View allAll Photos Tagged hierarchical
I was trying to describe a system in which a PLN encourages mentorship at lower levels. At some stage, the course experts should encourage participants below them to recover old ground and attempt to guide new participants along their learning journey. This would have the benefit of:
a) not excluding new members from old discussions
b) forcing the body of knowledge to be re-evaluated and re-inforced among participants
c) allowing higher-level experts to continue along their learning journey without getting bored with lower level theory (should still be involved, but able to take a step back)
All brown bears live by an unspoken hierarchy, but one that is very much known amongst their kind nonetheless. The Katmai NP brown bears are no different.
These bears generally prefer to live in their own territorial space, but when the food is plentiful, such as when the salmon are running, or when they have other things on their mind, like attracting a female to mate with, they find a way to co-exist. That doesn't mean that confrontations don't happen.
In this image, these two males were challenging each other for the affection of one of the nearby females. In the enormity of the wilderness and grassy areas to feed upon, they managed to cross paths. I, being totally against blood shed of these amazing creatures, was preparing myself for the worse.... having never been witnessed to the bears in the mating season. I wondered.... would they defend their own right fiercely by fighting upright, with their ferocious growling and snapping? Would it be quick or long and drawn out? Would a winner ever be declared?
to my surprise, these two met face-to-face or should I say muzzle-to-muzzle and gave long deep growls of warning. Hackles became prominent and the saliva was flowing and the stand-off was on. It did, however, end peacefully as the smaller of the two, who by the way started the whole confrontation, realized he might as well quit while he was ahead - so he just dropped his head and began grazing on the green grass. The "winner" then did the same.... as if nothing had ever happened!
It's quite fascinating to watch the behavior of these powerful animals. It's also amazing to see how they yield to the hierarchy that exists in their world and, in doing so, co-exist for the time.
Thanks for stopping by to view and comment, as they are both greatly appreciated. I'll have another week or so of Alaska images, then start mixing them in again.
Happy Hump Day!
Nicolaes Pietersz Berchem. 1620-1683. Amsterdam. Paysage italien avec bergers et troupeaux. Italian Landscape with Herdsmen and Flocks. vers 1670. Cologne Wallraf Richartz Museum.
UNE PETITE HISTOIRE DE LA PEINTURE EUROPEENNE
L'Art de tous les temps et à toutes les époque s'est décidé en haut des hiérarchies sociales et a été le reflet des volontés des élites politiques et idéologiques du temps.
L'art de tous les temps et dans toutes les sociétés est un moyen pour les élites d'imposer une religion (sacrée) ou une idéologie (profane, laïque). L'art est donc un intéressant révélateur de la pensée philosophique et morale qui inspire les élites d'une société donnée en un temps donné. Ces religions ou idéologies peuvent différer beaucoup quant au bénéfice que les peuples vont, ou non, en retirer. Certaines sont propices à l'établissement de civilisations au long cours (Egypte ancienne, Antiquité greco-romaine, Christianisme, Hindouisme, Bouddhisme, Islam....) d'autres sont plus ou moins rapidement mortelles ( Religions Aztèque et Inca, Communisme, National-Socialisme).
En effet certaines idéologies, sacrées ou profanes, conçues par les élites, ont été, à plus ou moins court terme, acceptées et totalement partagées par les peuples qui y ont adhéré sans réticence. Elles peuvent alors s'imposer totalement sans heurter les sentiments et les libertés des populations, ou tout au moins d'une majorité largement significative, voire faire l'unanimité à l'intérieur de leur société durant une longue période de temps.
D'autres idéologies par contre ont été imposées par les élites, mais n'ont pas suscité l'adhésion unanime ou majoritaire des peuples qui sont entrés en résistance, passive ou active avec plus ou moins de succès au bout d'une période plus ou moins longue.
Il est possible de rencontrer dans l'histoire du monde une autre situation: celles d'idéologies, sacrées ou laïques, souvent de provenance étrangères, qui ont été adoptées, ou auraient été adoptées, par des peuples, mais ont été combattues par les élites idéologiques et politiques du pays.
1° La peinture européenne, du 5è siècle au 15è siècle, est totalement inspirée par les thèmes religieux dictés par le catholicisme et l'orthodoxie. Les racines de l'Europe sont donc bien, non pas chrétiennes, mais catholiques et orthodoxes. C'est un fait qui déplait à beaucoup d' Idéologues et de politiques contemporains, surtout en France. Certes ces racines disparaissent, c'est un fait aussi, et les Influents Innommables du mondialisme font tout pour que les peuples européens perdent jusqu'au souvenir de leurs racines.
2° Au 15è siècle en Europe, plus particulièrement en Italie, apparaissent des thèmes nouveaux tirés de l'Antiquité Grecque et Romaine. Autres racines, plus anciennes, en voie de disparition à notre époque. Les Influents mécènes ne sont plus seulement d'Eglise, ils viennent de l'Aristocratie guerrière, foncière et de la ploutocratie marchande. C'est l'Art Humaniste dans lequel la religion, catholique et orthodoxe et l'Antiquité (Mythologie et Histoire) coexistent en bonne intelligence. Le portrait devient un genre en lui même, indépendant.
3°Au 17è siècle dans les Pays Bas du Nord, protestants, s'est produit une petite révolution idéologique, la Réforme, qui modifie du tout au tout, à plus ou moins longue échéance, l'art de la peinture en Europe : Disparition presque totale de l'art religieux, et de l'art inspiré par les valeurs de l'Antiquité greco-romaine, au profit d'un art profane, uniquement occupé par la société du présent. On a parlé d'Art Naturaliste.
Epanouissement de la peinture de paysage, qui est traité seul, pour lui même, sans prétexte religieux ou mythologique.
Apparition de la peinture de moeurs, descriptive de la société quotidienne. Non seulement dans les milieux aristocratiques, mais aussi dans les milieux bourgeois et paysans.
Développement du portrait qui ne concerne plus seulement l'aristocratie, mais aussi les classes moyennes.
Apparition de la "Nature morte" en tant que thème totalement indépendant. Peinture des objets, des animaux, des fleurs. Une peinture qui peut prendre un ton moraliste avec les "Vanités".
Pendant tout le 17è et encore au 18è cette peinture naturaliste du présent reste principalement limitée aux Pays Bas.
Les autres pays d'Europe continuent dans la voie ouverte par l'Art Humaniste et les thèmes principaux de la peinture demeurent la religion et l'Antiquité. Rares sont en France, en Allemagne, en Italie en Espagne, en Grande Bretagne les peintres influents totalement spécialisés dans le paysage ou la peinture de moeurs. Il en existe, mais ils restent une minorité. La peinture de paysage demeure principalement liée aux grands sujet religieux, mythologiques ou historiques. La nature morte est de même bien moins développée qu'aux Pays Bas. Le Portrait reste l'apanage des classes aristocratiques ou des grands bourgeois.
4° La fin du 18è, le 19è et le début du 20è siècle voient la peinture européenne se diversifier de manière presque explosive. C'est une époque extraordinairement plurielle pour l'art européen. Une époque de liberté et de grande diversité idéologique. Non seulement les thèmes les plus divers sont traités partout en Europe, mais les techniques de la peinture se diversifient et se renouvellent. En fin de période apparaît une nouveauté intéressante : l'Art Abstrait.
