercroft. It is entered from a staircase which divides and turns, one branch leading through the upper storey of Chain Gate to Vicars' Close. The Decorated interior is described by Alec Clifton-Taylor as "architecturally the most beautiful in England". It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery. The tracery lights still contain ancient glass. Beneath the windows are 51 stalls, the canopies of which are enlivened by carvings including many heads carved in a light-hearted manner.
Wells Cathedral contains one of the most substantial collections of medieval stained glass in England, despite damage by Parliamentary troops in 1642 and 1643. The oldest surviving glass dates from the late 13th century and is in two windows on the west side of the chapter-house staircase. Two windows in the south choir aisle are from 1310 to 1320.
The Lady Chapel has five windows, of which four date from 1325 to 1330 and include images of a local saint, Dunstan. The east window was restored to a semblance of its original appearance by Thomas Willement in 1845. The other windows have complete canopies, but the pictorial sections are fragmented.
The east window of the choir is a broad, seven-light window dating from 1340 to 1345. It depicts the Tree of Jesse (the genealogy of Christ) and demonstrates the use of silver staining, a new technique that allowed the artist to paint details on the glass in yellow, as well as black. The combination of yellow and green glass and the application of the bright yellow stain gives the window its popular name, the "Golden Window". It is flanked by two windows each side in the clerestory, with large figures of saints, also dated to 1340–45. In 2010 a major conservation programme was undertaken on the Jesse Tree window.
The panels in the chapel of St Katherine are attributed to Arnold of Nijmegen and date from about 1520. They were acquired from the destroyed church of Saint-Jean, Rouen, with the last panel having been purchased in 1953.
The large triple lancet to the nave west end was glazed at the expense of Dean Creighton at a cost of £140 in 1664. It was repaired in 1813, and the central light was largely replaced to a design by Archibald Keightley Nicholson between 1925 and 1931. The main north and south transept end windows by James Powell and Sons were erected in the early 20th century.
The greater part of the stone carving of Wells Cathedral comprises foliate capitals in the stiff-leaf style. They are found ornamenting the piers of the nave, choir and transepts. Stiff-leaf foliage is highly abstract. Though possibly influenced by carvings of acanthus leaves or vine leaves, it cannot be easily identified with any particular plant. Here the carving of the foliage is varied and vigorous, the springing leaves and deep undercuts casting shadows that contrast with the surface of the piers. In the transepts and towards the crossing in the nave the capitals have many small figurative carvings among the leaves. These include a man with toothache and a series of four scenes depicting the "Wages of Sin" in a narrative of fruit stealers who creep into an orchard and are then beaten by the farmer. Another well-known carving is in the north transept aisle: a foliate corbel, on which climbs a lizard, sometimes identified as a salamander, a symbol of eternal life.
Carvings in the Decorated Gothic style may be found in the eastern end of the buildings, where there are many carved bosses. In the chapter house, the carvings of the 51 stalls include numerous small heads of great variety, many of them smiling or laughing. A well-known figure is the corbel of the dragon-slaying monk in the chapter house stair. The large continuous capital that encircles the central pillar of the chapter house is markedly different in style to the stiff-leaf of the Early English period. In contrast to the bold projections and undercutting of the earlier work, it has a rippling form and is clearly identifiable as grapevine.
The 15th-century cloisters have many small bosses ornamenting the vault. Two in the west cloister, near the gift shop and café, have been called sheela na gigs, i. e. female figures displaying their genitals and variously judged to depict the sin of lust or stem from ancient fertility cults.
Wells Cathedral has one of the finest sets of misericords in Britain. Its clergy has a long tradition of singing or reciting from the Book of Psalms each day, along with the customary daily reading of the Holy Office. In medieval times the clergy assembled in the church eight times daily for the canonical hours. As the greater part of the services was recited while standing, many monastic or collegiate churches fitted stalls whose seats tipped up to provide a ledge for the monk or cleric to lean against. These were "misericords" because their installation was an act of mercy. Misericords typically have a carved figurative bracket beneath the ledge framed by two floral motifs known, in heraldic manner, as "supporters".
The misericords date from 1330 to 1340. They may have been carved under the direction of Master Carpenter John Strode, although his name is not recorded before 1341. He was assisted by Bartholomew Quarter, who is documented from 1343. They originally numbered 90, of which 65 have survived. Sixty-one are installed in the choir, three are displayed in the cathedral, and one is held by the Victoria and Albert Museum. New stalls were ordered when the eastern end of the choir was extended in the early 14th century. The canons complained that they had borne the cost of the rebuilding and ordered the prebendary clerics to pay for their own stalls. When the newly refurbished choir opened in 1339 many misericords were left unfinished, including one-fifth of the surviving 65. Many of the clerics had not paid, having been called to contribute a total sum of £200. The misericords survived better than the other sections of the stalls, which during the Protestant Reformation had their canopies chopped off and galleries inserted above them. One misericord, showing a boy pulling a thorn from his foot, dates from the 17th century. In 1848 came a complete rearrangement of the choir furniture, and 61 of the misericords were reused in the restructured stalls.
