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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
During the 1950s, Hindustan Aircraft Limited (HAL) had developed and produced several types of trainer aircraft, such as the HAL HT-2. However, elements within the firm were eager to expand into the then-new realm of supersonic fighter aircraft. Around the same time, the Indian government was in the process of formulating a new Air Staff Requirement for a Mach 2-capable combat aircraft to equip the Indian Air Force (IAF). However, as HAL lacked the necessary experience in both developing and manufacturing frontline combat fighters, it was clear that external guidance would be invaluable; this assistance was embodied by Kurt Tank.
In 1956, HAL formally began design work on the supersonic fighter project. The Indian government, led by Jawaharlal Nehru, authorized the development of the aircraft, stating that it would aid in the development of a modern aircraft industry in India. The first phase of the project sought to develop an airframe suitable for travelling at supersonic speeds, and able to effectively perform combat missions as a fighter aircraft, while the second phase sought to domestically design and produce an engine capable of propelling the aircraft. Early on, there was an explicit adherence to satisfying the IAF's requirements for a capable fighter bomber; attributes such as a twin-engine configuration and a speed of Mach 1.4 to 1.5 were quickly emphasized, and this led to the HF-24 Marut.
On 24 June 1961, the first prototype Marut conducted its maiden flight. It was powered by the same Bristol Siddeley Orpheus 703 turbojets that had powered the Folland Gnat, also being manufactured by HAL at that time. On 1 April 1967, the first production Marut was delivered to the IAF. While originally intended only as an interim measure during testing, HAL decided to power production Maruts with a pair of unreheated Orpheus 703s, meaning the aircraft could not attain supersonic speed. Although originally conceived to operate around Mach 2 the Marut in fact was barely capable of reaching Mach 1 due to the lack of suitably powerful engines.
The IAF were reluctant to procure a fighter aircraft only marginally superior to its existing fleet of British-built Hawker Hunters. However, in 1961, the Indian Government decided to procure the Marut, nevertheless, but only 147 aircraft, including 18 two-seat trainers, were completed out of a planned 214. Just after the decision to build the lukewarm Marut, the development of a more advanced aircraft with the desired supersonic performance was initiated.
This enterprise started star-crossed, though: after the Indian Government conducted its first nuclear tests at Pokhran, international pressure prevented the import of better engines of Western origin, or at times, even spares for the Orpheus engines, so that the Marut never realized its full potential due to insufficient power, and it was relatively obsolescent by the time it reached production.
Due to these restrictions India looked for other sources for supersonic aircraft and eventually settled upon the MiG-21 F-13 from the Soviet Union, which entered service in 1964. While fast and agile, the Fishbed was only a short-range daylight interceptor. It lacked proper range for escort missions and air space patrols, and it had no radar that enabled it to conduct all-weather interceptions. To fill this operational gap, the new indigenous HF-26 project was launched around the same time.
For the nascent Indian aircraft industry, HF-26 had a demanding requirements specification: the aircraft was to achieve Mach 2 top speed at high altitude and carry a radar with a guided missile armament that allowed interceptions in any weather, day and night. The powerplant question was left open, but it was clear from the start that a Soviet engine would be needed, since an indigenous development of a suitable powerplant would take much too long and block vital resources, and western alternatives were out of reach. The mission profile and the performance requirements quickly defined the planned aircraft’s layout: To fit a radar, the air intakes with movable ramps to feed the engines were placed on the fuselage flanks. To make sure the aircraft would fulfill its high-performance demands, it was right from the outset powered by two engines, and it was decided to give it delta wings, a popular design among high-speed aircraft of the time – exemplified by the highly successful Dassault Mirage III (which was to be delivered to Pakistan in 1967). With two engines, the HF-26 would be a heavier aircraft than the Mirage III, though, and it was planned to operate the aircraft from semi-prepared airfields, so that it would receive a robust landing gear with low-pressure tires and a brake parachute.
In 1962 India was able to negotiate the delivery of Tumansky RD-9 turbojet engines from the Soviet Union, even though no afterburner was part of the deal – this had to be indigenously developed by Hindustan Aeronautics Limited (HAL). However, this meant that the afterburner could be tailored to the HF-26, and this task would provide HAL with valuable engineering experience, too.
Now knowing the powerplant, HAL created a single-seater airframe around it, a rather robust design that superficially reminded of the French Mirage III, but there were fundamental differences. The HF-26 had boxy air intakes with movable ramps to control the airflow to the two engines and a relatively wide fuselage to hold them and most of the fuel in tanks between the air ducts behind the cockpit. The aircraft had a single swept fin and a rather small mid-positioned delta-wing with a 60° sweep. The pilot sat under a tight canopy that offered - similar to the Mirage III - only limited all-round vision.
The HF-26's conical nose radome covered an antenna for a ‘Garud’ interception radar – which was in fact a downgraded Soviet ‘Oryol' (Eagle; NATO reporting name 'Skip Spin') system that guided the HF-26’s main armament, a pair of semi-active radar homing (SARH) ‚Saanp’ missiles.
The Saanp missile was developed specifically for the HF-26 in India but used many components of Soviet origin, too, so that they were compatible with the radar. In performance, the Saanp was comparable with the French Matra R.530 air-to-air missile, even though the aerodynamic layout was reversed, with steering fins at the front end, right behind the SARH seaker head - overall the missile reminded of an enlarged AIM-4 Falcon. The missile weighed 180 kg and had a length of 3.5 m. Power came from a two-stage solid rocket that offered a maximum thrust of 80 kN for 2.7 s during the launch phase plus 6.5 s cruise. Maximum speed was Mach 2.7 and operational range was 1.5 to 20 km (0.9 to 12.5 miles). Two of these missiles could be carried on the main wing hardpoints in front of the landing gear wells. Alternatively, infrared-guided R-3 (AA-2 ‘Atoll’) short-range AAMs could be carried by the HF-26, too, and typically two of these were carried on the outer underwing hardpoints, which were plumbed to accept drop tanks (typically supersonic PTB-490s that were carried by the IAF's MiG-21s, too) . Initially, no internal gun was envisioned, as the HF-26 was supposed to be a pure high-speed/high-altitude interceptor that would not engage in dogfights. Two more hardpoints under the fuselage were plumbed, too, for a total of six external stations.
Due to its wing planform, the HF-26 was soon aptly called “Teer” (= Arrow), and with Soviet help the first prototype was rolled out in early 1964 and presented to the public. The first flight, however, would take place almost a year later in January 1965, due to many technical problems, and these were soon complemented by aerodynamic problems. The original delta-winged HF-26 had poor take-off and landing characteristics, and directional stability was weak, too. While a second prototype was under construction in April 1965 the first aircraft was lost after it had entered a spin from which the pilot could not escape – the aircraft crashed and its pilot was killed during the attempt to eject.
After this loss HAL investigated an enlarged fin and a modified wing design with deeper wingtips with lower sweep, which increased wing area and improved low speed handling, too. Furthermore, the fuselage shape had to be modified, too, to reduce supersonic drag, and a more pronounced area ruling was introduced. The indigenous afterburner for the RD-9 engines was unstable and troublesome, too.
It took until 1968 and three more flying prototypes (plus two static airframes) to refine the Teer for serial production service introduction. In this highly modified form, the aircraft was re-designated HF-26M and the first machines were delivered to IAF No. 3 Squadron in late 1969. However, it would take several months until a fully operational status could be achieved. By that time, it was already clear that the Teer, much like the HF-24 Marut before, could not live up to its expectations and was at the brink of becoming obsolete as it entered service. The RD-9 was not a modern engine anymore, and despite its indigenous afterburner – which turned out not only to be chronically unreliable but also to be very thirsty when engaged – the Teer had a disappointing performance: The fighter only achieved a top speed of Mach 1.6 at full power, and with full external load it hardly broke the wall of sound in level flight. Its main armament, the Saanp AAM, also turned out to be unreliable even under ideal conditions.
However, the HF-26M came just in time to take part in the Indo-Pakistani War of 1971 and was, despite its weaknesses, extensively used – even though not necessarily in its intended role. High-flying slow bombers were not fielded during the conflict, and the Teer remained, despite its on-board radar, heavily dependent on ground control interception (GCI) to vector its pilot onto targets coming in at medium and even low altitude. The HF-26M had no capability against low-flying aircraft either, so that pilots had to engage incoming, low-flying enemy aircraft after visual identification – a task the IAF’s nimble MiG-21s were much better suited for. Escorts and air cover missions for fighter-bombers were flown, too, but the HF-26M’s limited range only made it a suitable companion for the equally short-legged Su-7s. The IAF Canberras were frequently deployed on longer range missions, but the HF-26Ms simply could not follow them all the time; for a sufficient range the Teer had to carry four drop tanks, what increased drag and only left the outer pair of underwing hardpoints (which were not plumbed) free for a pair of AA-2 missiles. With the imminent danger of aerial close range combat, though, During the conflict with Pakistan, most HF-26M's were retrofitted with rear-view mirrors in their canopies to improve the pilot's field of view, and a passive IR sensor was added in a small fairing under the nose to improve the aircraft's all-weather capabilities and avoid active radar emissions that would warn potential prey too early.
The lack of an internal gun turned out to be another great weakness of the Teer, and this was only lightly mended through the use of external gun pods. Two of these cigar-shaped pods that resembled the Soviet UPK-23 pod could be carried on the two ventral pylons, and each contained a 23 mm Gryazev-Shipunov GSh-23L autocannon of Soviet origin with 200 rounds. Technically these pods were very similar to the conformal GP-9 pods carried by the IAF MiG-21FLs. While the gun pods considerably improved the HF-26M’s firepower and versatility, the pods were draggy, blocked valuable hardpoints (from extra fuel) and their recoil tended to damage the pylons as well as the underlying aircraft structure, so that they were only commissioned to be used in an emergency.
However, beyond air-to-air weapons, the HF-26M could also carry ordnance of up to 1.000 kg (2.207 lb) on the ventral and inner wing hardpoints and up to 500 kg (1.100 lb) on the other pair of wing hardpoints, including iron bombs and/or unguided missile pods. However, the limited field of view from the cockpit over the radome as well as the relatively high wing loading did not recommend the aircraft for ground attack missions – even though these frequently happened during the conflict with Pakistan. For these tactical missions, many HF-26Ms lost their original overall natural metal finish and instead received camouflage paint schemes on squadron level, resulting in individual and sometimes even spectacular liveries. Most notable examples were the Teer fighters of No. 1 Squadron (The Tigers), which sported various camouflage adaptations of the unit’s eponym.
Despite its many deficiencies, the HF-26M became heavily involved in the Indo-Pakistan conflict. As the Indian Army tightened its grip in East Pakistan, the Indian Air Force continued with its attacks against Pakistan as the campaign developed into a series of daylight anti-airfield, anti-radar, and close-support attacks by fighter jets, with night attacks against airfields and strategic targets by Canberras and An-12s, while Pakistan responded with similar night attacks with its B-57s and C-130s.
The PAF deployed its F-6s mainly on defensive combat air patrol missions over their own bases, leaving the PAF unable to conduct effective offensive operations. Sporadic raids by the IAF continued against PAF forward air bases in Pakistan until the end of the war, and interdiction and close-support operations were maintained. One of the most successful air raids by India into West Pakistan happened on 8 December 1971, when Indian Hunter aircraft from the Pathankot-based 20 Squadron, attacked the Pakistani base in Murid and destroyed 5 F-86 aircraft on the ground.
The PAF played a more limited role in the operations, even though they were reinforced by Mirages from an unidentified Middle Eastern ally (whose identity remains unknown). The IAF was able to conduct a wide range of missions – troop support; air combat; deep penetration strikes; para-dropping behind enemy lines; feints to draw enemy fighters away from the actual target; bombing and reconnaissance. India flew 1,978 sorties in the East and about 4,000 in Pakistan, while the PAF flew about 30 and 2,840 at the respective fronts. More than 80 percent of IAF sorties were close-support and interdiction and about 45 IAF aircraft were lost, including three HF-26Ms. Pakistan lost 60 to 75 aircraft, not including any F-86s, Mirage IIIs, or the six Jordanian F-104s which failed to return to their donors. The imbalance in air losses was explained by the IAF's considerably higher sortie rate and its emphasis on ground-attack missions. The PAF, which was solely focused on air combat, was reluctant to oppose these massive attacks and rather took refuge at Iranian air bases or in concrete bunkers, refusing to offer fights and respective losses.