Des thèmes et une diversité qui vont totalement disparaître après les années 1950.
5° Vers 1950 s'impose, dans les musées occidentaux, ce que l'on appelle l'Art Contemporain, témoin de la nouvelle idéologie mondialiste de la Table Rase et d'un art sans aucunes racines culturelles. A voir les oeuvres d'art exposées dans les Musées d'Art Contemporain le but des élites mondialistes est très clair : aculturer les hommes, uniformiser les peuples du monde pour mieux les dominer.
L'histoire de l'art européen contient un enseignement qui tient en un constat de fait et un jugement :
1° De - 500 à + 1950 l'art européen en peinture et en sculpture s'est voulu Beau et dans son ensemble a été beau.
2° A partir de la deuxième moitié du 20è siècle l'art européen, devenu l'art occidental, l'art officiel, celui des élites idéologiques et politiques, a rejeté la finalité du Beau. L'Art Contemporain officiel est Laid.
Ce sont des faits. Il est possible de les nier, mais ce sont des faits quand même.
3° l'Art Contemporain Officiel, laid, est un signe de décadence, de destruction, de mort. Car tout est lié, le Beau, le Bien, le Vrai. C'est un jugement, qu'il est possible de ne pas partager.
A LITTLE STORY OF EUROPEAN PAINTING
Art of all times and in all ages, has decided at the top of the social hierarchy, and was a reflection of the will of political and ideological elite of the time.
The art of all times and in all societies is a means for the elites to impose a (sacred) religion or an ideology (secular, secular). Art is therefore an interesting revealer of the philosophical and moral thought that inspires the elites of a given society in a given time. These religions or ideologies can differ a lot as to the benefit that peoples will or will not withdraw. Some are conducive to the establishment of long-term civilizations (ancient Egypt, Greek-Roman antiquity, Christianity, Hinduism, Buddhism, Islam ...) others are more or less rapidly mortal (Aztec and Inca religions, Communism, national Socialism).
Indeed, certain ideologies, sacred or secular, conceived by the elites, have been, more or less short term, accepted and totally shared by the peoples who adhered to it without reluctance. They can then impose themselves completely without hurting the feelings and freedoms of the people, or at least a largely significant majority, even unanimity within their society for a long period of time.
Other ideologies, on the other hand, have been imposed by the elites, but did not generate the membership unanimous or majority of peoples that came into resistance, passive or active with more or less success after a shorter or longer period.
It is possible to encounter a different situation in the history of the world: those of ideologies, sacred or secular, often of foreign origin which have been adopted, or would have been adopted by peoples, but were fought by the elites ideological and political of the country.
1. The European painting from the 5th century to the 15th century, is totally inspired by religious themes dictated by Catholicism and Orthodoxy. Europe's roots are threrefore welle, not Christian, but Catholics and Orthodox. It is a fact that displeases many Ideologues and political contemporaries, especially in France. Certainly these roots disappear, it is also a fact, and the Influents, Innommables (Unspeakables), of the Globalism do everything to make that the European peoples lose the memory of their roots.
2. In the 15th century in Europe, especially in Italy, appear new themes drawn from Antiquity Greek and Roman. Other roots, most ancient, as endangered in our time. The Influents patrons are not only for the Church, they come from the warrior aristocracy, land tenure, and the Merchant plutocracy. This is the Humanist Art, in which the Catholic and Orthodox religion and Antiquity (Mythology and History) coexist in harmony. The portrait became a genre in itself, independent
3. In the 17th century, in the Netherlands Northern, Protestant, occured a ideological revolution, the Reformation, which amends completely, more or less long term, the art of painting in Europe: Almost total disappearance of religious art, and art inspired by the values of the Greco-Roman Antiquity, in favour of a secular art, only occupied by the society of the present. There was talk of a Naturalist Art
Developpement of landscape painting, which is treated alone, for himself, without religious or mythological pretext.
Appearance of the painting of manners, descriptive of everyday society. Not only in aristocratic circles, but also in bourgeois and peasants circles.
Development of the portrait, which no longer concerns only the aristocracy, but also the middle classes.
Appearance of "Still Life", as a completely independent theme. Painting objects, animals, flowers. A painting can take a moralistic tone with "the Vanities."
During the 17th and again in the 18th, this naturalistic painting is mainly restricted to the Netherlands.
Other European countries continue in the path opened by the Humanist Art and the main themes of the painting remains the religion and antiquity. Few are in France, Germany, Italy, Spain, Great Britain, influential painters totally specialized in landscape or painting of manners. They exist, but they remain a minority. Landscape painting remains primarily linked to the religious, mythological or historical subject. The still life is even less developed than in the Netherlands. The Portrait is the prerogative of the aristocratic classes or the great bourgeoisie.
4. At the end of the 18th century, during the 19th and early 20th century European paintings diversifies, almost explosively. It is an extraordinarily pluralistic era for European art. An era of freedom and great ideological diversity. Not only the most diverse themes are treated everywhere Europe, but the techniques of painting are diversifying and renewing. At the end of period appears an interesting novelty: Abstract Art.
Themes and a diversity that will completely disappear after the 1950s.
5. Around 1950 is needed in the Western museums, the so-called Contemporary Art, witness the new globalist ideology of Table Rase and an art without any cultural roots. To see the works of art exhibited in the Museum of Contemporary Art, the goal of the globalist elite is very clear: eliminate the differences in culture between men, standardizing the peoples of the world, in order to better dominate.
The history of European art contains a teaching that is based on a statement of fact and judgment:
1 ° From - 500 to + 1950 European art in painting and sculpture wanted to be beauitful, and as a whole was beautiful.
2 ° From the second half of the 20th century, European art, now Western art, the official art, that of ideological and political elites, rejected the finality of the beautiful. Official Contemporary Art is Ugly.
These are facts. It is possible to deny them, but they are facts anyway.
3° Official Contemporary Art, ugly, is a sign of decadence, destruction, death. Because everything is connected, the Beautiful, the Good, the True. It's a judgment, that it's possible not to share.
Sunday, July 3, 2016 â NASHVILLE, Tenn. â Almost a thousand people attended the Hierarchical Divine Liturgy this morning that began the 43rd Biennial Clergy-Laity Congress of the Greek Orthodox Archdiocese of America.
The Orthros service and Hierarchical Concelebration of the Divine Liturgy were held in the Grand Ole Opry House.
His Eminence Archbishop Demetrios Geron of America presided over the Divine Liturgy concelebrating with all the Metropolitans of the Holy Eparchial Synod of the Archdiocese. Taking part in the Liturgy were His Eminence Metropolitan Iakovos of Chicago, His Eminence Metropolitan Methodios of Boston, His Eminence Metropolitan Isaiah of Denver, His Eminence Metropolitan Alexios of Atlanta, His Eminence Metropolitan Nicholas of Detroit (the host Metropolitan of this yearâ s Congress), His Eminence Metropolitan Savas of Pittsburgh, His Eminence Metropolitan Gerasimos of San Francisco, and His Eminence Metropolitan Evangelos of New Jersey.
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Philippe de Champaigne. 1602-1674. La Naissance de la Vierge. The Birth of the Virgin. 1639. Arras. Musée des Beaux Arts.