The subject matter of the carvings of the central brackets as misericords varies, but many themes recur in different churches. Typically the themes are less unified or directly related to the Bible and Christian theology than small sculptures seen elsewhere within churches, such as bosses. This applies at Wells, where none of the misericord carvings is directly based on a Bible story. The subjects, chosen either by the woodcarver, or perhaps by the one paying for the stall, have no overriding theme. The sole unifying elements are the roundels on each side of the pictorial subject, which all show elaborately carved foliage, in most cases formal and stylised in the later Decorated manner, but with several examples of naturalistic foliage, including roses and bindweed. Many of the subjects carry traditional interpretations. The image of the "Pelican in her Piety" (believed to feed her young on her own blood) is a recognised symbol for Christ's love for the Church. A cat playing with a mouse may represent the Devil snaring a human soul. Other subjects illustrate popular fables or sayings such as "When the fox preaches, look to your geese". Many depict animals, some of which may symbolise a human vice or virtue, or an aspect of faith.
Twenty-seven of the carvings depict animals: rabbits, dogs, a puppy biting a cat, a ewe feeding a lamb, monkeys, lions, bats, and the Early Christian motif of two doves drinking from a ewer. Eighteen have mythological subjects, including mermaids, dragons and wyverns. Five are clearly narrative, such as the Fox and the Geese, and the story of Alexander the Great being raised to Heaven by griffins. There are three heads: a bishop in a mitre, an angel, and a woman wearing a veil over hair arranged in coils over each ear. Eleven carvings show human figures, among which are several of remarkable design, conceived by the artist specifically for their purpose of supporting a shelf. One figure lies beneath the seat, supporting the shelf with a cheek, a hand and a foot. Another sits in a contorted manner supporting the weight on his elbow, while a further figure squats with his knees wide apart and a strained look on his face.
Some of the cathedral's fittings and monuments are hundreds of years old. The brass lectern in the Lady Chapel dates from 1661 and has a moulded stand and foliate crest. In the north transept chapel is a 17th-century oak screen with columns, formerly used in cow stalls, with artisan Ionic capitals and cornice, set forward over the chest tomb of John Godelee. There is a bound oak chest from the 14th century, which was used to store the chapter seal and key documents. The bishop's throne dates from 1340, and has a panelled, canted front and stone doorway, and a deep nodding cusped ogee canopy above it, with three-stepped statue niches and pinnacles. The throne was restored by Anthony Salvin around 1850. Opposite the throne is a 19th-century octagonal pulpit on a coved base with panelled sides, and steps up from the north aisle. The round font in the south transept is from the former Saxon cathedral and has an arcade of round-headed arches, on a round plinth. The font cover was made in 1635 and is decorated with the heads of putti. The Chapel of St Martin is a memorial to every Somerset man who fell in World War I.
The monuments and tombs include Gisa, bishop; † 1088; William of Bitton, bishop; † 1274; William of March, bishop; † 1302; John Droxford; † 1329; John Godelee; † 1333; John Middleton, died †1350; Ralph of Shrewsbury, died †; John Harewell, bishop; † 1386; William Bykonyll; † c. 1448; John Bernard; † 1459; Thomas Beckington; † died 1464; John Gunthorpe; † 1498; John Still; † 1607; Robert Creighton; † 1672; Richard Kidder, bishop; † 1703; George Hooper, bishop; † 1727 and Arthur Harvey, bishop; † 1894.
In the north transept is Wells Cathedral clock, an astronomical clock from about 1325 believed to be by Peter Lightfoot, a monk of Glastonbury. Its mechanism, dated between 1386 and 1392, was replaced in the 19th century and the original moved to the Science Museum in London, where it still operates. It is the second oldest surviving clock in England after the Salisbury Cathedral clock.
The clock has its original medieval face. Apart from the time on a 24-hour dial, it shows the motion of the Sun and Moon, the phases of the Moon, and the time since the last new Moon. The astronomical dial presents a geocentric or pre-Copernican view, with the Sun and Moon revolving round a central fixed Earth, like that of the clock at Ottery St Mary. The quarters are chimed by a quarter jack: a small automaton known as Jack Blandifers, who hits two bells with hammers and two with his heels. At the striking of the clock, jousting knights appear above the clock face.
On the outer wall of the transept, opposite Vicars' Hall, is a second clock face of the same clock, placed there just over seventy years after the interior clock and driven by the same mechanism. The second clock face has two quarter jacks (which strike on the quarter-hour) in the form of knights in armour.