After the war, the HF-26M was officially regarded as outdated, and as license production of the improved MiG-21FL (designated HAL Type 77 and nicknamed “Trishul” = Trident) and later of the MiG-21M (HAL Type 88) was organized in India, the aircraft were quickly retired from frontline units. They kept on serving into the Eighties, though, but now restricted to their original interceptor role. Beyond the upgrades from the Indo-Pakistani War, only a few upgrades were made. For instance, the new R-60 AAM was introduced to the HF-26M and around 1978 small (but fixed) canards were retrofitted to the air intakes behind the cockpit that improved the Teer’s poor slow speed control and high landing speed as well as the aircraft’s overall maneuverability.
A radar upgrade, together with the introduction of better air-to-ai missiles with a higher range and look down/shoot down capability was considered but never carried out. Furthermore, the idea of a true HF-26 2nd generation variant, powered by a pair of Tumansky R-11F-300 afterburner jet engines (from the license-built MiG-21FLs), was dropped, too – even though this powerplant eventually promised to fulfill the Teer’s design promise of Mach 2 top speed. A total of only 82 HF-26s (including thirteen two-seat trainers with a lengthened fuselage and reduced fuel capacity, plus eight prototypes) were built. The last aircraft were retired from IAF service in 1988 and replaced with Mirage 2000 fighters procured from France that were armed with the Matra Super 530 AAM.
General characteristics:
Crew: 1
Length: 14.97 m (49 ft ½ in)
Wingspan: 9.43 m (30 ft 11 in)
Height: 4.03 m (13 ft 2½ in)
Wing area: 30.6 m² (285 sq ft)
Empty weight: 7,000 kg (15,432 lb)
Gross weight: 10,954 kg (24,149 lb) with full internal fuel
Max takeoff weight: 15,700 kg (34,613 lb) with external stores
Powerplant:
2× Tumansky RD-9 afterburning turbojet engines; 29 kN (6,600 lbf) dry thrust each
and 36.78 kN (8,270 lbf) with afterburner
Performance:
Maximum speed: 1,700 km/h (1,056 mph; 917 kn; Mach 1.6) at 11,000 m (36,000 ft)
1,350 km/h (840 mph, 730 kn; Mach 1.1) at sea level
Combat range: 725 km (450 mi, 391 nmi) with internal fuel only
Ferry range: 1,700 km (1,100 mi, 920 nmi) with four drop tanks
Service ceiling: 18,100 m (59,400 ft)
g limits: +6.5
Time to altitude: 9,145 m (30,003 ft) in 1 minute 30 seconds
Wing loading: 555 kg/m² (114 lb/sq ft)
Armament
6× hardpoints (four underwing and two under the fuselage) for a total of 2.500 kg (5.500 lb);
Typical interceptor payload:
- two IR-guided R-3 or R-60 air-to-air-missiles or
two PTB-490 drop tanks on the outer underwing stations
- two semi-active radar-guided ‚Saanp’ air-to-air missiles or two more R-3 or R-60 AAMs
on inner underwing stations
- two 500 l drop tanks or two gun pods with a 23 mm GSh-23L autocannon and 200 RPG
each under the fuselage
The kit and its assembly:
This whiffy delta-wing fighter was inspired when I recently sliced up a PM Model Su-15 kit for my side-by-side-engine BAC Lightning build. At an early stage of the conversion, I held the Su-15 fuselage with its molded delta wings in my hand and wondered if a shortened tail section (as well as a shorter overall fuselage to keep proportions balanced) could make a delta-wing jet fighter from the Flagon base? Only a hardware experiment could yield an answer, and since the Su-15’s overall outlines look a bit retro I settled at an early stage on India as potential designer and operator, as “the thing the HF-24 Marut never was”.
True to the initial idea, work started on the tail, and I chopped off the fuselage behind the wings’ trailing edge. Some PSR was necessary to blend the separate exhaust section into the fuselage, which had to be reduced in depth through wedges that I cut out under the wings trailing edge, plus some good amount of glue and sheer force the bend the section a bit upwards. The PM Model's jet exhausts were drilled open, and I added afterburner dummies inside - anything would look better than the bleak vertical walls inside after only 2-3 mm! The original fin was omitted, because it was a bit too large for the new, smaller aircraft and its shape reminded a lot of the Suchoj heavy fighter family. It was replaced with a Mirage III/V fin, left over from a (crappy!) Pioneer 2 IAI Nesher kit.
Once the rear section was complete, I had to adjust the front end - and here the kitbashing started. First, I chopped off the cockpit section in front of the molded air intake - the Su-15’s long radome and the cockpit on top of the fuselage did not work anymore. As a remedy I remembered another Su-15 conversion I did a (long) while ago: I created a model of a planned ground attack derivative, the T-58Sh, and, as a part of the extensive body work, I transplanted the slanted nose from an academy MiG-27 between the air intakes – a stunt that was relatively easy and which appreciably lowered the cockpit position. For the HF-26M I did something similar, I just transplanted a cockpit from a Hasegawa/Academy MiG-23 with its ogival radome that size-wise better matched with the rest of the leftover Su-15 airframe.
The MiG-23 cockpit matched perfectly with the Su-15's front end, just the spinal area behind the cockpit had to be raised/re-sculpted to blend the parts smoothly together. For a different look from the Su-15 ancestry I also transplanted the front sections of the MiG-23 air intakes with their shorter ramps. Some mods had to be made to the Su-15 intake stubs, but the MiG-23 intakes were an almost perfect fit in size and shape and easy to integrate into the modified front hill. The result looks very natural!
However, when the fuselage was complete, I found that the nose appeared to be a bit too long, leaving the whole new hull with the wings somewhat off balance. As a remedy I decided at a rather late stage to shorten the nose and took out a 6 mm section in front of the cockpit - a stunt I had not planned, but sometimes you can judge things only after certain work stages. Some serious PSR was necessary to re-adjust the conical nose shape, which now looked more Mirage III-ish than planned!
The cockpit was taken mostly OOB, I just replaced the ejection seat and gave it a trigger handle made from thin wire. With the basic airframe complete it was time for details. The PM Model Su-15s massive and rather crude main landing gear was replaced with something more delicate from the scrap box, even though I retained the main wheels. The front landing gear was taken wholesale from the MiG-23, but had to be shortened for a proper stance.
A display holder adapter was integrated into the belly for the flight scenes, hidden well between the ventral ordnance.
The hardpoints, including missile launch rails, came from the MiG-23; the pylons had to be adjusted to match the Su-15's wing profile shape, the Anab missiles lost their tail sections to create the fictional Indian 'Saanp' AAMs. The R-3s on the outer stations were left over from a MP MiG-21. The ventral pylons belong to Academy MiG-23/27s, one came from the donor kit, the other was found in the spares box. The PTB-490 drop tanks also came from a KP MiG-21 (or one of its many reincarnations, not certain).
Painting and markings:
The paint scheme for this fictional aircraft was largely inspired by a picture of a whiffy and very attractive Saab 37 Viggen (an 1:72 Airfix kit) in IAF colors, apparently a model from a contest. BTW, India actually considered buying the Viggen for its Air Force!
IAF aircraft were and are known for their exotic and sometimes gawdy paint schemes, and with IAF MiG-21 “C 992” there’s even a very popular (yet obscure) aircraft that sported literal tiger stripes. The IAF Viggen model was surely inspired by this real aircraft, and I adopted something similar for my HF-26M.
IAF 1 Squadron was therefore settled, and for the paint scheme I opted for a "stripish" scheme, but not as "tigeresque" as "C 992". I found a suitable benchmark in a recent Libyian MiG-21, which carried a very disruptive two-tone grey scheme. I adapted this pattern to the HA-26M airframe and replaced its colors, similar to the IAF Viggen model, which became a greenish sand tone (a mix of Humbrol 121 with some 159; I later found out that I could have used Humbrol 83 from the beginning, though...) and a very dark olive drab (Humbrol 66, which looks like a dull dark brown in contrast with the sand tone), with bluish grey (Humbrol 247) undersides. With the large delta wings, this turned out to look very good and even effective!
For that special "Indian touch" I gave the aircraft a high-contrast fin in a design that I had seen on a real camouflaged IAF MiG-21bis: an overall dark green base with a broad, red vertical stripe which was also the shield for the fin flash and the aircraft's tactical code (on the original bare metal). The fin was first painted in green (Humbrol 2), the red stripe was created with orange-red decal sheet material. Similar material was also used to create the bare metal field for the tactical code, the yellow bars on the splitter plates and for the thin white canopy sealing.
After basic painting was done the model received an overall black ink washing, post-panel shading and extensive dry-brushing with aluminum and iron for a rather worn look.
The missiles became classic white, while the drop tanks, as a contrast to the camouflaged belly, were left in bare metal.
Decals/markings came primarily from a Begemot MiG-25 kit, the tactical codes on the fin and under the wings originally belong to an RAF post-WWII Spitfire, just the first serial letter was omitted. Stencils are few and they came from various sources. A compromise is the unit badge on the fin: I needed a tiger motif, and the only suitable option I found was the tiger head emblem on a white disc from RAF No. 74 Squadron, from the Matchbox BAC Lightning F.6&F.2A kit. It fits stylistically well, though. ;-)
Finally, the model was sealed with matt acrylic varnish (except for the black radome, which became a bit glossy) and finally assembled.
A spontaneous build, and the last one that I completed in 2022. However, despite a vague design plan the model evolved as it grew. Bashing the primitive PM Model Su-15 with the Academy MiG-23 parts was easier than expected, though, and the resulting fictional aircraft looks sturdy but quite believable - even though it appears to me like the unexpected child of a Mirage III/F-4 Phantom II intercourse, or like a juvenile CF-105 Arrow, just with mid-wings? Nevertheless, the disruptive paint scheme suits the delta wing fighter well, and the green/red fin is a striking contrast - it's a colorful model, but not garish.
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Firma, en la sede del ministerio, el convenio con la Universidad Nacional de Educación a Distancia (UNED), con asistencia del Ministro de Universidades, Joan Subirats Humet. Foto: Marco Romero/MDE
Timbers Kauai Ocean Club & Residences, 3770 Ala’oli Way, Lihue, HI 96766
In 1879 William Hyde Rice bought a large section of Kalapaki Bay from Princess Ruth Keelikolani for $3,000. Princess Ruth was a member of the Kamehameha family, the founding dynasty of the Kingdom of Hawaii. William Rice started Lihue Ranch to breed cattle and fine horses and erected a beach house overlooking the bay. In 1899, Rice's son, Charles Rice and his wife Grace made Kalapaki their residence. On April 1, 1946, Rice's second wife, Mrs. Patricia Rice, was home at Kalapaki with her infant son when a series of 30 to 40 foot tall tidal waves completely destroyed the Rice's 19-room house. Miraculously, the pair survived. The ranch really was huge – more than 5,000 acres. Today it is still a working cattle ranch and dairy – just as it was when Rice ran it – but it’s been whittled down to about 3,000 acres.
In June 1959 Walter D. Child Sr., board chairman of Inter-Island Resorts, paid $800,000 for 23 acres from Charles A. Rice at Kauai's Kalapaki Bay near Nawiliwili - to build a destination resort. The $3 million Kauai Surf opened in 1960 as a 10-story, 104 room hotel. It was the tallest building on Kauai and the first with an elevator - which in itself became a local attraction. The architect was Frank S. Robert of the firm Vierra and Robert, Honolulu. M.A. Bradbury was the opening General Manager and Lee Siebenthaler was the executive chef. Sebenthaler opened the Mauna Kea Beach Hotel as the Buffet Manager. In 1965 the hotel opened the glass-encased Golden Cape restaurant on the roof of the 10-story main hotel building. At a cost of $500,000 the Golden Cape was considered as the first and finest luxury supper club on Neighbor Islands. Hans Buchi was the maitre d'hotel at opening. Howard Hirsch, a Beverly Hills interior designer, said the decor expressed the Hawaiian monarchy from the 1890's. The Golden Cape was named for the feathered capes of early Hawaiian royalty.
In 1965 Inter-Island Resorts traded 15 acres in downtown Lihue where the Kauai Inn formerly stood for 62 acres of land adjoining the hotel that was owned by the Lihue Plantation Company (Amfac). Inter-Island hired Willard G. Wilkinson to design a nine-hole 3,350 yard golf course. Wilkinson also designed Mid-Pacific and the Pali Municipal on Oahu. Kauai Surf had an 88% occupancy in 1964 according to Glenn Lovejoy the general manager. Lovejoy served as general manager for 11 years before being appointed vice president of InterIsland in 1973.