LA FEMME DANS LA PEINTURE EUROPEENNE 1
Une question : Dans quelles grandes civilisations mondiales, à part l'Europe chrétienne (Catholique, Orthodoxe, puis seulement à partir du 17è siècle, Protestante) la femme a, officiellement, gouverné les hommes, et légitimement tenue sa place dans la hiérarchie politique ?
A Question: In what major world civilizations, except the Christian Europe (Catholic, Orthodox, and only from the 17th century, Protestant) woman has officially ruled the men, and legitimately held its place in the political hierarchy?
La peinture (et la sculpture) européennes sont tout à fait remarquables par la place importante qu'elles ont accordé à la femme dans l'art. Une importance que l'on ne retrouve nulle part ailleurs dans l'art des grandes civilisations. Sauf dans l'Egypte antique, la Crète minoenne, et dans l'Hindouisme.
La Grèce et Rome offrent de multiples exemples de représentations de la femme, habillée ou nue. En peinture l'héritage est mince (essentiellement les céramiques), mais la sculpture témoigne de l'importance de la femme comme thème de l'art..
Avec l'Europe chrétienne, ou plus exactement catholique et orthodoxe, la femme ne disparaît nullement de la sculpture ou de la peinture. Elle s'habille. L'art de l'Europe catholique notamment fait une grande place à la femme. Vénus, Diane, les Nymphes disparaissent. Mais les Saintes sont innombrables, et la Vierge est omniprésente. La Vierge est, aussi et surtout, la Mère de l'Enfant. Quel art dans le monde a fait autant de place à la mère et à l'enfant ?
Mais il existe un espace non négligeable pour le Nu dans la peinture catholique, à l'ouest de l'Europe. Pas à l'Est, dans l'art orthodoxe.
Quelques thèmes de l'Ancien Testament permettaient aux peintres de ne pas perdre la main dans représentation du nu féminin, et de satisfaire avec discrétion la libido de leurs clients aristocrates. Adam et Eve, Bethsabée au Bain, Suzanne et les vieillards, Lot et ses filles, Samson et Dalila, Judith et Holoferne. Le nu masculin est représenté lui aussi fort souvent, avec le Christ, Adam et quelques saints, Jérôme, et surtout Saint Sébastien, dont les représentations sont toujours très orientées.
A la " Renaissance" la représentation du nu féminin augmente très sensiblement, en même temps que les thèmes tirés de la Mythologie et de l'histoire gréco-romaine. Les peintres ont désormais la possibilité d'ajouter aux thèmes de l'ancien testament ceux de l'Antiquité. Dans toute l'Europe, au nord (Cranach) comme au sud, c'est une explosion de nus féminins. Et de nus masculins aussi, car le nu a été un sujet de prédilection de peintres de la fin du 15è et du 16è siècle dans leur reconquête technique du rendu réaliste des figures humaines.
Avec la Réforme la peinture religieuse disparaît presque totalement, mais dans la peinture profane, la représentation du nu féminin disparaît aussi. Sauf quelques exceptions dans l'art religieux de Rembrandt qui constitue ainsi une double exception dans le monde protestant (peinture religieuse et nu féminin)
La femme est très présente dans la peinture protestante, profane, des Pays Bas du Nord, mais elle est tout à fait habillée. Il n'y a plus d'Eve ou de Suzanne, ni de Filles de Lot. La femme n'est plus Vierge ou Sainte, elle n'est pas non plus Vénus ou Diane. La femme est bourgeoise, servante, marchande ou paysanne. Et mère. La mère et l'enfant ont conservé une bonne place dans la peinture néerlandaise, mais leur représentation est laïcisée. Ce n'est plus la Mère adorant l'Enfant, c'est la mère épouillant son enfant. Nuances. La femme ivre apparaît, la femme de moeurs facile est suggérée, mais toujours habillée.
A la même époque, le reste de l'Europe au sud, catholique, continue dans la même voie ouverte par la Renaissance : la représentation de la femme est abondante, soit dans le cadre religieux, soit dans celui de l'Antiquité, soit par le portrait. La femme, nue ou habillée, est omniprésente dans l'oeuvre de Rubens. Mais le 17 è siècle finissant et le 18è siècle commençant, deviennent parfois polissons ( Fragonard). L'érotisme est plus affiché dans la représentation du nu féminin.
Au 19è et 20 siècle, à l'époque de l'Art Moderne, la femme continue d'être un sujet de prédilection pour les peintres (et les sculpteurs) et ses représentations sont extrêmement diverses. Il n'est pas toujours certain que la femme y gagne en beauté quand elle finit par ressembler à une guitare, qu'elle s'aplatit jusqu'à pouvoir passer sous les portes, ou qu'au contraire ses jambes et son tronc prennent des allures de tuyau de poêle. Mais l'essentiel est qu'elle soit toujours là.
Avez vous observé que la femme, habillée ou nue, a disparu dans l'Art Contemporain des Musées ?
Les exceptions sont rarissimes.
Il est vrai qu'on voit beaucoup la femme dans les publicités. La femme n'est plus vierge, ni mère, elle n'est plus admirée, elle est consommée.
C'est dans notre société occidentale, éclairée par les "Lumières", une remarquable libération des obscurantismes du passé ?
L'Art est, à toutes les époques, un excellent révélateur des valeurs qui animent une société.
WOMEN IN EUROPEAN PAINTING 1
The painting (and sculpture) European are quite remarkable by the importance they accorded to the woman in the art. An importance that can not be found nowhere else in the art of great civilizations. Except in ancient Egypt and in Hinduism.
Greece and Rome offer multiple examples of representations of women, dressed or naked. In painting, the legacy is thin (mainly ceramics), but the sculpture reflects the importance of women as a theme of art.
With Christian Europe, or more precisely, Catholic and Orthodox, the woman disappears not from the sculpture or painting. She dresses. The art of Catholic Europe in particular made a great place to women. Venus, Diana, the Nymphs disappear. But the holy women are innumerable, and the Virgin is everywhere. The Virgin is also and above all, the Mother of the Child. What art in the world has done as much space to the mother and the child?
But there is an important space for the Nude in Catholic painting, in the west of Europe. Not in the East, in the Orthodox art.
Some themes of the Old Testament allowed the painters of not losing hand in representation of the female nude, and meet with discretion the libido of their aristocratic clients. Adam and Eve, Bathsheba Bathing, Susanna and the Elders, Lot and his daughters, Samson and Delilah, Judith and Holofernes. The male nude is also represented very frequently with Christ but also with Adam and few saints, Jerome, for example, but especially with Saint Sebastian, whose representations are always very focused.
In the "Renaissance", the representation of the female nude increases considerably, along with the themes from mythology and Greek and Roman history. The painters we can now add to the themes of the Old Testament those of antiquity. All over Europe, in the North (Cranach) as in the South, it is an explosion of female nudes. And male nudes too, because the nude was a favorite subject of painters of the late 15th and 16th century in their technical reconquest of the realistic rendering of the human figures.