In 2010 the official clock-winder retired and was replaced by an electric mechanism.
The first record of an organ at this church dates from 1310. A smaller organ, probably for the Lady Chapel, was installed in 1415. In 1620 an organ built by Thomas Dallam was installed at a cost of £398 1s 5d.
The 1620 organ was destroyed by parliamentary soldiers in 1643. An organ built in 1662 was enlarged in 1786 and again in 1855. In 1909–1910 an organ was built by Harrison & Harrison of Durham, with the best parts of the old organ retained. It has been serviced by the same company ever since.
Since November 1996 the cathedral has also had a portable chamber organ, by the Scottish makers, Lammermuir. It is used regularly to accompany performances of Tudor and baroque music.
The first recorded organist of Wells was Walter Bagele (or Vageler) in 1416. The post of organist or assistant organist has been held by more than 60 people since. Peter Stanley Lyons was Master of Choristers at Wells Cathedral, and Director of Music at Wells Cathedral School in 1954–1960. The choral conductor James William Webb-Jones, father of Lyons's wife Bridget (whom he married in the cathedral), was Headmaster of Wells Cathedral School in 1955–1960. Malcolm Archer was the appointed Organist and Master of the Choristers from 1996 to 2004. Matthew Owens was the appointed organist from 2005 to 2019.
There has been a choir of boy choristers at Wells since 909. Currently there are 18 boy choristers and a similar number of girl choristers, aged from eight to fourteen. The Vicars Choral was formed in the 12th century and the sung liturgy provided by a traditional cathedral choir of men and boys until the formation of an additional choir of girls in 1994. The boys and girls sing alternately with the Vicars Choral and are educated at Wells Cathedral School.
The Vicars Choral currently number twelve men, of whom three are choral scholars. Since 1348 the College of Vicars had its own accommodation in a quadrangle converted in the early 15th century to form Vicar's Close. The Vicars Choral generally perform with the choristers, except on Wednesdays, when they sing alone, allowing them to present a different repertoire, in particular plainsong.
In December 2010 Wells Cathedral Choir was rated by Gramophone magazine as "the highest ranking choir with children in the world". It continues to provide music for the liturgy at Sunday and weekday services. The choir has made many recordings and toured frequently, including performances in Beijing and Hong Kong in 2012. Its repertoire ranges from the choral music of the Renaissance to recently commissioned works.
The Wells Cathedral Chamber Choir is a mixed adult choir of 25 members, formed in 1986 to sing at the midnight service on Christmas Eve, and invited to sing at several other special services. It now sings for about 30 services a year, when the Cathedral Choir is in recess or on tour, and spends one week a year singing as the "choir in residence" at another cathedral. Although primarily liturgical, the choir's repertoire includes other forms of music, as well as performances at engagements such as weddings and funerals.
The cathedral is home to Wells Cathedral Oratorio Society (WCOS), founded in 1896. With around 160 voices, the society gives three concerts a year under the direction of Matthew Owens, Organist and Master of the Choristers at the cathedral. Concerts are normally in early November, December (an annual performance of Handel's Messiah) and late March. It performs with a number of specialist orchestras including: Music for Awhile, Chameleon Arts and La Folia.
The bells at Wells Cathedral are the heaviest ring of ten bells in the world, the tenor bell (the 10th and largest), known as Harewell, weighing 56.25 long hundredweight (2,858 kg). They are hung for full-circle ringing in the English style of change ringing. These bells are now hung in the south-west tower, although some were originally hung in the central tower.
The library above the eastern cloister was built between 1430 and 1508. Its collection is in three parts: early documents housed in the Muniment Room; the collection predating 1800 housed in the Chained Library; and the post-1800 collection housed in the Reading Room. The chapter's earlier collection was destroyed during the Reformation, so that the present library consists chiefly of early printed books, rather than medieval manuscripts. The earlier books in the Chained Library number 2,800 volumes and give an indication of the variety of interests of the members of the cathedral chapter from the Reformation until 1800. The focus of the collection is predominantly theology, but there are volumes on science, medicine, exploration, and languages. Books of particular interest include Pliny's Natural History printed in 1472, an Atlas of the World by Abraham Ortelius, printed in 1606, and a set of the works by Aristotle that once belonged to Erasmus. The library is open to the public at appointed times in the summer and presents a small exhibition of documents and books.
Three early registers of the Dean and Chapter edited by W. H. B. Bird for the Historical Manuscripts Commissioners – Liber Albus I (White Book; R I), Liber Albus II (R III) and Liber Ruber (Red Book; R II, section i) – were published in 1907. They contain with some repetition, a cartulary of possessions of the cathedral, with grants of land back to the 8th century, well before hereditary surnames developed in England, and acts of the Dean and Chapter and surveys of their estates, mostly in Somerset.