Hurricane Iwa struck Kauai in 1982 causing severe damage to the Kauai Surf. Opened in 1960 the Kauai Surf heralded the development of luxury resorts on Hawaii's outer islands. InterIsland Resorts built the Kauai Surf, Kona Surf and the Maui Surf for guests demanding the finest in service and accommodations. In 1986 Hemmeter Investment bought the Maui Surf and the Kauai Surf from Interisland Resorts for $94 million (appraised value was $121 million) with plans to remake both hotels into world class resort complexes. Hemmeter was a top graduate of Cornell University’s School of Hotel Administration had accepted a job at Sheraton’s Royal Hawaiian Hotel as a management trainee in 1962. The sale to Hemmeter would put 500 employees out of work for up to 14 months - the time needed for the renovations. Hemmeter demolished all existing restaurants and would build six new ones. Also planned was six new tennis courts and a tennis stadium.
Chris Hemmeter's Westin Kauai at Kauai Lagoons is a redo and expansion of the Kauai Surf, which was damaged by a Hurricane Iwa in November 1982. Hemmeter's financial partner for the re-do and expansion was VMS Realty Partners which spent $350 million on the first phase of the project. In 1988 Hemmeter ranked 389th on the Forbes Wealthiest American list. The architect was Lawton Umemura & Yamamoto of Honolulu. Many disliked the 3-story escalator from the porte cachier to the registration lobby and the fact the hotel was higher than a palm tree. Hemmeter plowed under Kauai Surf's original 18-hole layout and built two new golf courses. Surrounding the resort was a mile of lagoons which handled 90 - 4 passenger outrigger canoes and five 40-passenger mahogany taxi boats. The resort had 107 draft houses pulling carriages through part of the 580 acre development which included the opening of the Jack Nicklause - designed 36 hole golf courses which opened in Feb 1988.
In January 1991 Mitsuo Kokufu owner of Shinwa Golf Group paid $200 million to the Hemmeter group for the Kauai Lagoons - 775 acres and 36 holes of golf - which Shinwa seeked permission to build a third golf course, retail centers and an additional hotel. The acquisition did not include the existing 850 room Westin Kauai Hotel.
Hurricane Iniki struck the island of Kauai on September 11, 1992 with Category 4 winds of 145 mph. It was the first hurricane to hit the state since Hurricane Iwa in the 1982, and the first major hurricane since Hurricane Dot in 1959. Kauai's largest hotel, The Westin Kauai, suffered blownout windows, flooding and considerable landscaping damage. Preliminary damage estimates was in the ''tens of millions'' needed to rebuild. By April 1993 lender Bank America Corp seized the Westin resort from the owners, developer Chris Hemmeter and VMS Realty Corp. The Hemmeter group was behind on payment for loans totaling $183 million. Hemmeter filed personal bankruptcy in 1997. When the Westin, after Hurricane 'Iniki in 1992, was repossessed by the bank, Hemmeter claimed he had already made millions.
Shinwa's grand vision plans were ruined in 1992 by devastating Hurricane Iniki, which caused the Westin hotel to close. The hotel re-opened in 1995 after it was bought by Marriott International and converted the hotel to a Marriott Hotel and time share sales. Marriott would convert 400 of the hotel's rooms into 220 time share units. Shinwa sold its Hawaii assets to help reduce a $600 million debt. Canada based GolfBC acquired Shinwa's Kauai property in 2003 and partnered with Honolulu developer Kevin Showe (Kauai Development LLC ) to develop the property.
New plans expanded the groundwork laid by Hemmeter in the 1980s by adding approximately 750 vacation homes to the already running Kauai Marriott Resort & Beach Club. The project would include a restaurant with golf and ocean views, a marina, and a spa and fitness center totaling more than 12,000 square feet. All development would highlight the resort's 38-acre, man-made lagoon, which guests would be able to use to taxi between resort locations, Showe said. The former restaurant - Inn on the Cliffs - would become a 12- unit condo and the former retail center, Fashion Landing would become a spa and fitness center. "There is no other resort in Hawaii that has a navigable waterway -- and because of the prohibitive cost, it couldn't be created today," said Showe. Kauai Lagoons' residential properties, The Ritz Carlton Club at Kauai Lagoons, was expected to break ground in 2006. Sales for the first phase of Ritz-Carlton Residences would begin in early 2007 with prices for two-, three- and four-bedroom private homes expected to start at $4.5 million. The presence of the lagoon drew Ritz-Carlton to Kauai, said Richard Culkin, project director of marketing for the Ritz-Carlton Club at Kauai Lagoons. Marriott and Ritz-Carlton halted construction at its $1.4-billion Kauai Lagoons project in 2008 after completing utilities work and the foundation for three buildings.
In 2014, time share giant Marriott Vacations Worldwide reached a $60 million sales agreement with Honolulu developer Ed Bushor for the long-stalled 450-acre Kauai Lagoons property and golf course. The sale included the partially built Ritz-Carlton Residences. Management of the 27-hole course was given to Billy Casper Golf. The course consists of three nines - the Kiele Mauka, Kiele Moana, and Waikahe. Previously Bushor had developed in 2005 the Wyland Waikiki Hotel and in 2010 he developed the Edition Waikiki with Ian Schrager.
In October 2015 David Burden, CEO and founder of Timbers Resorts, reached an agreement for a $310 million redevelopment of the 450 acre former Kauai Lagoons on behalf of the majority owner Oaktree Capital Management and minority owner Ed Bushor (Tower Investments). Tower Investments originally sourced the deal and will remain an investor. Finally after many starts and stops, construction would commence in December 2015 on phase one, the Timbers Kauai Ocean Club & Residences, using the framework initially planned by Ritz-Carlton. The 47 residences will range from two to four bedrooms and will include townhomes and condos ranging from 1,600 square feet to 3,600 square feet with 1,100-square-foot lanais. 48 residences will have golf course and ocean views. The existing golf course will be renamed to the 'Ocean Course' (formerly Kiele) and is planned to kick off in 2016. The 47 luxury residences opened in 2018 within three buildings are offered as wholly owned or fractional interests. The fractional interests are fee simple, deeded real estate.
David Burden founded Timbers Resorts in 1998 with a goal of developing high-end resorts in unique locations, aiming to provide the best in accommodation, amenities, location and value. By providing the services and amenities of a five-star hotel and a hassle-free whole and fractional ownership program Timbers Resorts has created one of the most luxurious second-home ownership opportunity around which includes access to the Timbers Reciprocity Program and the ability to trade vacation time with other destinations in the Timbers' portfolio. Current Timbers Collection properties can be found in Aspen, Beaver Creek, Cabo San Lucas, Jupiter, Kaua'i, Kiawah Island, Maui, Napa, Scottsdale, Snowmass, Sonoma, Southern California, Steamboat, Tuscany and Vail.
Due to its proximity to the cliff-sides, Timbers Kaua’i has been deemed the “last-of-its-kind” as construction regulations require new properties be at least 500 feet away from escarpments. “Timbers Kaua’i was grandfathered in due to the timing of its approval process. Therefore, the residences are the last property to be built on the island with closer than close proximity to the ocean.
Girvin Associates provided the master plan and landscaping for the resort, Poss Architecture + Planning in Aspen, CO was the architect and Wilson Associates provided the interior design for the public spaces and accommodations. Gary Moore, a 20 year veteran with Timbers, is the managing director at Timbers Resort Kauai. Eric Cucchi is the general manager.
Hokuala’s Jack Nicklaus Ocean Course (named Hawaii’s Best Golf Course) features the longest stretch of oceanfront holes in Hawaii. The 5th and 6th holes require forced carries over a gorge of mango and papaya trees. The back nine has a completely different feel with the Pacific Ocean and trade winds becoming a factor. Hole 14 is a dynamic par 3 that plays from a blufftop tee to a blufftop green, with shots missed left standing a good chance of landing in the Pacific. The hole is ringed by swaying coconut trees, with ocean and mountain views. Number 15 is a new hole along the same bluff, playing to a green in the shadow of the recently opened Timbers Kaua‘i Ocean Club & Residences, where some of the newest and most coveted real estate on the island is located. Then there’s No. 16, you fire your tee ball toward the crest of a blind fairway that careens downhill to a putting surface next to a picturesque lighthouse. It plays less than 285 yards from the resort tees, and with the downhill run you stand a chance of getting close. But birdie, par, or “other,” the picturesque beauty of this hole overlooking Nawiliwili Harbor will outweigh your extra strokes.
Photos and text compiled by Dick Johnson, December 2019.
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Siena è un comune di 54.391 abitanti della Toscana centrale, capoluogo dell'omonima provincia.
La città è universalmente conosciuta per il suo patrimonio artistico e per la sostanziale unità stilistica del suo arredo urbano medievale, nonché per il suo famoso Palio; il centro storico è stato infatti dichiarato dall'UNESCO patrimonio dell'umanità nel 1995.
Siena fu fondata come colonia romana al tempo dell'Imperatore Augusto e prese il nome di Saena Iulia.
All'interno del centro storico senese sono stati ritrovati dei siti di epoca etrusca, che possono far pensare alla fondazione della città da parte degli etruschi.
Il primo documento noto in cui viene citata la comunità senese risale al 70 e porta la firma di Tacito che, nel IV libro delle Historiae, riporta il seguente episodio: il senatore Manlio Patruito riferì a Roma di essere stato malmenato e ridicolizzato con un finto funerale durante la sua visita ufficiale a Saena Iulia, piccola colonia militare della Tuscia. Il Senato romano decise di punire i principali colpevoli e di richiamare severamente i senesi a un maggiore rispetto verso l'autorità.
Dell'alto Medioevo non si hanno documenti che possano illuminare intorno ai casi della vita civile a Siena. C'è qualche notizia relativa alla istituzione del vescovado e della diocesi, specialmente per le questioni sorte fra il Vescovo di Siena e quello di Arezzo, a causa dei confini della zona giurisdizionale di ciascuno: questioni nelle quali intervenne il re longobardo Liutprando, pronunziando sentenza a favore della diocesi aretina. Ma i senesi non furono soddisfatti e pertanto nell'anno 853, quando l'Italia passò dalla dominazione longobarda a quella franca, riuscirono ad ottenere l'annullamento della sentenza emanata dal re Liutprando. Pare, dunque, che al tempo dei Longobardi, Siena fosse governata da un gastaldo, rappresentante del re: Gastaldo che fu poi sostituito da un Conte imperiale dopo l'incoronazione di Carlo Magno. Il primo conte di cui si hanno notizie concrete fu Winigi, figlio di Ranieri, nel 867. Dopo il 900 regnava a Siena l'imperatore Ludovico III, il cui regno non durò così a lungo, dal momento che nel 903 le cronache raccontano di un ritorno dei conti al potere sotto il nuovo governo del re Berengario.
Siena si ritrova nel X secolo al centro di importanti vie commerciali che portavano a Roma e, grazie a ciò divenne un'importante città medievale. Nel XII secolo la città si dota di ordinamenti comunali di tipo consolare, comincia a espandere il proprio territorio e stringe le prime alleanze. Questa situazione di rilevanza sia politica che economica, portano Siena a combattere per i domini settentrionali della Toscana, contro Firenze. Dalla prima metà del XII secolo in poi Siena prospera e diventa un importante centro commerciale, tenendo buoni rapporti con lo Stato della Chiesa; i banchieri senesi erano un punto di riferimento per le autorità di Roma, ai quali si rivolgevano per prestiti o finanziamenti.
Alla fine del XII secolo Siena, sostenendo la causa ghibellina (anche se non mancavano, le famiglie senesi di parte guelfa, in sintonia con Firenze), si ritrovò nuovamente contro Firenze di parte guelfa: celebre è la vittoria sui toscani guelfi nella battaglia di Montaperti, del 1260, celebrata anche da Dante Alighieri. Ma dopo qualche anno i senesi ebbero la peggio nella battaglia di Colle Val d'Elsa, del 1269, che portò in seguito, nel 1287, alla ascesa del Governo
dei Nove, di parte guelfa. Sotto questo nuovo governo, Siena raggiunse il suo massimo splendore, sia economico che culturale.
Dopo la peste del 1348, cominciò la lenta decadenza della Repubblica di Siena, che comunque non precluse la strada all'espansione territoriale senese, che fino al giorno della caduta della Repubblica comprendeva un terzo della toscana. La fine della Repubblica Senese, forse l'unico Stato occidentale ad attuare una democrazia pura a favore del popolo, avvenne il 25 aprile 1555, quando la città, dopo un assedio di oltre un anno, dovette arrendersi stremata dalla fame, all'impero di Carlo V, spalleggiato dai fiorentini, che cedette in feudo il territorio della Repubblica ai Medici, Signori di Firenze, per ripagarli delle spese sostenute durante la guerra. Per l'ennesima volta i cittadini senesi riuscirono a tenere testa ad un imperatore, che solo grazie alle proprie smisurate risorse poté piegare la fiera resistenza di questa piccola Repubblica e dei suoi cittadini.