With the Reformation, religious painting disappears almost totally, but in secular painting the representation of the female nude disappears also. With some exceptions in religious art by Rembrandt, which thus constitutes a double exception in the Protestant world (religious painting and female nude). The woman is very present in the Protestant painting, secular, from the Northern low countries, but the woman is quite dressed. Ended, Eve or Suzanne, or the daugthers of Lot. The woman is no longer Virgin or holy, it is not either Venus or Diana. The woman is bourgeois, servant, merchant, or peasant. And mother. The mother and child have maintained a good place in Dutch painting, but their representation is secularized. It is no longer "the Mother adoring the Child" is the mother delousing her child. Shades. The drunken woman appears, the woman of easy morals is suggested, but always dressed
At the same time, the rest of Europe to the south, Catholic, continues in the same path opened by the Renaissance: The representation of women is abundant or in the religious sphere or in that of antiquity or by the portrait. The woman, nude or dressed, is omnipresent in the work of Rubens. But the 17 th century ended and the 18th century beginning, sometimes become ragamuffins (Fragonard). Eroticism is displayed in the representation of the female nude.
In the 19th and 20 century, in the era of Modern Art, the woman continues to be a favorite subject for painters (and sculptors), and its representations are extremely diverse. It is not always certain that the woman gains in beauty when it ends up looking like a guitar, when it flattened himself until to pass unders the doors or on the contrary, when his legs and his trunk look like stove pipes. But the essentials are the woman is still there.
Have you noticed that the woman, dressed or naked, disappeared in the Contemporary Art Museum?
It's true that we see many women in advertisements. The woman is no longer a virgin, nor mother, she is no longer admired, she is consumed.
It's in our Western society, illuminated by the "Enlightenment", a remarkable liberation of the obscurantism of the past ? Art is, at all times, an excellent indicator of the values that drive a société.
Above the shields of the nobility are bishops and abbots, saints, apostles and angels.
The Great East Window, Gloucester Cathedral.
Water for people - not for profit // Soil not oil // Reject bigotry // Black lives matter // Humanity not hierarchy // Wake up // We gon be alright // HOPE // Farms not pharmacies // The answer is love // EARTH // listen to your body // no justice no peace // Refugees welcome // I am human // My body my choice // Coexist // It takes the DMV Village // End police brutality // #freddiegray // We can't drink money // Silence the shame // One piece at a time // Drop beats not bombs // Stop war // Love all // Build bridges not walls // I can't breathe // Nothing can be changed until it is faced // Global warming is real // There is no planet B // Go girls // Nasty woman // The future is female // Cuba libre // Love is a terrible thing to hate // Build schools not prisons // In solidarity // We love Baltimore
en.wikipedia.org/wiki/Maslow's_hierarchy_of_needs
FYI: I prefer ERG theory (Existence, Relatedness and Growth).
en.wikipedia.org/wiki/ERG_theory
www.valuebasedmanagement.net/methods_alderfer_erg_theory....
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
"But who polices that police police?"
This is a linguistics joke:
en.wikipedia.org/wiki/Buffalo_buffalo_Buffalo_buffalo_buf...
From my animation "Police Show Commercial": www.youtube.com/watch?v=YdyY1qR6gps
Almost all biomedical ontologies are either simple tree structures that represent hierarchical classifications or directed acyclic graphs (DAGs). The difference is that the latter allows a term to be related to multiple broader tems (green arrows) whereas the former does not. Directed cyclic graphs are very rarely used for ontologies; the reason is that cycles (red arrows) can only arise in ontologies that make use of other relationships than is-a and part-of are used [28]. We illustrate each structure with simplified examples, namely an ontology of vertebrates, an ontology of cellular components, and an ontology of cell-cycle regulation that shows the mutual regulation of cyclin-dependent kinase (CDK) and anaphase-promoting complex/cyclosome (APC/C).
doi:10.1371/journal.pbio.1000374.g001
Taken from Figure 1 of Ontologies in Quantitative Biology by Lars Juhl Jensen and Peer Bork
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
Image of one of Wolfgang Bauer's pieces from the upcoming exhibition 'Spring Awakenings', May 2007, at Found Gallery. See www.foundla.com for more information.
The Cathedral Church of Christ, Blessed Mary the Virgin and St Cuthbert of Durham, commonly known as Durham Cathedral and home of the Shrine of St Cuthbert, is a cathedral in the city of Durham, England. It is the seat of the Bishop of Durham, the fourth-ranked bishop in the Church of England hierarchy.
The present Norman era cathedral had started to be built in 1093, replacing the city's previous 'White Church'. In 1986 the cathedral and Durham Castle were designated a UNESCO World Heritage Site. Durham Cathedral's relics include: Saint Cuthbert's, transported to Durham by Lindisfarne monks in the 800s; Saint Oswald's head and the Venerable Bede's remains.
The Durham Dean and Chapter Library contains: sets of early printed books, some of the most complete in England; the pre-Dissolution monastic accounts and three copies of Magna Carta.
From 1080 until 1836, the Bishop of Durham held the powers of an Earl Palatine. In order to protect the Anglo-Scottish border, powers of an earl included exercising military, civil, and religious leadership. The cathedral walls formed part of Durham Castle, the chief seat of the Bishop of Durham.
There are daily Church of England services at the cathedral, Durham Cathedral Choir sing daily except Mondays and holidays, receiving 727,367 visitors in 2019.
The See of Durham takes its origins from the Diocese of Lindisfarne, founded by Saint Aidan at the behest of Oswald of Northumbria in about 635, which was translated to York in 664. The see was reinstated at Lindisfarne in 678 by the Archbishop of Canterbury. Among the many saints who originated at Lindisfarne Priory, the greatest was Saint Cuthbert, Bishop of Lindisfarne from 685 until his death in 687, who is central to the development of Durham Cathedral.
After repeated Viking raids, the monks fled from Lindisfarne in 875, carrying Saint Cuthbert's relics with them. The diocese of Lindisfarne remained itinerant until 882, when the monks resettled at Chester-le-Street, 60 miles south of Lindisfarne and 6 miles north of Durham. The see remained at Chester-le-Street until 995, when further Viking incursions once again caused the monks to move with their relics. According to the local legend of the Dun Cow and the saint's hagiography, the monks followed two milk maids who were searching for a dun-coloured cow and found themselves on a peninsula formed by a loop in the River Wear. Thereupon, Cuthbert's coffin became immovable, which was taken as a sign that the new shrine should be built on that spot, which became the City of Durham. A more prosaic set of reasons for the selection of the peninsula is its highly defensible position, and that a community established there would enjoy the protection of the Earl of Northumbria, with whom the bishop at this time, Aldhun, had strong family connections. Today the street leading from The Bailey past the cathedral's eastern towers up to Palace Green is named Dun Cow Lane due to the miniature dun cows which used to graze in the pastures nearby.
Initially, a very simple temporary structure was built from local timber to house the relics of Saint Cuthbert. The shrine was then transferred to a sturdier, probably still wooden, building known as the White Church. This church was itself replaced three years later in 998 by a stone building also known as the White Church, which in 1018 was complete except for its tower. Durham soon became a site of pilgrimage, encouraged by the growing cult of Saint Cuthbert. King Canute was one of the early pilgrims, and granted many privileges and estates to the Durham monks. The defensible position, flow of money from pilgrims and power embodied in the church at Durham all encouraged the formation of a town around the cathedral, which established the core of the city.
The present cathedral was designed and built under William de St-Calais (also known as William of St. Carilef) who in 1080 was appointed as the first Prince-Bishop by King William the Conqueror. In 1083 he founded the Benedictine Priory of St. Cuthbert at Durham and having ejected the secular canons (and their wives and children) who had been in charge of the church and shrine of St Cuthbert there, replaced them with monks from the monasteries of Wearmouth and Jarrow. The extensive lands of the church he divided between his own bishopric and the new Priory. He appointed Aldwin as the first prior.