Adjacent to the cathedral is a large lawned area, Cathedral Green, with three ancient gateways: Brown's Gatehouse, Penniless Porch and Chain Gate. On the green is the 12th-century Old Deanery, largely rebuilt in the late 15th century by Dean Gunthorpe and remodelled by Dean Bathurst in the late 17th century. No longer the dean's residence, it is used as diocesan offices.
To the south of the cathedral is the moated Bishop's Palace, begun about 1210 by Jocelin of Wells but dating mostly from the 1230s. In the 15th century Thomas Beckington added a north wing, now the bishop's residence. It was restored and extended by Benjamin Ferrey between 1846 and 1854.
To the north of the cathedral and connected to it by the Chain Gate is Vicars' Close, a street planned in the 14th century and claimed to be the oldest purely residential street in Europe, with all but one of its original buildings intact. Buildings in the close include the Vicars Hall and gateway at the south end, and the Vicars Chapel and Library at the north end.
The Liberty of St Andrew was the historic liberty and parish that encompassed the cathedral and surrounding lands closely associated with it.
The English painter J. M. W. Turner visited Wells in 1795, making sketches of the precinct and a water colour of the west front, now in the Tate gallery. Other artists whose paintings of the cathedral are in national collections are Albert Goodwin, John Syer and Ken Howard.
The cathedral served to inspire Ken Follett's 1989 novel The Pillars of the Earth and with a modified central tower, featured as the fictional Kingsbridge Cathedral at the end of the 2010 television adaptation of that novel. The interior of the cathedral was used for a 2007 Doctor Who episode, "The Lazarus Experiment", while the exterior shots were filmed at Southwark Cathedral.
An account of the damage to the cathedral during the Monmouth Rebellion is included in Arthur Conan Doyle's 1889 historical novel Micah Clarke.
The cathedral provided scenes for the 2019–2020 television series The Spanish Princess.
The Queenscliffe Hotel at 16 Gellibrand St. was built in 1887 in tuck pointed red brick with Queen Anne features such as the polygonal tower, and the extensive use of cast iron lace work to create an arched effect for the veranda. The sides have Dutch gables but overall the hotel looks very Australian in style. Located in Gellibrand St.Queenscliffe (pop 3,000). After the pastoral era the Borough of Queenscliffe was declared in 1863 when the town was already a sizeable. Its location at the entrance to Port Phillip Bay was strategically important. Pilot boats helped ships navigate the dangerous entrance. The town had two lighthouses by 1863 as the early sandstone one of 1844 had been replaced by a white painted stone lighthouse in 1863. At the same time a black basalt second lighthouse was erected within the fort precinct. Some sources say with imported Scottish bluestone however, other sources say the black basalt came from Footscray! The first pilot to tend his services to shipping began work in 1838 and by 1840 the settlement had four pilots. They lived in tents on the shores and they helped with six major shipwrecks before 1863. It was a treacherous place during a storm. By the late 19th century pleasure boats plied the waters mainly across to Sorrento. But Queenscliffe was also fortified to protect Port Phillip Bay. In 1863 three guns were placed here and the first part of the fort was built between 1863 and 1869. Once the railway from Geelong reached the town in 1879 and troops could be quickly moved there if needed further fortifications were erected. Two gun batteries and the Fort were completed in 1882. Then a garrison of troops, engineers and naval men were stationed there. The keep was finished in 1885 and the defensive gorge was dug in 1886. The colonies especially feared attack from Russia in the 1880s. The troops remained in place from 1883 to 1946. It became a museum in 1982. The fishing village of Queenscliffe was surveyed and named after Queen Victoria in 1853. A town pier followed shortly after land sales. The first houses, a group of ten, were built in 1853 for the pilot service men. A school, hotel and church opened in 1854 and the post office gained a telegraphic link to Melbourne in 1855. The first Mechanic’s Institute was erected in 1859. When the borough council was formed in 1863 it had 250 residences. The town has three museums – the Historical Museum in the Info Centre (free); the Maritime Museum (about $10); and the Fort Museum highlights the strategic and military history ($12). In the 1880s Queenscliffe became a popular summer retreat for Melbournians and hotels and guest houses dotted the town. Holidaymakers arrived by train or steamer.
The mouth of this harbor is an ideal place to view the sunsets over the Gulf of Mexico. It happens quickly though, and you have to move fast to include different foreground props. After taking several wide vista shots of the bay in front of me, I settled for this telephoto image of an area of park features silhouetted by the sun dipping down behind a distant offshore barrier island. For many locals, attending this sunset spectacle is a regular event, and often I've heard them break into applause when an especially glorious sunset occurs. (Yeah, God!)
IMG_0074; Fire In The Sky