Dopo la caduta della Repubblica pochi senesi guidati peraltro dall'esule fiorentino Piero Strozzi, non volendo accettare la caduta della Repubblica, si rifugiarono in Montalcino, creando la Repubblica di Siena riparata in Montalcino, mantenendo l'alleanza con la Francia, che continuò ad esercitare il proprio potere sulla parte meridionale del territorio della Repubblica, creando notevoli problemi alle truppe degli odiati fiorentini. Essa visse fino al 31 maggio del 1559 quando fu tradita dagli alleati francesi, che Siena aveva sempre sostenuto, che concludendo la pace di Cateau-Cambrésis con l'imperatore Carlo V, cedettero di fatto la Repubblica ai fiorentini.
Lo stemma di Siena è detto "balzana". È uno scudo diviso in due porzioni orizzontali: quella superiore è bianca, quella inferiore nera,con la Lupa che allatta Senio e Ascanio. Secondo la leggenda, starebbe a simboleggiare il fumo nero e bianco scaturito dalla pira augurale che i leggendari fondatori della città, Senio e Ascanio, figli di Remo, avrebbero acceso per ringraziare gli dei dopo la fondazione della città di Siena. Un'altra leggenda riporta che la balzana derivi dai colori dei cavalli, uno bianco ed uno nero, che Senio e Ascanio usarono nella fuga dallo zio Romolo che li voleva uccidere e con i quali giunsero a Siena. Per il loro presunto carattere focoso che, si dice, rasenta la pazzia, anche i senesi sono definiti spesso "balzani".
Siena (em português também conhecida como Sena) é uma cidade e sede de comuna italiana na região da Toscana, província do mesmo nome, com cerca de 52.775 (ISTAT 2003) habitantes. Estende-se por uma área de 118 km2, tendo uma densidade populacional de 447 hab/km2. Faz fronteira com Asciano, Castelnuovo Berardenga, Monteriggioni, Monteroni d'Arbia e Sovicille.
Siena é universalmente conhecida pelo seu património artístico e pela notável unidade estilística do seu centro histórico, classificado pela UNESCO como Património da Humanidade.
Segundo a mitologia romana, Siena foi fundada por Sénio, filho de Remo, e podem-se encontrar numerosas estátuas e obras de arte mostrando, tal como em Roma, os irmãos amamentados pela loba. Foi um povoamento etrusco e depois colónia romana (Saena Julia) refundada pelo imperador Augusto. Era, contudo, uma pequena povoação, longe das rotas principais do Império. No século V, torna-se sede de uma diocese cristã.
As antigas famílias aristocráticas de Siena reclamam origem nos Lombardos e à data da submissão da Lombardia a Carlos Magno (774). A grande influência da cidade como pólo cultural, artístico e político é iniciada no século XII, quando se converte num burgo autogovernado de cariz republicano, substituindo o esquema feudal.
Todavia, o esquema político conduziu sempre a lutas internas entre nobres e externas com a cidade rival de Florença. Data do século XIII a ruptura entre as facções rivais dos Guibelinos de Siena e dos Guelfos de Florença, que seria argumento para a Divina Comédia de Dante.
Em 4 de Setembro de 1260, os Guibelinos apoiaram as forças do rei Manfredo da Sicília e derrotaram os Guelfos em Montaperti, que tinham um exército muito superior em armas e homens. Antes da batalha, toda a cidade fora consagrada à Virgem Maria e confiada à sua protecção. Hoje, essa protecção é recordada e renovada, lembrando os sienenses da ameaça dos aliados da Segunda Guerra Mundial de bombardearam a cidade em 1944, o que felizmente não veio a acontecer.
Siena rivalizou no campo das artes durante o período medieval até o século XIV com as cidades vizinhas. Porém, devastada em 1348 pela Peste Negra, nunca recuperou o seu esplendor, perdendo também a sua rivalidade interurbana com Florença. A Siena actual tem um aspecto muito semelhante ao dos séculos XIII-XIV. Detém uma universidade fundada em 1203, famosa pelas faculdades de Direito e Medicina, e que é uma das mais prestigiadas universidades italianas.
Em 1557 perde a independência e é integrada nas formações políticas e administrativas da Toscana.
Siena também deu vários Papas, sendo eles: Alexandre III, Pio II, Pio III e Alexandre VII.
Os dois grandes santos de Siena são Santa Catarina (1347-1380) e São Bernardino (1380-1444). Catarina Benincasa, filha de um humilde tintureiro, fez-se irmã na Ordem Terceira dominicana (para leigos)e viveu como monja na casa dos pais. É famosa pelo intercâmbio interior com o próprio Cristo, que num êxtase lhe disse: "Eu sou aquele que é e tú és aquela que não é". Apesar da origem modesta, influenciou papas e príncipes com sua sabedoria e seu exemplo, conseguindo inclusive convencer o papa de então, contra a maioria dos cardeais, a regressar a Roma do exílio de Avinhon na França. Quanto ao franciscano São Bernardino, ele é célebre por ter sido o maior expoente, no Catolicismo, da via espiritual de invocação do Nome Divino, que encontra similares em todas as grandes religiões, do Budismo (nembutsu) ao Islã ([[dhikr]]) e ao Hinduísmo (mantra). Os sermões que Bernbardino fez na praça central de Siena provocaram tal fervor religioso e devoção ao nome de Jesus que o conselho municipal decidiu colocar o monograma do nome de Jesus (composto pelas letras IHS, significando "Jesus salvador dos homens")na fachada do prédio do governo. Do mesmo modo, muitos cidadãos o pintaram sobre as fachadas de suas casas, como até hoje se pode ver na cidade.
Siena also widely spelled Sienna in English) is a city in Tuscany, Italy. It is the capital of the province of Siena.
The historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nation's most visited tourist attractions, with over 163,000 international arrivals in 2008.[1] Siena is famous for its cuisine, art, museums, medieval cityscape and the palio.
Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans (c. 900–400 BC) when it was inhabited by a tribe called the Saina. The Etruscans were an advanced people who changed the face of central Italy through their use of irrigation to reclaim previously unfarmable land, and their custom of building their settlements in well-defended hill-forts. A Roman town called Saena Julia was founded at the site in the time of the Emperor Augustus. The first document mentioning it dates from AD 70. Some archaeologists assert that Siena was controlled for a period by a Gaulish tribe called the Saenones.
The Roman origin accounts for the town's emblem: a she-wolf suckling infants Romulus and Remus. According to legend, Siena was founded by Senius, son of Remus, who was in turn the brother of Romulus, after whom Rome was named. Statues and other artwork depicting a she-wolf suckling the young twins Romulus and Remus can be seen all over the city of Siena. Other etymologies derive the name from the Etruscan family name "Saina," the Roman family name of the "Saenii," or the Latin word "senex" ("old") or the derived form "seneo", "to be old".
Siena did not prosper under Roman rule. It was not sited near any major roads and lacked opportunities for trade. Its insular status meant that Christianity did not penetrate until the 4th century AD, and it was not until the Lombards invaded Siena and the surrounding territory that it knew prosperity. After the Lombard occupation, the old Roman roads of Via Aurelia and the Via Cassia passed through areas exposed to Byzantine raids, so the Lombards rerouted much of their trade between the Lombards' northern possessions and Rome along a more secure road through Siena. Siena prospered as a trading post, and the constant streams of pilgrims passing to and from Rome provided a valuable source of income in the centuries to come.
The oldest aristocratic families in Siena date their line to the Lombards' surrender in 774 to Charlemagne. At this point, the city was inundated with a swarm of Frankish overseers who married into the existing Sienese nobility and left a legacy that can be seen in the abbeys they founded throughout Sienese territory. Feudal power waned however, and by the death of Countess Matilda in 1115 the border territory of the Mark of Tuscia which had been under the control of her family, the Canossa, broke up into several autonomous regions.
Siena prospered as a city-state, becoming a major centre of money lending and an important player in the wool trade. It was governed at first directly by its bishop, but episcopal power declined during the 12th century. The bishop was forced to concede a greater say in the running of the city to the nobility in exchange for their help during a territorial dispute with Arezzo, and this started a process which culminated in 1167 when the commune of Siena declared its independence from episcopal control. By 1179, it had a written constitution.
This period was also crucial in shaping the Siena we know today. It was during the early 13th century that the majority of the construction of the Siena Cathedral (Duomo) was completed. It was also during this period that the Piazza del Campo, now regarded as one of the most beautiful civic spaces in Europe, grew in importance as the centre of secular life. New streets were constructed leading to it, and it served as the site of the market and the location of various sporting events (perhaps better thought of as riots, in the fashion of the Florentine football matches that are still practised to this day). A wall was constructed in 1194 at the current site of the Palazzo Pubblico to stop soil erosion, an indication of how important the area was becoming as a civic space.
In the early 12th century a self-governing commune replaced the earlier aristocratic government. The consuls who governed the republic slowly became more inclusive of the poblani, or common people, and the commune increased its territory as the surrounding feudal nobles in their fortified castles submitted to the urban power. Siena's republic, struggling internally between nobles and the popular party, usually worked in political opposition to its great rival, Florence, and was in the 13th century predominantly Ghibelline in opposition to Florence's Guelph position (this conflict formed the backdrop for some of Dante's Commedia).
On 4 September 1260 the Sienese Ghibellines, supported by the forces of King Manfred of Sicily, defeated the Florentine Guelphs in the Battle of Montaperti. Before the battle, the Sienese army of around 20,000 faced a much larger Florentine army of around 33,000. Prior to the battle, the entire city was dedicated to the Virgin Mary (this was done several times in the city's history, most recently in 1944 to guard the city from Allied bombs). The man given command of Siena for the duration of the war, Bonaguida Lucari, walked barefoot and bareheaded, a halter around his neck, to the Duomo. Leading a procession composed of all the city's residents, he was met by all the clergy. Lucari and the bishop embraced, to show the unity of church and state, then Lucari formally gave the city and contrade to the Virgin. Legend has it that a thick white cloud descended on the battlefield, giving the Sienese cover and aiding their attack. The reality was that the Florentine army launched several fruitless attacks against the Sienese army during the day, then when the Sienese army countered with their own offensive, traitors within the Florentine army killed the standard bearer and in the resulting chaos, the Florentine army broke up and fled the battlefield. Almost half the Florentine army (some 15,000 men) were killed as a result. So crushing was the defeat that even today if the two cities meet in any sporting event, the Sienese supporters are likely to exhort their Florentine counterparts to “Remember Montaperti!”.
The limits on the Roman town, were the earliest known walls to the city. During the 10th and 11th centuries, the town grew to the east and later to the north, in what is now the Camollia district. Walls were built to totally surround the city, and a second set was finished by the end of the 13th century. Much of these walls still exist today.[2]
Siena's university, founded in 1240 and famed for its faculties of law and medicine, is still among the most important Italian universities. Siena rivalled Florence in the arts throughout the 13th and 14th centuries: the important late medieval painter Duccio di Buoninsegna (1253–1319) was a Sienese, but worked across the peninsula, and the mural of "Good Government" by Ambrogio Lorenzetti in the Palazzo Pubblico, or town hall, is a magnificent example of late-Medieval/early Renaissance art as well as a representation of the utopia of urban society as conceived during that period. Siena was devastated by the Black Death of 1348, and also suffered from ill-fated financial enterprises. In 1355, with the arrival of Charles IV of Luxembourg in the city, the population rose and suppressed the government of the Nove (Nine), establishing that Dodici (Twelve) nobles assisted by a council with a popular majority. This was also short-lived, being replaced by the Quindici (Fifteen) reformers in 1385, the Dieci (Ten, 1386–1387), Undici (Eleven, 1388–1398) and Twelve Priors (1398–1399) who, in the end, gave the city's seigniory to Gian Galeazzo Visconti of Milan in order to defend it from the Florentine expansionism.