Bishop William of St. Calais demolished the old Saxon church, and on 11 August 1093, together with Prior Turgot of Durham (Aldwin's successor), he laid the foundation stone of the great new cathedral. The monks continued at their own expense to build the monastic buildings while the bishop took the responsibility for completing the building of the cathedral. Stone for the new buildings was cut from the cliffs below the walls and moved up using winches. The primary reason for the cathedral was to house the bodies of St. Cuthbert and the Venerable Bede.
Since that time many major additions and reconstructions of parts of the building have been made, but the greater part of the structure remains the original Norman structure. Construction of the cathedral began in 1093, at the eastern end. The choir was completed by 1096. At the death of Bishop William of St. Calais on 2 January 1096, the Chapter House was ready enough to be used as his burial place. In 1104 the remains of St. Cuthbert were translated with great ceremony to the new shrine in the new cathedral. The monks continued to look after the Shrine of St Cuthbert until the dissolution of the monasteries.
Work proceeded on the nave, the walls of which were finished by 1128, and the high vault by 1135. The chapter house was built between 1133 and 1140 (partially demolished in the 18th century). William of St. Carilef died in 1096 before the building was complete and passed responsibility to his successor, Ranulf Flambard, who also built Framwellgate Bridge, the earliest crossing of the River Wear from the town. Three bishops, William of St. Carilef, Ranulf Flambard and Hugh de Puiset, are all buried in the now rebuilt chapter house.
In the 1170s Hugh de Puiset, after a false start at the eastern end where subsidence and cracking prevented work from continuing, added the Galilee Chapel at the west end of the cathedral. The five-aisled building occupies the position of a porch and functioned as a Lady chapel with the great west door being blocked during the Medieval period by an altar to the Virgin Mary. The door is now blocked by the tomb of Bishop Thomas Langley. The Galilee Chapel also holds the remains of the Venerable Bede. The main entrance to the cathedral is on the northern side, facing the castle.
In 1228 Richard le Poore, Bishop of Salisbury, was translated to Durham, having just rebuilt Salisbury Cathedral in the Gothic style. At that moment the eastern end of Durham Cathedral was in urgent need of repair and the proposed eastern extension had failed. Le Poore employed the architect Richard Farnham to design an eastern terminal for the building in which many monks could say the Daily Office simultaneously. The resulting building was the Chapel of the Nine Altars. In 1250, the original roof of the cathedral was replaced by a vault which is still in place.
The towers also date from the early 13th century, but the central tower was damaged by lightning and replaced in two stages in the 15th century, the master masons being Thomas Barton and John Bell.
The Bishop of Durham was the temporal lord of the palatinate, often referred to as a Prince-bishop. The bishop competed for power with the Prior of Durham Monastery, a great landowner who held his own courts for his free tenants. An agreement dated about 1229, known as Le Convenit was entered into to regulate the relationship between the two magnates.
The Shrine of Saint Cuthbert was located in the eastern apsidal end of the cathedral. The location of the inner wall of the apse is marked on the pavement and Saint Cuthbert's tomb is covered by a simple slab. However, an unknown monk wrote in 1593:
[The shrine] was estimated to be one of the most sumptuous in all England, so great were the offerings and jewells bestowed upon it, and endless the miracles that were wrought at it, even in these last days.
During the dissolution of the monasteries Saint Cuthbert's tomb was destroyed in 1538 by order of King Henry VIII, and the monastery's wealth was handed over to the king. The body of the saint was exhumed, and, according to the Rites of Durham, was discovered to be uncorrupted. It was reburied under a plain stone slab now worn smooth by the knees of pilgrims, but the ancient paving around it remains intact. Two years later, on 31 December 1540, the Benedictine monastery at Durham was dissolved, and the last Prior of Durham, Hugh Whitehead, became the first dean of the cathedral's secular chapter.
After the Battle of Dunbar in September 1650, Durham Cathedral was used by Oliver Cromwell as a makeshift prison to hold Scottish prisoners of war. It is estimated that as many as 3,000 were imprisoned, of whom 1,700 died in the cathedral itself, where they were kept in inhumane conditions, largely without food, water, or heat. The prisoners destroyed much of the cathedral woodwork for firewood, but Prior Castell's Clock, which featured the Scottish thistle, was spared. It is reputed that the prisoners' bodies were buried in unmarked graves (see further, '21st century' below), and the survivors were shipped as slave labour to the American Colonies.
Bishop John Cosin (in office 1660–1672), previously a canon of the cathedral, set about restoring the damage and refurnishing the building with new stalls, the litany desk, and the towering canopy over the font. An oak screen to carry the organ was added at this time to replace a stone screen pulled down in the 16th century. On the remains of the old refectory, Dean John Sudbury founded a library of early printed books.
During the 18th century the Deans of Durham often held another position in the south of England and after spending the statutory time in residence, would depart southward to manage their affairs. Consequently, after Cosin's refurbishment, there was little by way of restoration or rebuilding. When work commenced again on the building, it was not always of a sympathetic nature. In 1777 the architect George Nicholson, having completed Prebends' Bridge across the Wear, persuaded the dean and chapter to let him smooth off much of the outer stonework of the cathedral, thereby considerably altering its character. His successor William Morpeth demolished most of the Chapter House.
In 1794 the architect James Wyatt drew up extensive plans which would have drastically transformed the building, including the demolition of the Galilee Chapel, but the Chapter changed its mind just in time to prevent this happening. Wyatt renewed the 15th-century tracery of the Rose Window, inserting plain glass to replace what had been blown out in a storm.
In 1847 the architect Anthony Salvin removed Cosin's wooden organ screen, opening up the view of the east end from the nave, and in 1858 he restored the cloisters.
The Victorian restoration of the cathedral's tower in 1859–60 was by the architect George Gilbert Scott, working with Edward Robert Robson (who went on to serve as Clerk of Works at the cathedral for six years). In 1874 Scott was responsible for the marble choir screen and pulpit in the Crossing. In 1892 Scott's pupil Charles Hodgson Fowler rebuilt the Chapter House as a memorial to Bishop Joseph Barber Lightfoot.
The great west window, depicting the Tree of Jesse, was the gift of Dean George Waddington in 1867. It is the work of Clayton and Bell, who were also responsible for the Te Deum window in the South Transept (1869), the Four Doctors window in the North Transept (1875), and the Rose Window of Christ in Majesty (c. 1876).
There is also a statue of William Van Mildert, the last prince-bishop (1826–1836) and driving force behind the foundation of Durham University.
In the 1930s, under the inspiration of Dean Cyril Alington, work began on restoring the Shrine of Saint Cuthbert behind the High Altar as an appropriate focus of worship and pilgrimage, and was resumed after the Second World War. The four candlesticks and overhanging tester (c. 1950) were designed by Ninian Comper. Two large batik banners representing Saints Cuthbert and Oswald, added in 2001, are the work of Thetis Blacker. Elsewhere in the building the 1930s and 1940s saw the addition of several new stained glass windows by Hugh Ray Easton. Mark Angus's Daily Bread window dates from 1984. In the Galilee Chapel a wooden statue of the Annunciation by the Polish artist Josef Pyrz was added in 1992, the same year as Leonard Evetts' Stella Maris window.