In 1404 the Visconti were expelled and a government of Ten Priors established, in alliance with Florence against King Ladislas of Naples. With the election of the Sienese Pius II as Pope, the Piccolomini and other noble families were allowed to return to the government, but after his death the control returned into popular hands. In 1472 the Republic founded the Monte dei Paschi, a bank that is still active today and is the oldest surviving bank in the world. The noble factions returned in the city under Pandolfo Petrucci in 1487, with the support of Florence and of Alfonso of Calabria; Petrucci exerted an effective rule on the city until his death in 1512, favouring arts and sciences, and defending it from Cesare Borgia. Pandolfo was succeeded by his son Borghese, who was ousted by his cousin Raffaello, helped by the Medici Pope Leo X. The last Petrucci was Fabio, exiled in 1523 by the Sienese people. Internal strife resumed, with the popular faction ousting the Noveschi party supported by Clement VII: the latter sent an army, but was defeated at Camollia in 1526. Emperor Charles V took advantage of the chaotic situation to put a Spanish garrison in Siena. The citizens expelled it in 1552, allying with France: this was unacceptable for Charles, who sent his general Gian Giacomo Medici to lay siege to it with a Florentine-Imperial army.
The Sienese government entrusted its defence to Piero Strozzi. When the latter was defeated at the Battle of Marciano (August 1554), any hope of relief was lost. After 18 months of resistance, it surrendered to Spain on 17 April 1555, marking the end of the Republic of Siena. The new Spanish King Philip, owing huge sums to the Medici, ceded it (apart a series of coastal fortress annexed to the State of Presidi) to the Grand Duchy of Tuscany, to which it belonged until the unification of Italy in the 19th century. A Republican government of 700 Sienese families in Montalcino resisted until 1559.
The picturesque city remains an important cultural centre, especially for humanist disciplines
Fragment of my belowed grand-father's library right before I started to dismantle it. The painting over the door represents Godzilla burning Warsaw's Royal Castle with atomic breath. My Grand Father was grand admirer of Warsaw, connoisseur of city's history and first Homo Varsoviensis. At the same time demonology and bestiaries stayed firmly between his multiple interest. He used to go to cinema to watch Godzilla movies with me when I was kid. The painting was one of my Xmas gifs to him in the early 90's. I bought the "old town" landscape (probably painted out of postcard) at Kolo flea market and painted Godzilla over it. It hung in his workshop during more than two decades :) Now in Pawel Polit collection.
Mattress Firm (4,010 square feet)
4400 Kilgore Avenue, Peninsula Town Center, Hampton, VA
This location opened in July 2011 and closed in fall 2018; it was originally a Mattress Discounters, which opened in December 2009.
The Postcard
A postally unused postcard published prior to 1918 by J. Beagles & Co. of London E.C. The card was printed in England, and has a divided back.
The firm of J. Beagles & Co. was started by John Beagles (1844-1909). The company produced a variety of postcards including an extensive catalogue of celebrity (stage and screen) portrait postcards. After Beagle’s death, the business continued under its original name until it closed in 1939.
Although it was not posted, the card bears a recipient's name and address:
Miss C. Clancy,
Railway Tavern,
Liverpool Street.
There was also a message:
"Dear C,
Got such a lot in the
shop I want to buy.
Love Queenie".
Wilson Barrett
Wilson Barrett (born William Henry Barrett; 18th. February 1846 – 22nd. July 1904) was an English manager, actor, and playwright.
With his company, Barrett is credited with attracting the largest crowds of English theatregoers ever because of his success with melodrama, an instance being his production of 'The Silver King' (1882) at the Princess's Theatre of London.
The historical tragedy 'The Sign of the Cross' (1895) was Barrett's most successful play, both in England and in the United States.
According to Jacob Adler, Wilson Barrett was the most famous actor on the London stage of the 1880's.
Wilson Barrett - The Early Years
Barrett was born into a farming family in Essex. He is remembered as an actor of handsome appearance (despite his small stature) and with a powerful voice.
He made his first appearance on the stage at Halifax in 1864, and then played in the provinces alone and with his wife, Caroline Heath. They married in 1866, having two sons, Frank and Alfred, and three daughters, Ellen, Katherine and Dorothea (Dollie).
Barrett capitalized on his early success as an actor to start a career as a producer. After managerial experience at the Grand Theatre Leeds and elsewhere, in 1879 he took over the management of the Old Court theatre, where in the following year he introduced Madame Helena Modjeska to London in an adaptation of 'Maria Stuart', together with productions of 'Adrienne Lecouvreur', 'La Dame aux Camélias' and other plays.
In 1881, Barrett took over the recently refurbished Princess's Theatre, where his melodramatic productions enjoyed great success, with attendance being the highest ever for this theatre. There Barrett presented 'The Lights o' London', and then 'The Silver King', regarded as the most successful melodrama of the 19th century in England. It debuted on the 16th. November 1882, with Barrett as Wilfred Denver. He played this part for three hundred nights without a break, and repeated its success in W. G. Wills's 'Claudian'.
In 1885 he and Henry Arthur Jones produced 'Hoodman Blind', and in 1886 co-operated with Clement Scott in 'Sister Mary'. In 1886 Barrett left the Princess's Theatre, and in this same year he made a visit to America, repeated in later years.
In 1884 Barrett appeared in 'Hamlet', only to promptly return to melodrama. He was not to find much success in any Shakespearean role, except in the role of Mercutio in 'Romeo and Juliet'.
Though Barrett had occasional seasons in London, he acted chiefly in the provinces, with his company being one of the most successful of the decade, receiving a £2,000 average yearly profit just from the Grand Theatre Leeds. His brother and his nephew were part of the company, and his grandson later joined them,
His productions were not immune to accident. His melodrama 'Romany Rye' was scheduled to open at the Theatre Royal, Exeter on the 5th. September 1887. In the middle of the performance, gas lighting ignited some gauze, fire broke out backstage, and then the curtain collapsed.
Wilson Barrett - The Later Years
By the 1890's, the London stage was already coming under new influences, and Wilson Barrett's vogue in melodrama had waned, leaving him in financial difficulties. From 1894 he toured the United States, including the American and Knickerbocker theatres of Broadway.
Still there in 1895, Barrett found fortune again with a production which would effectively become his most successful, the historical tragedy 'The Sign of the Cross'—which was originally produced in the United States at the Grand Opera House, St. Louis, Missouri on the 28th. March 1895.
It also played in the United Kingdom, at the Grand Theatre, Leeds, on the 26th. August 1895; in London, at the Lyric Theatre, London on the 4th. January 1896; and in Australia, at Her Majesty's Theatre, Sydney on the 8th. May 1897.
Barrett played Marcus Superbus, an old Roman patrician who falls in love with a young woman, Mercia (originally played by Maud Jeffries) and converts to Christianity for her, both sacrificing their lives in the arena to the lions.
The plot in some ways strongly resembles the contemporary novel Quo Vadis, and it may have been an unofficial adaptation of it, though Barrett never acknowledged this.
The theatre was crowded with audiences largely composed of people outside the ordinary circle of playgoers, shepherded by enthusiastic local clergymen. Barrett tried to repeat this success with more plays of a religious type, though not with equal effect, and several of his later attempts were failures.
At the turn of the century he co-founded the company which became Waddingtons, originally as a theatre-focused printing firm.
Death of Wilson Barrett
Wilson Barrett died in Liverpool, on the 22nd. July 1904. Thanks largely to the success of the Sign of the Cross, he left £57,000, even after periods of relative failure, mainly during his later years managing the Old Court Theatre.
Barrett's Grandson
His grandson, also named Wilson Barrett, became an actor- director with the Brandon-Thomas Company before starting his own repertory in 1939, the Wilson Barrett Company, which based itself in Edinburgh's Lyceum, the Alhambra Theatre Glasgow, and for a time in Aberdeen. It also performed on television, at the Edinburgh International Festival and, by invitation, in South Africa. The company was retired in 1954.
Historical Records
Barrett's descendants placed the majority of Wilson Barrett's papers at the Harry Ransom Center at the University of Texas in Austin. Over thirty boxes of materials include manuscript works by Barrett, business and personal correspondence, extensive financial records and legal agreements, as well as photographs, playbills and programs relating to Barrett's productions, and Barrett and Heath family papers.
Additional Wilson Barrett materials at the Ransom Center include letters by Barrett located in the literary manuscript collections of Richard Le Gallienne, John Ruskin, William Winter, and Robert Lee Wolff. The B. J. Simmons Co. costume design records include the company's renderings for 'The Sign of the Cross'. A marked script of Barrett's 'The Manxman' can be found in the Playscripts and Promptbooks Collection.
The British Library, the Folger Shakespeare Library, and the University of Leeds Special Collections Library each have a substantial number of letters by Wilson Barrett. The Victoria & Albert Museum Theatre and Performance Archives holds designs by Edward William Godwin for Barrett's productions of 'Juana', 'Claudian', 'Hamlet', 'Junius', and 'Clito'.
The papers of Wilson Barrett the younger (1900-1981), a grandson of Wilson Barrett who was also an actor-manager and toured with his own Wilson Barrett Company, are located in the Scottish Theatre Archive at the University of Glasgow.
In the centre of my photo is the pulpitum, a large stone screen standing between the crossing and the choir. built around 1450. It was constructed round the earlier screen of Prior Eastry which in turn had stood since 1305. Such screens demarcated the area used by monks (the choir) from that available for public worship (the nave). [Before the English Reformation the cathedral was part of a Benedictine monastic community known as Christ Church, Canterbury, as well as being the seat of the archbishop]. The screen displays statues of six royal figures, and incorporates a central doorway and gate which, prior to the dissolution, could be used only by members of the priory. There is no firm documentary evidence to identify the royal figures but the general modern consensus is that (left to right) they represent Henry V, Richard II, Ethelbert (holding a model of the cathedral), Edward the Confessor, Henry IV and Henry VI. They are thought to be likenesses rather than purely representational.
....a slightly altered view of the fishtank interior of my office. First time I entered the building I found it rather imposing with its high atrium... nowadays its all but ignored.
Was in the office on a Saturday and happened to have my gear, so I snagged a few pics of it while abandoned... definitely an interesting place - perfect for some night time shots from the rooftop patio down to the Circus or over to the London Eye.
Also took a few pics of our mountain retreat a few years back here.
....the view looking down
MÉXICO, D. F. 20 ENERO 2011.- Firman contrato con la revista Playboy. Un grupo de aeromozas mexicanas de la compañía Mexicana de Aviación, dio a conocer este jueves la segunda edición del calendario 2011. Con sus calendarios, estas trabajadoras tratan de obtener ingresos mientras se clarifica su situación laboral. Ellas son Maribel Zavala, Ofelia Coronado, Samantha Vázquez, Rosy Arcos e Itzel Aguilar. TVExclusivas.blogspot.com twitter.com/@TVExclusivas
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Justice and History
•By Thomas Crawford (1813/1814-1857)
•Marble, Modeled 1855-1856, Carved ca. 1858-1860
•Overall Measurement
oHeight: 46 inches (116.8 cm)
oWidth: 134 inches (340.4 cm)
oDepth: 26 inches (66 cm)
•Unsigned
•Credit Line: U.S. Senate Collection
•Cat. no. 25.00002.000
When the Capitol building was transformed by the grand architectural extension and new dome designed by Thomas U. Walter in the 1850s, only Constantino Brumidi was awarded more important commissions for its decoration than Thomas Crawford. Crawford was contracted to provide an enormous amount of sculpture for the building: bronze doors for the eastern entrances to the House and Senate wings, the marble pediment sculpture for the Senate wing and a statuary group for the main Senate entrance, and, ultimately, the pinnacle of the entire Capitol, the bronze Statue of Freedom atop the dome. (For his many contributions to the Capitol, Crawford is memorialized with a bust, displayed in the Senate wing.)
Crawford had been apprenticed to a wood carver at the age of 14. By about 1832, he was employed by the prominent New York stone-cutting firm operated by John Frazee and Robert Launitz. There he was assigned the customary work on gravestones and mantelpieces and assisted in the execution of portrait busts. Crawford also enhanced his artistic development by sketching casts from the collection of the National Academy of Design. In 1835 he moved to Rome and became the first American sculptor to settle there permanently. Once in Rome, he gravitated quickly to the studio of Bertel Thorvaldsen, perhaps the most famous sculptor of his day. Thorvaldsen’s neoclassicism was the most important influence on Crawford. In 1839 Crawford gained widespread acclaim for his statue Orpheus, which led to numerous commissions for allegorical and mythological figures.