In 1986, the cathedral, together with the nearby Castle, became a World Heritage Site. The UNESCO committee classified the cathedral under criteria c, reporting, "Durham Cathedral is the largest and most perfect monument of 'Norman' style architecture in England".
In its discussion of the significance of the cathedral, Historic England provided this summary in their 1986 report:
The relics and material culture of the three saints buried at the site. The continuity of use and ownership of the site over the past 1000 years as a place of religious worship, learning and residence; The site's role as a political statement of Norman power imposed upon a subjugate nation, as one of the country's most powerful symbols of the Norman Conquest of Britain; The importance of the site's archaeological remains, which are directly related to the site's history and continuity of use over the past 1000 years; The cultural and religious traditions and historical memories associated with the relics of St Cuthbert and the Venerable Bede, and with the continuity of use and ownership of the site over the past millennium.
In 1996, the Great Western Doorway was the setting for Bill Viola's large-scale video installation The Messenger, that was commissioned by Durham Cathedral.
At the beginning of this century two of the altars in the Nine Altars Chapel at the east end of the cathedral were re-dedicated to Saint Hild of Whitby and Saint Margaret of Scotland: a striking painting of Margaret (with her son, the future king David) by Paula Rego was dedicated in 2004. Nearby a plaque, first installed in 2011 and rededicated in 2017, commemorates the Scottish soldiers who died as prisoners in the cathedral after the Battle of Dunbar in 1650. The remains of some of these prisoners have now been identified in a mass grave uncoverered during building works in 2013 just outside the cathedral precinct near Palace Green.
In 2004 two wooden sculptures by Fenwick Lawson, Pietà and Tomb of Christ, were placed in the Nine Altars Chapel, and in 2010 a new stained glass window of the Transfiguration by Tom Denny was dedicated in memory of Michael Ramsey, former Bishop of Durham and Archbishop of Canterbury.
In 2016 former monastic buildings around the cloister, including the Monks' Dormitory and Prior's Kitchen, were re-opened to the public as Open Treasure, an extensive exhibition displaying the cathedral's history and possessions.
In November 2009 the cathedral featured in the Lumiere festival whose highlight was the "Crown of Light" illumination of the North Front of the cathedral with a 15-minute presentation that told the story of Lindisfarne and the foundation of cathedral, using illustrations and text from the Lindisfarne Gospels. The Lumiere festival was repeated in 2011, 2013, 2015, and 2017.
Durham Priory held many manuscripts; in the 21st century, steps were under way to digitise the books, originating from the 6th to the 16th century. The project was being undertaken in a partnership by Durham University and Durham Cathedral.
The cathedral church and the cloister is open to visitors during certain hours each day, unless it is closed for a special event. In 2017 a new "Open Treasure" exhibition area opened featuring the 8th-century wooden coffin of Saint Cuthbert, his gold and garnet pectoral cross, a portable altar and an ivory comb. This exhibition was continuing as of October 2019. In that month, a new exhibit was added, Mapping the World, featuring books, maps and drawings and from the archives, scheduled to run until 18 January 2020.
Durham is a cathedral city and civil parish in the county of Durham, England. It is the county town and contains the headquarters of Durham County Council, the unitary authority which governs the district of County Durham. It had a population of 48,069 at the 2011 Census.
The city was built on a meander of the River Wear, which surrounds the centre on three sides and creates a narrow neck on the fourth. The surrounding land is hilly, except along the Wear's floodplain to the north and southeast.
Durham was founded in 995 by Anglo-Saxon monks seeking a place safe from Viking raids to house the relics of St Cuthbert. The church the monks built lasted only a century, as it was replaced by the present Durham Cathedral after the Norman Conquest; together with Durham Castle it is a UNESCO World Heritage Site. From the 1070s until 1836 the city was part of the County Palatine of Durham, a semi-independent jurisdiction ruled by the prince bishops of Durham which acted as a geopolitical buffer between the kingdoms of England and Scotland. In 1346, the Battle of Neville's Cross was fought half a mile west of the city, resulting in an English victory. In 1650, the cathedral was used to house Scottish prisoners after their defeat at the Battle of Dunbar. During the Industrial Revolution, the Durham coalfield was heavily exploited, with dozens of collieries operating around the city and in nearby villages. Although these coal pits have now closed, the annual Durham Miners' Gala continues and is a major event for the city and region. Historically, Durham was also known for the manufacture of hosiery, carpets, and mustard.
The city is the home of Durham University, which was founded in 1832 and therefore has a claim to be the third-oldest university in England. The university is a significant employer in the region, alongside the local council and national government at the land registry and passport office. The University Hospital of North Durham and HM Prison Durham are also located close to the city centre. The city also has significant tourism and hospitality sectors.
Toponymy
The name "Durham" comes from the Brythonic element dun, signifying a hill fort and related to -ton, and the Old Norse holme, which translates to island. The Lord Bishop of Durham takes a Latin variation of the city's name in his official signature, which is signed "N. Dunelm". Some attribute the city's name to the legend of the Dun Cow and the milkmaid who in legend guided the monks of Lindisfarne carrying the body of Saint Cuthbert to the site of the present city in 995 AD. Dun Cow Lane is said to be one of the first streets in Durham, being directly to the east of Durham Cathedral and taking its name from a depiction of the city's founding etched in masonry on the south side of the cathedral. The city has been known by a number of names throughout history. The original Nordic Dun Holm was changed to Duresme by the Normans and was known in Latin as Dunelm. The modern form Durham came into use later in the city's history. The north-eastern historian Robert Surtees chronicled the name changes in his History and Antiquities of the County Palatine of Durham but states that it is an "impossibility" to tell when the city's modern name came into being.
Durham is likely to be Gaer Weir in Armes Prydein, derived from Brittonic cajr meaning "an enclosed, defensible site" (cf. Carlisle; Welsh caer) and the river-name Wear.
History
Early history
Archeological evidence suggests a history of settlement in the area since roughly 2000 BC. The present city can clearly be traced back to AD 995, when a group of monks from Lindisfarne chose the strategic high peninsula as a place to settle with the body of Saint Cuthbert, that had previously lain in Chester-le-Street, founding a church there.
City origins, the Dun Cow story
Local legend states that the city was founded in A.D. 995 by divine intervention. The 12th-century chronicler Symeon of Durham recounts that after wandering in the north, Saint Cuthbert's bier miraculously came to a halt at the hill of Warden Law and, despite the effort of the congregation, would not move. Aldhun, Bishop of Chester-le-Street and leader of the order, decreed a holy fast of three days, accompanied by prayers to the saint. During the fast, Saint Cuthbert appeared to a certain monk named Eadmer, with instructions that the coffin should be taken to Dun Holm. After Eadmer's revelation, Aldhun found that he was able to move the bier, but did not know where Dun Holm was.
The legend of the Dun Cow, which is first documented in The Rites of Durham, an anonymous account about Durham Cathedral, published in 1593, builds on Symeon's account. According to this legend, by chance later that day, the monks came across a milkmaid at Mount Joy (southeast of present-day Durham). She stated that she was seeking her lost dun cow, which she had last seen at Dun Holm. The monks, realising that this was a sign from the saint, followed her. They settled at a wooded "hill-island" – a high wooded rock surrounded on three sides by the River Wear. There they erected a shelter for the relics, on the spot where Durham Cathedral would later stand. Symeon states that a modest wooden building erected there shortly thereafter was the first building in the city. Bishop Aldhun subsequently had a stone church built, which was dedicated in September 998. This no longer remains, having been supplanted by the Norman structure.
The legend is interpreted by a Victorian relief stone carving on the north face of the cathedral and, more recently, by the bronze sculpture 'Durham Cow' (1997, Andrew Burton), which reclines by the River Wear in view of the cathedral.
Medieval era
During the medieval period the city gained spiritual prominence as the final resting place of Saint Cuthbert and Saint Bede the Venerable. The shrine of Saint Cuthbert, situated behind the High Altar of Durham Cathedral, was the most important religious site in England until the martyrdom of St Thomas Becket at Canterbury in 1170.
Saint Cuthbert became famous for two reasons. Firstly, the miraculous healing powers he had displayed in life continued after his death, with many stories of those visiting the saint's shrine being cured of all manner of diseases. This led to him being known as the "wonder worker of England". Secondly, after the first translation of his relics in 698 AD, his body was found to be incorruptible. Apart from a brief translation back to Holy Island during the Norman Invasion the saint's relics have remained enshrined to the present day. Saint Bede's bones are also entombed in the cathedral, and these also drew medieval pilgrims to the city.
Durham's geographical position has always given it an important place in the defence of England against the Scots. The city played an important part in the defence of the north, and Durham Castle is the only Norman castle keep never to have suffered a breach. In 1314, the Bishopric of Durham paid the Scots a 'large sum of money' not to burn Durham. The Battle of Neville's Cross took place around half a mile west of the city on 17 October 1346 between the English and Scots and was a disastrous loss for the Scots.
The city suffered from plague outbreaks in 1544, 1589 and 1598.
Bishops of Durham
Owing to the divine providence evidenced in the city's legendary founding, the Bishop of Durham has always enjoyed the formal title "Bishop by Divine Providence" as opposed to other bishops, who are "Bishop by Divine Permission". However, as the north-east of England lay so far from Westminster, the bishops of Durham enjoyed extraordinary powers such as the ability to hold their own parliament, raise their own armies, appoint their own sheriffs and Justices, administer their own laws, levy taxes and customs duties, create fairs and markets, issue charters, salvage shipwrecks, collect revenue from mines, administer the forests and mint their own coins. So far-reaching were the bishop's powers that the steward of Bishop Antony Bek commented in 1299 AD: "There are two kings in England, namely the Lord King of England, wearing a crown in sign of his regality and the Lord Bishop of Durham wearing a mitre in place of a crown, in sign of his regality in the diocese of Durham". All this activity was administered from the castle and buildings surrounding the Palace Green. Many of the original buildings associated with these functions of the county palatine survive on the peninsula that constitutes the ancient city.
From 1071 to 1836 the bishops of Durham ruled the county palatine of Durham. Although the term "prince bishop" has been used as a helpful tool in the understanding the functions of the bishops of Durham in this era, it is not a title they would have recognised. The last bishop to rule the palatinate, Bishop William Van Mildert, is credited with the foundation of Durham University in 1832. Henry VIII curtailed some of the bishop's powers and, in 1538, ordered the destruction of the shrine of Saint Cuthbert.
A UNESCO site describes the role of the bishops in the "buffer state between England and Scotland":
From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.
Legal system
The bishops had their own court system, including most notably the Court of Chancery of the County Palatine of Durham and Sadberge. The county also had its own attorney general, whose authority to bring an indictment for criminal matters was tested by central government in the case of R v Mary Ann Cotton (1873). Certain courts and judicial posts for the county were abolished by the Supreme Court of Judicature Act 1873. Section 2 of the Durham (County Palatine) Act 1836 and section 41 of the Courts Act 1971 abolished others.
Civil War and Cromwell (1640 to 1660)
The city remained loyal to King Charles I in the English Civil War – from 1642 to the execution of the king in 1649. Charles I came to Durham three times during his reign of 1625–1649. Firstly, he came in 1633 to the cathedral for a majestic service in which he was entertained by the Chapter and Bishop at great expense. He returned during preparations for the First Bishops' War (1639). His final visit to the city came towards the end of the civil war; he escaped from the city as Oliver Cromwell's forces got closer. Local legend stated that he escaped down the Bailey and through Old Elvet. Another local legend has it that Cromwell stayed in a room in the present Royal County Hotel on Old Elvet during the civil war. The room is reputed to be haunted by his ghost. Durham suffered greatly during the civil war (1642–1651) and Commonwealth (1649–1660). This was not due to direct assault by Cromwell or his allies, but to the abolition of the Church of England and the closure of religious institutions pertaining to it. The city has always relied upon the Dean and Chapter and cathedral as an economic force.
The castle suffered considerable damage and dilapidation during the Commonwealth due to the abolition of the office of bishop (whose residence it was). Cromwell confiscated the castle and sold it to the Lord Mayor of London shortly after taking it from the bishop. A similar fate befell the cathedral, it being closed in 1650 and used to incarcerate 3,000 Scottish prisoners, who were marched south after the Battle of Dunbar. Graffiti left by them can still be seen today etched into the interior stone.
At the Restoration in 1660, John Cosin (a former canon) was appointed bishop (in office: 1660–1672) and set about a major restoration project. This included the commissioning of the famous elaborate woodwork in the cathedral choir, the font cover and the Black Staircase in the castle. Bishop Cosin's successor Bishop Lord Nathaniel Crewe (in office: 1674–1721) carried out other renovations both to the city and to the cathedral.
18th century
In the 18th century a plan to turn Durham into a seaport through the digging of a canal north to join the River Team, a tributary of the River Tyne near Gateshead, was proposed by John Smeaton. Nothing came of the plan, but the statue of Neptune in the Market Place was a constant reminder of Durham's maritime possibilities.
The thought of ships docking at the Sands or Millburngate remained fresh in the minds of Durham merchants. In 1758, a new proposal hoped to make the Wear navigable from Durham to Sunderland by altering the river's course, but the increasing size of ships made this impractical. Moreover, Sunderland had grown as the north east's main port and centre for shipping.
In 1787 Durham infirmary was founded.
The 18th century also saw the rise of the trade-union movement in the city.
19th century
The Municipal Corporations Act 1835 gave governing power of the town to an elected body. All other aspects of the Bishop's temporal powers were abolished by the Durham (County Palatine) Act 1836 and returned to the Crown.
The Representation of the People Act 2000 and is regarded as the second most senior bishop and fourth most senior clergyman in the Church of England. The Court of Claims of 1953 granted the traditional right of the bishop to accompany the sovereign at the coronation, reflecting his seniority.
The first census, conducted in 1801, states that Durham City had a population of 7,100. The Industrial Revolution mostly passed the city by. However, the city was well known for carpet making and weaving. Although most of the mediaeval weavers who thrived in the city had left by the 19th century, the city was the home of Hugh MacKay Carpets’ factory, which produced the famous brands of axminster and tufted carpets until the factory went into administration in April 2005. Other important industries were the manufacture of mustard and coal extraction.
The Industrial Revolution also placed the city at the heart of the coalfields, the county's main industry until the 1970s. Practically every village around the city had a coal mine and, although these have since disappeared as part of the regional decline in heavy industry, the traditions, heritage and community spirit are still evident.