While construction of the Capitol extension was still under way, Montgomery Meigs, superintendent of the Capitol extension, was busily attending to the decorative commissions as well. In August 1853 he wrote to Crawford in Florence, principally about the pediment and doorway on the east front of the new Senate. “I do not see why,” he claimed, “a Republic so much richer than the Athenian should not rival the Parthenon in the front of its first public edifice.” Crawford responded at the end of October, describing his ideas for the pediment and for the two allegorical figures over the doorway—Justice and Liberty—and concluding, “My price for the whole of them is $20,000.” The offer was approved by Jefferson Davis, secretary of war, and accepted by Meigs in a letter of November 30, 1853. In the initial design, Liberty wore a pileus, the cap worn by freed slaves in ancient Rome, and Justice held a bundle of rods and an ax, Roman symbols of authority. Jefferson Davis was satisfied with the overall design, but he objected to the symbolic Roman elements, which he felt were inappropriate iconography for America. Both Meigs and Davis asked Crawford to change some of the details but to maintain the basic composition. Crawford agreed. “I have changed the Liberty into a figure of History (and thus avid [sic] the ‘cap’),” he responded to Meigs. In July 1860, Crawford was paid the agreed-upon price of $3,000 for “modelling in plaster and cutting in marble Statues of ‘Justice and History’ including marble.”
Of all the sculptural projects awarded to Crawford for the new extension, Justice and History seems to have been almost an afterthought. First conceived (by Meigs) as a relief sculpture, it became not only the subject of disagreement over the symbolic attributes but also part of an ongoing gentlemanly controversy over whether it and the other sculptures should be carved (or, if bronze, cast) in Europe or America. In addition, it was continuously postponed in favor of larger, clearly more significant projects. The planned placement of the figures was not very advantageous. Perched on a cap supported by massive brackets above the bronze door of the Senate wing, east portico, with their heads overlapping the windowsill behind them, they lacked a proper stage. Their back-to-back reclining position suggested a placement within a small tympanum, but no such framing element was provided.
Allegorical figures were certainly not new in American sculpture, and neoclassicism was the favored “high” style among academically trained European and American sculptors. For many viewers, the classical style embodied a rigorous intellectual and moral integrity that suited the ideals of the new republic. But there was in the young country only a small, classically educated audience for the allegorical content. If simple enough, it was acceptable, but sometimes allegory failed, as with the notoriously negative public reaction to Horatio Greenough’s colossal half-nude statue of George Washington, which prompted Meigs to caution Crawford in a 1853 letter:
Permit me to say that the sculpture sent here by our artists is not altogether adapted to the taste of our people. We are not able to appreciate too refined and intricate allegorical representations, and while the naked Washington of Greenough is the theme of admiration to the few scholars, it is unsparingly denounced by the less refined multitude. Cannot sculpture be so designed as to please both? In this would be the triumph of the artist whose works should appeal not to a class but to mankind.
Clearly this is not a condescending attitude, for Meigs was determined that the Capitol and its decoration should be admired by the “less refined multitude.” He gave Constantino Brumidi the painter more leeway in the matter of allegory than he was willing to allow Crawford the sculptor, perhaps because sculpture principally adorned the exterior of the building and thus was seen by more people. It was the large, multi-figure pediment that most preoccupied both Meigs and Crawford in this discussion, and Crawford proved quite amenable to satisfying Meigs’s concerns: “I fully agree with you regarding the necessity of producing a work intelligible to our entire population. The darkness of allegory must give place to common sense.” What applied to the pediment applied as well to Justice and History. The simplified allegories of book, globe, scales, and scroll, certainly, were clear to the multitude and easily appreciated.
The completion of Justice and History was long delayed. A year after the contract was concluded, Crawford had done no more than send sketches to Washington, and on December 13, 1854, he asked Meigs’s permission to postpone modeling them until the dimensions of the doorway had been firmly decided. On June 10, 1855, he wrote that he would “immediately proceed with the group.” By November, the figures were apparently in process, though not complete, and on May 21, 1856, he reported to Meigs that the models were entirely finished. Now he was awaiting approval or rejection of his request to have them carved in marble in Italy, where he could supervise the production. In a subsequent letter to Meigs, Crawford complained of a problem with his left eye. This illness, a tumor, rapidly worsened, and over the next months, although he was able to do some finishing work on his colossal model of Freedom for the Capitol dome, it was apparent that Crawford’s ability to sculpt was seriously affected.
A letter of April 1, 1857, from the ailing artist to Meigs, asked for an advance in order to buy the marble to carve the figures. Meigs, who “had supposed from [Crawford’s] former letters that they were underway,” nonetheless agreed to make the funds available. By then the cancer had spread to Crawford’s brain and, despite medical treatment in Paris and London, he died on October 10, 1857. Neither Justice nor History had been carved. Crawford had always urged Meigs to allow the carving of his marbles and the casting of his bronzes to be done in Rome. Meigs, on the other hand, had wanted them to be executed in the United States, to give native carvers and casters much-needed experience. Meigs prevailed for all of Crawford’s works but Justice and History.
Crawford’s widow, Louisa Crawford, who took over her husband’s business affairs after his death, asked Meigs to allow Justice and History to be carved from Carrara marble in Italy, in part because “there are no duplicates cast, and … if lost they are irretrievably gone.” Meigs relented, and the marbles were made in Italy between 1858 and 1860. The two pieces were shipped to the United States in 1860 and were kept in the former Hall of the House of Representatives until the exterior of the U.S. Capitol’s Senate extension was ready to receive it. It was installed three years later above the Senate entrance on the east front of the Capitol.
Meigs’s acquiescence on the carving location proved unfortunate, for of Crawford’s marble sculptures at the Capitol, only Justice and History deteriorated severely, eroded by the elements. By the mid-20th century, the head of History and the face of Justice were nearly gone, and the figures were severely flaked and cracked. In 1974 they were removed and heavily restored with plaster to its appearance as documented in early photographs and then used as a model for the carving of a new marble replica; Francesco Tonelli of the Vermont Marble Company carved copies of the originals. Tonelli’s marble reproductions were installed in the original location above the Senate doorway later in 1774, and the repaired Justice and History was placed on display inside the Capitol in the ground floor extension to the Old Senate Wing outside the Old Supreme Court Vestibule.
More on Justice and History
In September 1850 Congress appropriated $100,000 for expansion of the United States Capitol. Philadelphia architect Thomas U. Walter was selected to design and construct the addition. In 1853 the project was transferred to the Army Corps of Engineers under the direction of Secretary of War Jefferson Davis. While Walter remained as architect, Montgomery C. Meigs, a 36-year-old captain in the Corps of Engineers, was named superintendent of the Capitol extension and placed in charge of the construction. Meigs believed that the extension should be decorated in a highly elaborate style to rival the great buildings of Europe, and he and Davis worked together to make the Capitol a showcase of the arts.
As part of that effort, Meigs asked artists Hiram Powers and Thomas Crawford to submit designs for sculpture for the new pediments planned for the Senate and House extensions and for the areas above the adjoining doorways. Crawford submitted a series of designs for the projects. For the Senate doorway, he proposed a grouping of two reclining female figures: Justice and Liberty. He received the commission, and in his final drawing he changed Liberty to History.
In Crawford’s Justice and History, Justice, the figure to the right, is half reclining and heavily draped like a Roman matron at a banquet. She supports a large tome with the words “Justice, Law, Order” and rests her right elbow on the visible portion of a globe draped with the stars and stripes. Her right hand holds the scales of justice, which lie loosely on the edge of the base, their chains slack. The History figure has long flowing hair crowned with a laurel wreath. She holds an open scroll, with the top draped over a plinth, on which the words “History July 1776” are inscribed. The overall length of the sculpture is 11 feet 2 inches.
The Sculptor
Thomas Crawford (1814-1857), also created the Statue of Freedom atop the dome, the designs of the House and Senate bronze doors, and the “Progress of Civilization” pediment sculpture over the east entrance to the Senate wing.
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ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: I Fori Imperiali, oltre 15mila reperti archeologicI nascosti in un magazzino, LA REPUBBLICA (01|05|2015), & ROMA - I gioielli del Museo dei Fori diecimila reperti di Roma antica, CORRIERE DELLA SERA (21|09|2004)& LA REPUBBLICA (24|09|2001).
"Oltre 15mila reperti chiusi in un magazzino e invisibili al pubblico [1998-2015]. E' il tesoro ritrovato ai Fori Imperiali durante gli scavi giubilari e in quelli successivi. Studiati, schedati e riposti negli scaffali, nelle cantine cinquecentesche del quartiere Alessandrino sopravvissuto alla demolizione degli anni Trenta, quei reperti si trovano oggi "nascosti" nella galleria sotterranea che collega il Foro di Traiano a quello di Cesare." LA REP. (01|05|2015).
1). FORO DI TRAIANO - Capitelli, teste, trionfi. Il tesoro segreto dei Fori: "Portiamolo alla luce" - Alla scoperta dei depositi accanto alla colonna di Traiano, conservano 15mila reperti. "Vogliamo esporre questi marmi." LA REPUBBLICA (01|05|2015).
Un tesoro custodito nell'ombra. Oltre le grate e i cancelli che oggi il pubblico sfiora, percorrendo la galleria sotterranea che collega il Foro di Traiano a quello di Cesare, nel nuovo spettacolo itinerante ideato da Piero Angela. È quello conservato nei depositi dei Fori Imperiali: un nucleo di 10-15 mila reperti, per ora invisibili al pubblico, rinvenuti durante gli scavi giubilari e in quelli successivi. Studiati, schedati e riposti sugli scaffali, nelle cantine cinquecentesche del quartiere Alessandrino sopravvissute alla demolizione degli anni Trenta. Dove a ergersi, oggi, sono vere e proprie "colonne" di cassette, in cui si celano splendidi frammenti architettonici e decorativi, perlopiù del Foro di Traiano, ma anche di quelli di Augusto, di Cesare e della Pace.
Il rilievo di una manina, che pare aggrapparsi con le piccole dita sul bordo di un fregio, conquistando la superficie, si fa immagine e metafora del sogno degli archeologi: quello - come spiega Beatrice Pinna Caboni, funzionario dell'ufficio Fori Imperiali della Sovrintendenza capitolina - "di poter arrivare un giorno alla pubblica fruizione, almeno dei reperti più eclatanti, leggibili e meglio conservati". Qualche passo è già stato fatto, proprio in occasione delle passeggiate notturne al Foro di Cesare firmate da Piero Angela e Paco Lanciano.
All'inizio della galleria sotterranea dei Fori Imperiali, ad esempio, sono stati riproposti nel loro contesto originario alcuni frammenti di colonne e lesene del colonnato che chiudeva il Foro di Traiano sul lato meridionale. Mentre più avanti, lungo il percorso ipogeo, viene illuminato un lacerto dello splendido pavimento in marmo del portico occidentale, restaurato con una parte degli incassi della prima edizione dello spettacolo sul "Foro di Augusto". Fondi serviti anche per il restauro dei quattro maestosi "blocchi" poggiati sull'erba all'uscita della galleria, coronamento delle trabeazioni del Tempio di Venere Genitrice, nel Foro di Cesare. E per i pavimenti in opus sectile e opus spicatum della vicina Basilica Argentaria, con gli intonaci scalfiti dagli antichi graffiti con versi dell'Eneide.
Ma per riportare alla luce le meraviglie nascoste del Foro di Traiano e svelarle finalmente al pubblico servirebbe uno spazio ad hoc. E a mostrarlo è Marina Milella del Museo dei Fori Imperiali: siamo a pochi passi dalla Colonna Traiana, nei depositi della Basilica Ulpia e della Biblioteca occidentale. Dove "già negli anni Trenta - racconta Milella - si progettò e si cominciò ad allestire un museo sotterraneo".
Sotto la soletta in cemento - da poco risanata per prevenire le infiltrazioni, con la risistemazione anche dell'aiuola in superficie - il tempo pare essersi fermato. Con gli spezzoni di colonne in marmo grigio egiziano della Basilica Ulpia e quelle bianche della Biblioteca lasciate in posizione di caduta, gli scorci della pavimentazione originaria e i capolavori architettonici e decorativi oggi coperti dalla polvere. A cominciare dall'enorme e maestoso frammento, protetto da un velo di cellophane, con la Vittoria Tauroctona del fregioarchitrave della Basilica Ulpia. Il più grande oggi conservato, che sarà riprodotto in materiale simile all'originario e usato per l'anastilosi delle colonne della Basilica finanziata dal magnate uzbeco Alisher Usmanov. "L'idea - spiega Milella - è di fare di questi depositi uno spazio visitabile che completi il Museo dei Fori, dove manca una sezione dedicata a quello di Traiano".
FONTE | SOURCE:
-- LA REPUBBLICA (01|05|2015).
roma.repubblica.it/cronaca/2015/05/01/news/fori-113265302/
2). ROMA - FORI IMPERIALI - I tesori della Basilica Ulpia nascosti nel ventre della città, CORRIERE DELLA SERA (21|09|2004).