The 19th century also saw the founding of Durham University thanks to the benevolence of Bishop William Van Mildert and the Chapter in 1832. Durham Castle became the first college (University College, Durham) and the bishop moved to Auckland Castle as his only residence in the county. Bishop Hatfield's Hall (later Hatfield College, Durham) was added in 1846 specifically for the sons of poorer families, the Principal inaugurating a system new to English university life of advance fees to cover accommodation and communal dining.
The first Durham Miners' Gala was attended by 5,000 miners in 1871 in Wharton Park, and remains the largest socialist trade union event in the world.
20th century
Early in the 20th century coal became depleted, with a particularly important seam worked out in 1927, and in the following Great Depression Durham was among those towns that suffered exceptionally severe hardship. However, the university expanded greatly. St John's College and St Cuthbert's Society were founded on the Bailey, completing the series of colleges in that area of the city. From the early 1950s to early 1970s the university expanded to the south of the city centre. Trevelyan, Van Mildert, Collingwood, and Grey colleges were established, and new buildings for St Aidan's and St Mary's colleges for women, formerly housed on the Bailey, were created. The final 20th century collegiate addition came from the merger of the independent nineteenth-century colleges of the Venerable Bede and St Hild, which joined the university in 1979 as the College of St Hild and St Bede. The 1960s and 70s also saw building on New Elvet. Dunelm House for the use of the students' union was built first, followed by Elvet Riverside, containing lecture theatres and staff offices. To the southeast of the city centre sports facilities were built at Maiden Castle, adjacent to the Iron Age fort of the same name, and the Mountjoy site was developed, starting in 1924, eventually containing the university library, administrative buildings, and facilities for the Faculty of Science.
Durham was not bombed during World War II, though one raid on the night of 30 May 1942 did give rise to the local legend of 'St Cuthbert's Mist'. This states that the Luftwaffe attempted to target Durham, but was thwarted when Cuthbert created a mist that covered both the castle and cathedral, sparing them from bombing. The exact events of the night are disputed by contemporary eyewitnesses. The event continues to be referenced within the city, including inspiring the artwork 'Fogscape #03238' at Durham Lumiere 2015.
'Durham Castle and Cathedral' was named a UNESCO World Heritage Site in 1986. Among the reasons given for the decision were 'Durham Cathedral [being] the largest and most perfect monument of "Norman" style architecture in England', and the cathedral's vaulting being an early and experimental model of the gothic style. Other important UNESCO sites near Durham include Auckland Castle, North of England Lead Mining Museum and Beamish Museum.
Historical
The historic city centre of Durham has changed little over 200 years. It is made up of the peninsula containing the cathedral, palace green, former administrative buildings for the palatine and Durham Castle. This was a strategic defensive decision by the city's founders and gives the cathedral a striking position. So much so that Symeon of Durham stated:
To see Durham is to see the English Sion and by doing so one may save oneself a trip to Jerusalem.
Sir Walter Scott was so inspired by the view of the cathedral from South Street that he wrote "Harold the Dauntless", a poem about Saxons and Vikings set in County Durham and published on 30 January 1817. The following lines from the poem are carved into a stone tablet on Prebends Bridge:
Grey towers of Durham
Yet well I love thy mixed and massive piles
Half church of God, half castle 'gainst the Scot
And long to roam those venerable aisles
With records stored of deeds long since forgot.
The old commercial section of the city encompasses the peninsula on three sides, following the River Wear. The peninsula was historically surrounded by the castle wall extending from the castle keep and broken by two gatehouses to the north and west of the enclosure. After extensive remodelling and "much beautification" by the Victorians the walls were removed with the exception of the gatehouse which is still standing on the Bailey.
The medieval city was made up of the cathedral, castle and administrative buildings on the peninsula. The outlying areas were known as the townships and owned by the bishop, the most famous of these being Gilesgate (which still contains the mediaeval St Giles Church), Claypath and Elvet.
The outlying commercial section of the city, especially around the North Road area, saw much change in the 1960s during a redevelopment spearheaded by Durham City Council; however, much of the original mediaeval street plan remains intact in the area close to the cathedral and market place. Most of the mediaeval buildings in the commercial area of the city have disappeared apart from the House of Correction and the Chapel of Saint Andrew, both under Elvet Bridge. Georgian buildings can still be found on the Bailey and Old Elvet most of which make up the colleges of Durham University.
To facilitate broad-based innovation in teaching and learning, library & IT organizations must first address a hierarchy of faculty needs.
This concept was shared in the February 15, 2012 presentation, "Setting the Stage for Success: A Discussion of Insights from the MISO Survey" at the ELI 2012 Annual Meeting. It has also been presented in an EDU-ISIS seminar session, presented on July 20, 2012.
Concept: Kevin J.T. Creamer
Design: Hil Scott
Here is an infographic that depicts information about hierarchical structure of two top internet giants, Facebook and Google. It briefs about the roles of various professionals divided in to various departments. It also states the list of directors working under a CEO with strong leader ship qualities working with a aim to dominate the internet world.
The Entrepreneur SuperStar Success Hierarcy by Jennie Armato
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Bonus Closed-door Mastermind on 28 Feb, only for affiliates (you have to reward loyalty, it's your greatest honor).
IF YOU DIG IT, SHARE IT, I'LL LOVE YOU FOR IT!
Pics from various XML code just made up out of copied parts. Made it up to 400 nodes. Some were pre-auto adjusting node size.
Highlighted "Opera" as the key term for this poster since the word itself can attract opera enthusiasts quicker. Paraphrased some of the sentences to make it more fluid and less formal.
Climate science is often confusing. However, there are a number of relatively simple ways to frame the issue.
This diagram includes the main elements of climate science, moving from emissions to impacts. It also includes, in the coloured boxes, elements that are often overlooked or forgotten by non-scientists.
danielsolisblog.blogspot.com/2012/04/hierarchy-of-interfa...
Hierarchy of Interface for Tabletop Games as observed by John Stavropoulos
TOOLS
The actual components of play, like character sheets, cheat sheets, boards and bits.
TEXT
The actual documented rules and how they are presented, including exact wording, procedures and game terms.
RULES
The parameters of play as best recalled by the players. Less formal than text, but more formal than the basic design intent.
INTENT
The assumptions of how a game would be played, often expressed directly by the designer with minimal formal documentation.
Source:
“This is why I feel game interfaces (character sheets, cheat sheets) are more important than rules text and rules text is more important than rules and rules are more important than design intent when it comes to actual play... we generally can’t assume players will read the rules, that GMs won’t remember more than 5-7 distinct pieces of information at a time without reference, and if we don’t provide teaching tools, that the game will be taught correctly.”
plus.google.com/u/0/111266966448135449970/posts/aqxmnLe61rg
DESIGN: Daniel Solis — danielsolis.com
“Dice,” “Pencil” symbol from The Noun Project collection.
“Paper” symbol by Tom Schott, from The Noun Project collection.
“Quote” symbol by Henry Ryder, from The Noun Project collection.
“Note” symbol by Brendan Lynch, from the Noune Project collection.
“Pawn” symbol by Kenneth Von Alt, from The Noun Project collection.
“Dialog” symbol by Dima Yagnyuk, from The Noun Project collection.