Allo stupito Montaigne, che parlava correntemente il latino come fosse una lingua viva, Roma doveva apparire la traduzione architettonica della vitalità dell' antico: una città, scriveva ammirato, dove si ha la sensazione di camminare «sul culmine di case intere», dove lo strato archeologico sembrava una seconda natura sulla quale s' innalzavano, come escrescenze della passata grandezza, gli edifici del Rinascimento. Perfino le costruzioni moderne, aggiungerà tre secoli dopo Henry James, sembrano quasi ritornare, attraverso un' impenetrabile stratigrafia naturale-artificiale «alla primitiva, tirannica coesione con la roccia vergine». Se si volesse comunicare il fascino di una Roma interpretata come costruzione geologica che si rigenera sulle proprie rovine, bisognerebbe costruire un grande museo nel ventre della città, ricomponendo la continuità tra architetture sepolte dove i ruderi, come quelli della Basilica Ulpia, non vengano riportati alla luce, ma custoditi nelle ramificazioni del sottosuolo.
Quattromila metri quadrati inaccessibili al pubblico Basilica Ulpia il tesoro segreto sotto via dei Fori Ventimila reperti «sepolti» dalla strada Nel cuore sotterraneo della Roma antica, almeno quattromila metri quadrati inaccessibili, segreti. Che il grande pubblico non conosce e non ha mai conosciuto. Un magazzino, oggi. Una specie di maxi deposito per più di ventimila reperti (alcuni di straordinario livello) che potrebbero - anzi, dovrebbero - essere esposti e musealizzati almeno in parte. E che invece se ne stanno lì, ammonticchiati su vecchi scaffali fin dagli anni Trenta, data in cui vennero disseppelliti. Alcuni, i più importanti, sono stati studiati, puliti e restaurati. Ma a tutt' oggi giacciono impacchettati in grandi fogli di plastica trasparente: altorilievi con raffigurazioni di prigionieri Daci, antiche trabeazioni e altri fregi con decorazioni su temi bellici e sacrali, tutti elementi compositivi della decorazione architettonica e scultorea che fu. Questo pezzo sconosciuto e affascinante della Roma antica - scoperto e scavato settant' anni fa da Corrado Ricci - è una parte integrante della Basilica Ulpia: quel maestoso complesso di cui molto si sa (e altrettanto ancora si ignora) e che è uno degli esempi più evidenti, a Roma, di «archeologia interrotta». Questa parte della basilica - la più importante dell' antichità - è infatti sotterranea e invisibile da sempre. Salvo che agli studiosi, l' unica zona del monumento che si può ammirare è quella esterna, compresa tra il cortile della Colonna Traiana e la grande piazza forense. Il resto, appunto, esiste. Ma non si vede. A meno di non penetrare nel grande sotterraneo che giunge fin sotto la via dei Fori Imperiali, ben oltre l' area sottostante alla grande esedra arborea che si apre subito sulla sinistra imboccando la via da piazza Venezia. «Di un progetto di riuso dell' intera zona sotterranea si è spesso parlato» dice Lucrezia Ungaro, archeologa responsabile del complesso archeologico dei Fori Traiani: «Il recupero dell' area consentirebbe infatti di riconnettere esterno ed interno, di ridare unità, con un asse museale unico, a ciò che oggi appare interrotto». Progetto caro agli archeologi, a cui osta l' annosa questione dei finanziamenti. Recuperare l' area costerebbe infatti, a occhio, non meno di dieci milioni di euro: necessari intanto per affrontare una prima serie di problemi oggettivi, dalle numerose perdite d' acqua alla soletta di cemento armato degli anni Trenta che comincia a mostrare i segni del tempo. Una spesa che, se affrontata, potrebbe però restituire ai romani una zona ipogea ad alta densità di interesse archeologico, con indubbi elementi anche di spettacolarità visiva. Già oggi infatti, nonostante il vecchio sistema di illuminazione (presente solo in una zona ristretta) e nonostante i cumuli di polvere sedimentata nel tempo, non è impossibile immaginare come questo enorme «magazzino» potrebbe essere trasformato in area espositiva e interamente percorribile. Un' operazione da cui qualsiasi discorso sul futuro della via dei Fori Imperiali - questione di stretta attualità - non potrebbe evidentemente prescindere.
Lì sotto, ad esempio, si trova ancora l' unico tratto degli scalini originali con cui si ascendeva alla maestosità della grande Basilica. Sempre lì c' è la prosecuzione delle navate centrali e laterali del complesso. E, pur sotto le spesse incrostazioni, ben si vede come il calpestio insista su parti eccezionalmente conservate degli antichi marmi pavimentali: lastre di raro e pregiato «africano», ad esempio, di cui all' esterno si conservano solo minimi frammenti.
La Proposta - C' è un grande museo nelle viscere della città. Si potrebbero collegare i resti sotto Palazzo Valentini con l' area a ridosso della Colonna Traiana È possibile realizzare un poderoso sistema integrato nel cuore della Capitale Il visitatore vi scoprirebbe l' ordine della storia che si frammenta e si ricompone nella metropoli contemporanea, l' enigma delle sue complesse sezioni, l' energia inesauribile delle permanenze antiche capaci di trasmettere la propria forma nascosta alla città moderna. Credo che questo straordinario museo dovrebbe riutilizzare i vasti spazi ipogei sotto via dei Fori Imperiali e sotto piazza Madonna di Loreto, dove Corrado Ricci fece disporre i frammenti venuti alla luce nel corso della campagna di scavo condotta tra il 1926 ed il 1933: una vasta, dimenticata costruzione, mai aperta al pubblico, sospesa tra i giardini moderni sulla copertura e i resti di mura rovinate al suolo, di magnifiche trabeazioni semisepolte che affiorano dal pavimento. La parte più vasta di questa costruzione, che occupa l' intera ala occidentale della basilica innalzata da Apollodoro di Damasco, potrebbe costituire l' embrione di un sorprendente sistema museale composto da spazi sotterranei. A cominciare dalla sistemazione della galleria, peraltro già prevista nei piani della Soprintendenza archeologica, che collega i resti romani sotto Palazzo Valentini (utilizzando anche il rifugio antiaereo costruito sotto il cortile) all' area degli horrea ancora sommersi a ridosso della Colonna Traiana, per continuare con gli scavi da eseguire di sotto via dei Fori Imperiali allo scopo di connettere tra loro parti del complesso archeologico oggi separate. Sull' altro lato di via dei Fori, continuando le gallerie abbandonate che si dirigono verso il Monumento a Vittorio Emanuele II (vecchi sondaggi che raggiungono il limite del Foro di Traiano) ritengo che si potrebbe arrivare ai grandi spazi sotto le volte, poco distanti, che sostengono la scalinata del Vittoriano. Continuando, potrebbero essere raggiunti i vuoti sotto la scalinata dell' Aracoeli, oggi ridotti a deposito, valutando poi non solo l' ipotesi di spingersi ad utilizzare le estese cavità prodotte dalla secolare estrazione del tufo sotto il Campidoglio (le quali, ora convertite a magazzini, dovranno in ogni modo essere consolidate), ma perfino la possibilità di percorsi che potrebbero congiungere e rendere visitabile il sistema di passaggi, gallerie, cunicoli, che conduce al teatro di Marcello. Ne risulterebbe, in alternativa all' idea di parco archeologico segregato, un poderoso sistema dimostrativo integrato nel cuore stesso di Roma, ricavato ristrutturando e collegando tra loro spazi esistenti oggi in abbandono. Un complesso degno di una grande capitale, che ripagherebbe i grandi sforzi necessari alla sua realizzazione raccogliendo la vocazione ipogea comune a molti spazi archeologici romani: mitrei, ninfei interrati, cripte, carceri, cimiteri. Una vocazione consolidata dalla memoria della Roma sotterranea, misteriosa, magica, iniziatica, indagata nel passato con solitaria passione da scrittori e artisti, verrebbe così raccolta e riproposta come potente narrazione, corale e continua, sepolta nelle vive viscere della città.
FONTE | SOURCE:
-- CORRIERE DELLA SERA (21|09|2004).
archiviostorico.corriere.it/2004/settembre/21/tesori_dell...
3). ROMA - I gioielli del Museo dei Fori diecimila reperti di Roma antica - E per Palazzo Rivaldi pronti 14 miliardi - Visita nei depositi sotto la Basilica Ulpia tra fregi architettonici e statue in attesa di esposizione. Apertura a metà 2003, LA REPUBBLICA (24|09|2001), p. 3.
In attesa. Diecimila reperti architettonici, statue, capitelli, colonne. Chiusi nei depositi ai piedi della Colonna Traiana, nella biblioteca della Basilica Ulpia, a lato della grande mezzaluna dei Mercati Traianei. Sigillati, catalogati e riposti sugli scaffali ancora per qualche stagione, prima di tornare sotto gli occhi della gente a testimoniare la storia di Roma antica ancora più a fondo di quanto facciano scavi e monumenti. Sono i gioielli che andranno a costituire il Museo dei Fori imperiali, l'anello ancora mancante della mastodontica impresa di riorganizzazione dell'area archeologica centrale, che troverà sede all'interno dei Mercati di Traiano. Visitare questi depositi sotterranei, soffiar via la polvere del tempo da questi capolavori è, insieme, un rapido tuffo nel passato e uno sguardo a un futuro ormai prossimo.
Per il "polo museale" dei Fori l'inaugurazione è prevista a metà 2003: verranno esposti i pezzi migliori portati alla luce nel corso degli scavi degli anni Trenta ma anche delle più recenti campagne giubilari. Ecco così i due guerrieri daci ritrovati nel Foro di Traiano un paio di anni fa ora custoditi in un'aula dei Mercati semisconosciuta, destinati a stare accanto ai fregi architettonici che decoravano le piazze dell'imperatore, colossali e sufficienti a dare l'idea della maestosità degli spazi pubblici frequentati dal popolo romano. Oltre i cancelli incatenati del deposito della basilica Ulpia, oggi sorvegliati da implacabili occhi elettronici e da magnifici gatti a mo' di sentinelle, stanno allineati a perdita d'occhio i pezzi che accendono di entusiasmo la passione di studioso del sovraintendente Eugenio La Rocca in visita insieme alla direttrice dei Mercati, Lucrezia Ungaro.
Ma il Museo dei Fori ai Mercati di Traiano non si limiterà a tirar fuori alcuni tra gli ultimi "invisibilia" romani. Nelle casse dell'assessorato alle Politiche culturali sono infatti già pronti 14 miliardi per l'acquisizione di Palazzo Rivaldi, di fronte alla Basilica di Massenzio, che accoglierà la sezione virtualedidattica del museo con plastici e ricostruzioni digitali. L'edificio, in condizioni di grave degrado, è di proprietà Ipab, nei confronti della quale il Comune intende avvalersi del diritto di prelazione nel momento di un'asta pubblica. Circa cinquanta miliardi servirebbero poi al restauro e all'allestimento.
Tra i vari cantieri aperti nell'area, quello per la sostituzione della "passerella di Campo Carleo" che portava da via dei Fori proprio all'interno dei Mercati: dietro le impalcature si sta rimpiazzando la vecchia struttura con una leggera. Sono conclusi, invece, i lavori di riordino del giardino ai piedi della Torre delle Milizie aperta per visite guidate e attrezzata di nuovi camminamenti che conducono i turisti fino a un belvedere sopra la piazza del Foro.
«Il complesso di questi interventi si inquadra nella prospettiva di musealizzazione e risistemazione dei Fori per la quale è al lavoro una commissione specifica spiega l'assessore Gianni Borgna Esclusa la parte del Museo dei Fori imperiali vero e proprio nei Mercati, l'accesso dovrà essere libero, tranne alcune parti per le quali progettiamo di istiture comunque un unico biglietto e una gestione unitaria. I visitatori dovranno potersi muovere liberamente dal Colosseo alla Colonna Traiana».
Dunque, il Museo dei Fori sarà un insieme complesso, nel quale si incroceranno sezioni didattiche a monumenti all'aria aperta, tante sale espositive già pronte e passeggiate sotterranee da mettere a punto in termini più precisi nei prossimi mesi. Ma non è ancora tutto. Eugenio La Rocca e Gianni Borgna guardano già da qualche tempo con interesse particolare a Palazzo Tiberi, sede del cosiddetto "viscontino" su via IV Novembre. Là dove ora siedono nei banchi i ragazzini del centro storico potrebbe nascere una nuova struttura legata al Museo e ai Fori imperiali: servizi aggiuntivi, libreria, biblioteca e anche uno splendido caffè.
FONTE | SOURCE:
-- LA REPUBBLICA (24|09|2001).
ricerca.repubblica.it/repubblica/archivio/repubblica/2001...
s.v.,
-- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA: I Fori Imperiali – Dott.ssa FRANCESCA CAVAGNINO, et. alli., “PROGETTO DI ALLESTIMENTO DEL SISTEMA DI AMBIENTI SOTTERRANEI DI COLLEGAMENTO FRA IL FORO DI TRAIANO E IL FORO DI CESARE,” FORMA VRBIS, NO. 10 | OTT (2012), pp. 30-39 [in PDF]. [Anche s.v., Dott.ssa Arch. Barbara Baldrati (2002-04), = “Tavola 1, Il Foro di Cesare: Il monumento, dalla sua realizzazione ad oggi (61 a. C. – 2001). Planimetrie dell’area dei Fori (quota + 22,00 m s.l.m. e quota + 13,00 m s.l.m.). Scala metrica 1:500.” La Sapienza (2002-04).
-- ROMA ARCHEOLOGIA & RESTAURO ARCHITETTURA: Via dei Fori - tunnel che collega il Foro di Cesare e il Foro di Traiano (1999-2015). Foto & Stampa (1 di 71) [05|2015].
www.flickr.com/photos/imperial_fora_of_rome/sets/72157643...
Convenio marco de cooperación interinstitucional se firmó en nuestras instalaciones para promover relaciones académicas, culturales y científicas.
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0078 Catedral de la Puebla de los Angeles(Puebla de los Angeles)México
En 1552 una Cédula Real, firmada por el rey Felipe II ordena, en Monzón, la construcción de una nueva Catedral en la ciudad de Puebla, dado que la anterior se hallaba muy deteriorada. Así pues, en 1560 se habló de una sesión del cabildo eclesiástico acerca de la Cédula Real para que la nueva Catedral se construyera a la manera de las españolas. Entre los años 1562 y 1571 se compró el terreno y ya para el 24 de enero de 1575 el entonces virrey, Martín Enríquez, designó a Juan de Cirogondo, vecino este de la ciudad de México como el Obrero Mayor a Don Francisco Becerra.La monumental obra avanzada lentamente y, de hecho, tuvo que suspender entre los años 1618 y 1640 cuando se llevaba la tercera parte. Pero el entusiasmo y la libertad del Obispo Juan de Palafox y Mendoza (1640-1649) permitieron su conclusión en 1649. El Obispo había conseguido la Cédula Real que le permitía continuar la obra; asimismo, el prelado se encargaba de visitar cada semana a los 1500 oficiales y peones ocupados en la magna construcción.Finalmente, el templo se consagró el 18 de abril de 1649, aunque nos hubiesen terminado aún las torres y la fachada. El Obispo Palafox condujo enseguida los restos de cinco de sus predecesores que yacían sepultados en la Iglesia antigua, al altar mayor de la nueva Catedral, y entre ellos destaca el obispo de Tlaxcala, Fray Julián Garcés.En el año de 1799, se destruyó el antiguo panteón en el que se encontraban sepultados eminentes obispos; ellos fueron trasladados al ciprés o Altar Mayor.Esta maravilla arquitectónica, fue construida por Manuel Tolsá y concluida en 1819. Delante de nuestra Señora de la Piedad o del Perdón, en el piso, se colocó la lápida del sepulcro del XIX Obispo Abreu; este lugar se había destinado para el Obispo de Juan de Palafox y Mendoza, pero no fue usado debido a que el prelado murió en España en el año de 1659, siendo Obispo de Osma.
En la fachada principal de la Catedral, en el primer cuerpo a la izquierda de la Puerta del Perdón, se encuentra la estatua de San Pedro con el libro y la llave; a la derecha la de San Pablo con la espada; en tanto, en la parte superior dos escudos; el de la Catedral, representado por un jarrón de azucenas (símbolo de la Inmaculada Concepción de María). En el centro del arco se ve el escudo papal, que es la triple corona con las llaves de San Pedro. Cabe mencionar que éste término escudo se encuentra elaborado en herrería en la reja principal; las estatuas de los apóstoles y dicho escudo marca la relación de la Catedral poblana y Roma. En el segundo cuerpo del escudo a la izquierda, se observa a San José llevando de la mano al niño Jesús mientras que, a la derecha, vemos a Santiago el Mayor, con un calabazo sobre el báculo y arriba un pino. En el tercer cuerpo del escudo se ve un rectángulo que dice: “Año de 1664”. Arriba de este se halla el escudo de España. Sobre la puerta izquierda de la catedral está un relieve que representa a Santa Rosa de Lima recibiendo rodas de la Virgen. El relieve sobre la puerta derecha, por su parte a Santa Teresa en los momentos en que un Ángel la hiere con una flecha en el corazón.La puerta del costado que ve hacia el zócalo, se llama la puerta de San Cristóbal (1822), por la gigantesca estatua hecha de madera de este Santo Patrón, que primero se localizaba atrás de esta puerta desde la inauguración de la Catedral (1649), hasta los tiempos del intendente Flon (1786-1811), actualmente se encuentra en el museo del INAH., dejando libre el espacio donde se colocó un lienzo enorme para su devoción.A la izquierda de la fachada mencionada, bajo la estatua de San Mateo se lee “hoc opus” que significa “esta es la obra”. A su costado derecho se puede ver a San Juan Evangelista con el águila y una inscripción más que dice: “hic labora” que significa “este es el trabajo”. Otra inscripción puede leerse en el segundo cuerpo hacia arriba, “Has est omus domini” que quiere decir “ésta es la casa del Señor”. Entre otros detalles, a la izquierda se observa a San Lucas, a la derecha San Marcos y, en la parte superior, a los reyes Felipe III y IV, rematando a la izquierda con la tiara papal y las llaves y a la derecha con el escudo de la Catedral.
Cabe mencionar que en esta fachada se hace referencia a los monarcas españoles que contribuyeron, durante sus reinados, a la edificación de este monumental obra.La torre sur de la Catedral se inició en 1731 y se concluyó en 1768, el día de San Miguel Arcángel, patrono de esta Cuidad, y en suma, las dos que sobresalen de la misma, con sus 70 metros de altura, constituyen las más sobresalientes de la República.La nave principal de la Catedral está dividida en nueve tramos: dos del trascoro, dos del coro, uno de planta cuadrada para la cúpula, dos para el presbiterio, uno que liga las naves procesionales con la cabecera y finalmente, otro más ancho para la capillas que cierran el inmueble son catorce y miden 5.44 metros de ancho por 5.86 metros de alto.Las capillas de la epístola o lado sur están, bajo las siguientes advocaciones: Nuestra Señora de la Soledad, Sábana Santa, el Señor de la Columna, San Juan Nepomuceno, Capilla de las reliquias, Sagrado Corazón de Jesús y Nuestra Sra. de los Dolores, por esta capilla esta la entrada a la Sacristía.
La capillas del Evangelio o lado norte son: las de San Nicolás de Bari, de la Preciosa Sangre, de la Inmaculada Concepción, Dulce Corazón de María, Nuestra Señora de Guadalupe, San Pedro Apóstol y Santiago el Menor. El enlace al Sagrario es por esta capilla.
El altar dedicado a La Virgen del Perdón, se encuentras en el área del trascoro, que tomando la tradición española a esta parte se le llama “Del Perdón”, porque siendo prácticamente el vestíbulo del recinto, queda semi aislado del resto del templo, se aprovecha el muro que cierra a la vista la nave central, para dedicar un altar privilegiado con indulgencias especiales, sí se ha pedido el perdón sacramental o se pretende hacerlo; La imagen de la Virgen es de la Inmaculada Concepción siglo XVIII.
El altar de los reyes tiene en su retablo las esculturas siguientes: en el primer cuerpo, San Luis Rey de Francia y Santa Margarita de Escocia, nacida en Hungría; en el segundo cuerpo, San Fernando, Rey de España y Santa Isabel, princesa de Hungría. En el tercer cuerpo, San Eduardo, Rey de Austria y Santa Elena, madre del emperador romano Constantino.
Originalmente la cúpula del presbiterio estaba forrada con casetones azules y blancos, posteriormente fue pintada por Cristóbal de Villalpando, por ordenes de Don Cristóbal Francisco del Castillo. Sin duda esta es una de la obras más hermosas del pintor.
LA SALA CAPITULAR
Esta sala de la Catedral, ha cambiado de sitio varias veces, primeramente es el salón gemelo de la sacristía, que más tarde fue habitado como Sagrario, quedando, como hasta hoy separado del recinto principal, inclusive en cuestiones de culto. Más tare fue levantado el aposento que actualmente es el Salón de los Gobelinos, con su cúpula para mayor solemnidad, y luego, en el siglo XIX, la construcción de la sala que en nuestros días sirve para los efectos mencionados.
La actual sala Capitular tiene al Salón de Gobelinos como antesala, aunque es una tanto más estrecha pues mide apenas 5.07 m. De ancho por 20 m. de longitud. Está cubierta con unas bóvedas de arista, apenas apuntadas, una de ellas con una claraboya, óculo u “ojo de buey”, en el muro testeral.
EL CORO
Este es un espacio cerrado reservado al sitial o cátedra del obispo y a las sedes para el cabildo, conformado por los canónigos que hacen las veces de senado episcopal.
Tres son los órganos que se encuentran sobre el deambulatorio superior del coro, dos antiguos y uno moderno; este último ostenta el escudo pontificio de Paulo VI y el episcopal de Octaviano Márquez y Toriz
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Finally I realized this roll is also expired.
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The red tone...is too red...
Para contribuir con mejores condiciones laborales y calidad de vida para más de 178 mil miembros activos de la Policía Nacional, se firmó hoy un Memorando de Entendimiento con el Ministerio del Trabajo, con el compromiso de aunar esfuerzos técnicos y administrativos en asesoría y capacitación para estructurar el Sistema Gestión de Seguridad y Salud en el Trabajo (SG-SST) en la entidad.
Es de recordar que este Sistema propende por la prevención de lesiones y enfermedades causadas por las condiciones de trabajo, mejorar el ambiente laboral, además de generar protección y promoción de la salud de los empleados.
En el marco de la semana de la Seguridad y Salud en el Trabajo, la ministra de la cartera laboral, Clara López Obregón, y el director de la Policía Nacional, general Jorge Hernando Nieto, firmaron este acuerdo, que contó con la presencia del Coordinador para Colombia de la Organización Internacional del Trabajo, Italo Ayala Cardona y la viceministra de Relaciones Laborales e Inspección, Mariella Barragán.
Si bien, la Policía tiene un régimen especial, que no obliga a la implementación del Sistema para sus integrantes, la Institución adopta el SG-SST para sus integrantes -antes conocido como Sistema de Salud Ocupacional-, con el fin de prevenir, proteger y atender los efectos de las enfermedades y accidentes que puedan ocurrir como consecuencia del trabajo que desarrolla el personal de la Policía como físicos, químicos, biológicos, ergonómicos, psicosociales, de saneamiento y de seguridad.
Así mismo, permite fortalecer las actividades tendientes a establecer el origen de los accidentes y enfermedades laborales y el control de los agentes de riesgos ocupacionales.
“El acuerdo será por tres años, prorrogables por periodos similares, con base en los resultados obtenidos en la implementación del Sistema, para lo cual el Ministerio del Trabajo participará en talleres, mesas y grupos de asistencia técnica con el fin de orientar y socializar la implementación del mismo”, destacó López Obregón.
La Ministra del Trabajo también explicó que: “los Sistemas de Gestión y Seguridad en el Trabajo están dirigidos a la protección de la salud y vida de más de 10 millones de trabajadores y se aplican a más de 668 mil empresas públicas y privadas afiliadas al Sistema General de Riesgos Laborales del país, con los cuales se pretende disminuir los indicadores de accidentalidad, enfermedades y ausentismo que aqueja a la población trabajadora”.
El general Nieto destacó que "queremos minimizar todos los riesgos en las actividades de la institución y poder generar mayor efectividad y menos riesgos para los uniformados como la de sus familias".
Por su parte, Italo Ayala, coordinador para Colombia de la OIT concluyó que, "con este convenio pasaremos de una política a una cultura de prevención de riesgos en la institución y un ejemplo en la región y en el mundo de lo que puede realizarse como un compromiso en favor de la seguridad y salud en el trabajo".
(Información tomada de www.mintrabajo.gov.co)